Jump to content

The Horse-Devil and the Witch

Add links
From Wikipedia, the free encyclopedia

The Horse-Devil and the Witch or The Horse-Dew and the Witch[1] is a Turkish fairy tale first collected by Hungarian Turkologist Ignác Kúnos in late 19th century.

The tale belongs to the international cycle of the Animal as Bridegroom or The Search for the Lost Husband, wherein a human princess marries a supernatural husband, loses him, and goes on a quest to find him. According to scholars and local folktale catalogues, the supernatural husband may appear in the shape of a horse in Turkey and nearby regions.

Sources

[edit]

The story was first published by folklorist Ignác Kúnos in Turkish as Az ló-ördög,[2] in Hungarian as A ló-ördög és a boszorkány,[3] and in German as Der Ross-Dew und die Hexe.[4]

Translations

[edit]

The tale also appears in German as Der Dew in Rossgestalt ("The Horse-Shaped Dev").[5]

The tale was also translated into English as The Horse and the She-Devil,[6] and The Princess, the Horse and the She-Devil.[7]

Summary

[edit]

Before he travels afar, the padishah orders his daughters to groom his favorite horse. The eldest daughters are rebuffed by the animal, and only the third daughter is able to groom and feed it. Her father notices their approximation and marries her to the animal, while the elder sisters are married to the Vezir and to the Sheik-ul-Islam. The youngest princess moves out to the stables, and discovers the horse is actually a human at night, promising to be quiet about it.

When her father organizes a tournament, the horse husband takes off his horse skin and joins it as a rider, eventually defeating and unhorsing his brothers-in-law. This repeats for the second day of the tournament. On both occasions, the elder sisters admire their respective husbands' bravery, mocking their cadette for her marriage to the horse-husband. On the third day, the horse husband gives her three strands of his hair to his wife to summon him whenever she may need help. He goes to the tournament. Proud of his deed and cajoled by her sisters' endless mockery, the princess betrays his secret and he disappears.

She seeks him out on a long quest and reaches a mountain. She burns one of the hairs he gave her and he appears. They embrace and he tells her this mountain is the abode of his witch mother and the creature may kill her. So, to protect her, he transforms her into an apple to hide her inside his mother's house. The horse-husband brings her in, but his ogress mother senses a human smell nearby. The horse-husband makes his mother promise on the egg not to harm, and introduces his wife to her.

The prince (in snake form) coils around the princess (in tree form) and faces his Dev-mother. Illustration by William Pogany for a 1913 book.

At first, the ogress mother assigns her simple tasks, but, wanting to take her revenge on the human princess, orders her to sweep and not sweep. The princess burns her husband's hairs and he appears with advice: she is to sweep the room and not sweep the courtyard. After doing so, the ogress suspects her son had his hand in teaching her how to pass the task. Next, the ogress orders the princess to fill three vases with her tears; once again, she burns her husband's hair and he appears with guidance: fill the vases with water and sprinkle some salt on them.

Thirdly, the ogress orders the princess to prepare some pancakes for her, but she cannot find any ingredients. At this moment, the horse-husband is away, but he appears suddenly and says his mother will stop at nothing to destroy them. Thus, they make their escape from the witch by transforming into objects: first, they change into a swimming bath (the princess) and a bath attendant (him), then into a spring (her) and a person drawing water (him), and finally into a tree (the princess) and a serpent coiled around it (the horse prince). The ogress mother reaches the pair and realizes she cannot attack the tree without harming her son, but requests that her son shows her his wife's little finger, so she can let them be. The princess shows her little finger, which is swallowed down by the ogress mother. The creature leaves them be, and they return to the princess's kingdom, where they celebrate a wedding, the Dew-son's talisman being destroyed.[8][9]

Analysis

[edit]

Tale type

[edit]

The tale belongs to the cycle of stories classified in the international Aarne-Thompson-Uther Index as ATU 425, "The Search for the Lost Husband", and subtypes related to the Animal as Bridegroom cycle.[10]

Motifs

[edit]

The heroes' Magic Flight

[edit]

According to Christine Goldberg, some variants of the type show as a closing episode "The Magic Flight" sequence, a combination that appears "sporadically in Europe", but "traditionally in Turkey".[11] As their final transformation to deceive the ogress mother, the princess becomes a tree and her supernatural husband becomes a snake coiled around it.[12]

The horse husband

[edit]

According to Richard McGillivray Dawkins, variants with the horse as the animal husband were found in the Balkans, in Turkey and among the Romani from Bulgaria.[13] Likewise, scholar Jan-Öjvind Swahn [sv] asserted that the animal or supernatural husband appears as a horse in tale type 425A (see footnote "a") "in the Orient".[14] In addition, Swahn identified a motif he named "favourite horse desires the king's daughter", which he associated with his type A (see below).[15]

Turkologist Iya Stebleva Vasilyevna, by comparing Turkish tales Çember-Tiyar and Bileiz, suggests a mythic approximation between the horse and the deva (Turkish: div).[16]

Variants

[edit]

Turkey

[edit]

In the Typen türkischer Volksmärchen ("Turkish Folktale Catalogue"), by Wolfram Eberhard and Pertev Naili Boratav, both scholars listed the variants with the horse husband under one type: TTV 98, "Der Pferdemann" ("The Horse Man"),[a] which corresponded in the international classification to tale type AaTh 425.[18][b] In a later book, Boratav stated that the Catalogue registered 25 variants, but six more had been collected since its publication.[19]

In most of the variants collected, the supernatural husband is a horse, followed by a man with a donkey's head and a camel. In other tales, he may be a snake, a frog or even Turkish hero Kaloghlan.[20]

Çember-Tiyar

[edit]

Folklorist Pertev Boratav collected a Turkish tale titled Çember-Tiyar, translated to German as Tschember-Tiyar and to Russian as "Чембер-Тияр". In this tale, a sultan with three daughters marries the two elders to human princes. As the youngest is still single, she is the only one to give grapes to their favorite horse and the only one he responds to affectionately. The sultan marries his third daughter to the horse, who is an enchanted prince. She promises to keep his secret. On a tournament, the horse prince appears in red vestments on a red horse and defeats his brothers-in-law, and on the next day on white garments. She betrays the secret and burns the horse skin. The enchanted prince becomes a dove and flies away. The princess follows after him and reaches the house of an ogress (a dev), his mother, who orders her to perform difficult tasks for her, including sweeping and not sweeping the floor, getting a sieve from a distant neighbour, filling a teapot with her tears and filling mattresses with bird feathers. Finally, Çember-Tiyar's mother betroths him to another girl; on the wedding day the ogress mother ties the princess to a pole and places ten wax candles on her fingers and one on her head. As she begins to be set on fire, Çember-Tiyar replaces her for his bride and the couple escape in a "Magic Flight"-type sequence, by throwing objects behind them, and lastly, by turning themselves into a tree (the princess) and into a snake coiled around it (Çember-Tiyar).[21][22][23]

At Koca

[edit]

