Evening Song Research Articles

A Textual Research on Dong Weiye s Friends, Life and Spiritual World

The Evening Song incisively and vividly shows Dong Weiye s poor living conditions, Dong Weiye is an extremely profound explanation of his amazing poor life. Self-calling Shame husband is a kind of reverse expression of Dong Weiye s self-life, reflecting his humiliating mentality, humiliating life experience and rebellious psychology to the shame he suffered. Zheng Banqiao s Preface to Yangzhou Bamboo Branch Ci is a beginning of Dong Weiye s spiritual world from the perspective of friends, that is, the external world.

«Потаенный край» Маргариты Кусс: оркестровый стиль и тембровая поэтика

The stylistic features of orchestral writing by Margarita Ivanovna Kuss (1921–2009) are examined in this article for the first time in Russian art studies. Her music was performed by the best Russian ensembles and conductors. M. Kuss was a musical authority for the leading musicians of the Soviet Union. For many years her house was a centre of attraction for the greatest modern Russian composers (D. Shostakovich, N. Peyko, B. Tchaikovsky, R. Bunin, M. Weinberg, G. Sviridov, G. Ustvolskaya). M. Kuss opinions and appraisals were valuable not only for the young composers, but also for world-known masters A Poem based on Russian Folk Songs (1961), A Lyrical Poem (1988), Three Poems: A Distant Spring, An Evening Song, An Evening in Light (1994) — these are the parts of a meta-cycle. And the last part of it is a symphonic poem A Lurking Terrain (1999–2000), first performed at the Large Hall of Moscow Conservatory on December 21st, 2002. The Tchaikovsky Large Symphony Orchestra was conducted by Vladimir Fedoseev. The composer's style in this score is embodied in a most impressive form. The research methods used in this article, along with the analysis of the composer's and conductor's phenomenology, could be used in further studies of the large symphonic legacy of M. Kuss. It is important both in the research context, and in the musician's practice.

Graphic Arts of Lyudmila Bruyevych from the 2000s–2010s: The Geometrization of the Images and Encoding of the Meanings

Female graphic artist Lyudmila Bruyevych is one of the most famous and popular domestic artist. In her graphic art one can trace the influence of folk and naïve art traditions, as well as the Ukrainian baroque, although at same time, it is an organic natural, and quite modern phenomenon. The artist`s favourite technique is etching; besides that, she also draws on watercolours. Already in her early works (Night; A Girl with a Puppy; A Capricious Lady (all — in 1991); A Merry Song; An Evening Song; Anguish (all — in 1992)), an original authorial style was formed, which combines epic and grotesque, poeticims and symbolism. Wherein an images is almost always supplemented by a calligraphic text, sometime a quite large one. L. Bruyevych often refers to biblical images, but usually interprent them in a very original and unexpected way (The Holy Family (1991); There was a Throne in Heaven with SomeoneSitting on It; The Seventh Angel; The Whore of Babylon (all — in 1992); The Fourth Beast Was Like a Flying Eagle (1993) and other). In the mid 1990s, the female artist began to illuminate her etching, using for this only four (sometimes two) watercolour paints (colours: alizarin crimson, emeradl green, ochre and gold). This added brightness and decorativeness to her works and strengthened their sybolic richness. In 1994, The Flower of Love was created, aswell as the series Tranquility, which consists of five sheets (Cats; Mermaid; Three Fishes; Fish;and Vase). They can be considered the most characteristic works of L. Bruyevych. At the same time, in the artist`s subsequent etchings (Night Beast; Round Dance of Grass Snakes, orInfinity; A Prehistoric Animal, or Dragon (all — 1997)), the tendecy to geometrization gradually is tensified. The geometrization and conditional character of the images are strengthened by degrees, but unceasingly. At the same time their content depth is increased and concentrated: Course of Time, or Ukrainian Pyramids. Psychoelevation of the Soul (2004), Ukrainian Pyramid (2005), Geometry of Love (2012), Language of Land (2014, diptych), Mallow and Grape (2016, diptych). It`s affirms the desire of the artist to unite and synthesiza different styles, inherent for her graphic arts. All these facts can denote the beginning of new, unusually interesting, period in the creative work of L. Bruyevych.

