Showing posts with label Slovakia. Show all posts
Showing posts with label Slovakia. Show all posts

Thursday, January 16, 2020

A Traditional Slovak Folktale / Brother Birdie








Brother Birdie


A traditional Slovak Folktale
Collected by Pavol Dobsinsky
Translated by David L. Cooper
Somewhere in a little cottage in the desolate forest there lived two children with their witch-stepmother, like two birdies with a cat. Their father came home from wood-cutting only occasionally, but even then the poor orphans didn’t dare to complain how their mother beat them and starved them, for they thought: It’s been bad until now, but afterwards it would be even worse!
And so they kept quiet and suffered. Their stepmother ran the house for herself alone, for her own gullet, as best she could, until she had run everything nicely into the ground. Once when her hungry husband was to come home from work, there wasn’t a thing in either the bin or the trunk. She began

to tug her bonnet to the right and then to the left on her head, trying to think what to cook for her husband. Then she had an unfortunate idea! Just as the boy ran inside with some wood chips, passing his sister, she shut the door behind him and with a long knife, swoosh! cut off the dear boy’s head! Then she butchered him, cut him up, put him in the pot, and cooked a sour soup from him.

When father came home, his dinner was already waiting on the table. He dug into it like a man, without noticing anything amiss. Why, he would have eaten even what the old devil himself placed before him, he was so hungry. The girl just looked on sadly from the corner at her unfortunate father; but she dared not say what she knew. She just gathered up the little bones one by one as they fell beneath the table, and when she had gathered them all, the poor child snuck out and buried them along the road beneath a green dog-rose.
In the morning at dawn a pretty little bird was chirping on the already-blooming dog-rose, chirping so shrilly, as if its heart were being cut open:
“Mommy put me to the knife, Daddy ate me whole.

And my sissy, that poor missy,

gathered up the bones and then

‘neath the dog-rose buried them:

Up sprouted a birdie,
a wretched little birdie.
Tweet-tweet, tweet-tweet!”

Some peddlers were just passing that way and stopped to hear the pretty bird. It touched them so much that upon leaving they placed their finest silk kerchief on the dog-rose, on the grave of the unfortunate orphan, for the song.
Soon after them some hatters came by, and the birdie just hopped about the green dog-rose and sang:
“Mommy put me to the knife, Daddy ate me whole.

And my sissy, that poor missy,

gathered up the bones and then

‘neath the dog-rose buried them:

Up sprouted a birdie,
a wretched little birdie.
Tweet-tweet, tweet-tweet!”

The master hatters stood stock still—they couldn’t even move until the song was over. Then they took out the nicest hat: “Eh,” one said, “since you sang so nicely for us, we shall give you something in exchange!” and hooked it on a thorn.
In a moment the birdie began again:
“Mommy put me to the knife, Daddy ate me whole.

And my sissy, that poor missy,

gathered up the bones and then

‘neath the dog-rose buried them:

Up sprouted a birdie,
a wretched little birdie.
Tweet-tweet, tweet-tweet!”

Some stone cutters who were passing by couldn’t get enough of that shrill song. “Eh,” one of them said, “since you sang so nicely for us, we’ll have to give you a nice stone on that green grave!”
And just as they said, so they did: they rolled the largest stone up under the dog-rose. During the night—gods only know how—the pretty birdie carried all the gifts to the top of father’s roof, and early in the morning it began to sing:
“Mommy put me to the knife, Daddy ate me whole.

And my sissy, that poor missy,

gathered up the bones and then

‘neath the dog-rose buried them:

Up sprouted a birdie,
a wretched little birdie.
Tweet-tweet, tweet-tweet!”

Sister ran out after the dear voice, asking who or what it was. She looked about on all sides, but she didn’t figure anything out until a pretty silk kerchief fell down into her hands.
Right behind her came father, marvelling. A brand-new hat fell on his head.
“What, in god’s name is going on?” said stepmother, running out in joy that something would remain for her too. Hardly had she stepped out from under the roof when—crash came the stone down on her head!
With that the birdie stopped singing and flew off, flew way off to the end of the world! Whoever wants to know more about him, let them go there.

