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Home , Crius, Evenus (mythology), Hyria (Boeotia), John Henry (folklore), Ladon (river of Elis), Mason Locke Weems

PUBLISHER’S NOTE

Critical Survey of World Mythology and Folklore: World matter of each essay includes reference information on Mythology, by Salem Press, covers traditional literature the author (when available), the country or culture of from a broad range of regions and cultures in the world. origin, the period in which the or tale originates, 7KLVYROXPHLVGLVWLQJXLVKHGE\FRQWHPSRUDU\SHUVSHF- and the genre. Following a standard format, critical es- tives on the cultural contexts from which mythology says provide a condensed version of the story, introduc- and folklore originate, as well as by a balance between ing principle characters and actions, developed from familiar and, for many readers, rarely read literature. In DXWKRULWDWLYHVRXUFHV7KHVHFRQGHQVHGP\WKVDQGWDOHV a period where cross-cultural understanding is particu- will prepare readers to go on to read the primary sources larly resonant, our aim is to provide students and their in their entirety. Following the overview is an in-depth teachers with an advanced analysis of stories that con- DQDO\VLVJURXQGHGLQWKHOHDGLQJVFKRODUVKLSLQWKH¿HOG tinue to hold rich cultural meaning for peoples around (DFK HVVD\ RI DSSUR[LPDWHO\ RQH WKRXVDQG WR ¿IWHHQ the world. hundred words, offers a bibliography of additional read- 7KLVYROXPHFRQWDLQVPDQ\NLQGVRIWH[WVWKDWUHSUH- ings for further research. sent myth, fairy tales, folklore, oral tales, and a hybrid of genres in traditional literature. Rather than simply SUPPLEMENTAL FEATURES categories of myth and folklore, this collection offers ‡ “Maps and Mythological Figures” presents twelve an in-depth exploration of the diversity of storytelling maps and charts detailing the cultural or geograph- that encompasses a broad realm of human experience, ic placement of many of the , authors, and cultural belief, and religion. Readers will note common tales in the volume. VXEMHFWV LQ WDOHV IURP ZLGHO\ GLYHUJHQW UHJLRQV LQ WKH ‡ ³0\WKRORJ\LQWKH&ODVVURRP´H[SODLQVPDMRUDS- world. Creation, love and loss, adventure and bravery, proaches to studying mythology and fairy tales. DQGFXOWXUDOKHURHVUHDGHUVZLOO¿QGDUHLPSRUWDQWPR- ‡ A sample lesson plan, on creation stories, accom- tifs in tales across cultures and periods. panies the essay on teaching mythology in the class- 7KHDLPRIWKLVFROOHFWLRQLVWRIXUWKHUWKHVWXG\RI URRP7KHDLPLVWRSURYLGHRQHPRGHOIRUFRPSDUD- traditional literature in cultural and literary analysis. De- tive analysis. signed for advanced high school and college students, ‡ $WLPHOLQHOLVWVPDMRUDXWKRUVSXEOLFDWLRQVDQG HVVD\VHPSKDVL]HWKHPDMRUDSSURDFKHVWRDQDO\]LQJP\- events related to mythology and traditional lit- thology and folklore, including such commonly studied erature. topics as gender, cross-cultural meaning, and religion, ‡ A chronological index of titles and a culture and among other areas of contemporary interest. New read- country index offer supplemental information on LQJVRIPDMRUDXWKRUVLQP\WKRORJ\DQGIRONORUHDUHUHS- the overall coverage of the volume. resented, from and Ovid to the Brothers Grimm and Andrew Lang. In addition, tales from American In- CONTRIBUTORS dian, African, Oceanic, and East Asian traditions, among Salem Press would like to extend its appreciation to RWKHUZRUOGFXOWXUHVDUHLQFOXGHG7KHHGLWRUV¶JRDOZDV all involved in the development and production of this to provide an inclusive collection that would serve as an ZRUN 7KH HVVD\V DUH ZULWWHQ DQG VLJQHG E\ VFKRODUV authoritative introduction to traditional world literature. and writers in a variety of disciplines in the humanities. :LWKRXWWKHVHH[SHUWFRQWULEXWLRQVDSURMHFWRIWKLVQD- ESSAY AND VOLUME FORMAT ture would not be possible. A full list of contributor’s 7KHFROOHFWLRQLQFOXGHVHVVD\VFRYHULQJPRUHWKDQ QDPHVDQGDI¿OLDWLRQVDSSHDUVLQWKHIURQWPDWWHURIWKLV WHQ ZRUOG UHJLRQV DQG WZHQW\¿YH FXOWXUHV 7KH WRS volume.

