The Folktale
Stith Thompson
The Ogre's (Devil's) Heart in the Egg |
Part Two The Folktale from Ireland to India II – The Complex Tale 2. Supernatural adversaries |
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In nearly all complicated fairy tales there is some kind of conflict. The hero must overcome obstacles in order that he may at last win his reward. A large series of stories throughout the European and western Asiatic area confront the hero with some type of supernatural adversary. Frequently the exact nature of the opponent is not made clear or will vary from one version of the story to another. In those which we shall first consider this adversary is sometimes a dragon, a horrible animal, or simply an undefined monster. In spite of the unstable character of the chief opponent, the tales relating to these adventures are well defined and are among the best known of all narratives current in this area. [p. 24] If one wished to study the ways in which a tale in the course of centuries becomes scattered over the whole of Europe he could not do better than to direct his attention to the two closely related folktales, The Two Brothers ( It will be convenient to discuss The Dragon Slayer as an independent story before considering its relationship to other tales with which it has combined. As a result of his analytical study Ranke has arrived at a form of the tale which would seem to include all the original elements. From this form, or one very much like it, all the other thousand or more variants seem to have been derived. This reconstruction is as follows: A poor married couple have two children, a boy and a girl. When the parents die they leave behind them only a small house and three sheep. The girl inherits the house, and the boy the animals. He exchanges these animals for three marvelous dogs and sets out with them into the world. On the way he meets an old man (or a woman) from whom, in recognition of a courtesy which he has shown, he receives a magic sword or a magic stick. Everything that he strikes with it will fall dead. He arrives at the royal city which he finds all hung with black cloth, and he learns at an inn of the cause of the mourning. He discovers that a seven-headed dragon who lives on a mountain in the neighborhood demands periodically a maiden as a sacrifice, else he will lay waste the entire country. The sacrifice has been agreed upon and the lot has fallen to the princess. The king promises that whoever saves her shall have her hand and half his kingdom. The young man goes with his animals to the place where the dragon lives and reaches there at the same time as the princess, who has been brought by the king's coachman. He approaches her, comforts her, and promises to fight the dragon for her. The monster appears with a great roar, but the young man does not let himself be frightened. He goes against him and with his [p. 25] sword strikes off all his heads. In this action, the dogs help him by holding the dragon fast. The hero now cuts out the tongues from the dragon's heads and puts them into his pocket. The rescued princess wishes him to go back with her to her father to receive the promised reward, but the hero wants to wander about for a while and to experience adventures. They agree upon a definite time when they will see each other again. He bids her to preserve silence in spite of everything, and goes on his way. The coachman, who has accompanied the princess and has remained near by so as to see what happens, comes now and threatens her with death if she will not agree, on oath, to tell the king that it is he who has slain the dragon. As further witness, he takes along the heads of the slain dragon. These he shows to the king and, supported by the declaration of the princess, demands the promised reward. The king is much pleased, and sets a time for the wedding. His daughter, however, is able to have it postponed until the time when she has agreed to meet her rescuer. But when at this time he still does not appear, the time for the wedding is definitely fixed. On the very day of the wedding the young man arrives in the city which is now, in contrast to the first time, decorated in red. In the same inn he inquires about the rejoicing and learns of the wedding. The innkeeper expresses the wish that he may have food to eat from the royal table, and the young man sends his dogs several times with a basket and with a message written on a card tied to their necks. The princess recognizes the animals and fulfills the directions of her rescuer. She, or the king, orders him to be invited in and he appears at the castle. He immediately declares that he is the real dragon slayer and asks whether the dragon heads have tongues in them. The heads are brought forth and it appears that they have none. The young man takes them out of his pocket and lays each of them in that particular head where it fits. The king and all those present acknowledge him as the true rescuer of the princess and immediately carry out the marriage of the two. The impostor is punished. The related story of The Two Brothers actually provides a larger number of examples of that part of the story given above containing the dragon slaying, the impostor, the dragon-tongue proof, and the marriage with the princess than does the form we have just discussed. Nearly 800 of these stories are known, and only a few lack the dragon fight. This story in outline is as follows: [13] A fisherman who has no children catches the King of the Fishes, who begs to be let loose. In return for his freedom he promises the fisherman other fish or shows him the place where they can be caught. When the fisherman catches him the second time the Fish once more persuades him to let him swim away. When this happens a third time, the Fish advises the fisherman to cut him up into a certain number of pieces and to give one part each to his [p. 26] wife, to his mare, and to his dog, and to bury the rest in the garden under a tree. The wife bears two sons, and at the same time the mare and dog each give birth to two young ones, and in the garden there grow two swords and trees. The twin boys are nearly identical, as are also the animals. When the boys grow up, the first of them wishes to go out into the world. If any misfortune should happen to him his particular tree will fade and the brother will come to his rescue. He sets forth with his sword, horse, and dog, and after a while arrives at a royal city. From this point on the story is identical with The Dragon Slayer tale given above, but after the marriage with the princess the narrative proceeds: On the marriage night the curiosity of the young king is aroused by an extraordinary sight, a fire in the woods or on a mountain. He asks his wife about the appearance of this fire, and she tells him that no one who has gone to the fire has ever returned. She warns him not to follow it. But he is overcome with the desire for adventure and decides to find out the cause of this mystery. He saddles his horse and rides with his dog and sword toward the light of the fire. He comes to a house in which lives an old woman who is a witch. She pretends to be afraid of his dog and bids him to lay one of her hairs on it so that the dog will be quiet and not harm her. The young man performs her bidding. The hair transforms itself into a chain. She now approaches and strikes him with a rod and turns him to stone. Back home the tree fades, and the second brother sees from this that the first is in dire peril or possibly dead. He saddles his horse, takes his dog and sword, and sets forth. After a long wandering he comes to the city in which his brother has become king. The innkeeper with whom he first stops and the young queen to whom he then goes mistake him for her husband, since he looks exactly like his brother. He realizes immediately that people are mistaking him for his brother and he lets them believe this, so that he may more easily find out something about his brother's fate. At night when he is to sleep with his sister-in-law, he lays the naked sword between her and him. He also sees the curious light and asks about its occurrence. The queen is astonished at his question, which she remembers to have already answered once, and warns him a second time. But he rides away, since he realizes now where his brother has had his misfortune, and comes to the hut and finds the old woman. He does not obey her order to lay the hair on the dog, but he sets the dog on to the witch and threatens her with death. She gives him the rod with which she has enchanted the first brother, and he strikes the stone with it and in this way disenchants him. The old woman is killed, and both brothers return together to the city. Such, in a general form, are these two well-known tales. It will be noticed that when the incident of the dragon slaying is used in the Two Brothers [p. 27] story the only modification necessary is that the hero be accompanied by only one dog instead of three. Several other possible introductions are to be found and some differences in detail, but the story as given above has a remarkable stability over the entire area where it is found. Both forms, the longer Two Brothers tale and the simpler Dragon Rescue story, have approximately the same distribution. A definite indication of this distribution will be interesting as showing the relative importance of boundary