Turkish folklorist Naki Tezel [tr] published the tale At Koca, translated into English as "The Horse who was in Love" and into German by Otto Spies [de] as Der Pferdemann ("The Horse Husband").[24] In this tale, a judge has three daughters and a horse that eats only hazelnuts and roasted raisins. However, the animal looks emaciated and sick. A doctor states that it is in love, so the remedy is to find him a bride. The horse chooses no human maiden, but the judge's youngest daughter. They marry and she discovers he is a human prince named Tahir Bey. Tahir tells her that, when she goes to the bath house, to endure the any mockery her sisters and friends may throw her way for marrying an animal. Nevertheless, one day she decides to tell them he is an enchanted prince, and for them to see him with their own eyes. The horse overhears her words, and returns to his homeland. When she returns home, her husband has disappeared. She goes on a quest for him, first accompanied by a regiment of soldiers, then on her own. Finally, she reaches a plain with two houses, one of gold and the other of silver. She talks to a coming servant who is getting water for their master (Tahir), and the judge's daughter drops her ring in the water jug. Tahir notices the ring and brings his wife to his house. He warns the judge's daughter that his mother is a Dev (in the German translation; ogress in the English translation) that may devour her, but manages to tame his mother long enough to introduce the human to his mother. The next day, Tahir's mother gives the girl a sieve of onions and orders her to peel and not to peel them. The second day, the Dev-mother gives her a bowl of laundry and orders her to wash and not wash it. Tahir Bey advises his wife what to do. Wanting to get rid of his daughter-in-law, the ogress sends the girl to the ogress's sister to retrieve a flute and a drum - a trap set to kill the maiden. Tahir Bey gives his wife a ring, and tells her to leave it on a desk, exchange the animals' fodder (hay for a cow, bone for a dog), get the instruments while his aunt is away and flee. Lastly, the Dev-mother places a cousin of Tahir's in place of the judge's daughter and forces the human girl to stand behind a door, be quiet, and hold candles on her fingers, otherwise the Dev will devour her. The judge's daughter's fingers begin to burn as the candles melt in her hands, and she cries. Warned by his true wife's wails, Tahir Bey notices his mother's deception, places the candles on his cousin's finger, and takes his human wife away from his mother. The Dev-mother enters the room and notices that her son escaped, jumps onto a jug and rushes after him. On her pursuit, Tahir Bey and his human wife transform themselves in objects: first, into a fountain (the girl) and a jug (Tahir); an orchard (the girl) and a gardener (Tahir); a bride (the girl) and a priest (Tahir). Their last transformation is into a tree (the girl) and a snake coiled in its branches (Tahir). The Dev-mother stops by the tree, Tahir turns back into a human and kills his mother. Free at last, Tahir takes his human wife back to her father.[25][26]

The Princess and the Red Horse Husband

[edit]

In a tale collected by Barbara K. Walker with the title The Princess and the Red Horse Husband, a padishah summons his three daughters to plan their weddings: they should stay at the palace's balcony and throw a golden apple at their prospective husbands. The elder sisters are betrothed to humans; the youngest throws a ball and hits a red horse. She repeats the action, with the same results. She marries the red horse. That night, he reveals he is human, after all, but begs her to stay as a horse during the day and not to reveal anything to her sisters, for he is "the fairy giant king's son". One day, her sisters mock her again for her strange choice of husband, and she, fed up, decides to show them the truth, by having them spy on him through a keyhole. The sisters convince her to burn his horse skin; he becomes a dove and flies away. She asks her father to fashion a pair of iron shoes and decides to go after him. After a hole is made in her iron shoes, her husband appears and turns her into an apple, to bring it to his mother's house. He hides her for some time, but one time advises her to nurse from his giant mother's breasts when she is kneading dough. She does and his mother warms up to her. Her son (Shah Selim) comes up with a false story that the princess is their maid, now that he is to be married to his cousin. The giant mother orders her to fill mattresses with feathers, and to go to the aunt's house to get the bread griddle. Her husband, Shah Selim, advises her on both occasions: in his aunt's house, she must open a closed door, feed correctly a horse and a dog, take the griddle and escape from the house. At last, the Shah Selim's wedding comes, and, after the ceremony, his giant mother forces the princess to bear ten candles, one on each finger, for the whole night near the married couple. Shah Selim advises her to wait until the candles have melted enough and to smear it on the bride's face. She does and the couple escape on a pair of horses. His father notices his son's absence and chases after the couple; Shah Selim and the princess transform into things to trick the pursuer. Finally, they turn into a stick and a snake coiled around it. This time, Shah Selim's mother arrives and, seeing the objects, hesitates, for she might hurt her son. So she returns home and lets them be.[27]

The Girl and the Horse

[edit]

In a Turkish tale collected by Russian philologist Nikolai K. Dimitriev [ru] with the title "Девушка и конь" ("The Girl and the Horse"), a padishah asks his daughters to look after his favourite horse. Only the youngest is able to give water and food to the animal. Seeing the relationship between both, he decides to marry one to the other. The girl comes to live in the stable with the horse, who is the son of a deva. At night, the stable becomes a palace for them. One day, the horse assumes human shape and joins his brothers-in-law in a game of throwing darts. The princess's sisters mock her for her animal husband and praise their human spouses. On the next day, the horse prince gives three tufts of hair to his wife. On the third day, fed up with the incessant mockery, she reveals the truth about him and he disappears. The princess decides to go after him. One day, she reaches the foot of a mountain, burns one of the hairs and summons her husband. He comes to her and tells her his deva family lives in that mountain. He turns her into an apple and takes her into their home. He makes his mother promise not to harm her and shows her his wife. The deva mother forces the girl to do chores: to sweep and not sweep, and to fill two vases with her tears. The last task for her is to bake a pie, even though she cannot find any ingredient in the house. They decide to escape and his family pursues them. The princess and her husband disguise themselves as different objects to elude them: first, into a bath house (her) and a bath house guard (him); then, into a spring (her), while he assumes another appearance with a jar in his hand; lastly, into a tree (her) and a dragon coiled around it (him).[28] The tale was also classified as Turkish type TTV 98 (see above), with the episode of "The Magic Flight" (ATU 313).[29]

The Stone of Patience

[edit]

In a Turkish tale translated into Russian language as "Камень терпенья" ("The Stone of Patience"), war breaks out between two kingdoms, and a padishah is worried that, with the deaths of many young men, he might not be able to secure husbands for his three daughters: Snow-white Rose (or Silver Girl), Crimson Rose and Golden Rose. One day, the girls stroll in the garden, and lament over the fact that, despite their beauty and grace, something is still missing. The gardener overhears them and advises the following: each is to pluck a similarly coloured rose from a rosebush (representing each daughter), place it on a platter with a pomegranate, and send a slave dressed in similar clothes with the platter to a person named "Черный дядька" ("Black Old Man"). The "Black Old Man" divines the girls' intention and explains to the padishah they want to be married.

The padishah decides to set a test: shoot three silver arrows at random at three different directions; whatever they land, there they shall find their husbands. The youngest's arrow lands in a mountain named Kafadagi, just before the realm of the divs. The padishah's wife gives her daughter a stone of patience and sends her on her way. The princess finds her silver arrow in the middle of nowhere, and weeps for her sad fate, but the stone of patience tells her to wait and have patience. Trusting the stone's advice, she finds a hidden trapdoor, with a fireplace inside. She makes herself at home, and goes to find food. She fails, but sees a golden pheasant with some herbs in its mouth. She thinks about hunting the bird, but lets it be. The next day, the golden pheasant takes off its wings and becomes a human knight. He introduces himself as Kojabey, and wants to befriend the princess. He summons a crystal palace, which the princess believes to be a mirage, a magic trick at first, but trusts Kojabey and enters. After they sit in a room, the princess tells her story to Kojabey, and the man reveals he comes from a land famous for its jigits, he comes from a family of wizards, and he changes forms from day to day. They fall into a routine: Kojabey is an animal by day in the vastness of the desert, and at night becomes a man and spends time with the princess in the magical palace. After a few years and 40 days, a messenger named Keloglan visits the princess bearing good news: her sisters have given birth to her nephew and niece, and her father is holding a festival to celebrate the occasion. The princess and Kojabey agree to go to the festival.

Kojabey turns into a pigeon and is carried by the princess to her kingdom. The princess goes to meet her sisters, who mock her raggedy clothes. The princess tries to save face and lies to them that her husband is a merchant. The princess then spends the night in the stables with the pigeon-shaped Kojabey, who tells her that he will take part in the equestrian competition to teach her sisters a lesson: in the first day, he comes as white rider on a white horse; in the second, as a golden knight; and on the third, as a blue knight. During the three days competition, the mysterious jigit defeats the others, to the crowd's amazement. Although she promised Kojabey to keep his secret; the princess, fed up with her sisters' mockery, reveals the knight in blue is her husband. Suddenly, a bloodied dove perches near her, berates her action, and tells her to find him wearing seven iron shoes and an iron cane. She travels high and low for Kojabey, and stops to rest by a fig tree. The ground opens and two dwarven appear, one black-haired and the other white-haired, and comment about Kojabey's illness, and the only cure: water from the Fountain of the Silent Ones. The princess finds the fountain, says a prayer and takes the water with her.