A Traditional Slovak Folktale / The Twelve Monts







The Twelve Months


A Traditional Slovak Folktale
Collected by Pavol Dobsinsky
Translated by David L. Cooper
Once there was a mother who had two girls: one of her own and the other a stepdaughter. She loved her own very much, and she couldn’t even look upon her stepdaughter, but that was only because Marienka was prettier than her Holena. But Marienka knew nothing of her beauty. She couldn’t possibly imagine why her mother wrinkled her brow whenever she looked upon her. She thought that perhaps she had done something to displease her stepmother. But while Holena just primped and preened herself, dallied about the room, or strutted through the yard, or paraded about the streets, she put everything in the house in order, tidied up, cooked, laundered, sewed, spun, wove, carried hay, milked the cows, did all the work, and her stepmother did nothing but curse her and rebuke her every day. Nothing did any good, and she suffered like a beast. Day by day it got worse for her. And, mind you, that was only because day by day she became prettier and Holena uglier.
Then her mother thought, “Why should I allow a beautiful stepdaughter in the house? When the boys come courting, they’ll fall in love with Marienka and won’t care to love Holena.” She even consulted with Holena about it, and they came up with things that would never even occur to a decent person. One day, and it was just after the New Year, in the bitter cold of winter, Holena suddenly felt like smelling violets. And she said, “Marienka, go to the mountain and gather me a bouquet of violets. I want to wear it under my sash, for I so wish to smell some violets.”
“My Lord, dear sister, what has come over you! Who ever heard of violets growing beneath the snow?” said poor Marienka.
“You trollop, you clod, you! How dare you talk back when I give you an order!” Holena shouted back at her. What’s more, she threatened her, “Get out of here, and if you don’t bring violets from the mountain, I’ll kill you!” And her stepmother pushed her out, banged the door behind her, and  closed the lock.
The girl started off, weeping, for the mountain. There were walls of snow and nowhere even a human footstep. She wandered and wandered for a long time. Hunger tormented her, the cold shook her, and weeping even more, she begged the gods rather to take her from this world. Then she spotted a light in the distance. She followed the glow until she reached the summit of the mountain.
There a great bonfire was burning, about the bonfire were twelve stones, and sitting on those stones were twelve men. Three were white-bearded, three younger than they, three younger still, and three the youngest. They sat quietly, mutely, numbly staring into the fire. These twelve men—they were the twelve months. Great January now sat up on the highest stone. His hair and beard were as white as snow and he held a cudgel in his hand. Marienka was frightened and stood as though she, too, were numb. But she grew bold, came closer, and begged, “Good people of my gods, let me warm myself. The cold is shaking me.”
Great January nodded his head and asked her, “Wherefore have you come, my child? What seek you here?”
“I have come for violets,” answered Marienka.
“It is not the time to gather violets. There is snow, after all,” said Great January.
“Oh, I know that, but my sister Holena and my stepmother ordered me to bring violets from the mountain. If I don’t bring them, they’ll kill me. I beg of you kindly, uncles, tell me where I can gather them.”
With that Great January rose, approached the youngest month, placed the cudgel in his hand and said, “Brother April, seat yourself up in my place!” The month April sat on the highest stone and waved the cudgel over the bonfire. The fire flamed up to a great height, the snow began to melt, trees began to bud, beneath the birches the grass grew greener, in the grass the flower buds began to darken. It was spring. Among the shrubs hidden beneath the leaves, violets bloomed. Even as Marienka looked on, it was as if the ground was being spread with an azure covering. “Gather them quickly, Marienka, quickly,” the young April instructed. Elated, Marienka soon plucked and put together a large bouquet. Then she thanked the months nicely and hurried home.
Holena was amazed and her stepmother, too, when they saw her hurrying home with violets. They opened the door to her and the scent of violets filled the entire house. “Wherever did you pick them?” asked Holena defiantly.
“Oh, high up on the mountain they are growing beneath the bushes. There’s really quite a lot of them,” answered Marienka quietly. Holena tore the bouquet from her hands, fastened it under her sash, sniffed it herself, had her mother sniff it, but didn’t tell her sister, “Take a whiff!”
The next day Holena was sitting beneath the stove and she suddenly felt like having some strawberries. She called out, “Marienka, go and bring me some strawberries from the mountain.”
“My Lord, dear sister, what has come over you! Who ever heard of strawberries growing beneath the snow?”
“Oh, you trollop, you clod, you! How dare you talk back when I give you an order! Go quickly, and if you don’t bring me strawberries, I’ll kill you!” Holena threatened. Her stepmother pushed Marienka out, banged the door behind her, and closed the lock.
The girl started off, weeping, for the mountain. There were walls of snow and nowhere even a human footstep. She wandered and wandered for a long time. Hunger tormented her, the cold crushed her; and she begged the gods rather to take her from this world. Then she spotted in the distance