lines, national, racial, cultural, or linguistic, for determining the dissemination of a widely-known tale which has been handed down by word of mouth for a long time. In the following list the number of reported versions of the Two Brothers story are given first and then those for the simpler Dragon Rescue tale. It will be noted that all of them contain the central core: the rescue from the dragon, the impostor, the dragon-tongue proof, and the marriage with the princess. The distribution is as follows:     If certain countries in this list seem to be represented with a disproportionate number, it must be borne in mind that collecting has been much more thoroughly carried out in Germany, Denmark, Norway, Czechoslovakia, Lithuania, Latvia, and Finland than in most other countries. It seems quite certain, for example, that if French tales had been thoroughly collected during the last generation their showing would be much better. As it is, every French collection which we possess indicates the presence of these tales in the area which it covers. [p. 28] The place where a folktale is most likely to suffer change is in its introduction, where a preliminary action really proper to another story but capable of being logically joined to the one in question is easily substituted. Such a substitution may very well be accepted and may set up a new tradition which, in a limited area, may live on side by side with the more regular form of the tale. This has happened with the two stories we are considering. In The Two Brothers there has occurred confusion with the story of The Magic Bird-Heart ( Another story frequently amalgamated with The Two Brothers is the East European tale of The Three Brothers. This begins with the fishing episode of The Two Brothers, proceeds with adventures proper to supernaturally strong men ( In some twenty percent of all versions of The Two Brothers occurs the motif of The Jealous Brother. In these tales the younger brother, having been resuscitated and having heard that his brother has slept with his wife, kills his rescuer. Then on hearing the truth he repents and resuscitates him. Ranke feels that this ending is hardly an original part of the story since it is far from uniform in its occurrence, and since the means of resuscitation is usually the same as that already used for disenchantment in the same tale. On the other hand, the motif is not a recent invention. It occurs in Basile's Pentamerone (1634-36) and also has a wide distribution, indicative of a relatively long history. These are the most important variations of The Dragon Slayer and The Two Brothers. Ranke has attempted, on the basis of his huge collection and his careful analysis, to arrive at some conclusions as to the history of the stories. It seems clear that The Dragon Slayer is the older of the two stories, [p. 29] and that The Two Brothers has simply taken over this old tale as a cluster of motifs in its composition. Ranke's study is not concerned with any possible earlier forms of The Dragon Slayer before it assumed its present definite structure. He realizes that the concept of the dragon is old; he sees unmistakable resemblances between this story and the Greek myth of Perseus and Andromeda, and with many older tales of rescues from monsters. He knows also that, as Hartland has pointed out in his three-volume work on The Legend of Perseus, many of the separate motifs in the story, such as the life-token, the enchantment and disenchantment, and the magic birth, are found in nearly all parts of the world, and may appear in a multitude of narrative connections. But with more than a thousand examples of the fully developed stories before him, he has confined his task to the establishment of a typical form of the tale which would approximate the original from which all the rest have been derived. These typical forms of the tale are those which we have outlined here. On the basis of the entire study, he is convinced that The Dragon Slayer as we know it at present was developed in western Europe where the versions are closest to the typical form. As one goes east, greater and greater variation occurs. Particular departures from type show special geographic distribution, and are therefore to be listed as different redactions of the tale. To illustrate once for all the way in which such a story develops new forms, let us examine these redactions of The Dragon Slayer (and the Dragon Rescue episode of The Two Brothers) as worked out by Ranke. I. The Romance Cycle of Redactions (a) French. Like type except that in about half of versions impostor is a charcoal burner. (b) French Colonial. On the periphery of French, and in the colonies (Cambodia, North America, Malay peoples). (c) Spanish. Like French but not so regularly developed. Impostor a charcoal burner or Negro. In 63 percent of (d) Portuguese. Like French. But one Portuguese and Brazilian have introduction from Hansel and Gretel. Portugal, Cape Verde Islands, Brazil. (e) Italian. Near to original form. Basile's version (1634), recent Italian, Albanian. (f) General Romance redaction. Main characteristics: periodic sacrifice to dragon. Change of details as one gets away from France. Found (in addition to Romance countries) in all parts of Europe. This form has apparently spread through Germany to Scandinavia, the Baltic Countries, and Russia and sporadically to Japan. [p. 30] II. Central European. No periodic sacrifice to dragon. Sometimes this may be an unintentional omission. The spread is from Germany eastward and in a few cases northward. Some of these tales may be influenced directly by Grimm's version. III. The Murder Redaction. The dragon slayer is killed by the impostor and later resuscitated. About half the Two Brothers tales in this group have The Magic Bird Heart ( IV. The Northern Redaction Cycle. (a) General Northern Redaction. Giant adventure precedes dragon fight. Red Knight attempts rescue but in fear climbs tree and witnesses fight, later to appear as impostor. Three dragons. Battle at sea side. Princess louses hero and leaves ring in his hair. Recognition by ring. This version is certainly Scandinavian, probably from Norway (1) to Denmark and North Germany, (2) to Sweden and the Baltic countries, (3) to Scotland. Of this Northern cycle, Ranke distinguishes a number of sub-groups: (b) Porter (hero as porter for king; dragon knocks at door). Denmark to Schleswig-Holstein. (c, d, e) "Peril" redactions (no sacrifice, but king has promised daughter to monster to save his life). Denmark to rest of Scandinavia and Finland, (f) Danish hesitation redaction (dragon postpones sacrifice three days), (g) Lillekort ("little short"). Tiny hero. Dragon fight plus experience with sea troll. Recognition by costly garments of princess. Norway to all parts of Scandinavia, (h) Finnish wake redaction. Like Norwegian but princess awakens hero who sleeps with his head on her lap. (i) Glass mountain tradition. Continuation with V. Binding redaction. Ogre magically bound. A mixture with VI. Irish shoe redaction. Slipper recognition like Cinderella. Otherwise resembles Northern redaction. VII. Spring redaction. Dragon guards spring and refuses to give people water. Arose in Balkans. Then (1) to Hungary, Russia, Poland, and [p. 31] Baltic States, (2) to Greece and Turkey and around the Mediterranean to North and Central Africa and to Cape Verde Islands. VIII. Baltic Impostor redaction. Like Central European (II) but hero places the dragon tongues under a stone which the impostor cannot lift. From Baltic to Finland, Poland, and Russia. IX. Slavic Waking redaction. Hero sleeping with head in princess's lap is awakened by hot tears. Expansion of Central European (II). Great Russia to (1) Baltic lands, (2) Little Russia, Roumania, Greece, Arabia. X. Baltic Wrestling redaction. Hero and dragon sink into ground as they struggle. Baltic countries and Denmark. XI. Lettish Devil redaction. Like Central European (II) but devil or devils instead of dragon. From Latvia to other Baltic countries. This investigation of the Dragon Rescue both in The Dragon Slayer ( The very few versions of this tale found outside of Europe are clearly the result of the telling of the story by travelers or colonists. The American Indian variants are all from the French or Spanish, and the Cape Verde Island from the Portuguese. The appearance in Cambodia, Sunda Island, and Japan is purely sporadic. Careful analysis of the Dragon Slayer story indicates that literary versions have had very little, if any, influence on its development. It has apparently spread east over Europe and only slightly into countries beyond, where it has undoubtedly been carried long distances by travelers or colonists. The Two Brothers ( As mentioned before, Ranke is not attempting a history of The Dragon Slayer before it assumed the typical form found in the modern folktale. What its connection with Perseus and Andromeda or with Saint George and the Dragon may be he does not consider. There may well have been such older dragon fight stories which served as a foundation for the present tale, but the special complex which seems to have spread outward from France had taken on all of its present characteristics before its dissemination began. And it is only with the history of this fully formed tale that he is concerned. As to The Two Brothers ( In the case of both these tales ( Although the two stories which we have