ОБРАЗ ЖІНКИ-БОРЦЯ В ПОЕЗІЇ ОЛЕНИ ТЕЛІГИ

The original vision of the role of women in the struggle for national freedom is presented by the work of Olena Teliha, a Ukrainian diaspora writer. The work of the author is closely related to the Prague school - a community of artists who emigrated to Europe in the first half of the 20th century. The writers of this literary circle in their artistic and journalistic texts nurtured the ideas of nationalism and emphasized the need to form an effective Ukrainian, a man of rank, capable of defending and building an independent state. The lyrical and journalistic works of Olena Teliha also actualize these problems. The author believed that a woman's mission in the struggle for state sovereignty is to become a friend, and moral support for male warriors, and, if necessary, also to take up arms. The writer's artistic work has a feminist sound, but the author's views on the role and place of women in society are not entirely consistent with the ideas of the philosophy of feminism. The article focuses on the analysis of Olena Teliha's poems «To Men», «Answer», «Evening Song», «Evening», «I will not forgive the hand that beat me...», and «Everything awaits: both despair and resentment». The study of these works from the standpoint of feminist criticism proved that their lyrical heroine is a gentle and affectionate woman who is a life-giving force for a man-warrior, and defender of the state. At the same time, she is a morally strong and strong-willed person, capable of taking up arms at critical times and courageously defending her land on par with her husband. The woman in the author's poetry is ready to forgive her chosen one and the world everything, except the humiliation of her human dignity. The harmony of the world in her lyrics is based on the idea of parity in the relationship between men and women. Olena Teliha's lyrical works testify that the author was a national-centric feminist. A woman, in the author's understanding, must remain gentle with her husband, and devoted to him, and when the latter has a mission to protect his state, she must become a friend and ally in the struggle.

Christopher BuckleyPre-Eternity of the World

BOOKS IN REVIEW Christopher Buckley Pre-Eternity of the World Nacogdoches, Texas. SFA University Press. 2021. 120 pages. IN THIS NEWEST collection, Christopher Buckley’s twenty-sixth, you might expect to see some evidence of decline, overwriting, or dilution of content; none of that is the case. Instead, we encounter Buckley’s imaginative power manifested in a fully matured style, a style characterized by complete naturalness of voice and a seemingly effortless mastery of craft. The title poem of this collection sets the standard for the book, a twelve-page poem that muses about quasars, Einstein, Spinoza, mitochondrial DNA, surfboards hauled on dented Bel Airs in the 1950s, loneliness, religion, koi, clouds, quarks, and many other things pulled into the vortex of a farranging mind considering the sum total of its experience and existential moment. The associative technique employed in these poems does not result in the dazzling showmanship of poems by, say, Albert Goldbarth, which of course afford their own type of pleasure; instead, the effect is one of a deepening intimacy in a relaxed but earnest solitude, as if the reader were sitting next to the author somewhere by the sea and listening quietly. This mesmerizing atmospheric quality of Buckley ’s poems is one of the great pleasures of reading them. At their most essential, whatever these poems may ostensibly be about, they are about a feeling, a certain disposition toward experience, an uneasy repose pulled by nostalgia as well as by the outer edge of knowledge and beyond that. One of the other great pleasures of reading these poems is their original figurative language. Similes and metaphors are never dispensable ornaments hung on the narrative tree of the poem; they are always woven as part of the poem’s fabric, often the main points on which the poem turns in its associative movement. In the early portion of “Remorse,” we read: “Brown shoes beaten / into submission, blind / witnesses to everything— / a yellowed rind of light / in the inner lining / of my tattered coat— / there, just above the heart, / where the ash of stars / has been collecting / since I was 29. // Bits of sun / like old wishes, like bruised / gardenias in a bowl, filter / through the paralytic trees— / the white glare / off the sea speaking / in the syllogisms of salt.” For all the heady mention of cosmology and Western philosophy, these poems proceed by feeling, feeling that seeks and finds form for itself, often in original figurative language. Examples are everywhere throughout the book, but the ending of “Evening Song—on a late birthday” serves as a good example of this as well as of a rare moment of peace, almost: “I’ve done my work / and this late in the day I leave / all uneasiness to the sea— / the dark sea, indifferent as always— / from which I nonetheless accept / every breath I take today / from an on-shore breeze—here / where I am almost happy, adrift / in the frail boat of my heart.” These poems also include an ongoing consideration of religion. In an earlier work, Buckley describes himself as a “spiritual non-believer.” It’s hard to say if that has changed. He certainly still has no time for “believers” reified in their own certainty; in the title poem, we encounter this attitude early: “and God-botherers / of every stripe, / with unquestioning convictions about the landscape / of the invisible.” Yet, in these new poems, he does not seem ready to completely deny “the other side,” though he considers it unlikely. In the final lines of the title poem, we read: “I can see there’s no guarantee / that anyone survives these dark waters, / is likely to get out of here alive . . . / all I know is that we go on / standing here / holding on to the rope-end of hope.” It seems that the poet has moved from “nonbeliever ” to agnostic tilting to nonbelief, yet the insistence with which these poems interrogate the unseen and the question of God suggests an undercurrent of desire for things to be otherwise. Readers will likely enjoy these poems not for their answers but for their intellectual and emotional honesty in the movement of mind. Fred Dings University of South Carolina...