the same light as the day before. The glow led her again to the bonfire. The twelve men—twelve months—sat around it again today. Great January, white and bearded, the highest, with a cudgel in his hand.

“Good people of my gods, let me warm myself please! The cold has crushed me to smithereens,” Marienka begged them.
Great January nodded his head and asked her, “And wherefore come you again, my child, and what seek you?”
“I have come for strawberries,” the girl answered,
“Oh, but it is winter, and strawberries do not grow on snow,” said Great January.
“Oh, I know that,” said Marienka sadly. “But my sister Holena and my stepmother ordered me to gather strawberries. If I don’t bring them some, they’ll kill me. I beg of you kindly, uncles, tell me where can I gather them?”
With that Great January rose, went to the month sitting opposite him, gave him the cudgel and said, “Brother June, now you seat yourself in my place!”
The month June sat on the highest stone and waved the cudgel over the bonfire. The fire flared up three times higher, the snows melted off in a moment, the trees unfolded their leaves, the birds chirped and sang all around, and the flowers were everywhere—it was summer. The undergrowth

looked as though it had been strewn with white stars, and the white stars changed perceptibly into strawberries and ripened until they were fully ripe. Even as Marienka looked on, it was as if blood had been poured over the ground.

“Gather them quickly, Marienka, quickly,” June instructed. Delighted, Marienka soon gathered an apronful of strawberries. She thanked the months nicely and hurried home.
Holena was amazed and her stepmother, too, when they saw her hurrying home with strawberries. They opened the door to her and the smell of strawberries filled the entire house.
“Wherever did you gather them?” asked Holena defiantly.
And Marienka simply answered quietly, “Oh, high up on the mountain they are growing beneath the bushes. There’s really quite a lot of them!”

Holena took the strawberries and ate until she was sated. Her stepmother ate her fill as well, but they didn’t say to Marienka, “Take one.”