just considered in detail are those usually associated with the dragon fight, the dragon may also figure as the supernatural adversary in several other well-known tales. There is a tendency in these other stories, however, to leave the nature of the ogre or monster very vague—sometimes with human form, sometimes as a giant, and some times as a frightful being in half animal form. Probably the best known of this whole group of stories is John the Bear, [p. 33] or The Bear's Son ( He eventually reaches the upper world through the help of a spirit or, more often, of an eagle who carries him on his back and who demands to be fed. The hero feeds the eagle with his own flesh. He arrives at the home of the rescued princesses on the wedding day and, just as in the Dragon Rescue story, he sends his dogs to steal from the wedding feast, presents tokens, unmasks his rivals, and marries the most beautiful of the princesses. Most versions of the tale are fairly true to the outline just given. Frequently, however, an entirely different introduction appears. A monster comes in the night and steals from the king's orchard. One after the other, the king's sons guard the orchard and watch for the monster. The youngest son pursues the thief and follows him into the lower world. The elder brothers wait for the hero, expecting to pull him up on a rope. The treacherous abandonment, the theft of the girls, and the conclusion of the story are exactly alike, whether introduced by John the Bear or by the Watch for the Devastating Monster. This story is one of the most popular in the world. It is scattered over the whole of Europe, being especially well known in the Baltic states and in Russia. It is found in the Near East and North Africa but seems to have traveled only in fragments as far east as India. It is very popular among the French and Spanish who have taken it to America, where it has been adopted by American Indian tribes and also is told by the French in Canada and in Missouri. [p. 34] In the story of The Skillful Hunter ( This tale has some interesting motifs, especially the deception of the giants and the princess's recognition in the inn, but it has never achieved great popularity among taletellers. Although it is current through most of central Europe and as far east as the Caucasus, only a single version appears in France, and no other so far west. Even in Finland, where tales have been so well collected, there are but few variants, and in the huge Lithuanian collections it does not appear at all, nor has it been carried by travelers or colonists to other continents. In all, not more than seventy-five versions have thus far been reported. [17] The tale of The Danced-out Shoes ( This tale, like the last, seems to be primarily Central European with most frequent appearance in the area from Serbia north to Finland. It does not, so far as is now known, go east of Russia and is represented but once in France and Portugal. A single version is found in central Africa, and it has not thus [p. 35] far been reported in any other continents. Within its rather narrow geographical range it seems to be fairly popular, since somewhat more than a hundred variants are known. The heroine in The Danced-out Shoes does not seem to be anxious to be rescued from her otherworld lover. In most tales, however, these supernatural lovers have forced themselves upon the princess and keep her in duress. One of the most popular tales of rescue from such an ogre lover is the story of The Monster with His Heart in the Egg ( In the whole area from Ireland to India this tale has had a deserved popularity. It is frequently well told and the adventures of the hero and the princess in overcoming the monster lover have wide appeal to those who listen to tales of wonder. Within this area the tale has been reported some 250 times and seems to be well represented everywhere. In contrast to all the stories thus far mentioned it is popular in India. It has been pointed out that the versions in Asia place the ogre's heart in a bird or insect, whereas the typical European form has it in the egg. The story has been carried several times to Africa and to America, where it has taken its place in the traditions of the native Africans and the American Indians. |
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[11] This and similar numbers in parentheses after the title of a tale refer to Aarne-Thompson, The Types of the Folk-Tale (hereafter referred to as "Types"). [12] Die zwei Brüder. [13] This reconstruction of the typical form of the tale is taken from Ranke, op. cit., p. 341. [14] See p. 75, below. [15] This story has never been thoroughly studied, though Panzer (Beowulf) has written a monograph pointing out the relations of this tale with the Beowulf epic. His conclusions are dubious. [16] These extraordinary companions belong also to another story, [17] This is to be compared with the 770 versions of The Two Brothers and more than a thousand versions of both The Dragon Rescue and The Bear's Son. [18] For a series of other tales in which the heroine has a supernatural and usually monstrous lover, see |
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Types: 300, 301, 302, 303, 304, 306, 330, 506-508, 513, 514, 530, 567, 650 |
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Part Two The Folktale from Ireland to India II – The Complex Tale 3. Supernatural helpers E. Helpful Animals |
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In some of the versions of the tales of extraordinary companions, particularly in North Africa, these peculiar helpers are animals. Though no one has ever taken the trouble to count all the occurrences, it is likely that, considering folktales all over the world, an even more important part is played by animal helpers than by human or supernatural. Such animals appear as actors in a large number of tales everywhere and they are substituted by story-tellers for human helpers with considerable freedom. In some tales, the role played by these animals is so important as to form the actual center of interest. Such is true of The Animal Brothers-in-Law ( The story up to this point is well integrated and justifies its being thought of as an independent tale. But from here on we may enter into any one of [p. 56] several adventure stories where the timely aid of the animal helpers is appropriate. The hero may use them in saving a princess from a monster, as in the Dragon Rescue tale, or in defeating the ogre with his life in an egg ( Aside from those versions obviously dependent upon the literary work of Musäus or Basile, this tale is known in the more distinctly oral tradition of every part of Europe, though its occurrence is strangely inconsistent. It seems most popular in the Baltic states and in Russia. Its distribution is continuous from Ireland to the Caucasus and Palestine. At least one version has been carried by the French to America, where it is told among the Micmac Indians of Nova Scotia. A special form of this tale, popular in Norway but hardly known outside ( Another tale of very limited distribution in Norway and the Baltic states, and rather rare even there, is The Raven Helper ( The best known of stories, or episodes, which tell how the hero got the help of animals is that usually called The Grateful Animals ( Although the story is known in the Persian Tuti-Nameh of the fourteenth century, its principal use seems to have been in oral folktales. It has been in Europe long enough to be told in every country, except possibly the British Isles. There are oral versions from India, Indonesia, and Ceylon, and from the Turks, Armenians, and Tartars. It is known in Africa in at least a dozen versions from Madagascar to the Guinea Coast, and has been carried by the French to Missouri. None of the three tales of helpful animals which we have discussed has received adequate study. They should undoubtedly be handled as a group because of their frequent interrelation. It would be almost necessary to study the various tales for which these stories serve as introductory episodes. How independent a life can such merely introductory types have? These questions and the relation of written to oral versions, not to speak of the obvious Oriental affinities, should afford many interesting problems for future research. In a special variety of The Grateful Animals tale the animals give the hero a part of their body so that he may use it to transform himself into that animal when he wishes to. This introduction is sometimes used as a part of The Dragon Rescue or any other tale where it is appropriate. [48] It is widely but thinly distributed over continental Europe and has been carried, presumably by the French, to the island of Mauritius. This power of transforming himself to animals is a regular part of a rather complicated story ( This tale of self-transformation has its greatest popularity in Estonia, Lithuania, and Finland; it appears never to have been recorded in Germany or western Europe. The other tale in which this motif is most frequently used (Type 316) displays a distribution almost exactly the opposite. Its principal occurrence is in Germany and it is known (though it has never attained any great circulation) in France, the British Isles, and Norway. One version has been reported from the Negroes of Jamaica. But, in spite of the enormous collections made there, the tale does not appear