THE CONCEPT SPHERE OF NATURAL WORLD IN VOLODYMYR SAMIILENKO'S LYRICS: SPACE, PLANETARY AND NATIONAL LOCUSES

The article deals with the system of artistic images that makes the concept sphere of natural world in landscape and philosophic lyrics by Volodymyr Samiilenko (1864 – 1925). The term «image-concept» has been chosen for the analysis due to the existing researches in literary studies, linguistics and philosophy. This term is interpreted as polysemantic embodiment in verbal images the author's philosophical and artistic comprehension of being on different structural levels – from cosmic to individual.The formation of ideological and aesthetic bases of Volodymyr Samiilenko's works in the period of his entry into literary circles of populists was studied. It has been shown the influence of authoritative cultural persons on the writer's work, but at the same time this situation did not prevent the formation of his own original artistic conception of natural world.Key elements of the author's concept sphere of nature are analyzed. They are: images of celestial sphere (the sun, the moon, stars, the sky), that embody the author's view about the unity of life existence in the space as well as collective image of nature that is expressed through flora elements and landscape pictures. The most significant in the system is sun image («Spring», «The Eagle», «Regards to Bukovyna», «Evening song»), that symbolizes life energy, the source of inspiration. Its function in the image system of Volodymyr Samiilenko's lyrics is closely connected with spring motifs that are interpreted as spiritual reincarnation of the lyrical hero.We concluded that the writer embodies the idea of cosmic harmony and perfection into nature image (that is due to the original author's «God-universe» conception). He develops the creative principle, that in the concept sphere of Volodymyr Samiilenko's work is opposed to the destructive nature of man («Spring»).It was discovered that the creative imagination of the writer involves him on planetary and space scale. It was pointed out as well that in such works as «Spring songs», «Evening song», «That's a pity» and others the nature image shows a distinct Ukrainian colour, presenting an ethnic marker of the writer's creativity.It was concluded that the concept sphere of the natural world in Volodymyr Samiiylenko's lyrics makes out an original and innovative phenomenon. The images and motifs worked out by the author have been developed further on in the work of writers-modernists (Lesia Ukrainka, Olga Kobylianska, poets-symbolists) and remain relevant in our time as well.

