Yellacat Ranch Under a Western Sky

Eliade on Oral History


One more piece on oral history. I think this is probably the first place I encountered the basic idea that oral tradition tends to “improve the story”.

Sometimes, though very rarely, an investigator chances to come upon the actual transformation of an event into myth. Just before the last war, the Romanian folklorist Constantin Brailoiu had occasion to record an admirable ballad in a village in Maramures. Its subject was a tragedy of love: the young suitor had been bewitched by a mountain fairy, and a few days before he was to be married, the fairy, driven by jealousy, had flung him from a cliff. The next day, shepherds found his body and, caught in a tree, his hat. They carried the body back to the village and his fiancée came to meet them; upon seeing her lover dead, she poured out a funeral lament, full of mythological allusions, a liturgical text of rustic beauty. Such was the content of the ballad. In the course of recording the variants that he was able to collect, the folklorist tried to learn the period when the tragedy had occurred; he was told that it was a very old story, which had happened “long ago.” Pursuing his inquiries, however, he learned that the event had taken place not quite forty years earlier. He finally even discovered that the heroine was still alive. He went to see her and heard the story from her own lips. It was a quite commonplace tragedy: one evening her lover had slipped and fallen over a cliff; he had not died instantly; his cries had been heard by mountaineers; he had been carried to the village, where he had died soon after. At the funeral, his fiancée, with the other women of the village, had repeated the customary ritual lamentations, without the tor of the slightest allusion to the mountain fairy.
Thus, despite the presence of the principal witness, a few years had sufficed to strip the event of all historical authenticity, to transform it into a legendary tale: the jealous fairy, the murder of the young man, the discovery of the dead body, the lament, rich in mythological themes, chanted by the fiancée. Almost all the people of the village had been contemporaries of the authentic historical fact; but this fact, as such, could not satisfy them: the tragic death of a young man on the eve of his marriage was something different from a simple death by accident; it had an occult meaning that could only be revealed by its identification with the category of myth. The mythicization of the accident had not stopped at the creation of a ballad; people told the story of the jealous fairy even when they were talking freely, "prosaically," of the young man's death. When the folklorist drew the villagers' attention to the authentic version, they replied that the old woman had forgotten; that her great grief had almost destroyed her mind. It was the myth that told the truth: the real story was already only a falsification. Besides, was not the myth truer by the fact that it made the real story yield a deeper and richer meaning, revealing a tragic destiny?
The anhistorical character of popular memory, the inability of collective memory to retain historical events and individuals except insofar as it transforms them into archetypes---that is, insofar as it annuls all their historical and personal peculiarities--pose a series of new problems, which we are obliged to set aside for the moment. But at this point we have the right to ask ourselves if the importance of archetypes for the consciousness of archaic man, and the inability of popular memory to retain anything but archetypes, do not reveal to us something more than the resistance to history exhibited by traditional spirituality; if this mnemonic lacuna does not reveal the transitoriness, or at least the secondary character, of human individuality as such--that individuality whose creative spontaneity, in the last analysis, constitutes the authenticity and irreversibility of history. In any case, it is remarkable that, on the one hand, popular memory refuses to preserve the personal, historical elements of a hero's biography while, on the other hand, higher mystical experiences imply a final elevation of the personal God to the transpersonal God. It would also be instructive to compare, from this point of view, the conceptions of life after death that have been elaborated by various traditions. The transformation of the dead person into an “ancestor" corresponds to the fusion of the individual into an archetypal category. In numerous traditions (in Greece, for example) the souls of the common dead no longer possess a "memory"; that is, they lose what may be called their historical individuality. The transformation of the dead into ghosts, and so on, in a certain sense signifies their reidentification with the impersonal archetype of the ancestor. The fact that in the Greek tradition only heroes their personality (i.e., their memory) after death, is easy to understand: having, in his life on earth, performed no actions which were not exemplary, the hero retains the memory of them, since, from a certain point of view, these acts were impersonal.
Leaving aside the conceptions of the transformation of the dead into “ancestors," and regarding the fact of death as a concluding of the "history" of the individual, it still seems very natural that the post-mortem memory of that history should be limited or, in other words, that the memory of passions, of events, of all that is connected with the individual strictly speaking, comes to an end at a certain moment of his existence after death. As for the objection that an impersonal survival is equivalent to a real death (inasmuch as only the personality and the memory that are connected with duration and history can be called a survival), it is valid only from the point of view of a “historical consciousness," in other words, from the point of view of modern man, for archaic consciousness accords no importance to personal memories. It is not easy to define what such a “survival of impersonal consciousness” might mean, although certain spiritual experiences afford a glimpse. What is personal and historical in the emotion we feel when we listen to the music of Bach, in the attention necessary for the solution of a mathematical problem, in the concentrated lucidity presupposed by the examination of any philosophical question? Insofar as he allows himself to be influenced by history, modern man feels himself diminished by the possibility of this impersonal survival. But interest in the “irreversible" and the "new" in history is a recent discovery in the life of humanity. On the contrary, archaic humanity, as we shall presently see, defended itself, to the utmost of its powers, against all the novelty and irreversibility which history entails.

The takeaway here is the same as always — oral history tends to forget the details, focus on the main story, and “improve” it.

Just like good story tellers everywhere. If you’re quick on the draw with your relatives there’s a good chance you can see the process in action. You just have to probe a bit. Ask where they got the information. Ask where they think their source got it. Probe for places where there are seams, where they’ve combined different sources and created their own interpretation or synthesis. It’s not hard, but it can be time-consuming.

I’ve been using this style most of my adult life. The longer, probing interviews have meant that I’ve gone down a lot of rabbit holes, and I’ve “wasted” time on “traditions” that I could have just dismissed out of hand at the very beginning. I tell my research buddies “I’m just being thorough.”

Yellacat Ranch Under a Western Sky
Justin Swanstrom

Justin Swanstrom

Made in America. Retired attorney. Bookseller at Shining Lotus. No Nazis in Valhalla. He/him.

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