She reaches Kojabey's country and cures him with the water. After curing him, she is treated as a guest of honour in his house, but his mother listens to a secret conversation between the girl and Kojabey, and learns she was responsible for her son's suffering. Kojabey's mother then forces the princess on tasks for her son's upcoming wedding to his cousin: first, she is to build a mill in the Beshkkaya rock; then, to sweep the rooms, fill mattresses with feathers, and pots with honey and oil. Kojabey guides her in fulfilling the tasks. Next, his mother orders her to go to a tellibey, her nephew, who lives in a mountain near Karadag, and get from him a 40-string saz. Kojabey instructs the princess: she is to compliment two rivers (Mysmyl and Mundar) filled with poisonous water; walk in thorns and pretend they are rose petals; compliment an owl by saying it is a nightingale, talk to his cousin and wait until she gets the saz. She follows the instructions and retrieves the instrument. During the wedding ceremony, the princess pours out her woes to the stone of patience, which bursts apart from her anguish. Kojabey enters her room and decides to escape with her. He shapeshifts into an eagle and takes the princess on his wings.

As they fly through the air, they are pursued by his relatives. To elude their pursuers, they shapeshift into a spring (the princess) and a golden ladle (Kojabey); then into a rose garden (the princess) and a garden-keeper (Kojabey); and finally into a rosebud (the princess) and a yellow snake coiled around it (Kojabey). His mother tries to persuade him to come back with her, but Kojabey, still in snake form, confesses that he taught his wife the secrets of the peris and the patience of the divs; she taught him to cry and laugh like a human being; that by "adding a human soul" into their lineage, they can become humans, and that he prefers that fate instead of living like a semi-human. His mother takes it all in, gives her blessing to their union, and asks Kojabey to be henceforth named Sabur-Khan ("King of Patience"), and his wife Sabur-Khatun ("Queen of Patience").[30] This tale was classified by Hungarian ethnographer Ákos Dömötör as Turkish type EB 98.[31]

The Spotted Deer

[edit]

In a tale translated by folklorist Otto Spies [de] with the title Der gescheckte Hirsch ("The Spotted Deer"), originally published by Ali Rıza Yalgın,[32] a padishah has three daughters. Each of the princesses orders the Wasir to give a melon to their father, to see their marriageability. The padishah, then, summons every man and youth from the kingdom to the palace, so that his daughters can choose their husbands by throwing apples. The elder two throw theirs and find two Wasir sons as bridegroom, and the youngest throws hers to a person named Keloğlan ("Bald-Headed"). The youngest throws her apple again, and again it falls near the same person, so they believe he is her destined mate. They marry. After they enter the bridal chambers, the youth takes out a feather and shakes it. He becomes a young man. The princess asks him about his origins, and he answers he is called Alageyik ("spotted deer", "fallow deer"), the son of the Dev-mother ("Dewenmutter") from Mount Kâf; his mother is the Sultana ("Sultanin") Tepegöz, who rules over 18 mountains; and tells her not to tell the secret, lest he vanishes and she has to seek him.

One day, the padishah becomes ill, and his doctor prescribe he should drink deer milk to cure him. So his three sons-in-law are sent for the cure, Keloglan on a lame mule, and the other two on fine horses. Keloglan burns a feather, teleports to Mount Qaf, gets the deer milk and brings it to his father-in-law. The other two sons-in-law bring milk that is either too sweet, or to bitter, but the milk Keloglan brought heals the king. Later, the padishah organizes an equestrian game with javelins, and a mysterious youth takes part in the festivities, amazing the padishah with his prowess. The youngest princess reveals her husband's secret. For this, her husband does not return home at night, and she decides to seek him out with iron shoes and an iron cane.

The princess passes by the Copper Palace by the Copper Mountain, where no one knows the "Emir of Mount Kâf" (her husband), and by the Silver Mountain, where she is directed to the land of the Dews, in Mount Kâf. The princess stops by a fountain in a village. Meanwhile, her husband, the Emir, goes to fetch water from the fountain, and sees his wife. He turns her into a ball of yarn and brings it to his house, where he announces to his mother that he found a maidservant in need of work.

The next day, his mother, who is a man-eating creature, gives the princess a broom decorated with pearls and gemstones and commands her to sweep a room. The princess gets the broom, but it "dissolves" in her hands. Her husband comes to her, uses a feather and the broom sweeps the room. The next day, the Dev-mother orders the princess to fill two vases with her tears. The Emir tells her to mix salt in water. On the third day, the mother orders the princess to go to her sister and get from there some musical instruments for her son's upcoming marriage. The Emir instructs the princess: close an open door and open a closed one; give the grass to a horse and meat for the dog; drink from a fountain of blood and wash her face in a fountain of pus; enter his aunt's house and, while she is away sharpening her teeth, get the bright box and flee. The princess follows the instructions to the letter and brings it to the Dev-mother.

Finally, the Dev-mother decides to marry her son, the Emir, to another Dev-woman. That same night, the Emir takes his human wife and flies away on a flying jug. His mother goes after him in another. The Emir sees her and turns his wife into a poplar tree and himself into a snake coiled around the tree. The Dev-mother tells the pair he wants to give her son a kiss; the Emir, metamorphosed into a snake, spits venom at his mother's mouth and bites her tongue, and she dies. The Emir and his human wife return to her father's kingdom, where they learn the padishah died, but wanted his third son-in-law to ascend to the throne after him.[33]

The Padishah's Little Daughter and the Horse at the Stables

[edit]

In a tale from Serik, published in 1961 in the journal Türk Folklor Araştırmalar ("Turkish Folklore Studies") with the title Padişahın Küçük Kızı ve Tavladaki At ("The Padishah's Little Daughter and the Horse at the Stables"), a padishah has three daughters, and each announces their suitors: the elder wants to marry the vizier's elder son, the middle one the vizier's youngest son, and the youngest a horse at the stables. Despite some mockery, she is dead set on her choice and takes care of the horse, grooming it and feeding it grapes. The story then explains that the horse is in fact the son of the Queen of the Peris, who cursed her son to become a horse for seven years. One day, the time of the curse expires and the horse changes into a youth right in front of the princess's eyes. The youth calms her by explaining he was the horse, changed into that state by his mother's spell. He then asks her to accompany him back to the land of peris. The princess gleefully accepts and flies with him to his mother's house. After they land, the Queen of the Peris greets her son and asks him who is his female companion, a human. To avoid his mother's anger, the youth spins a story that he brought the girl as a female servant to work as a turkey-herd for them.

After seven years, the Queen of the Peris is preparing her son's wedding to a female peri - the reason why he was cursed in the first place - and orders the human girl to fill jars with her tears, since the wedding guests drink salt water at the ceremony, while the rest of them take part in the wedding procession. The youth excuses himself and rushes to the princess to teach her how to fulfill the task: sprinkle salt in the water. Next, the Queen orders the girl to fill mattresses with bird feathers. The youth leaves the procession again and gives the princess a feather; she is to burn it to summon all birds, which will give her their feathers. Lastly, the procession arrives, and the Queen lights ten candles on the princess's fingers, for her to hold them all night. All the while, the peri youth is reading a book, and his bride enters the chambers. Some time later, while his peri bride is asleep, he takes the candles from the human princess's hands and tosses them on his bed, then turns into a horse and rides away with her. Back to the bride, she burns to death in a fire that also destroys the castle. The Queen of the Peris sends her sisters after them, but the youth and the princess disguise themselves as a farmer and a field, and a mason and wall to fool their pursuers. Finally, the Queen herself goes after them, and they turn into a sapling (the princess; "fidan", in the original) and a black snake (the youth; "kara bir yılan", in the original). The Queen menaces them, but, seeing the snake coiled around the tree as to protect it, she leaves them be and gives them her blessing. The youth and the princess return to her kingdom, where they marry.[34]

The Green Horse

[edit]

In a Turkish Anatolian tale collected by Necati Demir with the title Yeşil At ("Green Horse"), a padishah has three daughters. At one time, the monarch sets them to be married by casting three arrows at random: whomever it lands next to, they shall marry them. The elder throws her and lands near the vizier, while the youngest throws her and it lands next to a grazing green horse. She repeats her action and it still lands near the green horse. The princess out to the stable and a handsome youth comes out of the green horseskin, stating he is her bridegroom. The princess is happy and is given his ring. Later, the elder princess's wedding is celebrated which the youngest princess attends, where she is endlessly mocked for her choice of equine bridegroom. On the middle princess's wedding, the cadette retorts there is a bridegroom inside the horseskin. His talisman breaks, and she goes to meet the human Green Horse in the stables. He admonishes her, saying she can only find him after walking in iron sandals and with an iron cane, then departs. The princess dons the iron garments, dresses like a Keloglan and goes on a journey.

