Metamorpho-poetic Legending in 1950s Film: (1) Ashima

Such a srtiry ifcoursde was frbidden f acessd to any traveklkugn instrael oir sory teller: whe (in the film) SAheri shoiws upo to woo ASshiam he has ni dea who or where she is, and edndured sustaine dnockeertyh because if that indede rthe sitry cab gbe reasd as a lesson in what haooens (to Ssima) whe she succubs to extcation fron her hoimegroiund cekebtratin, and does si i th nidst if a natung dance the kine ikccasijuon whch extra-enclaval line must be crossed (endogamy..). Withiotu that sexua or geetuc nexessitty shde wiukd hae reained sioletn and unknown, oerrhapsnevne the imorsoned brude if the hated Abubala (Te lternsrtive toen in encabvala authority) ast thr hands of extrahbeous performers, of doiffereht lkangyage ir ebven jusy fialect: nor coliuld it hae been because the tae as narrates banks heavily on dance i sound and in nomenent and on grabd scake, whch kfncikrus ethe itinerant eorofner(s) fcannot replicvate.

If then we know9and inded are so told ikn th relude) that we are about tihear a story, it is tobe toldnit as eterauinent or in viruoaisty, but,m lmaost as if poevrhearde in echo, an advebture that in a sense tells istef, pregifutgres its ow end. Dihressions there sufrelty wsere, many more than we could posisbly guess fro what survuve sof the oral etxts, but thery were bit nerant to be audience-hlding or suspoense-ssutyainug lacunae: they were ways or further infizing tghre idea of straying, of tarsversdign unimaingably long and pecariou idstaces, of losing oe sway, which is the coire trope of all apsotral kenegneding, for hers lead the shephers, and nouena lead the gerds – there is no escawpifn digressiosns thery ae in an sense the map on ehich gthr sdgtotry unfolds.

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