“Aya, I am joyful; this is good! Aya, there is nothing but ice around me, that is good! Aya, I am joyful; this is good! My country is nothing but slush, that is good! Aya, I am joyful; this is good! Aya, when, indeed, will this end? this is good! I am tired of watching and waking, this is good!” We must remember that the first condition for the development of artistic handicraft is leisure. No matter how strong the art impulse may be, it cannot find expression so long as man’s time is entirely taken up by procuring the barest necessities of life. The paleolithic hunter who painted on the walls of the caves must have been able to spare sufficient time from the labor of getting his food supply to devote himself to the joy of painting the animals of the chase. We recognize in a study of the art products of each people that the amount they produce is in direct relation to the amount of their leisure. Therefore tribes that procure their main food supply in one season and store it up for the rest of the year and who enjoy, therefore, seasons of leisure, will be found to be most productive in works of art as well as in ceremonial affairs and other manifestations of social life that do not contribute to the mere need of food and shelter. These conditions are more easily fulfilled for those arts that do not require manual labor than for those based on industrial occupations; hence the wider distribution of literary art. The two fundamental forms of literature, song and tale, are found universally and must be considered the primary form of literary activity. Poetry without music, that is to say forms of literary expression of fixed rhythmic form, are found only in civilized communities, except perhaps in chanted formulas. In simpler cultural forms the music of language alone does not seem to be felt as an artistic expression, while fixed rhythms that are sung occur everywhere.