“3 Piano Sonatas for the Young” op. 118 in a context of last works by Robert Schumann

“3 Piano Sonatas for the Young” op. 118 in a context of last works by Robert Schumann

New York Telephone Conversation; or, Gandhi’s Last Act Glass, ‘Evening Song’ (Gandhi),Satyagraha

New York Telephone Conversation; or, Gandhi’s Last Act Glass, ‘Evening Song’ (Gandhi),<i>Satyagraha</i>

La variante chilienne

this is one of the finest novels in the series, matched only by The Mao Case. Inspector Chen is a police detective in modern China who is frequently called upon to handle cases that have political sensitivity; he has risen to a position of substantial authority and recognition precisely because in solving cases, he has been able to keep the Communist Party interests and public image in mind. Chen is a man who loves Yang poetry and that of T. S. Eliot; he is somewhat introverted and private but also fully competent in dealing with people and the complexities of the cases he handles. As might be expected, his sensitivity and intellectuality are frequently struggling against the compromises his position requires. Being fair-minded, he is constantly striving for legal and moral justice in situations that require finesse, discretion, and sometimes compromise. He is often asking himself where his main loyalties and responsibilities lie, with his conscience or the greater good stipulated by party bosses. Sometimes they match, but frequently they do not neatly coincide. Reading these novels, one feels a deeper understanding of contemporary China as well as some sense of how an intelligent, sensitive individual might feel inside the current political, post–Mao system, especially the ways in which one might have to navigate among the delicate and notalways -clear boundaries of political correctness . One of the greatest consequences, psychologically speaking, is exampled page after page in the internal contemplations of Chen himself, his constant self-counsel , and his careful editing of his speech to cloak some of his motivations and thoughts, which if shared publicly could result in imprisonment or worse. While these internal precautions are part of any thoughtful person’s process, the political system in which Chen finds himself intensifies his situation to the point of a barricaded loneliness, an island among islands in a system designed, ironically, for greater social unity. All this comes to its greatest tension in this newest novel. I am reminded of Camus’s short story “The Guest,” in which Daru, the main character, is impossibly caught between the demands of the colonizing French and those of the pre-rebellion Algerians, while trying to live a private life without siding with either. His central conflict is that of Chen’s: an individual’s responsibility to himself (his values) versus his responsibility to the society of which he is a part. The stakes are high for Inspector Chen. We won’t divulge anything further. An intensely pleasurable reading experience awaits. Fred Dings University of South Carolina Pierre Raufast. La variante chilienne. Paris. Alma. 2015. 263 pages. Pierre Raufast’s latest novel begins rather grippingly with a getaway scene in which a middle-aged teacher confides in the Philip C. Kolin Pilsen Snow: Poems Finishing Line Press Kolin’s poetic tribute to Pilsen, a neighborhood in Chicago, is a touching reminder of the layers of history and immigration that make up the American story. While celebrating the rich Czech culture that defined his own upbringing, Kolin traces the careful lines of transmission to the Latino community that has inherited the sacred spaces of his childhood. The collection is beautifully designed and documents an important time and place in American history. Yvan Goll Neila, Evening Song: Last Poems Trans. Donald Wellman Spuyten Duyvil Blood and the violence of nature abound in these English translations of German poet Yvan Goll. In fragmented yet rich images typical of a modernist style, the poet evokes feelings of deep pain and anxiety but also possible alleviation through the nebulous figure of Neila, his transformative love. Nota Bene WORLDLITERATURETODAY.ORG 85 reader that he is hiding one of his teenage pupils under a blanket in the backseat of the car. Just as he tells us that he has planned on cloistering her for two months, his car is stopped by a policeman for a routine check. It’s compelling to start a story with such a riveting, risqué incipit, but it’s ultimately a little misleading if the rest of the novel is replete with what André Gide called bons sentiments. Novels don’t have to possess generic coherence, of course, and every author is free to dangle...