in the Baltic countries. In this story, best known from the Grimm collection, a boy has been unwittingly promised to a water nix and tries to avoid carrying out the promise. From grateful animals he receives the ability to transform himself into their shapes. He does fall into the water nix's power, but is finally rescued partly by the help of his wife, who has received advice from an old woman, and partly through his ability to transform himself. The story goes on to tell how after a long time the hero succeeds in being recognized by his wife and finally reunited with her. Largely because of the influence of Perrault's collection of fairy tales, one of the best known of all stories of helpful animals is Puss in Boots. Though the story is generally concerned with a hero who is helped by a cat ( The hero (or heroine) inherits nothing but a cat, who turns out to have miraculous powers. The cat takes the youth to the palace and proclaims to the king that the boy is a dispossessed prince. He also wooes the princess in behalf of his master. Obeying the cat's instructions, the boy is not abashed at the luxury he sees about him, but always remarks that he has better things at home. When the king is to visit the boy's castle, the cat goes ahead and succeeds in making the peasants tell the king that they are working for his master. The cat also goes to the castle of a giant, whom he kills through trickery. He takes possession of the castle for his master and brings about a happy marriage with the princess. At the end, the cat's head is cut off and thus the enchantment is broken, so that he returns to his original form as a prince. Among the writers of literary folktales this has been one of the most popular stories. It appears in the Italian collections of Straparola and Basile in the sixteenth and seventeenth centuries. Perrault's French version at the end of the seventeenth century has been of primary influence on the tradition of [p. 59] the tale. No systematic investigation has been made, but it seems clear that this is primarily a folktale which lives in books and is more at home in the nursery than in adult gathering. Nevertheless, the story has maintained a real oral tradition. It is found not only in all parts of Europe, but clear across Siberia; and in southern Asia it is well known in India, whence it has traveled to Indonesia and the Philippines. Colonists and travelers have carried it to the American Indians and to Africa, though sometimes it is difficult to be sure whether a particular helpful animal story actually belongs to this tradition or not. As one gets away from central Europe, the greater variations one finds from the literary version of Perrault. It is in such more purely oral tales that we find the girl as central actor. In some of these the helper may not be an animal at all, but, instead, a grateful dead man ( |
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[46] A similar story in Russian is listed by Andrejev {Ukazatel' Skazočnik) as [47] This motif of the unsuccessful imitation of the production of food by magic seems to have been invented independently in this tale and in a group of American Indian stories (see [48] See Bolte-Polívka, II, 22, n. 1. |
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Types: 299*, 300, 302, 303, 313, 329, 505, 545A, 545B, 551, 552, 552B, 553, 554, 560, 665 |
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Motifs J2425 |
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Part Two The Folktale from Ireland to India II – The Complex Tale 4. Magic and marvels B. Magic Objects |
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A general pattern is found in nearly all stories of magic objects. There is the extraordinary manner in which the objects are acquired, the use of the objects by the hero, the loss (usually by theft), and the final recovery. Of these tales, we shall first examine The Magic Ring ( A poor (or impoverished) young man spends the little money he has in order to rescue a dog and later a cat who are about to be killed. With the help of these animals he also rescues a serpent who is in danger of being burned. The thankful serpent takes him to his home, where his father gives him a stone (sometimes with a hole in it). By means of this magic object the young man constructs a beautiful castle and wins a princess for a wife. The stone, however, is stolen from him by a stranger, and through the magic power of the stone the castle and the wife are likewise removed far away. The helpful animals now set forth to recover the magic object. The dog swims, carrying the cat on his back, and succeeds in crossing the river to the opposite bank where the thief dwells. In front of the castle the cat catches a mouse and threatens it with death if it will not get for her the stone which the thief is holding in his mouth. In the night, the mouse tickles the lips of the sleeping thief with its tail. The thief must spit the stone up onto the floor. The cat receives it and carries it away in its mouth. On the way home as they are crossing the river the dog demands the stone so that he can carry it. But he lets it fall out of his mouth, and a fish swallows it. Later they are [p. 71] able to catch the fish, to recover the stone, and to bring it to their master. He immediately has his castle returned and joins his wife, with whom he lives happily ever after.   In most of the European versions, of course, we deal with a magic ring rather than a stone. But Aarne is convinced that the stone represents the older form of the story. Although he did not have available nearly so large a collection of versions as it would be possible to assemble today, his discussion shows that there can be little doubt that the tale was made up in Asia, probably in India, and that it has moved from there into Europe. It was certainly well established there before the seventeenth century, when it was apparently heard in Italy by Basile, who tells the story in his Pentamerone. While the tale is undoubtedly more popular in eastern Europe than in western, it is told, at least sometimes, in almost every country or province on the Continent. It has been reported from the Highland Scottish, and the Irish, but seems not to be known in Iceland. It is popular through North Africa and the Near East and has penetrated as far south as Madagascar and the Hottentot country. Eastward of India the tale has been recorded several times in farther India, the Dutch East Indies, and the Philippines. A clear enough version is also current in Japan. The French have brought the story to the Indians of the Maritime Provinces and to Missouri. There are Portuguese versions (from the Cape Verde Islands) in Massachusetts, and Spanish in Argentina. If, as Aarne contends, the story started in India, it has gone a long way and has made itself thoroughly at home in the western world. The same general pattern is, of course, familiar in the tale of Aladdin and His Wonderful Lamp ( Much the same relationship between written and oral versions is to be seen in the closely related tale, The Spirit in the Blue Light ( In spite of the fact that this tale was carefully studied by Aarne, [64] he has not very clearly distinguished this tradition from that of Aladdin and, indeed, the two are almost inextricably mixed up. The essential difference is that in this tale the magic object is lost through accident rather than through the plot of an enemy. Though the tale is not unknown in southeastern Europe, its greatest popularity is in the Baltic states and Scandinavia. Not all these versions have been analyzed, but it would seem probable that Hans Christian Andersen has had a predominant influence in the dissemination of this story. Three other tales of the loss and recovery of magic objects have been studied together by Antti Aarne. [65] The magic objects they treat of are, respectively, three, two, and one. By far the most popular of the three is The Table, the Ass, and the Stick ( A poor man receives from a benefactor a table, a tablecloth, or sack which supplies itself with food. This is stolen from him by the host at the inn where he stays and an object identical in appearance is substituted for it. When the poor man goes home and tries to produce food, he fails. When he goes again to his benefactor he is given a marvelous ass or horse which will drop all the gold he may desire. The host at the inn plays the same trick a second time, and the man finds himself possessed of a worthless animal. The third time the benefactor gives him a magic cudgel and with this he compels the host to return the magic objects he has stolen. This tale has a very extensive distribution, and is present in almost every collection of stories in Europe and Asia. It is told almost throughout Africa and has been carried frequently to both North and South America. Aside from the present day oral forms in India, there is indication that a tale with most of its essentials was current at least as early as the sixth century after Christ, since it appears in a collection of Chinese Buddhistic legends. [66] After all his extensive study of the versions of this tale, Aarne is undecided as to whether it has moved from Asia into Europe or vice versa. [67] [p. 73] In the same study Aarne has handled the related story which involves only two magic objects. This is usually known as The Magic Providing Purse and "Out, Boy, Out