She journeys far and wide until she reaches a fountain, noticing her iron shoes are worn out. Suddenly, a maidservant is nearing the fountain to fetch water for Green Horse and tries to shoo the princess away, who is in her Keloglan disguise. She asks for water to drink, and drops the ring inside the jug. The maidservant brings the water jug to Green Horse and he notices the ring, then asks about whoever is at the fountain. The servant says that Keloglan is at the fountain and Green Horse asks to bring them in. Green Horse and the princess reunite, but he takes her in as a gooseherder to hide her, since Green Horse was also betrothed to a Dev's daughter. Since they are to be married in one week's time, the Dev suspects a closeness between Green Horse and the Keloglan, and gives the princess a mattress to be filled with bird feathers for the bride. Green Horse tells her to shout at the birds to take their feathers, for Green Horse is getting married. The princess does as instructed and fulfills the task. Her husband Green Horse also gives her almonds and nuts with beautiful dresses inside, which the Dev steals from her to give to his daughter.

The wedding day comes, and the Dev asks Green Horse to decapitate Keloglan and serve their head on a plate. Green Horse beheads the Dev's daughter, heats up the oven and tosses the head in a cauldron to boil, then escapes with his human wife. Meanwhile, the Dev eats the head, unaware it belongs to his dead daughter. The Dev goes to check on the Green Horse and the bride and finds the beheaded daughter, then, in a rage, flies after the fleeing couple on a cube. Back to the fleeing couple, Green Horse, the princess and his horse change shape to fool the Dev: first, they become a miller (Green Horse), wheat (princess) and a millstone (the horse), then into a gardener (Green Horse), a wall (the princess), and a tree (the horse). The Dev falls for their trick twice and goes looking elsewhere. However, siince the princess is pregnant, she gives birth to a baby boy on the road. The third time, the Dev comes after them, and Green Horse turns the boy into a red rose, and himself, the princess and the horse into cobwebs to protect him. The Dev tries to pluck the rose, but its thorns hurt his hand and he retreats, flying away on his cube. Green Horse and his family return home and live in peace.[35]

Other tales

[edit]

Eberhard and Boratav summarized a tale from Sivas that is classified as ATU 432, "The Prince as Bird", but its ending sequence follows type ATU 425B, "The Son of the Witch" (or TTV 98).[36] In this tale, the heroine, at a gypsy woman's request, asks her father to bring her a candlestick as a returning gift; the candlestick serves to summon the mysterious prince; the heroine's jealous elder sisters place glass shards to hurt the prince; the prince flies back home and the heroine goes after him; she overhears the conversation between two giants, kills them and takes their ashes to cure the prince. After she cures the prince, his mother sets her on difficult tasks: to sweep the floor, collect many feathers and get a sieve from a distant house. After the tasks, the heroine is almost burned to death during the prince's wedding night, but they escape in a Magic Flight sequence, their last transformation being a tree and a snake.[37]

From the Uysal-Walker Archive
[edit]

The Uysal–Walker Archive of Turkish Oral Narrative collected other tales with the horse husband. In one, The Trials of the Padişah's Youngest Daughter, collected in 1976 from teller Mehmet Karakaş, from the Urfa Province, the padishah's three daughters buy watermelons that represent their marriageability: the first melon is overripe, the second half-overripe and half-edible, and the third just right. Seeing this, their father arranges for them to throw apples at their prospective suitors from a balcony. The third does not toss hers, and tells her father her suitor stationed his horse near the palace. They take the horse to the stables. A parade of young men passes in front of the palace, but her suitor apparently isn't there. She goes to the stables and pets the horse, who tells her that she must hide him for three Fridays, otherwise he will disappear. Her sisters' weddings occur on the next two Fridays, and during the festivities a mysterious young man appears and wins the games, who the princess recognizes as the horse. On the second occasion, the princess tells her sisters the young man is the horse, then cries over her decision. The next day, the horse vanishes, and a little bird lands on her shoulder, telling her she will find him after she wears down a pair of slippers and an iron cane. She wanders through a copper well house, a silver fortress and a gold fortress. In the gold fortress, she sees a girl fetching water from the well and begs for a drink, in the name of Emirilâm. The servant gives her the jug and the princess drops her ring inside it. Her groom recognizes the ring and brings the princess in, but he warns his is a family of giants, and shrinks her size to hide her from them. The youth hides her for three days and on the fourth she appears, since the giants cannot harm her after three days. Now at a normal size, the giantess mother forces the girl to do some chores in preparation for her son's wedding to his cousin: to gather downy feathers for the marital bed; and to bring her "the song and the word". The youth advises her on both occasions: to get the song and the word, she must enter the forest and give the correct food for two animals (meat to the dog, and grass for the horse), switch the positions of two carpets (one hanging on the wall, the other lying on the ground); enter a palace, get the box and do not open it. She follows his instructions, but she opens the box: violin players and tambourine players leap out of it, but the horse youth, Emirilâm, locks them inside the box. Finally, Emirilâm's wedding is here: his giant mother ties the princess to a tree in the courtyard and sets a fire at the foot of the tree. Emirilâm finds and unties the princess, and both escape in a cloud of smoke. His giantess mother pursues the couple, who disguise themselves as a pool and a fish. The giantess mother fails in finding them, and explodes in anger. Emirilâm and the princess reach her father's kingdom and marry.[38]

Turkish Cyprus

[edit]

In a Turkish Cypriot tale titled Mavi/Yeşil Melek ("Blue/Green Angel"), a padishah her three daughters who are of marriageable age. The monarch realizes he cannot marry them off to any suitor without angering any family, so he decides to leave it to chance: the princesses are to choose their husbands by throwing arrows at random amidst a crowd. Thus, many suitors pitch their tents, and the princesses throw their arrows: the elder two's land near tents with human suitors inside, while the youngest's lands near the door of a barn, where a lame horse lies inside. Thinking she made a mistake, she throws it twice more, and twice more it lands near the barn. The princess then moves out to the barn to live with the horse. After midnight, the horse neighs and turns into a human prince, who introduces himself as Yeşil Melek ("Green Angel"), cursed into that equine state, and the princess must not reveal his secret, lest he disappears. Some time later, the elder princesses are married in grand ceremonies that last for three days, and riding games are played with the guests. On the first day, a mysterious knight appears in red vestments and on a red horse, then a knight in blue on a blue-black horse comes on the second day. The elder princesses marvel at the knight's beauty, and mock their cadette for marrying the lame horse. On the third day, the Green Horse appears at the ceremony in human form, with green garments and a black horse. The night before, he gave the princess a ring. Back to present time, the princess reveals the green knight is the lame horse, called Green Angel. She then returns to the barn and cannot find her husband. After forty days, she asks the padishah to give her iron sandals and an iron staff, then begins a journey to find Green Angel. She wanders up and down, until she finds a maidservant climbing down the Copper Mountain and carrying a copper basin. The princess asks her if she saw Green Angel, and the maidservant says the water is for him. The princess tries to follow the girl, but loses her tracks. The next day, the princess finds another maidservant, this time climbing down the Silver Mountain and carrying a silver basin, again to fetch water for Green Angel. Again, the princess loses track of the maidservant. Finally, the princess sights a maidservant coming from the Golden Mountain carrying a golden jug, then drops her ring inside the jug. The maidservant brings the jug to Green Angel, who notices the ring and goes outside to reunite with his wife. He admonishes his wife for telling the secret, and warns that his dev-mother will devour her, so he turns her into a pin and carries her home. Inside the house, the dev-mother smells a human scent, which Green Angel dimisses. After his mother goes to sleep, Green Angel urges the princess to escape with him in the dark of night; he turns into a horse and she rides him into the wilderness. The next day, Green Angel's female relatives (aunt and mother) chase after him, and Green Angel turns himself and the princess to trick them: first, he turns the princess into a rose tree and himself into a snake coiled around it. His aunt recognizes this form as the couple and goes to pluck the rose, but the snake hisses in protest. The aunt leaves them be. Later, his own mother chases after them, and Green Angel turns himself and the princess into a fountain and a jet of water. The dev-mother leaves them be, and the couple return to the padishah's realm, where Green Angel resumes his human form in green clothes and remarries the youngest princess.[39] According to the informant, the tale is known both as Mavi Melek ("Blue Angel") and Yeşil Melek ("Green Angel").[40]