Holena was developing a sweet tooth and on the third day she felt like biting into an apple. “Go, Marienka, go to the mountain and bring me some red apples,” she ordered.
“My Lord, dear sister, what has come over you! Who ever heard of apples ripening in the winter?”
“Oh, you trollop, you clod, you! How dare you talk back when I give you an order! Go quickly to the mountain, and if you don’t bring me some red apples, I will certainly kill you!” Holena threatened. Her stepmother pushed Marienka out, banged the door behind her, and closed the lock.
The girl started off, weeping, for the mountain. There were walls of snow and nowhere even a footstep. She wandered and wandered for a long time. Hunger tormented her, the cold crushed her; and she begged the gods rather to take her from this world. Then she caught sight in the distance of the same light and the glow led her again to the bonfire. The twelve men— twelve months—were sitting around it, sitting as though welded to the spot. Great January, white and bearded, sat the highest with a cudgel in his hand.
“Good people of my gods, let me warm myself please! The cold has crushed me to smithereens,” Marienka begged them.
Great January nodded his head and asked, “And wherefore come you again, my child?”
“I have come for red apples,” answered the girl.
“It is winter, red apples do not ripen in winter,” Great January said.
“I know that,” said Marienka sadly. “But Holena and my stepmother threatened me that if I don’t bring red apples from the mountain, they will kill me. I beg of you, uncles, help me just once more.”
With that Great January rose, went to one of the older months, placed the cudgel in his hand and said, “Brother September, take my place!”
The month September sat on the highest stone and waved the cudgel over the bonfire. The fire blazed up, the snow disappeared, but the leaves didn’t unfold on the trees, rather the yellow slowly retreated from them—it was autumn. Marienka didn’t see any spring flowers this time. She wouldn’t even have looked for them. Instead she looked over the trees, and in fact there was an apple tree and high on the ends of its branches were red apples.
“Pluck them, Marienka, pluck quickly!” September instructed.
Marienka shook the apple tree and an apple fell; she shook again and another fell. “Grab them, Marienka, grab them quickly and run home!” September called out. She snatched the two apples, thanked the months nicely, and really did hurry home.
Holena was amazed and her stepmother, too, when Marienka arrived home. They opened for her and she gave them two apples. “And wherever did you pick them?” asked Holena.
“High up on the mountain they are growing, and there’s really quite a lot of them,” Marienka said.
Well, she had to say no more to Holena than that there were a lot of them there.
“And you trollop, you clod, you! Why didn’t you bring more? Or perhaps you ate them along the way?” Holena lashed out at her.
“Oh, dear sister, I didn’t even eat a smidgen. When I first shook the tree, one fell; when I shook it again, another fell, and they didn’t let me shake anymore. They called to me to go home,” Marienka said.
“May Perun slay you!” Holena swore and tried to strike Marienka. And her stepmother, who wasn’t idle, took after her with a stick. Marienka didn’t want to let herself be beaten and ran into the kitchen and hid herself somewhere beneath the stove.
The sweet-toothed Holena soon stopped cursing and devoted her attention to her apple, giving one to her mother as well. They had never in their lives eaten such sweet apples. Only now did they really develop an appetite.
“Mom, give me my fur coat! I am going alone to the mountain! That trollop would just eat them along the way again. I’ll find the place sure enough, even if it were in hell, and I’ll pluck them all, if there are so many, though the devil himself call to me!”
Holena hollered in this way, and her mother dissuaded her in vain. She took her fur coat for her body, a covering for her head, wrapped herself up like a granny, and started off for the mountain. Her mother just wrung her hands on the threshold, looking after her, wondering what the girl was in for. Holena walked to the mountain.
There were walls of snow and nowhere even a footstep. She wandered and wandered and her desire for apples kept pressing her on as if it was chasing her. Then she spotted a light in the distance. She started after it and came to a bonfire where twelve men—the twelve months—were sitting all around. But she didn’t pay her respects to them, didn’t ask them, but simply stretched out her palms to the fire and warmed herself, as though the fire was just for her.
“Wherefore have you come and what do you seek?” asked Great January, becoming vexed at her.
“Why do you question me, you old fool, you? You have no need to know why I come or where I am going!” Holena said curtly. She started off into the forest as if the apples were ready and waiting for her there.
Great January wrinkled his brow and waved the cudgel over his head. At that instant the heavens clouded over, the bonfire died, the snow fell thickly, and a cold wind blew. Holena couldn’t see even a step ahead. The further she went, the larger were the snowdrifts into which she stumbled. She

cursed Marienka and the gods. Her muscles stiffened, her knees gave, and she collapsed.

Her mother was waiting for Holena, looking out the window, even stepping out the door to look. Hour followed hour, but Holena simply didn’t come.
“Doesn’t she want to leave the apples, or what is going on? I’ll have to have a look for myself.” the mother said to herself. She took her fur coat,

wound herself into her shawl, and went after the girl.

The snow was falling thicker and thicker, the wind colder and colder, the snowdrifts like walls. She stumbled through them and called out to the girl, but not a soul answered her. She became lost, no idea where she was, and began to curse Holena and the gods. Her muscles stiffened, her knees gave,

and she, too, collapsed.