of the Sack!" ( Of somewhat wider distribution is the third of these stories treated in Aarne's study. In this there is only one object, a magic mill or pot ( Aarne comes to the conclusion that this tale, confined as it is to northern Europe from Finland to Norway, is a special development of the story with two magic objects which we have just discussed. A particular subgroup, that concerning the salt mill, he thinks has been developed by a mixture with an old seaman tradition about why the sea is salt. A tale of magic objects known to the literary world through the Fortunatus legend is The Three Magic Objects and the Wonderful Fruits ( The story is not always satisfactorily motivated. The three companions soon drop out of sight, and the hero is left alone to complete his adventures. In those versions in which the objects are received from enchanted princesses, the hearer expects to learn more about these women and vainly imagines that they are going to end as wives for the three companions. In spite of these inconsistencies, however, this is, as far as Europe is concerned, one of the most popular of all the tales of magic objects. It is distributed rather evenly over the whole continent, but does not extend any appreciable distance into Asia. Though some features of the narrative are to be found in the Persian Tuti-Nameh, and more remotely in the Indic collection Sukasaptati, the fully developed story seems to be essentially oral and west European. [68] It has been carried by the French into America, where it is told by the Penobscot Indians in Maine, and by the Portuguese from Cape Verde Islands to Massachusetts. Another story in which three magic objects regularly appear is that of The Knapsack, the Hat, and the Horn ( The details of the transactions in this story differ a good deal from version to version, though the general outline is clear enough. The youngest of three brothers finds a magic object, exchanges it for another, and by means of the second gets hold of the first again. By such trick exchanges he comes into possession of the three magic objects which give the tale its title, and with these he is able to produce an indefinite amount of food and a huge army. He makes war against the king and succeeds in all his enterprises. This tale differs from the other stories of magic objects in that there is no loss or recovery. The simplicity of the plot makes it natural that it has attached itself to other stories with ease. Considerable resemblance to the tale of the wonderful fruits is also found [p. 75] in The Magic Bird-Heart ( Fate has brought into the possession of a poor man a magic bird which lays golden eggs. The man sells the precious eggs and becomes rich. Once he goes on a trip and leaves the bird with his wife to take care of. In his absence the man who has bought the eggs (sometimes another) comes to the wife and engages in a love affair with her and persuades her to prepare and serve the marvelous bird for his meal. The bird possesses a wonderful trait, that whoever shall eat its head will become ruler and whoever swallows its heart will find gold under, his pillow when he has been sleeping. The bird is killed and prepared, but by chance falls into the hands of the two sons of the man who is absent on his journey. Knowing nothing of the wonderful characteristics of the bird, they eat the head and the heart. The lover does not yet give up his plan, for he knows that a roast which is prepared from the eaters of the bird will have the same effect as the bird itself, and he demands that the boys shall be killed, and finally persuades the mother to agree. The hoys suspect the plot, and flee. The one who has eaten the head arrives in a kingdom where the old ruler has just died and the new one must be chosen. Through some type of marvelous manifestation the young man is chosen ruler. The other boy receives all the gold he wishes. In the course of his adventures he is betrayed by a girl and an old woman. He punishes the girl by using his magic power to turn her into an ass so that she will be severely beaten. But at last he restores her to her human form. In most versions the boys eventually punish their mother. The story of the magic bird-heart has been cited in the older literature as an illustration of a tale which has travelled from India into Europe. Aarne's exhaustive study, however, while indicating an Asiatic origin, concludes that the most plausible home for the story is western Asia, perhaps Persia. It is well known in eastern Europe, especially in Russia and around the Baltic, but it is to be found in western and southern Europe as well. It is frequently found in North Africa and is reported once from much farther south in that continent. The French have taken it to Canada, where they still tell it, and from them it has doubtless been learned by the Ojibwas of southern Ontario. Though it is found in the Persian Tuti-Nameh of around 1300 a.d., Aarne demonstrates clearly that its life has been primarily oral and practically un influenced by literary retellings. In a considerable number of the stories about the ownership of magic objects the hero comes into possession of these objects by means of a trick which he plays upon certain devils or giants. He finds them quarreling over the possession of three magic objects (or it may be that three heirs to the property are quarreling), and he undertakes to settle the quarrel. He must [p. 76] hold the object, but as soon as he gets hold of it, he uses it to get possession of the other objects. He then goes on his adventures, which may consist of the performance of tasks assigned to the suitors of a princess, or the freeing of the princess from an enchantment. But this method of acquiring the magic objects is by no means confined to any particular folk story, and it is a real question whether one is justified in considering that we have here a real folktale. It is, perhaps, convenient for cataloguing purposes to list it with an appropriate number ( Considered as a motif, it has a long history. It appears in unmistakable form in a Chinese Buddhistic collection of the sixth century after Christ, in the Ocean of Story (eleventh century), and in the Thousand and One Nights. Aside from its subordinate role in connection with other tales, there are a considerable number of versions in which the principal interest seems to be in this trick. In one way or another, the motif has a very extensive distribution throughout Europe and Asia. It is common in North Africa and appears occasionally much further south. Because of its wide distribution, of its association with so many different folktales, and of its easily ascertainable antiquity, this story (or tale motif, if you like) affords many interesting problems for anyone who may undertake to write its history. An interesting variation on the story of the hero with his three magic objects is that known from the Grimm collection as The Jew Among Thorns ( The story has many points in common with several we have been examining. The hero is driven from home by an evil stepmother or he is dismissed from service with a pittance after many years of labor. He gives the small amount of money he has to a poor man, and in return he is granted the fulfillment of three wishes. Most important of these is for a magic fiddle which compels people to dance. Usually he asks for a never-failing crossbow [p. 77] and for the power of having all his desires obeyed. Other magic objects or powers besides these frequently appear in this story. In the course of his adventures he meets a monk, or more frequently a Jew, and they shoot at a bird on a wager. As the loser of the contest, the Jew must go into the thorns naked and get the bird. With his magic fiddle the hero compels the Jew to dance in the thorns. In some versions this whole episode of the dancing in the thorns is replaced by a story of the defeat of a giant by making him dance. Eventually the boy is brought to court for his misdeeds and is condemned to be hanged. As a last request he secures permission to play on his fiddle, and he compels the judge and all the assembly to dance until he is released. Anyone acquainted with European folktales will recognize a number of motifs in this story which he has already encountered in other tales. Its central unifying idea seems to be the magic fiddle and the dancing it compels. The evil stepmother, the dismissal from service with a pittance, the helping of the poor man with the last penny, and the escape from execution by an illusory last request show affinities with many other tales. A consequence of this abundance of folktale commonplaces is the fact that there are many points at which this story may lead imperceptibly into other well-known plots. [71] We have already encountered several magic animals, aside from the many helpful beasts which assist in the action of folktales. The hen that lays golden eggs, in Jack and the Beanstalk, and the horse or donkey which drops gold for its master are but two of these. Perhaps most surprising of all magic animals is the half-chick. Because he appears so frequently in French tales, he is usually known by his French title, Demi-coq ( This story has been studied, as far as the western European versions are concerned, by Ralph S. Boggs. [72] His conclusion is that the center of the development is Castile and that the tale spread from there throughout