Other regions

[edit]

Europe

[edit]
Greece
[edit]

Italian author Luigi Bruzzano [it] published a Greek variant from Calabria with the title Il bel Cavallo (Greek: Το μανόν άλογον, romanized: To máñon álogo; English: "Handsome Horse"),[41] in journal La Calabria – Rivista di Letteratura Popolare. in this tale, a childless couple prays to God to give them a son, even it is a horse, so a horse is born. Just three days after being born, the horse asks his parents to find him a wife. They first bring him daughters of poor people, whom he kills. Finally, he is married to a suitable bride. He tells her his parents will throw a party; she will be there and he will come wearing blue garments; he will kiss her and, although his mother will beat her, she is not to reveal the man is their son. This happens two more times; him wearing green garments on the second time and white garments in the third time. The girl tells them the man is their son, the horse, but they only find the horse skin. Some time later, the girl looks for him with 7 iron canes and reaches the house of a Maga, who threatens to devour her, but her daughter takes her in as a servant. She then forces her to separate a mix of barley and lentils. Il bel Cavallo sees her and offers his help in exchange for a kiss; she declines, but he still helps her by summoning ants to separate the grains. Next, the Maga orders her to wash, rinse and dry a pile of clothes, then fill a mattress with bird feathers, and get the musical instruments from the house of the Maga's sister. Il bel Cavallo warns her that as soon as she enters the Maga's sister's house, the daughter will be by the oven; the human girl is to toss the daughter into the oven, get the musical instruments from under the oven and escape. She follows the instructions and gets the instruments, but, when she reaches the Maga's house, she lets the instruments escape from her hands. Il bel Cavallo places it into her hands. Finally, the Maga marries Il bel Cavallo to a cross-eyed woman, and forces the girl to hold two candles at the foot of the bridal bed.[42] Richard McGillivray Dawkins reported the same tale, which he translated as Handsome Horse: the girl is married to an enchanted prince named Handsome Horse, who disappears "after the Cupid and Psyche manner". Afterwards, the girl finds him again, in his mother's house, an ogress. The ogress betrothes her son to a witch's daughter, and forces the girl to do impossible tasks.[43]

Albania
[edit]

Albanian folklorist Zihni Sako [sq] published an Albanian language tale titled Shamakadija, translated into Hungarian as Samakadi.[44] In this tale, a king has three daughters and marries his elder two to a pasha's son and a minister (vizier)'s son. As for the youngest princess, when asked about her suitor of choice, she just declares she will marry a colt. The king questions her choice, but indulges her by saying she can marry the horse if it can eat barley and oats from her hands - instead of its usual diet of raisins and hazelnuts -, she can marry the colt. Of course, it happens so, and the third princess eventually marries the horse and moves out to a palace. As for the horse, it takes out the horseskin at night and becomes a handsome youth named Shamakadija. Some time later, war breaks out, and the king's sons-in-law join in the fight. Shamakadija joins in the fight in human form, battles his father-in-law's enemies, and is injured in the hand. The king dresses his wound, and he returns home. Shamakadija's two brothers-in-law wish to return home with some spoils of war, see Shamakadija with some enemies' heads, and ask him for some of them. Shamakadija agrees, as long as the brothers-in-law allow to be marked with his seal on their heads. A deal is made, and the three men march triumphantly to the king's castle. After they return, the king greets his sons-in-law, and the third princess tells her father the third man is her husband Shamakadija, the colt, who was the war's true victor. The king takes in the information, but decides to invite all three of them for a celebratory feast some days later. During the feast, the princess's elder sisters, after learning the truth of their brother-in-law, suggest the princess burns his horseskin to keep him human forever. Moved by their words, she asks her husband for the keys to their palace, since she forgot something. Shamakadija gives her the keys, but, suspecting something about his horseskin, warns her against doing anything (since the tale explains he is the son of a kuçedra). Despite his words, the princess goes back home and burns the horseskin, then returns to the feast. Suddenly, a kuçedra appears and takes Shamakadija with them. The princess cries over her actions, then puts iron shoes and begins a quest for him, following the directions her husband gave her. She walks and walks until she reaches the top of a hill, then calls out to Shamakadija. He climbs up the hill and they meet, him warning her about the danger of the kuçedra. The princess states she wants to be with him, despite the danger, and he turns her into an apple, then goes back home. Soon, the kuçedra, his mother, enters the house and smells a human's scent. Shamakadija makes his mother swear on his head not to harm his human wife, and changes the apple back into the princess. The kuçedra, secretly infuriated, begins to plot how it can devour the girl, and forces her on impossible tasks: first, she orders her to bake and not bake bread for them; next, to fill a bottle with her tears; thirdly, to clean the grains of wheat in the granary for a cake for one of the kuçedra's daughters. Shamakadija helps her in the tasks: first, he prepares the dough for her; next, he advises her to fill it with water and salt; thirdly, he summons the birds to clean out the grains. Still wanting to kill her daughter-in-law, she conspires with her sister and orders the princess to go there and ask for some bread dough to bake a wedding cake for one of her three kuçedra daughters. Before she goes to his aunt's house, Shamakadija intercepts her and advises her to clean out an dirty oven in the path, compliment a broken stone and use it on her face; compliment a broken gate. The princess follows his instructions, and a cat and mouse jump out of the oven and promise to help her. Past the stone and the gate, she reaches the kuçedra's sister's house and asks for the bread dough. The kuçedra's sister retires to a room to sharpen her teeth, while the mouse appears with the dough. The princess takes it and rushes back to the kuçedra's house, despite the creature's sister commanding the gate, the stone and the oven to stop her. Finally, the kuçedra orders the princess to make a glass room whose walls are strong enough to not break. As his mother leaves, Shamakadija tells his wife to gather a broom, some oil, soap and a comb in a bag, for they will escape, since this last task is impossible to fulfill. They flee from his family, but the kuçedra and its daughters chase after them. To stop his family, Shamakadija asks the princess to throw behind them the oil, the soap and the comb, which create a ravine, a slippery road and rivers. Lastly, they throw behind them the broom to create a large stream to separate them. Free at last, Shamakadija and the princess go to her father's castle and live their days in happiness.[45]

Bulgaria
[edit]

The horse-prince as the enchanted husband also appears in the Bulgarian tale corpus, under tale type 425B, "Момъкът с конската глава"[46] or "Der Junge mit Pferdekopf"[47] ("The Youth With the Horse's Head"). In the Bulgarian type, the heroine journeys after her husband and finds him in the house of his relatives, where she becomes their maidservant. Once there, she has to fulfill impossible tasks for his mother or his sister, which she accomplishes with her husband's help. At the end of the tale, the heroine and her husband interrupt his wedding to another bride and flee from his family by changing into objects and animals.[48][49]

