A book on Africa, the contents of which are of a more general nature, is that by Otto Nuoffer, Afrikanische Plastik in der Gestaltung von Mutter und Kind (Karl Reiner, Dresden. 80 pages with 75 illustrations. Mk. 4.50, bound Mk. 6.50). It is a successful attempt at artistic comprehension of primitive African art. Examples of plastic art are found in West Africa, so that it is not surprising that the plastic art described and criticized is limited to the Congo, the Cameroons, and to Guinea. I think the author has been successful in helping us to get into touch with the artistic feeling of the African. The past few years have also shown results in the matter of knowledge of Bantu languages, even if the new publications in this field are not nearly so numerous as in ethnography. One or two may be mentioned here. A book by Alexander Moreira, S.J., entitled Practical Grammatical Notes of the Sena Language, dealing with the Sena languages of the Lower Zambesi, Portuguese East Africa, was published in 1924 (168 pp.). It is not likely to be on sale as it is the property of the Sena Sugar Estates Ltd., Norfolk House, Cannon Street, London. The author, a Portuguese, uses the Portuguese method of writing practised on the Zambesi, but he attempts to represent the sounds clearly. The grammar is planned on the system used for Bantu languages; nouns and classification come first, Chapter II deals with adjectives, Chapter III with numerals, Chapter IV takes pronouns, and Chapter V verbs. The author aimed at practical results only, and did not attempt a comparative study of languages, his idea being to explain things simply and to give examples of the rules given. His work is thorough and achieves the object at which the author aimed. Unfortunately there is no index to the book, but that is my fault as I undertook the publication. At the time the book actually went to press I was in India. A Yao Grammar, by Meredith Sanderson. (Nyassaland and Medical Service, London, 1923. 211 pages, 10s. 6d.). Here the author deals with the Yao language in the Portuguese territories, and this grammar is a complement to all those publications which deal only with Yao in British Nyassaland. Sanderson tries to convey the Yao sounds by means of his own phonetic transcription; the transliteration gives a good insight into Yao phonetics. This book also is useful from a practical point of view. Another practical grammar is that by the Rev. Frs. Reichart and Dr. M. Küsters, O.S.B., Elementary Kiswaheli Grammar or an Introduction into East African Language and Life (Method Gaspey-Otto-Sauer. Heidelberg, 1926, 8vo. 350 pages). The system employed is different from the customary one, the idea being to help the pupil to learn the language easily. With this in view the verb is dealt with first. Attention is drawn principally to class prefixes, and here we have the real key to Bantu languages and the one that is least familiar to European students. The authors do not seem to have realized the meaning of the locative case, as they treat the locative prefixes adverbially and not according to classification. Nevertheless 'mu' and 'ku' are class prefixes just as the others are. The practical exercises are extremely useful as they introduce the student to native negro life. Some of the errors are due to the fact that the authors, who are not English, have an insufficient knowledge of English. Some of the incomprehensible versions of Swaheli texts would have been avoided if the book had been published in German. G. Lindblom, Archives of Oriental Studies, vol. 10, Book 1 (100 pages. Upsala, Leipzig, Paris). The author's idea was that his linguistic notes on the Kamba vernacular should serve as a supplement to Brutzer's Kamba Grammar (1905); but Lindblom's contentions are based on a different Kamba dialect to Brutzer's. Lindblom overestimates the importance of the Kikamba as compared to other Bantu dialects. It is not particularly helpful to apply Swedish transcriptions as he does. Leo P. Bittremieux, Mayombsche Idiotikon (Congo-Bibliothek), Deel I and II (821 pages. Erasmus Press, Ghent, 1923). This voluminous work does not pretend to be a complete dictionary of Kiyombe, but is intended to serve as an introduction to the intellectual life of the Negro as it appears in speech, and words are examined with an explanation of their various meanings. This is a dictionary on folk-lore, and hence the subject-matter receives more consideration than the phonetic side. A. Samain, La Langue Kisonge (Congo Library, Brussels, Goemaere. 