TOLLUND

6 5 R T O L L U N D H A I L E Y L E I T H A U S E R This is death, dreary as the dying was, half slop on the bottom, half stew on the top, half forgotten wren evening song, tiny and timeless bird singing. This is death when you don’t have a breath or a pulse or a voice but still have two lungs and a rubbery heart to breathe in and out of, less of a death than a settling, less of a settling than press under the march of feet feet feet foot that nobody knows a dying dead man is deeply and darkly and quietly privy to (marking a calender of sour nosed worms, acidic maggots, slug, beetle, grub at nest in a tibia they will never grow fat on). This is a death that crows want to honor and snow at rest on gentling hills wants to lie over. This death that is weariness, this death that is meaningless and careful experience, that is glacial and graveled, hoveled experience like that of existence (calling of children over millennia, loud rivers, clouds). This is the palaces of children and clouds, days made 6 6 Y of fingers and brown brittle ferns, nights made of phosphorus, stale water stench. This is the blanch of a close, stagnant pyre, the burning of soft-bodied amber, the cargo of stomach, the plenty of gut. This is the roughed and the untidy peace of a mud-sodden stu√. This is the death the living are made of. ...

Daoist Themes by Female Artists

184 Daoist Themes by Female Artists1 PATRICIA EICHENBAUM KARETZKY This paper explores the art of contemporary Chinese women artists who use Daoist themes in their work. Their interest is not in religious Daoist institutions, texts, or practices. Rather, in the wake of the demise of Mao‑ ism, with the subsequent lack of spiritual focus in daily life, a threatened natural environment, rapid changes in the political and economic realms, and the adoption of Western models of capitalism and industrialization and the consequent problems of homelessness, lack of healthcare, and the rise in such vices as drugs, crime and prostitution, these women look back to the great spiritual traditions embodied in the Daoist classics of the Daode jing and Zhuangzi and the artistic traditions shaped by them. Thus their approach is more philosophical than religious, more general‑ ized than specific, and more holistic than particular. For this reason, I compare these artists’ work with the art that inspired them or with the artistic cultural heritage they drew on, consciously or not. Cui Xiuwen2 Cui Xiuwen lives and works in Beijing. She makes large­scale photo­ graphs of predominantly monochrome landscapes inhabited by a young model who resembles a schoolgirl in her demeanor, dress, and hairstyle. Holding a doll that is an exact replica of her, she braves the inclement weather of winter in the north of China (Fig. 1). The landscape looks like one from the Northern Song, notably Fisherman’s Evening Song by Xu 1 This paper was first delivered at the Seventh International Conference on Daoist Studies on Nanyue, Hunan, June 2011. 2 See www.brooklynmuseum.org/eascfa/feminist.../Cuixiu wen.php Karetzky, “Daoist Themes by Female Artists” / 185 Daoning in the Nelson Atkins Museum of Art, Kansas (Fig. 2).3 Northern Song landscapes have long been associated with Daoist belief, especially in their monochrome expression of the forces of nature for as said in Daode jing 12, “The five colors blind the eye.” The small human inhabitants in the mist­covered mountains reflect the relationship of man living isolated from cities and social attachments as the ideal of Daoist reclusion—to live in harmony with nature. It is commonly held that these landscapes can also be read as a philosophical model of the dynamic dualism of yin and yang, with the eternal moun­ tain balanced against the yin elements of water, trees, and man. Some of the compositions are also a study of the seasons, like the portrait of the burgeoning forces of nature in Early Spring by Guo Xi dated 1072,4 or the somber dirge of autumn in Fisherman’s Song with its bare mountains, denuded forests, trees bare of foliage, and the chill of the fall wind whis­ tling on the river. Fig. 1 Cui Xiuwen, Existential Emptiness, 2010, C print 35” x 80” Fig. 1. Cui Xiuwen, Existential Emptiness, 2010, C print 35” x 80” Cui’s photos from the 2010 series Existential Emptiness are a study of win­ ter, and for several of the works she has adopted the long scroll composi­ tion, limited herself to a black and white palette and focused on the tex­ tures of the natural elements—rock, snow, and water. Her horizontal composition features the mountains, whose rocky surface is unrelieved by vegetation, an effect she achieved by manipulating the photograph with the Photoshop computer program. By enhancing the contrast, she 3 Xu Daoning, (970‑1052) Fishermenʹs Evening Song, ca. 1049, hand scroll, ink and slight color on silk, 19 inches x 7 feet 4 ¾ inches, in the Nelson Atkins Mu‑ seum Kansas City, Inv. no. 33‑1559. 4 Early Spring dated 1072 Northern Song dynasty (960–1127), hand scroll; ink and color on silk (1981.276), National Palace Museum, Taiwan. 186 / Journal of Daoist Studies 5 (2012) eradicated the details of the landscape and as a result it appears change­ less in the serene but blinding snow. The adamantine quality of the mountain is a foil for the fragility of man and his manmade comforts: the doll and model that occupy the foreground are almost indistinguishable from their environment. The two figures lie in the snow, separated by a distance. Disturbingly, they are not dressed for...

