Abstract

In this scholarly, well-planned, and well-documented number in the series "Seminar in the History of Ideas," Professor Boas, in these days of the People's Revolution, shows himself an unrepentant elitist. Illustrative of this attitude is his statement in the fourth essay: "Hideous as such a view seems to a modern reader softened by humanitarianism, it would be well if we could tell in advance whom God has chosen to be lettered. There is certainly little sense in wasting a college education on anyone predestined to be an ass or an ox." Boas' wish to avoid the people as much as possible determines the orientation of many of the eight essays in this book about the history of the people in art, literature, music, and politics. In the second essay, "Who are the People?" he explores the various religious, social, and political contexts in which the term "People" has been used, and concludes that its reality is only nominalistic, since the term has had so many diverse meanings. In "The People as Poet," he creates a multi-faceted study of the rural muse, of national traits expressed in poetry, and of folk forms. But in doing so, he argues against the collectivist theory of creation and dismisses the poetic products of country-folk as strictly derivative. Boas barely alludes to the phenomenon of oral composition. He is evidently unaware that this tradition was as alive in twentieth-century Yugoslavia as in Homer's Greece. Consideration of such evidence might have caused him to modify his unqualified attribution of a monopoly on poetic creation to the individual poet. A good part of the penultimate essay, "The People as Musician," is devoted to a survey of nineteenth-century movements of cultural and political internationalism. The other half explores the possibility of artistic expression of the "national soul," an idea which the author particularly disparages in the case of music because of the limits of symbolism of the medium. In "Egalitarianism," Boas surveys the condition of the working man and pronounces that all is well; the lucky fellow works in modern, clean factories--no noisier than his TV-dominated home--and stands on the verge of full participation with management in the benefits of production. Despite its ideological naÏvetés, the book remains a model of scholarly talent and discipline, as well as a mine of standard and esoteric information on the history of the "People" in many fields. An index, bibliography, and fourteen plates depicting the "People" in art are included.--C. M. R.