In a Bulgarian Romani variant, E Batiméskeri Paramísi ("The History of Batim") or Batim The Horse (A Story from Bulgaria),[50] a king owns a horse, which is the son of an ogre. One day, the servant who grooms it notices that when the horse saw the eldest daughter of the king, it became enamoured, and it won't eat its rations. The king orders his daughters to line up in a queue, to be given leblebi with nuts and to feed the horse with it; the animal only eats from the eldest's apron. They marry. The princess is despondent at first, but the horse takes off his equine disguise and becomes a man. He tells her that he will appear the next day as a fine knight with green garments and horses, and that she must not tell her sisters anything; otherwise, she will have to search for him in the land of Čine-ma-čine-džéza-davúlja. She obeys at first. The day after, he appears on a white horse and she lets her family in on the secret. He disappears, and she goes after him with shoes of iron and a staff of iron. She arrives at the land of Čine-ma-čine-džéza-davúlja, and stops by a fountain. She sees a servant fetching water and asks her to whom it is the jug; she answers it is for Batim (the horse's name). She drops her ring inside the jug and the servant brings the jug to Batim, who recognizes the ring. The princess meets him again, but he warns that his mother will eat her, and turns her into a pin to protect her. Batim asks his ogress mother to swear on his name not to harm her, and he shows her his human wife. The ogress mother forces her to do difficult tasks: to fill a tank with tears, to fill 41 rooms with feathers and let half remain over, to invite the ogress's sister and her brothers for a wedding feast - all accomplished with her husband's guidance. Lastly, Batim and his wife escape from the ogress by turning into objects to fool her. The third time, Batim turns into a flower and the wife into a rose-bush. The ogress comes to the rosebush and hesitates, for she might pick one or the other and hurt her son. She concedes defeat and lets her son live with his human wife.[51]

Linguist Gyula Németh collected a tale from the Turkish population of Vidin, Bulgaria, with the German title Die Königstochter und Bilejiz ("The King's Daughter and Bilejiz"),[52] which was translated as "Дочь падишаха и Билеиз" ("The Padishah's Daughter and Bileiz"). In this tale, a padishah is going on a trip, and asks his daughters to look after his horse and feed him dry oats. The horse only responds to the youngest. When the padishah returns, he learns of the horse's affectionate treatment of his third daughter and marries them. After the wedding, the girl begins to cry, but the horse takes off the horse skin and reveals he is a human named Bileiz. The next day, he appears as a knight in red garments on the padishah's tournament, and on the day after in black clothes. In case anything happens to him, he gives his wife a signet ring as a token. She tells to her family the knight is the horse, and he disappears. She then decides to go after him, by wearing an iron amulet and using an iron cane. She reaches a fountain, with an inscription nearby: "Bileiz". She sees a servant girl fetching water and begs for some to drink. She drops the signet ring on the servant's jar. Bileiz finds his wife, takes her home and explains his mother is a seven-headed deva and might devour her. His mother appears and smells human flesh, but Bileiz spins a story about hiring the girl as another maid. So, the deva mother forces her to sweep half of the floor and not sweep the other half, to cook half of the meat and not cook the other half, and go to a relative of the deva to get a plank and some bread dough. Finally, the deva mother orders her to carry ten candles on her fingers during Bileiz's marriage to another bride. The padishah's daughter vents to her husband about his mother, and he tells her he planned their escape: when she is holding the ten candles, she must drop them and jump on a winged horse, while he rides a normal one. It happens as he describes. While on the run, his deva relatives come after them in the shape of a fog. They transform into a minaret and a muezim, a watermelon and a gardener, a snake and a rosebush. Bileiz's sister hesitates in cutting either the snake or the rosebush, and returns home.[53]

In a Bulgarian tale titled "Царската дъщеря с железните дрехи" ("The Tsar's Daughter With Iron Clothes"), translated into Hungarian with the title A vasruhás cárkisasszony ("The Tsar's Daughter with Iron Garments"), an old woman takes a czar's son as companion. One day, the youth wants her to ask for the tsar's daughter's hand in marriage. However, the tsar wants the youth to perform some tasks first: to erect a crystal palace that opens and closes on its own; a garden where it is raining, it is sunny, the birds sing and the trees bloom by themselves, and to build bridges across all lakes and rivers overnight. The tsar consents to their marriage. They marry and live with the old woman. One day, the tsar invites his daughter and son-in-law to his palace. The son-in-law takes with him a giant horse's head that he carelessly deposits somewhere in the palace. The servants, who were baking bread, see the horse's head and throw it in the oven. The prince warns his wife that the horse's head should not have been burnt, and that he will disappear; if she ever wants to find him again, she must wait 9 years, then ask for iron garments, iron shoes and an iron cane to be made; finally, she must always journey towards the sunrise, and look for him, whose name is "Öreg" ("старецътъ", in the original Bulgarian). Time passes and she goes on a journey: she visits three old women with giant spinning apparatuses and their cannibal sons, who direct the princess to Öreg. She reaches a well, where Öreg's nine servants and nine slaves come to fetch water. The princess begs for a drink and drops her ring in a jug. Öreg recognizes the ring and takes the princess into his castle as a servant. His mother suspects something amiss between her son and the girl. One day, Öreg is to be married to another woman; the man and the princess conspire to torch the bride's veil to cause a distraction during the wedding. The princess becomes a bridesmaid; when everyone is kissing the bride's veil, she asks to kiss it too, and torches the veil with a candle. Öreg and the princess escape from the wedding, but his family comes after them. The pair transforms into a lake (the princess) and a duck (him); a melon orchard (the princess) and a park-keeper (him), and finally a blackthorn bush with a thorny branch (the princess) and a giant grass snake wrapped around it (him). His mother ceases her pursuit and lets them be.[54][55][56]

Caucasus Mountains

[edit]
Ossetian people
[edit]

In a tale from the Ossetians titled "Злотокудрый юноша" or "Златокудрый юноша" ("The Golden-Haired Youth"), an Aldar announces his intentions to marry his three daughters. The two elders find suitable husbands for them, while the youngest points to a lame and lousy horse grazing at the edge of the village. She marries the horse, and, at night, the horse takes off his skin to become a golden-haired youth, but, in the morning, wears the horseskin again. This goes on for some time, to the girl's grief. She consults with a кулбадагус ("kulbadagus"), who advises her to burn the horseskin. The girl lights a fire and tosses the animal skin to burn it. Her husband awakens, admonishes his wife, turns into a bird and flies away. Time passes, and the girl is grieving for her lost husband, when she sees a raven fly over. She asks the raven if it saw a golden-feathered bird. The raven says it didn't. Later, she asks a swallow, which also does not know, and finally a sparrow. The sparrow tells her it saw the golden-feathered husband, and that she can go to where he is by baking three honey cakes and praying to God to change her into a sparrow. The girl follows the instructions, turns into a bird, and, guided by the little bird, reaches a distant house. The sparrow says it must depart, but before it leaves, it advises the girl to enter the house where her husband is and to toss her ring into his jug. The girl turns back into human, enters the house and sees her husband; she tosses her golden ring inside the jug and hides. The husband wakes up, sees the ring in the jug, and beckons three times for his wife. She appears after the third call. The husband warns her that his mother, a creature with large tusks, will eat her, and bids her to hide. The mother enters the room and tells the golden-haired youth to show her where the girl is, since she can smell her. The youth makes his mother promise on her nameless sister not to harm his wife. The girl is introduced to her. Some time later, the mother forces her to clean their large house, by weeping over the floor then sweeping. Her husband tells her to sprinkle the floor with saltwater first. The mother then goes to sleep. The youth takes a dagger and kills the creature. Several skulls (from her victims) roll around the place. The youth takes a whip and cracks it against the skulls to resurrect the slain people. The youth explains that the creature was not his mother, but a witch who turned him into a lame horse.[57][58]

Asia

[edit]
Western Asia
[edit]

According to researcher Samia Al Azharia Jahn, the supernatural bridegroom may appear as a horse, a goat or a camel in Arab variants.[59]

Israel
[edit]

Professors Yoel Shalom Perez and Judith Rosenhouse report an archival Jewish-Spanish tale from the Israel Folktale Archives (IFA), numbered IFA 12744. In this tale, titled The Camel Prince, a princess is married to a camel that becomes a man at night and remains an animal during the day. One day, the camel prince fights in a war to protect his father-in-law's kingdom and the princess betrays his secret, prompting his disappearance. The princess goes on a quest and does find him, but in the land of demons. There, the queen of demons takes the princess as a servant and orders her to perform some tasks, including getting a sieve by going to another demon's house. The queen of demons weds her own daughter to the camel prince, and forces the princess to dance with candles at the ceremony. However, the princess throws the candles at the demon bride and escapes with the camel prince. To delay their pursuers, the princess and the camel prince shapeshift into objects: a farmer and a plow, a baker and an oven, and a mosque and a muezzin.[60]