Evening Song

Evening Song

The Coyote Came Back The Return of an Ancient Song Dog in the Post-Colonial Literature and Landscape of North America

The buffalo herds have gone; they have succumbed to the rifles of the hunters. The antelope droves are nearly gone; hound and lead were too much for them. The blacktail bands have dwindled before axe and fence. The ancient dwellers of the badlands have faded like snow under the new conditions, but the coyotes are no more in fear of extinction. Their morning and evening song still surrounds from the level buttes, as it did long years ago when every plain was a teeming land of game. They have learned the deadly secrets of traps and poisons, they know how to bajfle the gunner and the hound, they have matched their wits with the hunter's wits. They have learned how to prosper in a land of man-made plenty, in spite of the worst that man can do. Ho, ho, ho! You can never kill us coyotes' we live forever

Elaine Keillor, ed. The Canadian Musical Heritage - Le Patrimoine musical canadien. Vol. 6. Piano Music II. Ottawa: Canadian Musical Heritage Society, 1986. 282 pp. ISBN 0-919883-0709

Elaine Keillor, ed. The Canadian Musical Heritage - Le Patrimoine musical canadien. Vol. 6. Piano Music II. Ottawa: Canadian Musical Heritage Society, 1986. 282 pp. ISBN 0-919883-0709. Un article de la revue Canadian University Music Review / Revue de musique des universités canadiennes (Volume 11, numéro 2, 1991, p. 1-164) diffusée par la plateforme Érudit.

Evening Song

Evening Song

An Analysis of the Full Song of the Blackbird Turdus merula with Respect to Message Coding and Adaptations for Acoustic Communication

The full song of the Blackbird was analysed quantitatively by means of sonagraph, level recorder and computer. Species-specific limits of variation are given for a number of song parameters. Some of these parameters vary between individuals, others vary within individuals in two situations, viz. dawn song with heavy stimulation from rivals and evening song with weak stimulation from rivals. The parameters and the differences between the variations of the parameters all seem to be within the range of auditory perception of oscines. It is therefore hypothesized that parameters varying within species-specific limits have a potential for conveying a message about the species, and that parameters varying within these limits with the individual or the situation have an additional potential for conveying individual or behavioural messages, respectively. Blackbird song was also studied with respect to adaptations for acoustic communication. Selection has favoured the evolution of a functionally divalent signal, the motif parts being adapted for long-range communication and the twitter parts for short-range communication.

Kirke-Klokken 1845

“The Church Bell”By Karl RønneContinuing the protracted and varied debate on “Kirke-Klokke” (“Church Bell” ) (see H. Toldberg, Gr.-St. 1961 ) this essay sets out to show that the form, as it appeared in 1845, has a carefully planned structure and a definite purpose in the debate of that time.The hymn, or poem, first confronts hymn writing (symbolically expressed in “Kirke-Klokke” ) with secular literature: deeply felt, highly emotional (“ædle malme (precious metals) st. 1 ) recognised, well-reputed (“til Hovedstæder” (for capitals) st. 2 ), and stylistically pure, technically correct poetry (“Strengeleg” (lyre) st. 3 ). The hymn does not belong with any of these modes; it evokes response among the humble, the unimpressive, in lowly places, (“den lille By” (the little village)).The poet now considers which kind af hymn writing should be regarded as highest in rank (“Rangen” ). The hymns of Christmas and Easter are considered (st. 4- 5 ), but in st. 6 the evening song, in a revulsion to the poet’s personal (“for mig” (for me)) present situation (“nu” (now)), seems to win the leading place. He cannot pledge himself to Christmas and Easter as they appear in his childhood memories (“Landet” (the country/land) = the land of his childhood), and he is a stranger in life (“Har hjemme selv jeg veed ei hvor” (I do not know where I belong)). The evening song of harvest time, where the Creator (“Himmelrøsten” (the voice from Heaven)) calls home his hoary servant after he has completed his lifework at the evening of his life, wins “Rangen” (the pride of place), as it has the message: Han sov hen som Soel i Høst gaar ned! (He passed away in the same way as the sun sets in autumn).

