Work
Lord authored the book The Singer of Tales, first published in 1960. It was reissued in a 40th anniversary edition, with an audio compact disc to aid in the understanding of the recorded renditions discussed in the text. His wife Mary Louise Lord completed and edited his manuscript of a posthumous sequel The Singer Resumes the Tale (published 1995) which further supports and extends Lord's initial conclusions.
He demonstrated the ways in which various great ancient epics from Europe and Asia were heirs to a tradition not only of oral performance, but of oral composition. He argued strongly for a complete divide between the non-literate authors of the Homeric epics and the scribes who later wrote them down, positing that the texts that have been preserved are a transcription by a listener of a single telling of the story. The story itself has no definitive text, but consists of innumerable variants, each improvised by the teller in the act of telling the tale from a mental stockpile of verbal formulas, thematic constructs, and narrative incidents. This improvisation is for the most part unconscious; epic tellers believe that they are faithfully recounting the story as it was handed down to them, even though the actual text of their tellings will differ substantially from day to day and from teller to teller.
Lord studied not only field recordings of Serbian heroic epics sung to the gusle, and the Homeric epics, but also Beowulf, Gilgamesh, The Song of Roland, and the Anglo-Scottish Child Ballads. Across these many story traditions he found strong commonalities concerning the oral composition of traditional storytelling.
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Famous quotes containing the word work:
“Drive a nail home and clinch it so faithfully that you can wake up in the night and think of your work with satisfaction,—a work at which you would not be ashamed to invoke the Muse.”
—Henry David Thoreau (1817–1862)
“It is not easy to imagine how little interested a scientist usually is in the work of any other, with the possible exception of the teacher who backs him or the student who honors him.”
—Jean Rostand (1894–1977)
“The poet needs a ground in popular tradition on which he may work, and which, again, may restrain his art within the due temperance. It holds him to the people, supplies a foundation for his edifice; and, in furnishing so much work done to his hand, leaves him at leisure, and in full strength for the audacities of his imagination.”
—Ralph Waldo Emerson (1803–1882)