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The fragments of Ephippos’ Geryones include a long description of a huge fish cooked by Geryones in a correspondingly oversized casserole (fr. 5). This kind of description is amply paralleled in folktales from around the world concerning gigantic objects. Stories of this type were widely diffused already in antiquity, both in Greece and in the Near East. It is likely that Ephippos’ passage was inspired by the popular narrative tradition of his time. Comparison with the folktale material helps understand the context of fr. 5 and its function in the play. Various traditional elements of Geryones’ myth (his gigantic size, herds of oxen, far-off island, and the cup of Helios used to reach it) are comically reflected in Ephippos’ text, intermingled with folktale motifs. As usually in folk tradition, the description of the giant fish may have been a false tale. It would doubtless stimulate the appetite of Heracles, the central hero of the play, and incite him to travel to Geryones’ land; but the hero would be finally disappointed of the huge meal he expected (a common motif in Attic comedy). Fr. 3 from the same play indicates that “Heracles losing his meal” was a recurrent Leitmotiv in the plot.
Eredeti népmesék [Original Folktales] ( A rany L. 1862 ), edited by László Arany, was published in 1862, and is still one of the most significant and influential collections of Hungarian folktales. The volume garnered unanimous
Villányi , Péter (coll., ed.): Galgamácsai népmesék és mondák 1–4. [Folktales and Legends from Galgamácsa 1–4] . Új magyar népköltési gyűjtemény XXVII. Budapest . Akadémiai . 2022 . 3495. ISBN 978 963 454 683 2 After two decades, a new member
In the article, the author examines the characteristic features of epic fairy-tale of the two largest ethnic groups of Ukrainian Carpathians, i.e. Ukrainians and Hungarians. The folklore of the region has its own peculiarities. The natural and geographical features of the region, trades and crafts, in particular shepherd culture, historical events, entrance to different states are represented in the folklore. At the same time, the fairy-tale tradition of the region has its own ethnolocal specification, includes various linguistic and folklore dialects, the emergence of which was also influenced by other ethnic (Hungarian, Polish, Romanian, Slovakian, Gypsy, etc.) borrowings which were adapted to withstand local forms.
periods and project the events and characters that appear in them to the broader Soviet context, thus creating interpretations of the meaning of these animation movies. Within a number of these studies there is a focus on how folktales are used in the
editions with varying content during the lifetime of the brothers. Not only did their text formation practice led to the creation of a collection of texts with a huge impact on European culture, by creating a written form of folktales, they also created a
Unknown collectors, unknown collections? I shall attempt a brief review of 19th-century collections of, or including, folktales 3 by seeking to answer the following questions: who was the
László Arany (1844–1898) was only 18 when the anthology Eredeti népmesék [Authentic Folktales] ( Arany L. 1862 ) was published under his name – a collection which contemporaries saw as “the best told Hungarian folktales
out in the field of historical folklore text research, and primarily the examination of the methodological history of the collection and transcription of folktales (summarized in: Domokos 2015a ), with certain restrictions, their applicability might
Abstract
The role of charms in Iranian belief narratives remains largely unexplored. Hereby, I attempt a preliminary survey. First, I examine the text of the Iranian national epic, the Shahname of Ferdowsi (X–XI century A.D.), in which the word afsun denotes charm or magic spell. In contemporary folktale texts (I mainly rely on the voluminous Dictionary of Iranian Folktales), an Arabic loan-word verd (which also means a kind of prayer) is used to mean a charm which facilitates supernatural results such as shape-shifting, transformation or miraculous healing. Ritual prayer (namaz) and supplication (do’a) also function as charms in folk narratives. I also give a brief overview of the Iranian folklore scholarship.