At home Marienka cooked dinner, fed and milked the cow, but neither Holena nor her stepmother returned.
“Where are those two amusing themselves for so long?” worried Marienka, sitting down that evening at the distaff. She sat there until night, her spindle long filled, but not a word came of those two.
“Oh gods, what happened to them!” the girl grieved and anxiously peered out the window. There wasn’t a soul to see out there, just the twinkling of the stars after the blizzard, the light of the earth from the snow, and the snapping of the roofs from the cold. Sadly she shut the window and prayed for her sister and mother. In the morning she waited with breakfast and lunch, but she’ll never wait out Holena or her stepmother. Both froze to death on the mountain.
The hut and cow and garden and fields and meadows around the house remained after them for Marienka. Before spring came round, a caretaker was found for all of this: a bonnie laddie who married Marienka, and they both lived well and in peace.

An Introduction to Traditional Slovak Folk Tales





An Introduction to Traditional Slovak Folk Tales


The Tale Tradition
In order to familiarize the reader with the landscape of the world of Slovak folk tales, we need briefly to consider the question, what is a folktale? Folklorists and other interested parties have long battled over the question of the “folk” (whose property the tales are) and the nature of the “oral tradition” (the manner in which the tales circulate). In Europe, and sometimes more broadly, a certain body of tales circulated among the largely illiterate population for centuries. This primarily oral tradition, however, was not isolated from the written literature of the time but, symbiotically, both drew upon it and contributed to it. These tales were the entertainment of all, from kings and queens, often themselves illiterate, to the lowliest peasant. As literacy advanced, literature began to distance itself from this body of tales. Church clerics condemned many tales as superstitious humbug and, later, the enlightened intelligentsia could freely look down upon these “popular” tales. Thus it was possible, on the eve of the nineteenth century, for a few romantic souls, searching for new artistic values and national cultural resources, to rediscover the “folk” and their tales, for the circulation of these tales, both orally and in popular chapbooks, had definitely moved to the lowest classes of the population.
Folktales are traditional both in the sense of belonging to a relatively stable body of tales that are in circulation – the tale tradition – and in the sense that these tales are told in communities where traditional community organisation and work habits provide occasion for the telling of tales and thus the need for the tales.
The tale narrator learns his tales from previous tellers and polishes his own tales within a community that is familiar with the tales and knows what it likes to hear. The latitude given to individual creativity and expression varies within these boundaries.
Who were the folktale narrators and when did they tell their stories? Research on the European tale tradition as it existed from the mid-nineteenth century through the middle of the twentieth century suggests that storytelling communities included migrant working communities of craftsmen, soldiers, sailors, lumbermen, herdsmen, and those of similar occupations; village communities during communal work and winter evenings; and involuntary communities in hospitals and jails. What all of these communities have in common is long periods of communal idleness or quiet activity, which provides a need for entertainment and thus an occasion for storytelling. Stories might be told in turn, with everyone required to participate, or a gifted narrator might be invited along to shorten a long hour. Wandering craftsmen might trade an evening’s entertainment for a place to sleep and a meal. In the nineteenth century, journeymen from the Slovak part of the Austro-Hungarian empire travelled far and wide within the empire and beyond. In the course of their wanderings, they would meet other craftsmen and hear their tales – one manner in which the stories circulated. We know, for example, that Slovak potters and tinkers were popular storytellers in Transylvanian villages. Thus, the heroes of “The Tinkers and the Evil One” were probably carrying home new stories along with their hard earned wealth.
The world of traditional Slovak folktales is a marvellous world, full of daring heroes and terrible, twelve-headed dragons, clever maidens and lucky fools, tales that will give you a shiver, and tales that will have you laughing hard.
It’s a world that will be familiar to readers who know the tales of the Grimm brothers and the Russian tales of Afanas’ev, but strangely so, for the heroes and villains have new names and act, if sometimes only slightly, differently. In short, it’s a new world to the English-speaking reader, a parallel universe with its own population, geography, and language. This world was embodied in its classic form in collections of tales compiled, edited, and published by Pavol Dobšinsky between 1858 and 1883. Few have been translated since then, and yet these Slovak tales deserve a place alongside the major collections of world folklore, for they are tales of the highest quality.
