Folkways. William Graham Sumner

sharks or become entangled in rocks. If the expedition fails to get a good catch, the fault is laid to the men. Some one of them is thought to have done something amiss.187

126. Religion and industry. Here we meet with a familiar cycle of notions and usages. We must assume them in all cases, whether they are reported or not, for the element of supernatural intervention, or magic, seems never to be wanting. At higher stages it gives way to religious ritual or to priestly blessing. The Japanese sword maker formerly wore a priestly garb when making a sword, which was a sacred craft. He also practiced a purificatory ritual. The sacred rope of rice straw, the oldest symbol of Shinto, was suspended before the smithy. The workman's food was all cooked with holy fire, and none of his family might enter the workshop or speak to him while he was at work.188 There were also ascetic practices in the Shinto religion, which an elected representative of the community undertook each year for the prosperity of the whole.189 There is never a case of authority in human society which does not go back, for its origin and explanation, to the influence of the other world (ghosts, etc.) over this world.

127. Artifacts and freaks of nature. In the Oxford University museum may be seen a case full of natural stones, flints, etc., so like the artifacts of the Chellean type that it would require a skilled observer to determine whether they are artificial or not. The collection includes apparent celts, rings, perforated stones, borers, scrapers, and flint flakes, so that the objects are by no means such as would lie at the beginning of the series of artifacts, in regard to which the doubt whether they were artificial would arise from their rudeness and consequent resemblance to stones broken by natural conjunctures. In the museum at Dresden may be seen a collection of stones, natural products, which might serve as models for artificial axes, celts, etc. One object shows the possibility of freaks of nature of this class. It is a water-worn stone which might be taken for a skull. In the Copenhagen museum is a great collection of stone tools arranged in sequence of perfection, beginning with the coarsest and rudest and advancing to the highest products of art of this kind. That collection is arranged solely with reference to the development of the flint and stone implements as tools for a certain use. The sequence is very convincing as to the interpretation put on the objects, and also as to the strain towards improvement. Time and place are disregarded in the arrangement. The earliest specimens in the series are very rude, and only expert opinion could justify their place amongst artifacts. It reminds us of what we are told about specimens of Australian "tomahawks." It is said of such a weapon from West Australia that if it was "found anywhere divested of the gum and handle, it is doubtful whether it could be recognized by any one as a work of art. It is ruder in its fashioning, owing principally to the material of which it is composed, than even the rude, unrubbed, chipped cutting-stones of the Tasmanians."190 With regard to these stone implements of the Tasmanians Tylor said that some of them are "ruder in make than those of the mammoth period, inasmuch as their edges are formed by chipping only one surface of the stone, instead of both, as in the European examples." The Tasmanians, when they needed a cutting implement, caught up a suitable flat stone, knocked off chips from one side, partly or all around the edge, and used it without more ado. This they did under the eyes of modern Europeans. Tylor showed, "from among flint instruments and flakes from the cave of le Moustier in Dordogne, specimens corresponding in make with such curious exactness to those of the Tasmanians that, were they not chipped from different stones, it would hardly be possible to distinguish those of recent savages from those of European cavemen. It is not strange that experienced archæologists should have been at first inclined to consider a large portion of the Tasmanian stone implements exhibited as wasters and flakes, or chips, struck off in shaping implements." These stones had no handle. They were grasped in the hand.191 In the Oxford museum may be seen side by side flint shapes from St. Acheul, Tasmania, India, and the Cape of Good Hope: All the paleolithic implements which we possess, even the oldest and rudest, belong far on in a series of which the antecedent members are wanting, for the art, if recognized, is seen to be advanced and artistic.192 The Seri of southern California use a natural cobblestone, which is shaped only by the wear of use, and is discarded when sharp edges are produced by use or fracture. They use their teeth and claws like beasts. They have not a knife-sense and need training before they can use a knife. The stone selected is of an ovoid form somewhat flattened. By use it is battered on the ends and ground on the sides so that it becomes personal property and acquires fetishistic import. It is buried with the corpse of the woman who owned and used it.193 Holmes, after experimenting with the manufacture of stone implements, declared that "every implement resembling the final forms and every blade-shaped projectile point made from a bowlder, or similar bit of rock, not already approximate in shape, must pass through the same or very nearly the same, stages of development, leaving the same wasters, whether shaped to-day, yesterday, or a million years ago; whether in the hands of the civilized, the barbarous, or the savage man."194 This conclusion is very important, for it recognizes a certain constant determination of the art of stone-implement making by the qualities of the material and the muscular activities of man. It has been disputed whether the form called "turtle-backs" were one form in the series of artifacts, or a misform produced by errors in manufacture. "The American archæologists, who have labored long to repeat the processes of the aborigines in stone work, find themselves unavoidably making 'turtle-backs,' when they are really trying to make the leaf-shaped blade."195 The handicraftsmen of the Smithsonian Institute have not been able to make a leaf-shaped blade such as may be seen in the museums, and no Indian has been found who could make one. "This is one of the lost arts."196 Other pieces of rude form have been set aside as chips, or rejects, but such are found in use as scrapers, or in handles, and are to be recognized as products which belong to the series.197 Some rude implements found in the hill gravels of Berkshire, England, have been offered as anterior to the paleolithic implements as usually classified.198 Lubbock said that he could not find in the large Scandinavian collections "a single specimen of a true paleolithic type."199

128. Forms of stone axes. Stone axes are found all over the globe. Chipped, sharpened, polished, grooved, pierced, handled, are different kinds which may be set in a series of advancing improvement, and under each grade local varieties may be distinguished, but the art is essentially the same everywhere. "Probably no discovery is older than the fact that friction would wear away wood or bone, or even stone."200 It was also learned that rawhide and sinew shrank in drying, and this fact was very ingeniously used to attach handles, the sinew or membrane being put on while fresh and wet. American stone axes are grooved to receive a handle made by an ingenious adaptation of roots and branches with pitch or bitumen. "Bored stone axes are found in the tropical regions of America. Although they are very rare, they are well executed."201 The device of boring stone axes appears at the end of the stone age in the lake dwellings of Switzerland. Perhaps they were only decorative.202 The Polynesians used stone axes which were polished but not bored or grooved, and the edge was not curved.203 The Pacific islanders clung to the type of the adze, so that even when they got iron and steel implements from the whites they preferred the knife of a plane to an ax, because the former could be used adze-fashion.204