152 pages). This little book is merely an abridged grammar of the Basonge language, which is a subdivision of Baluba. This explains some of its weak points, such for instance as the disregard of the phonetic aspect and the insufficient classification of class prefixes. Nevertheless there is a most useful review of the Basonge tribe and its language in the introduction to this little book. M. Heepe, Jaunde-Wörterbuch, unter Mitwirkung von P. H. Nekes, P.S.M. (L. Friederichsen & Co., Hamburg, 1926, quarto, xvi and 257 pages, bound Mk. 18.00). Jaunde, a Bantu language of the South Cameroons, has rapidly developed into a literary language, largely owing to the efforts of P. Nekes and the author of the dictionary. The latter published Jaunde texts in 1919 and has now followed them up with this voluminous and well-arranged dictionary. The transliteration, even though musical sounds are given, is everywhere comprehensive and satisfactory. It is not merely a dry dictionary, but has copious illustrations taken from the living language. A list of proper names is given in the appendix. E. A. Jacottet, Grammar of the Sesuto Language, published with the collaboration of Z. D. Mangoaela, and edited by C. M. Doke (Department of Bantu Studies, Johannesburg, 1927, xxiv and 209 pages, price 5s.). Jacottet, one of those best acquainted with the Sesuto language, which is spoken by approximately 1,800,000 people, had been collecting material for a complete grammar for a long time, but unfortunately was prevented by death from finishing the work. It was, however, possible to produce this shorter grammar with the material already collected, and this constitutes a valuable contribution to the study of Bantu. It was suggested to the editor of the work that he should alter Jacottet's phonetic transcription, but this he would not agree to do. I do not think that the book has lost by this, and the reasons advanced for the decision are sound and noteworthy. The introduction contains general observations on the Bantu languages and the place Sesuto holds amongst them, the publications already issued on and in the language. The editor bases his work on K. Endemann's excellent grammar. The grammar itself is divided into three sections: 1. Sounds, which are sufficiently clearly represented. Obviously it would be possible to demand more detailed transcription for a comparative phonetic study, but the one given in this grammar is satisfactory and gives a general survey. What the author says about the musical tone (intonation) in Sesuto is noteworthy; it is a well-known fact that Bantu languages with musical tones are increasing in number. 2. Words; in this part the noun, pronoun, verb, adverbs, conjunctions, and numerals are dealt with. 3. The third partsentences-deals with the construction of sentences. There is no question but that this little book provides a praiseworthy addition to our knowledge of the Sesuto language, and one that goes beyond Endemann's grammar. In connexion with Jacottet's Sesuto grammar there is a new publication relating to South Africa which should also be mentioned. C. M. Doke, The Phonetics of the Zulu Language (Bantu Studies, Johannesburg, 1926, viii and 310 pages). The author is to be congratulated on his achievement, which shows great industry and perseverance. There is no doubt that he has mastered the phonetics of the Zulu language; but it is doubtful whether it will be of great use to others, as even phoneticians would find considerable difficulty in mastering the transcription. The alphabet used was that of the 'International Phonetic Association', to which the author added certain signs which he thought necessary. All the transcriptions only approximately reproduce the sounds, and this applies also to the very complicated ones, so that sounds which have never been heard cannot be caught. Nevertheless, apart from the transcription selected, the investigations, which were made with modern apparatus, give a very good idea of the sounds in Zulu. New knowledge is also gained. I would refer, for instance, to Chapter V, where the 'Bilabial Implosive' is discussed. The diagram makes it clear that there is a distinct difference between explosive and implosive "b'. I am inclined to think that there are also other implosive sounds in Zulu. It is certain that years ago I established the existence of implosive "'b' and "d' in the Sena language, and I believe that the guttural 'ñg'in 'ñgombe' for instance, is nothing more or less than an implosive "g' sound. Doke's sujet de la