France and was carried to various parts of South America —Brazil, Chili, and [p. 78] Argentina—by Portuguese and Spanish settlers, and to the Cochiti Indians of New Mexico and to Missouri by the Spanish and French, respectively. In the literature of the eighteenth and nineteenth centuries the story appeared twice, once in France and once in Spain. It is referred to in a play published in France in 1759. Boggs is of the opinion that the Spanish tale given literary treatment in the early nineteenth century by Fernán Caballero has been of primary importance in the development of this story in southwest Europe. This tale is, however, not confined to that area, but, with some variations, is found throughout most of the continent and as far east as India. It is very unevenly distributed. No versions have been reported from the British Isles, from Germany, or Czechoslovakia. On the other hand, the Finns possess nearly a hundred, and it is popular in Estonia and Russia. As a supplement to Boggs's study, a treatment of the tale in the other areas would be illuminating. Seldom in folktales does any thought seem to be given to the processes by which marvelous objects may be constructed: their existence is merely taken for granted. One exception to this statement is the tale of The Prince's Wings ( The essential part of this story, the journey on the flying horse or with the wings, appears in several Oriental tales, notably in the Thousand and One Nights and in the Ocean of Story, and it is familiar to the readers of medieval romance through the adventures of Cléomadès. It does not appear to be known in oral tradition outside of northern and eastern Europe. Of three tales of magic objects known only in Scandinavia and the Baltic countries, the most popular is the story of the young man who has power to make all women love him (Beloved of Women, These last two tales are good examples of stories known in a relatively [p. 79] small area. If other parts of the world had been as thoroughly explored for tales as Scandinavia and the countries of the eastern Baltic, there would doubtless be hundreds of other such stories which have never wandered far from the place where they were originally told. |
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[63] Vcrgleichende Märchenforschungen, pp. 3-82. [64] As a part of his study of The Magic Ring (Vergleichende Märchenforschung, pp. 5 3-82). [65] Die Zaubergaben (Journal de la Société Finno-Ougrienne, XXVII, Helsinki, 1911, pp. 1-96). [66] Chavannes, 500 Contes, III, 256, No. 468. [67] For a discussion of this question, see Krohn, Übersicht, pp. 51-2. [68] This conclusion has been reached by Aarne's thoroughgoing analysis of the tale (Vergleichende Märcheniorschungen, pp, 85-142). [69] See the extensive study by Aarne (Vergleichende Märchenjorschungen, pp. 143-200). For the opening of this tale as an introduction to The Two Brothers ( [70] Bolte-Polívka (II, 331) point out that this introduction appears in [71] For a list of the most usual of these combinations see analysis for [72] The Halfchick Tale in Spain and France. |
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Types: 302, 303, 306, 313B, 400, 401, 507A, 518, 552, 560, 561, 562, 563, 564, 565, 566, 567, 569, 575, 580, 591, 592, 593, 715 |
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Part Two The Folktale from Ireland to India II – The Complex Tale 12. Origin and history of the complex tales |
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Not every complex tale known to story-tellers of the area we are considering has found a place in the discussion just concluded. But practically all of those omitted are of very limited distribution. [283] With each tale the main facts about its history and its occurrences in oral tradition have been indicated wherever conclusions seemed possible. While discussing each tale, I have had before me a summary of the scholarship which has been devoted to it and a complete list of oral versions insofar as the extensive reference books and regional surveys now available made this possible. Frequently the mere bringing together of this material was sufficient to compel conclusions about the tale which do not seem likely to need revision. But when all tales with such clear-cut histories have been considered, there remain a large number which present problems sufficient to occupy the attention of scholars for many a decade to come. Of these complex tales, along with a few closely related simple anecdotes, we have examined somewhat over two hundred. The order in which they have been taken up has been determined by their subject matter. And that means that tales about the same kinds of characters or incidents have been brought together, often when there was no organic relationship between them and when they had little if anything in common in their origin and history. When so much remains dark about the beginnings and about the vicissitudes of so large a number of our folktales, no complete account of them can be based upon historical categories. Nevertheless, in a very tentative way it may be of interest to see which of our tales have a history that can be proclaimed with some confidence, which of them show great probabilities of proper solution, and which of them still present difficult problems. That many of our European and Asiatic folktales go back to a literary source is as clear as any fact of scholarship can be made. There would thus seem to be no reason to doubt that an Oriental literary text is responsible for the subsequent development of a considerable number of tales which have received oral currency in Europe and sometime in the Orient. In the older Buddhistic sources [284] are found: Death's Messengers ( Similarly, an ultimate origin in European literature seems unmistakable for a dozen or more of the stories current today, whether locally or over the complete European-Asiatic area. Three of the tales which we have noticed certainly go back to Greek literature: Oedipus ( The fact that one may cite a literary form of a story, even a very old version, is by no means proof that we have arrived at the source of the tradition. Nothing is better authenticated in the study of traditional narrative than the fact that the literary telling of a tale may represent merely one of hundreds of examples of the story in question and have for the history of the tradition no more significance than any other one of the hundreds of variants at hand. Apuleius's telling of Cupid and Psyche and the author of Tobit's version of The Grateful Dead Man tale appear both to be rather late and somewhat, aberrant forms of much older oral tales. With this warning in mind, the careful student should be slow in arriving at the conclusion that a stated literary document is the fountainhead of a particular narrative tradition. For those tales which we have just listed, the actual dependence on the literary source has seemed well established. In addition to these, there are a considerable number for which there is a well-known early literary form to which the weight of evidence would point probably, but not quite certainly, as the actual source. Some of these tales have been very popular among story-tellers, and have spread over two or more continents, and some have had only a very limited acceptance among the people. The degree of popularity and the geographical extent of the distribution is a fact which must be taken into consideration with every tale when we are trying to judge the question of its ultimate literary or oral invention. For this reason, in listing the tales with probable literary sources, it is helpful to indicate briefly what type of oral distribution each has. At least related to the old Greek story of The Cranes of Ibycus is the tale The Sun Brings All to Light ( The rich prose literature of medieval Iceland has in it many folktale elements, most of which doubtless go back to popular tradition. But this may not have been true in all cases: an Icelandic prose tale of 1339 seems to lie back of the oral tale Godfather Death ( The jestbooks of the Renaissance contain a number of folktales. In many cases, these were taken from older literary collections, or indeed from oral tradition. But occasionally they seem to have served as a real source for tales which now belong to the folk. Such would seem to be true of The Wishes ( A German literary tale of the thirteenth century may well be the beginning of The Frog King ( For all the tales mentioned thus far in this summary there seems a strong probability of ultimate literary origin. But it cannot be too frequently repeated that the fact of the appearance of a tale in some literary document is no proof that it did not originate among the people. Oral tales have been a very fruitful source For literary story-tellers everywhere. It thus happens that frequently the literary appearance of a story only represents one of many hundreds of versions and is, of course, less important in the history of the tale than the oral variant from which the story was borrowed. It is not always easy to tell when a story belongs primarily to oral tradition and frequently the problem of priority is quite unsolvable. But a very considerable number of tales appearing in literary collections show such a preponderance of oral variants, as well as other indications of popular origin, that their literary appearance would seem to be