Aucassin & Nicolete . NOTES. NOTES p. xi. The blending — of alternate prose and verse— is not unknown in various countries. Thus in Swahili Talts (London, 1870), p. vii, we read: It is a constant characteristic of popular native talesto have a sort of burden, which all join in the skeleton of the story seems to becontained in these snatches of singing, which thestory-teller connects by an extemporized account ofthe intervening history . . Almost all thesestories had sung parts, and of some of these, eventhose who sung them could scarcely explain themeaning ... I h
Aucassin & Nicolete . NOTES. NOTES p. xi. The blending — of alternate prose and verse— is not unknown in various countries. Thus in Swahili Talts (London, 1870), p. vii, we read: It is a constant characteristic of popular native talesto have a sort of burden, which all join in the skeleton of the story seems to becontained in these snatches of singing, which thestory-teller connects by an extemporized account ofthe intervening history . . Almost all thesestories had sung parts, and of some of these, eventhose who sung them could scarcely explain themeaning ... I have heard stories partly told, inwhich the verse parts were in the Yao and Nyamwezilanguages. The examples given {Sultan Majnun) areonly verses supposed to be chanted by the charactersin the tale. It is improbable that the Yaos andNyamwezis borrowed the custom of inserting verseinto prose tales from Arab literature, where the inter-calated verse is usually of a moral and reflectivecharacter. Mr. Jamieson, in Illustrati
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