The population of the world of Slovak tales is as diverse as any. Some of its heroes are larger than life, such as Lomidrevo, a.k.a. Valibuk, whose names could be rendered Breakwood and Rollbeech. Like all epic heroes, Lomidrevo is born under unusual circumstances, demonstrates his unusual potential early, and visits the underworld in the course of his adventures, emerging triumphantly. But while the adventures may be familiar from other heroic tales, in the final combination, Lomidrevo is a Slovak hero. Heroes may also be smaller than life, like Johnny Pea (Janko Hraško), or the person everyone least expects to be heroic, like Popolvár, the youngest brother who sits on the stove all day and is ignored. Of course, when we translate his name – Ashboy – we realize that we are in familiar territory, for he is the male counterpart to Cinderella. Popolvár is perhaps more popular than his female counterpart in Slovakia, but Popoluśka (Cinderella) nonetheless has her place in Slovakia as elsewhere. In fact, Dobšinský published three tales based on what is recognized as the Cinderella plot. One tale combines the Cinderella motif with a series of events that our readers will recognize from “Hansel and Gretel,” a combination that is often found in the Central European region. Aside from these traditional fairy tale heroes, there are also the heroes of other types of tales, like Kubo, the fool who, by luck or by chance or even through plays on words, turns his mistakes to his own advantage. There is also the murderous Mataj, whose tremendous sins are overcome only by a more incredible penance.
Of course, heroes need helpers. Where would Cinderella be without her fairy godmother? Maruška, in the story “Salt over Gold,” depends on the help of a wise old woman, one of the closest figures to a fairy godmother in these tales. A much more common helper in Slovak tales is the grey-headed old man, in whom Dobšinský, a Lutheran minister, saw the mythological picture of the primeval Slavic God. But they are not the only helpers, for animals can be helpers, too, as well as fish and ants. Perhaps the most important animal helper in Slovak tales is the fairy horse, for which Slovak has asingle word, tátoš, borrowed from the Hungarians, who, after all, swept into the Danube River basin centuries ago on horseback. The heroes often receive magic objects from their helpers, including golden wands, magic rings, and sabres.
Heroes are necessary because there are villains. Evil stepmothers dot the landscape of Slovak tales just as in other fairy-tale worlds, as do supernatural characters from folk superstition, including witches and warlocks, dwarfs and dragons, and even the devil himself. Unlike the red devils of Germanic tradition, the Slovak devil is black and hairy, with pointed ears, horns, a cow’s tail, and horse’s hooves. While the devil causes humans harm, he often appears dull-witted and all-too-human in these tales, but he can also appear as a dangerous foe, overcome only by the help of god.
Dragons have one, three, six, nine, twelve, or even twenty-four heads and are often the sons or helpers of witches. They travel on winged fairy horses and demand maidens as a sacrifice or keep them captive in the underworld.
Another character from the underworld is Laktibrada (Elbowbeard), the dwarf, “a span of a man with a beard to his elbow.” Normally cruel and lying, he can be made to help if one discovers his weakness – his beard.
Tale Genres
Of course the essential nature of the tales varies for different types of tales, and the reader should be aware of the boundaries between them in order to better orient himself in the world of Slovak tales. The most common tales in Dobšinský’s collections are fairy tales proper, or, as some folklorists prefer, wonder tales, since fairies actually appear rarely in this type of tale. It is unlikely that these tales were the most widespread in the oral tradition when these tales were collected; humorous tales probably reigned supreme then as they do today. The longer and more complex wonder tale requires special conditions for its telling, including an audience that is open to its fantastic content. However, the early collectors focused on the wonder tale because of its obvious aesthetic qualities as well as their belief that this type of tale preserved the ancient mythology and beliefs of the Slovak nation.
Wonder tales take place in an unspecified place and tune and follow a hero as he overcomes various obstacles. The hero comes into contact with supernatural beings who serve either as helpers or as villains to be overcome, sometimes with the help of magic objects. The stories often begin with the hero leaving home and end happily, often in a wedding. The characteristic charm of these tales may be a result of the fact that the natural and supernatural exist side by side, undifferentiated. No hero ever gasps over a miracle in a wonder tale, for the fantastic is as common as the everyday. In fact, they expect and rely on the supernatural, like the two parting brothers in “The Enchanted Forest,” who drive their knives into a tree and expect to see either blood or water when they pull them out, which will indicate to them the fate of the other.