purely incidental. There can be little doubt that they are all essentially oral, both in origin and in history. Several such oral tales have found a place in Oriental literary collections. In the Hindu fable collection, the Panchatantra, occurs a good part of the tale of Luck and Intelligence ( Much more frequently have oral tales found a place in one or more European collections of literary stories. In another place more specific mention [p. 181] is made of popular tales embedded in the Greek or Latin classics. [286] Sometimes these retellings represent rather faithfully what must have been the plot of one of our oral tales at the time and place it was heard, though there may be radical adaptation to literary form or fashion. Such is true of the retelling of the tale of Polyphemus ( It is sometimes difficult to tell whether such a classical story as that of Perseus is really a version of a folktale now current in Europe. There is little doubt, however, that the appearance of the story of The Dragon-Slayer ( In other literary forms of the Middle Ages there occasionally appear oral tales. Geoffrey of Monmouth, in telling the story of King Lear, includes the incident of Love Like Salt ( Though the jestbooks which were in vogue during the fifteenth and sixteenth centuries normally consist of very simple anecdotes, occasionally they included a complex folk story, like Hansel and Gretel ( For the history of the folktale, two collections in the novella tradition are especially important. Insofar as they contain folktales, they are either purely oral stories or else tales of literary origin which had already become a part of the folklore of Italy. Many of these oral tales have their first literary appearance in these collections. In the Pleasant Nights of Straparola in the sixteenth century are versions of: The Magician and His Pupil ( An even longer list of oral tales is found for the first time in the Pentamerone of Basile, 1634-36. Among them are: The Maiden in the Tower ( The folktale collection of Charles Perrault which appeared in 1697 is hardly to be considered as literary at all, but rather as a group of fairly faithful versions of oral tales. The later French collections of Madame D'Aulnoy, on the other hand, were definitely literary, and seldom contained any real folktales which had not already appeared in writers like Straparola or Basile. Exceptions are The Mouse as Bride ( Such are the principal collections of literary tales which have given us versions of oral stories. To complete the list, one would have to make several miscellaneous additions. The King and the Abbot ( Such is the list of those tales which, although they have appeared in one or more literary collections, seem quite certainly to be oral, both in origin and in history. Sometimes their subsequent popularity has been greatly increased by the fact that they have been charmingly retold by Basile or Perrault. Otherwise, their history is in no essential respect different from that large group of stories to which we shall now turn. These belong to the folklore of Europe and Asia, and have never had the fortune to appeal to any literary story teller. We know them only in oral form and can therefore speak with almost complete certainty of their origin among the people. Here belong some of the most interesting of all folktales. Most of the European stories which originated in the Orient either go back to literary sources in the East or else, in spite of their origin in popular Oriental tradition, have received literary treatment in Asia or in Europe. Such tales, of literary origin or handling, have just been discussed. There remain a few which seem to have developed orally in Asia and to have reached Europe entirely by word of mouth. Such is true of Three Hairs from the Devil's Beard ( By far the largest number of purely oral European and Asiatic tales seem quite certainly to have developed in Europe. The great majority of these are confined to the European continent, but some of them are worldwide in their distribution. Examples of the latter are The Dragon-Slayer ( A considerable number of oral stories have received very wide distribution over the entire European continent but, except for purely sporadic occurrences, they do not appear elsewhere. To this list belong: The Hunter ( The stories just listed are well represented in all parts of Europe, so that without special investigation it is not easy to say just where the story has developed. With a large number of tales, however, we find that, in spite of occurrences over the entire continent, their area of great popularity is clearly limited, sometimes to a single country, more often to a group of neighboring peoples. Such tales with occurrences primarily in eastern Europe are: The Princess in the Shroud ( General European tales most popular in eastern and northern Europe are: The Danced-Out Shoes ( Especially characteristic of Scandinavia and the Baltic states are: The Boy Steals the Giant's Treasure ( Rather widespread traditions having their focus definitely in Scandinavia are: The Man from the Gallows ( Oral tales distributed over all Europe, but especially characteristic of the western countries, are: The Giantkiller and his Dog (Bluebeard) ( Finally, at least two tales seem to be especially characteristic of British tradition: Tom-Tit-Tot ( There has been no attempt in this book to give notice to all folktales known in Europe and Asia, especially to the hundreds of oral stories which are told in only a single locality or which have never traveled far from their original home. A considerable number of such stories local to Roumania, Hungary, Wallonia, and Russia may be examined in the excellent folktale surveys of these countries. [289] Of such of them as appear in the Aarne-Thompson Types of the Folk-Tale, it will be noticed that a large number of the local tales are characteristic of the Baltic area. It must be borne in mind that very exhaustive lists have been made of the Finnish and Estonian tales, [290] so that these large numbers are no cause for wonder. Of these oral tales in the main part of the Aarne-Thompson index, the following seem to be confined to the Baltic states: a version of The Black and the White Bride ( Local to the Baltic and Scandinavian countries are: [291] a version of The Children and the Ogre ( A much smaller group are limited to the Baltic states and Russia: The Strong Woman as Bride ( Though the groups of peoples just noticed are represented by a large number [p. 186] of local stories, some tales of limited dissemination occur almost everywhere. Thus The Faithless Wife ( In the rapid summary just completed it seems clear that for most of the complex tales of the European and Asiatic areas some generalizations are safe. Though we may not be able to say just when or just where a tale originated, or whether it was first an oral story or a literary creation, the general probabilities are such as we have indicated. Many questions of detail within the limits of these probabilities will engage the efforts of future scholars. There still remain a considerable number of these complex tales where the evidence at present available is either insufficient to lead to general conclusions or else is so overwhelming in amount that it has never yet been properly utilized for systematic investigation. For some tales, when the data are all assembled, the question as to whether they are essentially literary or oral seems quite unsolvable without much further study. Among such tales are: The Gifts of the Little People ( In another group the question as to whether the tale is essentially Oriental or European is still not satisfactorily solved: The Ogre's (Devil's) Heart in the Egg ( Finally, a half dozen stories well known over the entire world present major problems of investigation, because of the great mass of materials at [p. 187] hand, much of unorganized. Each of them offers a challenge to scholarship. These six tales The Man on a Quest for his Lost Wife ( |
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[283] An exhaustive treatment would include a considerable number of such tales of purely local development for Lithuania, for Roumania, for Russia, and for India. The material for the first three of these countries may be examined in the surveys of Balys, Schullerus, and Andrejev, respectively (see references on pp. 420f.). No adequate survey of the material for India has yet been made. I have been working upon one for some years and have reasonable hopes of completing it. [284] These are best represented by (1) Cowell, The Jātaka; (2) Chavannts, 500 Contes. [285] For a discussion of this point, see p. 160, above. [286] See pp. 278ff., below. [287] See pp. I39f., above. [288] The other tales which are distributed over the world and have received literary treatment have already been discussed. [289] For Roumania, Hungary, and Wallonia, see FF Communications Nos. 78, 81, and 101 respectively. For the Russian, see Andrejev, Ukazatel' Skazočnich Siuzhetov. [290] The number of purely Baltic tales would be greatly increased by inclusion of all those listed in Balys' Motif Index, which appeared after the Aarne-Thompson Index, and also by citing many of the "Types not Included" from the Aarne-Thompson Index. [291] Single sporadic occurrences elsewhere are disregarded.
