The mind of primitive man : $b A course of lectures delivered before the Lowell Institute, Boston, Mass., and the National University of Mexico, 1910-1911Boas, Franz
Science
The mind of primitive man : $b A course of lectures delivered before the Lowell Institute, Boston, Mass., and the National University of Mexico, 1910-1911
Boas, Franz
Ethnopsychology; Race
An important theoretical consideration has also shaken our faith in the
correctness of the evolutionary theory as a whole. It is one of the
essential traits of this theory that, in general, civilization has
developed from simple forms to complex forms, and that extended fields
of human culture have developed under more or less rationalistic
impulses. Of late years we are beginning to recognize that human culture
does not always develop from the simple to the complex, but that in many
aspects two tendencies intercross,—one from the complex to the simple,
the other from the simple to the complex. It is obvious that the history
of industrial development is almost throughout that of increasing
complexity. On the other hand, human activities that do not depend upon
reasoning do not show a similar type of evolution.
It is perhaps easiest to make this clear by the example of language,
which in many respects is one of the most important evidences of the
history of human development. Primitive languages are, on the whole,
complex. Minute differences in point of view are given expression by
means of grammatical forms; and the grammatical categories of Latin, and
still more so those of modern English, seem crude when compared to the
complexity of psychological or logical forms which primitive languages
recognize, but which in our speech are disregarded entirely. On the
whole, the development of languages seems to be such, that the nicer
distinctions are eliminated, and that it begins with complex and ends
with simpler forms, although it must be acknowledged that opposite
tendencies are not by any means absent (Boas).
Similar observations may be made on the art of primitive man. In music
as well as in decorative design we find a complexity of rhythmic
structure which is unequalled in the popular art of our day. In music,
particularly, this complexity is so great, that the art of a skilled
virtuoso is taxed in the attempt to imitate it (Stumpf). If once it is
recognized that simplicity is not always a proof of antiquity, it will
readily be seen that the theory of the evolution of civilization rests
to a certain extent on a logical error. The classification of the data
of anthropology in accordance with their simplicity has been
reinterpreted as an historical sequence, without an adequate attempt to
prove that the simpler antedates the more complex.
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