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10
THE ADYAR LIBRARY BULLETIN
it, in readiness, which he puts together in suitable manner according to the course of the narrative. Such ' elements of production consist of pictures of certain occurrences and situations, such as the birth of a hero, the growing up of the hero, the glories of weapons, preparations for battle, the storm of battle, the conversations between heroes before battle, the depicting of characteristics of persons and of horses, the characterization of the well-known heroes, the praise of the beauty of the bride. . . The art of the singer consists only in arranging all these static component parts of pictures with one another as circumstances require, and in connecting them with lines invented for the occasion.
"Now the minstrel can utilize in his singing all the formative elements specified above in very different ways. He knows how to represent one and the same picture in a few short strokes. He can depict it more fully, or he can go into a very detailed description with epic fullness. The greater the number of different formative elements at the disposal of the minstrel, the more diversified will be his performance, and the longer will he be able to sing without tiring his listeners by the monotony of his descriptions. The amount of the formative elements and the skill in putting them together is the measure of the skill of the minstrel. A skilled minstrel can recite any theme he wants, any story that is desired, extempore, provided that the course of events is clear to him. When I asked one of the most accomplished minstrels whom I had got to know if he could sing this or that song, he answered