Avian Daybreak and Evening Song in Relation to Time and Light Intensity

Avian Daybreak and Evening Song in Relation to Time and Light Intensity

RV 2.38: A Problem Hymn

In 1875 Roth presented in the GFeldner-liaegi Siebenztg Lteder des Rigreda, 46-8, essentially the same translation (there are a few minor changes in wording) and the same interpretation. In the same year Bergaigne reviewed the 70 Lieder in Revue Crittque d'Eistoire et de Ltfterature, 18. 385-94, and offered (386-7) critical comments upon the details of the translation of 2.38 but none upon the Abendlted theory and general summary. He did, however, indicate a different view of the hymn's structure by speaking of a Part I comprising stanzas 1-6 and a Part II made up of stanzas T-11. In 1876 Grassmann, in his Rzy-Vedsl, ubersetzt, 49, headed his translation of the hyann with An Savitar, Abendlied. He was very probably influenced by Roth's views. His translation does not dif3Ter markedly from Roth's2 and, indeed, shows some noteworthy verbal echoes in stanzas 1, 3, 4, 5, 6, 8, and 9. Also, like Roth, he considered stanzas 10 and 1l, and possibly 7 or 8, as later additions. It is clear that by 1883 Bergaigne had accepted in part the Abendlied interpretation, for he wrote in volume 3 of La Relzyton Vedtque, 56: Les fonctions de Savitri comme dieu de la nuit font le sujet des sis premiers vers de l'hymne II, 38 .... The theory was now firmly established and continued to gain the acceptance of outstanding scholars. In 1895 Hopkins in his The Reltgtons of Indta, 46, spoke of 2.38 as an evening song to Savitar. In 1897 Macdonell in his Vedic Mythology stated (33-4): Ee [Savitar] is, indeed, estolled as the setting sun (2.38). That IIillebrandt was convinced as early as 1902 that the interpretation was right is revealed by a sentence in the third volume of the first edition of

Letter to the Review Editor

Stase Paluskas McPherron in her review ofLithuanian Folk Tales (JAF,LXXII [1959], 263-264) made several erroneous statements. First, the name of my acquaintance who published several Lithuanian tales in Southern Folklore Quarterly is Joseph Russell Reaver and not Weaver as the reviewer wants to correct me. Secondly, the book The Evening Song compiled and translated by V. F. Beliajus, contains merely thirteen traditional, i. e., folkloristic items, while the rest, including the very first item in the book, are indiv idual creations by Vincas Kr6ev and other authors. is about time for folklore students to make the distinction between pure folklore traditions and literary stories of all kinds. Thirdly, items quoted by Archer Taylor in his article Tarbaby Once More (1944) are merely abstracts or better to say the end episodes of five Lithuanian tales which I supplied to the author in English translation and for which I received proper acknowledgment in the article. Those items are interesting to folklorists but not to the general reader. The same is true ofA Lithuanian Formula Tale, published by Archer Taylor in JAF, 1946, p. 194, where he states: It was sent to me several years ago by Professor Balys as an example of an unreported variety of cumulative story. Finally, the book compiled by S. Zobarskas was intended for the general reader. The selection was entirely made by the compiler. I received galley proofs and changes were no longer possible. My notes were added with the idea that somebody might use the book for research, because it is really the first book of Lithuanian folktales in English. Second enlarged edition (240 pages) already appeared in 1959. J. BALYS Washington, D. C.