Many have seen in the wonder tale the victory of good over bad and beauty over ugliness, and thus have been tempted to ascribe a certain morality to the wonder tale. While the wonder tale does prefer sharp oppositions and while good characters do often triumph over bad, especially in tales involving an evil stepmother, one cannot speak of the moral character of the tales in general.
Villains like dragons and witches are often quite human and potentially sympathetic characters – the dragons even keep bees and play cards.
Moreover, the dragons keep their word, while the maidens lie and deceive to get away from them. Defeated dragons can even become helpers. But listeners and readers identify with the heroes and not their obstacles, no matter how sympathetic they may be. The wonder tale requires that the hero emerge victorious. Sometimes the hero’s siblings fail for no apparent reason, so that the hero—usually the youngest sibling—has to save them, and sometimes the hero has to lie or mistreat someone to accomplish his goals. In general, it is better to say that wonder tale heroes always triumph, much to the delight of the audience, and leave judgements about their morality aside. Also characteristic of the wonder tale is a certain abstraction of style, including the predominance of certain cardinal numbers: three, seven, and multiples of three. Scenes and actions are often repeated three times.
Novelistic tales are in some ways closely related to wonder tales, but insofar as the fantastic element is almost entirely removed, they can also stand as the antipodes to the wonder tale. The time and place remains undefined for these tales, but the setting—Slovak towns and villages—reflects the everyday life of the common person. Like wonder tales, novelistic tales delight in contrasts, although here the peasant is more frequently contrasted with the judge and merchant than with the king. Some elements of the fantastic can still be found in adventure tales, but the hero overcomes the obstacles most often by his own wit and imagination, rather than through the help of supernatural beings and objects. The language of novelistic tales is less formulaic in general, including a less frequent use of opening and closing formulae, and relatively simple. There is often an element of humor.
Humorous tales are closely related to novelistic tales, but emphasise typical situations and characters and the humor that arises from them. This is the home of heroes like Kubo and the foolish woman who destroys everything, but nonetheless wins riches. Humorous tales are and were widespread and common in Slovakia, and are well represented in the manuscript collections of the students of folk tales. But Dobšinský, in his publication, ignored humorous tales.
The early collectors of folktales had serious political and cultural goals that folktales were supposed to help fullfill, including providing a basis on which a literature and a nation could be built, and thus had little interest in frivolous and sometimes obscene tales. Only much later did Dobšinský come to appreciate the humorous tale, of which he included a few examples in his later publication.
Final thoughts
When these folktales were being collected, they were considered national treasures, just as they are today. Then, the collectors believed that the wonder tales held the key to the ancient past of the Slovak nation, both its history and its beliefs. Dobšinský believed the wonder tale reflected the historical events of the ancient past only symbolically, but was keen to decipher the beliefs of the Slovaks’ ancestors from these tales. Today folklorists are far more careful in interpreting the wonder tale, because of the way the story form shapes the material drawn from social reality. Now these stories are considered national treasures both for the way they embody traditional societal values and, more importantly, for their aesthetic qualities, particularly the language of the tales. In most cases, Dobšinský bears final responsibility for this language, and not the folk narrators. Dobšinský published these tales at a time when the Slovak literary language was still being formed, and the tales certainly influenced the final form the standard language took. In fact, his entire generation of writers clearly benefited from their participation in the collecting of tales as students, both in the poetics they practiced and in the very natural Slovak language they employed. Dobšinský hoped to provide reading material for all, not just the highly educated, in order to inculcate the habit of reading in the nation. He published the tales following the forms of the written norm and left only a few humorous tales completely in dialect. But he did not over-correct; he left numerous dialectal terms and archaisms in all the tales in order to give a better sense of place and character. The result is a rich and subtle Slovak drawn from the language of the people and their environment.
Sources:
1. Linda Dégh, Folktales and Society: Storytelling in a Hungarian Peasant Community
2. Viera Gašparíková, Encyklopédia l’udeovej kultúty Slovenska
3. Stefan Krčmery, O poesii našich povestí
4. Max Lüthi, The European Folktale: Form and Nature