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Types: 123, 300, 301, 302, 303, 304, 306, 307, 310, 311, 312, 313, 314, 315, 315B*, 316, 325, 326, 327A, 327B, 327C, 328, 329, 330, 331, 332, 333, 335, 360, 361, 363, 365, 366, 400, 401, 402, 403, 403C, 405, 407, 408, 409, 410, 425, 426, 428, 430, 431, 432, 433, 440, 441, 449*, 450, 451, 460A, 460B, 461, 465, 470, 471, 473, 475, 480, 500, 501, 502, 503, 505, 506A, 506B, 507A, 507B, 507C, 508, 510, 510A, 510B, 511, 511*, 513, 513A, 514, 516, 517, 518, 519, 530, 531, 532, 533, 545A, 545B, 550, 551, 552, 552B, 553, 554, 555, 559, 560, 561, 562, 563, 564, 565, 566, 567, 569, 570, 571, 575, 577, 580, 590, 591, 592, 593, 610, 611, 612, 613, 620, 621, 650, 652, 653, 654, 655, 660, 665, 670, 671, 672A, 672B, 672C, 673, 675, 677, 700, 705, 706, 707, 708, 709, 710, 711, 715, 720, 725, 735, 736, 745, 750A, 750B, 751, 752A, 752B, 753, 755, 756A, 756B, 756C, 759, 761, 765, 780, 781, 785, 791, 800, 801, 802, 803, 804, 810, 812, 815, 820, 821, 822, 830, 831, 832, 836, 837, 840, 841, 844, 850, 851, 852, 853, 854, 870, 870A, 875, 881, 882, 884, 888, 890, 892, 900, 901, 910A, 910B, 910C, 910D, 920, 921, 922, 923, 923A, 927, 930, 931, 935, 945, 950, 951A, 951B, 952. 953, 954, 956A, 956B, 960, 1137, 1525, 1535, 1538, 1539, 1540, 1542, 1544, 1640, 1641, 1642, 1650, 1651, 1652, 1655, 1697, 1750 |
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Number of Borrowing of European-Asiatic Tales by Indonesians, African, and American Indians |
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Type Indonesian African American Indian   1. The Theft of Fish 5 7 2. Tail-Fisher 3 13 4. Carrying the Sham-Sick Trickster 5 5. Biting the Foot 13 16 6. Inquiring about the Wind 2 7. Calling of Three Tree Names 1 8. The Painting 2 7 9A. The Unjust Partner: Bear Threshes 7 9B. The Unjust Partner: Corn and Chaff 2 15. Theft of Butter (Honey) by Playing Godfather 13 2 21. Eating His Own Entrails 1 1 30. Fox Tricks Wolf into Falling into a Pit 1 31. Fox Climbs from Pit on Wolf's Back 15 33. Fox Plays Dead and is Thrown out of Pit and Escape 20 5 36. Fox in Disguise Violates the She-Bear 1 37. Fox as Nursemaid for Bear 7 30 38. Claw in Split Tree 11 2 47A. Fox Hangs by Teeth to Horse's Tail 2 1 49. Bear and the Honey 2 50. Sick Lion 1 55. Animals Build a Road 18 1 56. Fox Steals Young Magpies 7 60. Fox and Crane 3 62. Peace Among Animals 1 72. Rabbit Rides Fox a-Courting 1 6 7 73. Blinding the Guard 2 2 100. Wolf as Dog's Guest Sings 1 101. Old Dog as Rescuer of Child 1 104. Cowardly Duelers 3 105. Cat's Only Trick 2 111. Cat and Mouse Converse 3 122A. Wolf Seeks Breakfast 2 122B. Cat Washes Face before Eating 5 123. Wolf and Kids 1 125. Wolf Flees from Wolf-Head 12 130. Animals in Night Quarters 1 154. "Bear-Food" 6 1 155. Ungrateful Serpent Returned to Captivity 12 156. Splinter in Bear's Paw 1 157. Learning to Fear Men 1 1 175. Tarbaby and Rabbit 2 39 23 210. Cock, Hen, etc. on Journey 10 221. Election of Bird King 2 222. War of Birds and Quadrupeds 4 225. Crane Teaches Fox to Fly 4 3 43? 228. Titmouse Tries to be Big as Bear 1 8 235. Jay Borrows Cuckoo's Skin 3 248. Dog and Sparrow 1 249. Ant and Cricket 3 275. Race of Fox and Crayfish 26 1 295. Bean, Straw, and Coal 3 300. Dragon-Slayer 1 14 301. Three Stolen Princesses 16 302. Ogre's Heart in Egg 2 1 303. Twins or Blood-Brothers 3 3 307. Princess in the Shroud 2 311. Rescue by Sister (Girls in Sacks) 5 1 313. Girl as Helper in Hero's Flight 2 33 314. Youth Transformed to Horse (Goldener) 24 4 15 325. Magician and Pupil 1 326. Learning What Fear Is 2 327A. Hansel and Gretel 6 8 10 327B. Dwarf and Giant 3 327C. Devil Carries Hero in Sack 9 6? 328. Boy Steals Giant's Treasure 6 331. Spirit in Bottle 1 333. Red Ridinghood; Six Little Goats 16 400. Quest for Lost Wife 37 11 29 401. Princess Transformed into Deer 1 402. Mouse (Cat, etc.) as Bride 1 403. Black and White Bride 1 15 6 408. Three Oranges 1 425. Search for Lost Husband (Cupid and Psyche) 5 5 1 432. Prince as Bird 1 450. Little Brother and Little Sister 3 451. Maiden Who Seeks her Brothers 1 461. Three Hairs from Devil's Beard 17 1 1 471. Bridge to Other World 1 1 1 480. Spinning Woman by the Spring 6 3 506. Rescued Princess: Grateful Dead 6 1 507. Monster's Bride: Grateful Dead 1 510A. Cinderella 2 3 4 510B. Cap o' Rushes 2 1 511. One-Eye, Two-Eyes, Three-Eyes 3 513. The Helpers (Extraordinary Companions) 2 3 514. Shift of Sex 1 516. Faithful John 1 518. Devils Fight over Magic Objects 2 531. Clever Horse 3 2 533. Speaking Horse-head 6 545. Cat as Helper (Puss in Boots) 2 10 550. Bird, Horse, and Princess 4 4 551. Sons on Quest for Remedy 4 552A. Three Animal Brothers-in-Law 1 554. Grateful Animals 11 555. Fisher and His Wife 5 559. Dungbeetle 1 4 560. Magic Ring 36 8 2 561. Aladdin 1 2 563. Table, Ass, and Stick 7 14 4 566. Three Magic Objects and Wonderful Fruits 2 1 567. Magic Bird-heart 13 1 1 569. Knapsack, Hat, and Horn 5 5 570. Rabbit-herd 1 1 571. "All Stick Together" 1 590. Prince and Arm Bands 1 592. Jew Among Thorns 1 612. Three Snake-Leaves 2 613. Two Travelers 5 1 621. Louse-Skin 3 650. Strong John 27 3 4 653. Four Skillful Brothers 8 12 655. Wise Brothers 1 2 670. Animal Languages 6 23 671. Three Languages 2 675. Lazy Boy 2 676. Open Sesame 1 9 700. Tom Thumb 5 1 706. Maiden Without Hands 6 2 707. Three Golden Sons 8 1 709. Snow White 6 750. The Wishes: Hospitality Rewarded 1 1 3 780. Singing Bone 8 781. Princess Who Murdered her Child 12 785. Who Ate the Lamb's Heart? 1 851. Princess who Cannot Solve Riddle 3 2 852. Princess Forced to Say, "That is a Lie." 1 2 853. Princess Caught with her own Words 2 854. Golden Ram 1 875. Clever Peasant Girl 3 3 882. Wager on Wife's Chastity 2 900. King Thrushbeard 1? 901. Taming of the Shrew 1 910. The Good Precepts 2 921. King and Peasant's Son 1 2 922. King and Abbot 1 923. Love Like Salt 1 930. Prophecy for Poor Boy 1 1 931. Oedipus 1 935. Prodigal's Return 1 945. Luck and Intelligence 8 1 950. Rhampsinitus 1 1000. Anger Bargain 5 2 1004. Hogs in Mud, Sheep in Air 2 3 4 1012. Cleaning the Child 1 1015. Whetting the Knife 2 1030. Crop Division 1 1031. Roof as Threshing Flail 2 1060. Squeezing the Stone 1 1 1 1061. Biting the Stone 1 1 1062. Throwing the Stone 1 1 1063. Throwing Contest with Golden Club 1 1074. Race with Relatives in Line 6 38 12 1085. Pushing Hole in a Tree 1 1088. Eating Contest: Food in Bag 20 1115. Attempted Murder with Hatchet 10 1119. Ogre Kills Own Children: Substitutes in Bed 14 5 1149. Children Desire Ogre's Flesh 10 4 1157. Gun as Tobacco Pipe 1 1200. Sowing of Salt 1 1250. Bringing Water from Well: Human Chain 1 2 1260. Porridge in Ice Hole 1 1276. Rowing without Going Forward 4 1278. Bell Falls into Sea: Mark on Boat 2 1310. Crayfish as Tailor: Drowned 18 22 31 1319. Pumpkin as Ass's Egg, Rabbit as Colt 1 1350. Loving Wife: Man Feigns Death 1? 1360C. Old Hildebrand 1 1380. Faithless Wife: Husband Feigns Blindness 1 1384. Quest for Person Stupid as Wife 2 1386. Meat as Food for Cabbage 7 1415. Lucky Hans 2 1 1430. Man and Wife Build Air Castles 7 1 1525. Master Thief 2 6 1528. Holding Down the Hat 2 1 1530. Holding up the Rock 11 3 1535. Rich and Poor Peasant 10 16 11 1537. Corpse Killed Five Times 3 2 1539. Cleverness and Gullibility 7 3 1540. Student from Paradise (Paris) 3 1541. For the Long Winter 2 1542. The Clever Boy: Fooling-Sticks 8 1563. "Both?" 3 1585. Lawyer's Mad Client 1 1590. Trespasser's Defense 1 1610. To Divide Presents and Strokes 2 1611. Contest in Climbing Mast 1 1612. Contest in Swimming 1 1640. Brave Tailor 3 4 1641. Doctor Know-All 21 3 1642. The Good Bargain: Money to Frogs 4 1651. Whittington's Cat 2 2 1653. Robbers under Tree 2 1 5 1655. Eaten Grain and Cock as Damages 10 1 1685. Foolish Bridegroom 6 1 1696. "What Should I Have Said?" 6 4 2 1698A. Search for Lost Animal: Deaf Person 1 1698B. Travelers Ask the Way: Deaf Peasant 1 1730. Three Suitors Visit Chaste Wife 2 3 1737. Parson in Sack to Heaven 1 1775. Hungry Parson 3 1920A. Lying Contest: "Sea Burns" 1 1930. Schlaraffenland 3 2028. Troll (Wolf) Cut Open 1 2030. Old Woman and Pig 2 4 2031. Frost-bitten Foot 4 3 2033. Nut Hits Cock's Head 3 2034C. Lending and Repaying, Progressive Bargains 22 2035. House that Jack Built 4 2400. Ground Measured with Horse's Skin 1 |
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Types: 1, 2, 4, 5, 6, 7, 8, 9A, 9B, 15, 21, 30, 31, 33, 36, 37, 38, 47A, 49, 50, 55, 56, 60, 62, 72, 73, 100, 101, 104, 105, 111, 122A, 122B, 123, 125, 130, 154, 155, 156, 157, 175, 210. 221, 222, 225, 228, 235, 248, 249, 275, 295, 300, 301, 302, 303, 307, 311, 313, 314, 325, 326, 327A, 327B, 327C, 328, 331, 333, 400, 401, 402, 403, 408, 425, 432, 450, 451, 461, 471, 480, 506, 507, 510A, 510B, 511, 513, 514, 516, 518, 531, 533, 545, 550, 551, 552A, 554, 555, 559, 560, 561, 563, 566, 567, 569, 570, 571, 590, 592, 612, 613, 621, 650, 653, 655, 670, 671, 675, 676, 700, 706, 707, 709, 750, 780, 781, 785, 851, 852, 853. 854. 875, 882, 900, 901, 910, 921, 922, 923, 930, 931, 935, 945, 950, 1000, 1004, 1012, 1015, 1030, 1031, 1060, 1061, 1062, 1063, 1074, 1085, 1088, 1115, 1119, 1149, 1157, 1200, 1250, 1260, 1276, 1278, 1310, 1319, 1350, 1360C, 1380, 1384, 1386, 1415, 1430, 1525, 1528, 1530, 1535, 1537, 1539, 1540, 1541, 1542, 1563, 1585, 1590, 1610, 1611, 1612, 1640, 1641, 1642, 1651, 1653, 1655, 1685, 1696, 1698A, 1698B, 1730, 1737, 1775, 1920A, 1930, 2028, 2030, 2031, 2033, 2034C, 2035, 2400 |
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