ordinary reader. In many cases also, the extreme outspokenness of the primitive people concerned has necessitated further editing, in respect of which, I can confidently refer any inclined to protest, to the unabridged English version, lodged with the Trustees of the Carlsberg Foundation in Copenhagen, for my defence. For the rest, I have endeavoured to keep as closely as possible to the spirit and tone of the originals, working from the Eskimo text and Knud Rasmussen's Danish version side by side.
The illustrations are by native Eskimo artists. They are not drawn to illustrate the particular stories, but represent typical scenes and incidents such as are there described. In the selection of these, preference has been given to those of unusual character, as for instance those dealing with the "tupilak" theme, and matters of wizardry or superstition generally, which the reader would find more difficult to visualize for himself than ordinary scenes of daily life.
As regards their contents, the stories bring before us, more clearly, perhaps, than any objective study, the daily life of the Eskimos, their habit of thought, their conception of the universe, and the curious "spirit world" which forms their primitive religion or mythology.
In point of form they are unique. The aim of the Eskimo storyteller is to pass the time during the long hours of darkness; if he can send his hearers to sleep, he achieves a triumph. Not infrequently a story-teller will introduce his chef-d'œuvre with the proud declaration that "no one has ever heard this story to the end." The telling of the story thus becomes a kind of contest between his power of sustained invention and detailed embroidery on the one hand and his hearers' power of endurance on the other. Nevertheless, the stories are not as interminable as might be expected; we find also long and short variants of the same theme. In the present selection, versions of reasonable length have been preferred. The themes themselves are, of course, capable of almost infinite expansion.
In the technique of an ordinary novel there is a certain balance, or just proportion, between the amount of space devoted to the various items, scenes and episodes. The ordinary reader does not notice it as a rule, for the simple reason that it is always there. The Eskimo stories are magnificently heedless of such proportion. Any detail, whether of fact or fancy, can be expanded at will; a journey of