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Ancient ...... xiv Greek Mythological Figures ...... xv Mesopotamia ...... xvi Mesopotamian Mythological Figures ...... xvii Ancient India ...... xviii Hindu Mythological Figures ...... xix Europe ...... xx 7KH*UHDW)RONORULVWVRI(XURSH ...... xxi Ancient Egypt ...... xxii Egyptian Mythological Figures ...... xxiii East ...... xxiv East Asian Mythological Figures ...... xxv Central and South America ...... xxvi Central and South American Mythological Figures ...... xxvii Scandinavia ...... xxviii Norse Mythological Figures...... xxix Africa ...... xxx African Mythological Figures ...... xxxi American Indian Nations ...... xxxii American Indian Mythological Figures ...... xxxiii 7KH&HOWLF:RUOG ...... xxxiv Celtic Mythological Figures...... xxxv King Arthur's World ...... xxxvi 7KH:RUOGRI.LQJ$UWKXUDQGWKH.QLJKWV RIWKH5RXQG7DEOH ...... xxxvii

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ANCIENT GREECE

OLYMPUS PALLENE SITHONIA EPIRUS Peneius PINDUS HESTIAEOTIS AEGEAN SEA THESPROTIA MAGNESIA IOLCUS En ipeus PHERAE Acherusian Lake PHYLACE PHYTHIA MELITAEA TYMPHRESTUS PHTHIOTIS Sp erchius

ACARNANIA TRACHIS LEUCAS AETOLIA LOCRIS

helous PHOCIS DIRPHYS

Ac Evenus AMPHISSA COPAS PLEURON PARNASSUS CHALCIS ITHACA LOCRIS HYRIA THEBES CALYDON OROPOS CORINTHIAN THESPIA MARATHON CEPHALONIA ACHAIA GULF ALCYON ISLANDS MEGARNIS ERYMANTHUS CYLLENE CORINTH Itymphalion HYMETTUS Peneius Lake CORINTHIA ATTICA STYMPHALUS NEMEA SARONIC GULF ELIS Ladon ARGOLIS ARCADIA ARGOS TIRYNS PISA OLYMPIA IONIAN SEA NAUPLION LYCOSURA TROZEN TEGEA PELOPONNESE MESSENE

SPARTA MESSENIA PYLOS AMYCLAE LACONIA SEA of CRETE

TROY ANCIENT GREECE

ASIA MEDITERRANEAN MINOR SEA

CRETE

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Greek Mythological Figures

The Major Cult of the Bestiary of Ancient Greece

Koios () Aphroditê () Khimaira (Chimera) Northern cosmic pillar holding Goddess of beauty, love, procreation $¿UHEUHDWKLQJPRQVWHUVODLQE\ heaven and earth apart astride the winged horse Apollôn () Pegasus Krios (Crius) God of prophecy and , music, Southern cosmic pillar and healing Drakôn Kolkhikos (Colchian ) Kronos () Arês () Guard of the ; slain by God of time and the ages God of war, battle, and manly courage

Hyperion Kêtos Aithiopios (Ethiopian Cetus) Eastern cosmic pillar Goddess of hunting, wilderness, and A sea monster slain by animals Iapetos () *U\SHV *ULI¿QV Western cosmic pillar and titan Athênê () Lions with the head and wings of of mortal life Goddess of wise counsel, war, and eagles heroism Harpyia () Goddess of memory, words, Dêmêtêr () Directed by to steal away people and language Goddess of agriculture, grain, and from earth bread Okeanos () Hydra Lernaia (Lernaea) A primeval of the earth- Dionysos () A nine-headed water serpent slain by encircling river God of wine, vegetation, and pleasure Hercules

Phoibe () Hêphaistos () Drakôn Ismenios (Ismenian Goddess of intellect *RGRI¿UHPHWDOZRUNLQJDQG Dragon) sculpture A giant serpent slain by Goddess of female fertility Hêrê () Drakôn Ladôn (Ladon) Goddess of women and marriage A hundred-headed dragon slain by Mother of the rivers and springs Hermês () God of animal husbandry, travel, Drakôn Pterôtoi (Winged ) language, and writing 7ZRZLQJHGVHUSHQWVXVHGE\0HGHD Mother of sun, moon, and dawn to escape Corinth Poseidôn () *RGRIWKHVHDULYHUVÀRRGDQG Pythôn (Python) Goddess of natural order and divine drought A giant serpent slain by Apollo law Zeus Seirênes (Sirens) *RGRIVN\DQGZHDWKHUMXVWLFHDQG 7KUHHVHDQ\PSKVZKRVDQJWROXUH fate sailors to drown