Central Asia
[edit]

Gabriele Keller argues that type TTV 98, "Pferdemann" (see above), is also "verbreitet" ("widespread") in Central Asia.[61]

Scholar Isidor Levin translated and published a tale collected from a Tajik informant in Üratübe, modern day Istaravshan. In this tale, titled Sultan-scheckiger Hund ("Sultan Spotted Hound"), a man lives with his daughter. One day, the daughter enters a room and sees many flies buzzing around a youth lying there. She spends 39 days in this vigil, and buys a slavewoman to cover for her for a few hours, while she goes to comb her hair. The youth awakes on the 40th day and mistakes the slavewoman to be his saviour. The youth takes the slavewoman as his bride and the other girl as a servant. Later, he goes to a bazaar and buys a dress for his bride and a marble stone to the girl. The girl pours out her woes to the marble stone, and the youth, who is a prince, discovers the truth and weds the girl. Some time into their marriage, the prince tells that he becomes a man at night and a hound during the day. The girl, now his wife, tells his secret to the people and burns the dogskin. He vanishes and she goes after him. She finds him again and is taken to his stepmother's house. The sultan's stepmother gives her two large pots and orders her to fill both with her tears. Her next task is for her to wash a piece of black felt white. Thirdly, the Sultan's stepmother sends the girl to her sister. The sultan asks her about this task and advises her: his wife is to go through the gates, exchange the correct fodder for the animals (clover for the horse, bones for the dog), wait to see if the aunt is asleep, then get a mirror, a comb and a whetstone. The girl gets the objects and brings to the Sultan, who was waiting for her. The sultan's aunt commands the door to stop her, to no avail. The sultan and his wife escape from his stepmother and her sister as quickly as they can, both sorceresses in pursuit.[62]

See also

[edit]

Footnotes

[edit]
  1. ^ In his monograph about Cupid and Psyche, Jan-Öjvind Swahn acknowledged that Turkish type 98 was his 425A, that is, "Cupid and Psyche", being the "oldest" and containing the episode of the witch's tasks.[17]
  2. ^ Some publications use the initials EB or EbBo to refer to their catalogue.