manducation supposée de certains organes humains par le sorcier, qui, devant le public, pose sa bouche sur le foie de la victime qu'il vient d'abattre, et dont il détruit ainsi la force vitale. Dans son intéressant ouvrage Équilbecq' remarque l'omission de certains thèmes par la littérature indigène, dans laquelle on ne découvre pas, selon lui, d'histoires de brigands ni de ces récits cauchemardants dont le Räuberbräutigam de Grimm est un type achevé et qu'on retrouve aussi dans les Mille et une Nuits (Ali Baba et les 40 voleurs). Un peu plus loin le même auteur assure qu'il n'a pas rencontré non plus dans les contes de l'Ouest-Africain les paysans naïfs jusqu'à la stupidité si fréquente dans les Märchen allemands. Il est certain que, malgré l'information abondante dont jouissait Équilbecq, beaucoup de thèmes lui ont échappé, celui du brigand est du nombre. Il existe non seulement dans les contes, mais au théâtre, comme le montre la pièce que nous avons résumée. Quant au naïf stupide, il est le héros de maints récits et de comédies nombreuses semblables à celle des voleurs d'ignames. Si simple que soit l'intrigue, si dépourvu de détours que s'affirme le caractère, le spectateur est toujours frappé de l'art avec lequel les acteurs présentent leurs personnages. La troupe est formée d'hommes du village, qui assument à la fois les rôles masculins et féminins, tous jouent avec un naturel et un talent véritable dénotant un grand esprit d'observation et d'adaptation. Voyez paraître sur la scène Fatimata, coquette et légère, roulant les hanches sous son pagne rayé, elle est attirée d'une façon burlesque, mais tous ses gestes sont exacts, comme son intonation et sa diction au cours du dialogue. Regardez Niellé, surprise par le chasseur malheureux; elle s'avance avec un calme plein de mépris pour celui qui l'interroge, elle refusera de répondre, ou bien exprimera son dédain par monosyllabes, jusqu'au moment où, éclatant en reproches véhéments, elle tournera son époux en ridicule. Toutes ces nuances sont précises et vraies; ce n'est pas l'acteur qui parle, c'est une femme quelconque du village dont l'assistance enthousiasmée murmure le nom. 1 Équilbecq: Essai sur la littérature merveilleuse des noirs, suivi de contes indigènes de l'Ouest-Africain français. Paris, 1913, i, p. 91. Les rôles d'hommes ne sont pas tenus avec moins de maîtrise, et s'il faut déplorer parfois en eux un burlesque trop poussé et trop réaliste dans certaines attitudes on doit reconnaître en général que les caractères sont rendus avec une surprenante exactitude. Le noir possède à n'en pas douter un sens inné du comique qui l'aide puissamment dans ses créations. D'autre part, n'incarnant, à de rares exceptions près, que des types observés dans son propre milieu, il n'a aucun effort spécial à réaliser pour représenter d'autres personnages que les cultivateurs, les artisans et les marchands qu'il fréquente d'ordinaire, il évite ainsi un sérieux écueil, et, demeurant dans son élément, se révèle un maître à la scène parce qu'il y garde les gestes, les attitudes et le langage de l'existence habituelle. Nous avons appelé tantôt pièces satiriques et tantôt comédies les représentations qui font l'objet de cet exposé, et dont le classement est malaisé, car elles comportent une intrigue dialoguée, des chants et des danses. A n'y point regarder de trop près, on pourrait soutenir qu'il s'agit ici d'opérette ou d'opéra bouffe, mais en examinant avec quelque attention l'ordonnance et l'aspect des œuvres en question on ne peut manquer de trouver qu'elles se rapprochent par plus d'un côté de la comédie grecque. Certes on ne retrouve pas ici les discussions politiques, les attaques contre le parti de la guerre, contre les juges, contre les utopies sociales, formant le fond des onze pièces d'Aristophane qui nous sont parvenues, mais on peut les comparer, toute proportion gardée, à la comédie nouvelle des Athéniens avec ses dialogues satiriques mêlée de chœurs lyriques. Au Soudan comme dans le Péloponèse, le chœur, auquel il faut joindre l'orchestre, ne joue aucun rôle dans l'action; composé de personnages d'humble condition, il représente le peuple, l'assemblée des villageois, il témoigne d'une malice alerte et moqueuse en accueillant et conseillant les acteurs. L'ORIGINE DU THÉÂTRE SOUDANAIS Il n'existe, à notre connaissance, aucune tradition permettant de déterminer l'origine du théâtre soudanais. Les vieillards interrogés à ce sujet ont tous déclaré ne rien savoir. Nous avons dit que les pièces, dont quelques-unes ont été rapide |