The shaman's adventures in the other world, the ordeals that he undergoes in this ecstatic descents below and ascents to the sky, suggest the adventures of the figures in popular tales and the heroes of epic literature. Probably a large number of epic "subjects" or motifs, as well as many characters, images, and clichés or epic literature, are, finally, of ecstatic origin, in the sence that they were borrowed from the narratives of shamans describing their journeys and adventures in the superhuman worlds.
It is likewise probable that the pre-ecstatic euphoria constituted one of the universal sources of lyric poetry. In preparing his trance, the shaman drums, summons his spirit helpers, speaks a "secret language" or the "animal language" imitating the cries of beasts and especially the songs of birds. He ends by obtaining a "second state" that provides the impetus for linguistic creation and the rhythms of lyric poetry. Poetic creation still remains an act of perfect spiritual freedom. Poetry remakes and prolongs language; every poetic language begins by being a secret language, that is, the creation of a personal universe, of a completely closed world. The purest poetic act seems to re-create language from an inner experience that, like the ecstasy or the religious inspiration of "primitives," reveals the essence of things. It is from such linguistic creations, made possible by pre-ecstatic "inspiration," that the "secret languages"of the mystics and the traditional allegoricallanguages later crystallize.
Something must also be said concerning the dramatic structure of the shamanic séance. We refer not only to the sometimes highly elaborate "staging" that obviously exercises a beneficial influence on the patient. But every genuinely shamanic séance ends as a spectacle unequaled in the world of daily experience. The fire tricks, the "miracles" of the rope-trick or mango-trick type, the exhibition of magical feats, reveal another world---the fabulous world of the gods and magicians, the world in which everything seems possible, where the dead return to life and the living die only to live again, where one can disappearand reappear instantaneously, where the ‘laws of nature" are abolished, and a certain superhuman "freedom" is exemplified and made dazzlingly present.
It is difficult for us, modern men as we are, to imagine the repercussions of such a spectacle in a "primitive" community. The shamanic "miracles" not only confirm and reinforce the patterns of the traditional religion, they also stimulate and feed the imagination, demolish the barriers between dream and present reality, open windows unpon worlds inhabited by the gods, the deads, and the spirits.
These few remarks on the cultural creations made possible or stimulated by the experiences of shamans must suffice. A thorough study of them would exceed the limits of this work. What a magnificent book remains to be written on the ecstatic "sources" of epic and lyric poetry, on the prehistory of dramatic spectacles, and, in general, on the fabulous worlds discovered, explored, and described by the ancient shamans.