References

[edit]
  1. ^ Kúnos, Ignaz. Forty-four Turkish Fairy Tales. George G. Harrap & Co. London. 1913. pp. 70-76.
  2. ^ Kúnos, Ignácz (1887). Oszmán-török Népköltési Gyűjtemény (in Turkish). Vol. I. Budapest: Magyar Tudományos Akadémia. pp. 103–106 (Turkish text for tale nr. 23).
  3. ^ Kúnos, Ignácz (1899). Török népmesék [Turkish Folktales] (in Hungarian). Budapest: Hornyánszky Viktor Akadémiai Könyvkereskedése. pp. 64–71.
  4. ^ Kúnos, Ignaz (1905). Türkische Volksmärchen aus Stambul [Turkish Folktales from Istambul] (in German). Leiden: E.J. Brill. pp. 87–94.
  5. ^ Agcagül, Sevgi; Ragagnin, Elisabetta. Türkische Volksmärchen. München: Deutscher Taschenbuch Verlag, 2008. pp. 131-138.
  6. ^ Brockett, Eleanor. Turkish Fairy Tales. Muller, 1963. pp. 42ff. ISBN 9780584623987.
  7. ^ Mayo, Margaret; Ambrus, Victor G. The Book of magical horses. New York: Hastings House, 1977. pp. 12-20.
  8. ^ Kúnos, Ignácz (1901). Turkish fairy tales and folk tales. Translated by Bain, Robert Nisbet. London: A. H. Bullen. pp. 74–83.
  9. ^ Kunos, Ignaz (1913). Forty-four Turkish fairy tales. London: G. Harrap. pp. 70–76.
  10. ^ Dollerup, Cay; Holbek, Bengt; Reventlow, Iven and Rosenberg Hansen, Carsten. "The Ontological Status, the Formative Elements, the “Filters” and Existences of Folktales". In: Fabula 25, no. 3-4 (1984): 243. https://doi.org/10.1515/fabl.1984.25.3-4.241
  11. ^ Goldberg, Christine. (2000). "Gretel's Duck: The Escape from the Ogre in AaTh 327". In: Fabula 41: 47 (footnote nr. 20). 10.1515/fabl.2000.41.1-2.42.
  12. ^ Eberhard, Wolfram; Boratav, Pertev Nailî. Typen türkischer Volksmärchen. Wiesbaden: Steiner, 1953. p. 113.
  13. ^ Dawkins, Richard McGillivray. Modern Greek folktales. Oxford: Clarendon Press. 1953. p. 62.
  14. ^ Swahn, Jan Öjvind. The Tale of Cupid and Psyche. Lund, C.W.K. Gleerup. 1955. p. 230.
  15. ^ Swahn, Jan Öjvind. The Tale of Cupid and Psyche. Lund, C.W.K. Gleerup. 1955. p. 212.
  16. ^ Васильевна Стеблева, Ия. Очерки турецкой мифологии: по материалам волшебной сказки. Восточная литература РАН, 2002. pp. 36ff. ISBN 9785020183100.
  17. ^ Swahn, Jan Öjvind. The Tale of Cupid and Psyche. Lund, C.W.K. Gleerup. 1955. p. 23.
  18. ^ Eberhard, Wolfram; Boratav, Pertev Nailî (1953). Typen türkischer Volksmärchen (in German). Wiesbaden: Steiner. pp. 113–116 (tale type), 421 (table of correspondences). doi:10.25673/36433.
  19. ^ Boratav, Pertev Nailî. Türkische Volksmärchen. Akademie-Verlag, 1970. p. 348.
  20. ^ Eberhard, Wolfram; Boratav, Pertev Nailî. Typen türkischer Volksmärchen. Wiesbaden: Steiner, 1953. pp. 113-114.
  21. ^ Dollerup, Cay; Holbek, Bengt; Reventlow, Iven and Rosenberg Hansen, Carsten. "The Ontological Status, the Formative Elements, the “Filters” and Existences of Folktales". In: Fabula 25, no. 3-4 (1984): 243-244. https://doi.org/10.1515/fabl.1984.25.3-4.241
  22. ^ Стеблева, Ия Васильевна. Турецкие сказки. Сост., пер. с турецк., вступит. статья и примеч. И.В. Стеблевой. Мoskva: Наука, 1986. pp. 105-109 (Russian translation), 380-381 (source for tale nr. 27), 393 (classification). (In Russian)
  23. ^ Boratav, Pertev Nailî. Türkische Volksmärchen. Akademie-Verlag Berlin, 1968. pp. 57-63. ISBN 978-3-05-000384-9.
  24. ^ Spies, Otto (1986). Türkische Märchen (in German). Köln: Didierichs Verlag. pp. 140–145.
  25. ^ Tezel, Naki. “İstanbul Masalları”. In: Halk Bilgisi Haberleri Sayı 72, Ekim 1937, pp. 240-243.
  26. ^ Tezel, Naki. Fairy Tales from Turkey. Routledge & Kegan Paul, 1960. pp. 79-86.
  27. ^ Walker, Barbara K. The Art of the Turkish Tale. Volume 1. Texas: Texas Tech University, 1990. pp. 12-18. ISBN 9780896722286.
  28. ^ Дмитриев, Николай Константинович. "Турецкие народные сказки". Пер. с турец. Н.А. Цветинович-Грюнберг. Ред., вступит. статья, комм. Н.К. Дмитриева. Типологич. анализ сюжетов и библиогр. Исидора Левина. Moskva: Наука. 1967. pp. 290-294 (Tale nr. 50).
  29. ^ Дмитриев, Николай Константинович. "Турецкие народные сказки". Пер. с турец. Н.А. Цветинович-Грюнберг. Ред., вступит. статья, комм. Н.К. Дмитриева. Типологич. анализ сюжетов и библиогр. Исидора Левина. Moskva: Наука. 1967. p. 467.
  30. ^ Aganin, R.; Al'kajeva, L.; Kerimov, M.; "Турецкие сказки" [Türkish Fairy Tales]. Moskva: Izdatel'stvo vostocnoj literatury, 1960. pp. 28—66 (Tale nr. 2).
  31. ^ Dömötör Ákos. "VII. Besprechungen: Aganin, R.; Al'kajeva, L.; Kerimov, M. Tureckije skazki. [Türkische Märchen] [Review]". In: Fabula vol. 6, no. 1, 1964, pp. 77-78. https://doi.org/10.1515/fabl.1964.6.1.77
  32. ^ Yalgın, Ali Rıza (1932). Cenupta Türkmen Oymakları (in Turkish). Vol. 1. Istanbul: Bürhaneddin Matbaası. pp. 84–87.
  33. ^ Die Silberpappel mit den goldenen Früchten und andere türkische Volksmärchen erstmals übersetzt von Otto Spies. Textbearbeitung von Manfred Hesse. Wiesbaden: B. Heymann Verlag, 1976. pp. 8-11 (German translation), 111 (source).
  34. ^ YILDIZ, Hüsnü. "Serik’ten Masallar: Padişahın Küçük Kızı ve Tavladaki At”. In: Türk Folklor Araştırmaları, 7 (147), Ekim 1961. pp. 2540-2543.
  35. ^ Demir, Necati (2017). Anadolu Türk Masallarından Derlemeler (in Turkish). Ötüken Neşriyat A.Ş. pp. 427–429 (tale nr. 152). ISBN 9786051556260.
  36. ^ Megas, Georgios A. Das Märchen von Amor und Psyche in der griechischen Volksüberlieferung. Πραγματειαι της Ακαδημιας Αθηνων, Volume 30. Athens: Grapheion Dēmosieumatōn tēs Akadēmias Athēnōn, 1971. p. 186.
  37. ^ Eberhard, Wolfram; Boratav, Pertev Nailî. Typen türkischer Volksmärchen. Wiesbaden: Steiner, 1953. pp. 118-121 (entry "x").
  38. ^ "671.The Trials of the Padişah's Youngest Daughter". In: Archive of Turkish Oral Narrative (Texas Tech University). Date of Collection: 1976-05-07. Online: 2019-11-19. Access: 2021-11-15.
  39. ^ İyican, Fikriye (2009). Kıbrıs Türk eğitiminde sözlü ürünlerinin yeri (Thesis) (in Turkish). Lefkosa: Near East University. pp. 65–68.
  40. ^ İyican, Fikriye (2009). Kıbrıs Türk eğitiminde sözlü ürünlerinin yeri (Thesis) (in Turkish). Lefkosa: Near East University. p. 64.
  41. ^ Testi neogreci di Calabria. Parte 1: Introduzione, prolegomeni e testi di Roccaforte a cura di Giuseppe Rossi Taibbi. Istituto Siciliano di studi bizantini e neoellenici, 1959. pp. 254-261.
  42. ^ Bruzzato, Luigi. "Il Bel Cavallo". In: La Calabria – Rivista di Letteratura Popolare. Anno V, Nº. 2, Monteleone, 15 Ottobre 1892. pp. 9-15.
  43. ^ Dawkins, Richard McGillivray. Modern Greek folktales. Oxford: Clarendon Press. 1953. p. 61.
  44. ^ Pákozdy Ferenc; Schütz István. A Föld szépe: Albán népmesék [Albanian Folktales]. Budapest: Európa Könyvkiadó, 1957. pp. 76-84.
  45. ^ Sako, Zihni; et al. (Komisjoni i folklorit) (1954). Pralla popullore shqiptare (PDF) (in Albanian). N.SH.B. Stabilimenti "Mihal Duri", Tiranë: Instituti i Shkencave. pp. 66–71.
  46. ^ Даскалова-Перковска, Лиляна et al. "Български фолклорни приказки: каталог". Университетско издателство "Св. Климент Охридски", 1994. pp. 147-148. ISBN 9789540701561.
  47. ^ Liliana Daskalova Perkowski, Doroteja Dobreva, Jordanka Koceva & Evgenija Miceva. Typenverzeichnis der bulgarischen Volksmärchen. Bearbeitet und herausgegeben von Klaus Roth. Suomalainen Tiedeakatemia, 1995. pp. 89-90. ISBN 9789514107719.
  48. ^ Даскалова-Перковска, Лиляна et al. "Български фолклорни приказки: каталог". Университетско издателство "Св. Климент Охридски", 1994. pp. 147-148. ISBN 9789540701561.
  49. ^ Liliana Daskalova Perkowski, Doroteja Dobreva, Jordanka Koceva & Evgenija Miceva. Typenverzeichnis der bulgarischen Volksmärchen. Bearbeitet und herausgegeben von Klaus Roth. Suomalainen Tiedeakatemia, 1995. pp. 89-90. ISBN 9789514107719.
  50. ^ Hampden, John (1969). The Gypsy Fiddle: And Other Tales Told by the Gypsies. World Publishing Company. pp. 89–95.
  51. ^ "A FIFTH BULGARIAN GYPSY FOLK-TALE: E BATIMÉSKERI PARAMÍSI. Recorded by BERNARD GILLIAT-SMITH". In: Journal of the Gypsy Lore Society; Edinburgh Vol. 5, (Jan 1, 1911): 279-289.
  52. ^ Németh, Gyula (1965). Die Türken von Vidin: Sprache, Folklore, Religion (in German). Budapest: Akadémiai Kiadó. pp. 132–138.
  53. ^ Стеблева, Ия Васильевна. Турецкие сказки. Сост., пер. с турецк., вступит. статья и примеч. И.В. Стеблевой. М.: Наука, 1986. pp. 305-310.
  54. ^ "Приказки Бълшебни и За Животни" [Tales of Magic and of Animals]. Българско народно творчество - Том 9. Sofia: Български писател, 1963. pp. 325-330 (In Bulgarian).
  55. ^ Az utolsó sárkány: Bólgar Népmesék [Bulgarian Fairy Tales]. Fordít: Sipos István. Budapest: Európa Könyvkiadó, 1966. pp. 89-95 (In Hungarian).
  56. ^ Liliana Daskalova Perkowski, Doroteja Dobreva, Jordanka Koceva & Evgenija Miceva. Typenverzeichnis der bulgarischen Volksmärchen]. Bearbeitet und herausgegeben von Klaus Roth. Suomalainen Tiedeakatemia, 1995. p. 90 (entry nr. 1). ISBN 9789514107719.
  57. ^ "Сказки народов Закавказья" [Folk Tales of Transcaucasia]. Составитель [Compiler]: М. А. Габулов. Цхинвали: Ирыстон, 1987. pp. 397-400.
  58. ^ Byazyrov, A. (1978) [1960]. Осетинские народные сказки [Ossetian Folk Tales]. Tskhinvali: Ирыстон. pp. 71–74.
  59. ^ Al Azharia Jahn, Samia. "Männliche und weibliche Gestalten mit Eselbeinen in Volkserzählungen aus dem Nordsudan". In: Fabula 19, no. Jahresband (1978): 109. https://doi.org/10.1515/fabl.1978.19.1.102
  60. ^ Perez, Yoel Shalom; Rosenhouse, Judith (2022). Bedouin Folktales from the North of Israel. Indiana University Press. pp. 330–331.
  61. ^ Keller, Gabriele. Märchen aus Samarkand: Feldforschung an der Seidenstraße in Zentralasien; aus der mündlichen Überlieferung in Usbekistan. Druck und Werbestudio, 2004. p. 153. ISBN 9783000092282.
  62. ^ Levin, Isidor. Märchen vom Dach der Welt: Überlieferungen der Pamir-Völker. Die Märchen der Weltliteratur. E. Diederichs Verlag, 1986. pp. 94-100 (Tale nr. 11); 249. ISBN 978-3-424-00883-8.
Retrieved from "https://en.wikipedia.org/w/index.php?title=The_Horse-Devil_and_the_Witch&oldid=1260313862"