Myth_World.indb 15 11/21/2013 1:08:33 PM NORTH AMERICA

CANADA

PACIFIC UNITED STATES ATLANTIC OCEAN OCEAN

Gulf MEXICO of Mexico

CUBA Caribbean ALASKA Sea

‹ The Fight with the Water 7KHYLOODJHRQO\KDVRQHZDWHUVRXUFHDVSULQJFRQ taining fresh and clean water. One day, however, the Monster VSULQJFHDVHVWRÀRZVRDPDQIURPWKHYLOODJHWUDYHOV upstream to see what has happened. He comes across Author: Traditional Wabanaki a tribe of amphibious people, who live along a lake of Time Period: 1001 CE–1500 CE VWLQNLQJ VOLPHFRYHUHG ZDWHU 7KH ODNH LV WKH VSULQJ Country or Culture: North America GDPPHG XS LQ WKLV DUHD 7KH SHRSOH WHOO WKH YLOODJHU Genre: Folktale that they cannot give him any water because their chief ZDQWVDOORIWKHZDWHUIRUKLPVHOI7KHPDQDVNVWRPHHW PLOT SUMMARY the chief and is brought before him, only to discover 7KH:DEDQDNLPDQJRGGlooskap is a powerful immor- that the chief is in fact a gigantic water monster. When tal hero who protects the world from evil. Considered a the man asks him to release the water downstream, the spirit and a man of medicine, he is also responsible for PRQVWHUVLPSO\ODXJKVDQGWKUHDWHQVWRNLOOKLP8QVXF making the animals that roam the earth today. For exam- FHVVIXOLQUHVWRULQJWKHÀRZRIZDWHUWKHPDQUHWXUQV SOHZKHQ*ORRVNDS¿UVWFDPHWRWKHHDUWKKHQRWLFHG to his village and reports that the situation is hopeless. that squirrels and beavers were far too large to live in the 7KH PDQJRG *ORRVNDS KRZHYHU EHFRPHV DZDUH world without causing untold damage to it. He therefore of the situation and tells the people not to despair, say- VKUDQNWKHPWRWKHLUSUHVHQWVL]HV*ORRVNDSLVEHQHYR LQJWKDWKHZLOOYLVLWWKHPRQVWHU:KHQ*ORRVNDS¿QGV lent and willing to help humanity—he created a village, the monster, the giant bullfrog laughs at his request and WHDFKLQJWKHSHRSOHZKROLYHGWKHUHKRZWRKXQW¿VK WKUHDWHQV WR VZDOORZ *ORRVNDS ZKROH 7KH KHUR EH and happily live harmony with another—but occasion- comes enraged, making himself into a giant, towering ally tires of his many responsibilities and paddles away above the monster. He gets ready for war and removes to rest in what is now Nova Scotia. a mountaintop, which he forges into a very sharp spear

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WLS7KHPRQVWHUDWWHPSWVWRHDW*ORRVNDSDQGDWKXQ- Glooskap levels a mountain peak to create a spear; when GHURXV EDWWOHHQVXHV *ORRVNDSXVHV WKHÀLQWVSHDUKH he vanquishes his enemy, he creates a slash a mile wide has created to split wide open the beast’s stomach and across the frog’s stomach, creating a mighty river that DOORIWKHZDWHUWKHPRQVWHUFRQVXPHGÀRZVGRZQVWUHDP OHDGVWRWKHVHD0HDQZKLOHKHVTXHH]HVWKHIURJGRZQ again in a great river. Glooskap takes the shrunken water WRLWVXQLTXHVL]HDQGDSSHDUDQFH PRQVWHULQKLVKDQGDQGVTXHH]HVWKHZDWHUIURPLWZLWK In addition to providing explanations for elements of great force—which is why frogs came to have bumps the natural world, the story also invites people to follow and wrinkles on their backs—eventually throwing the *ORRVNDS¶VH[DPSOH+HLVDEHQHYROHQW¿JXUHEXWWLUHV former monster into a swamp. of the people when they become insolent or self-cen- *ORRVNDSUHWXUQVWRWKHYLOODJHYLFWRULRXV7KHSHRSOH tered. When ordinary people fail to adhere to his teach- in the village, however, become rebellious, and Glooskap ings, Glooskap takes his leave of them and returns to decides not to live among them anymore. He returns to his home. Although it is implied that he will never truly the river in his canoe, leaving the village behind, as the leave humanity, Glooskap’s departure at the end of this loons and other water birds cry mournfully at his depar- story leaves the people and animals mournful. ture to the end of the world. Michael P. Auerbach,

SIGNIFICANCE BIBLIOGRAPHY 7KHVWRU\RI*ORRVNDS¶V¿JKWZLWKWKHZDWHUPRQVWHULV Bastian, Dawn Elaine, and Judy K. Mitchell. Handbook GHPRQVWUDWLYHRIWKLV¿JXUH¶VPDQ\DELOLWLHVDQGFKDU- of Native American Mythology. Goleta: ABC-, acteristics. Glooskap is both a man and a god, capable 2004. Print. of doing anything. He brings happiness and guidance “Glooskap Fights the Water Monster.” First People— to humanity and is capable of making people laugh The Legends. First People, 2013. Web. 28 Apr. 2013. DQG ORYH RQH DQRWKHU +H LV DOVR D ¿HUFH ZDUULRU LP- Leeming, David, and Jake Page. , Legends, and bued with great powers that he uses to defend the world Folktales of America: An Anthology. Oxford: Oxford against evil. Although he occasionally grows tired of his 833ULQW tasks, he never loses his love or dedication to the good Leland, Charles G. “How Glooskap Conquered the Great inhabitants of the earth. In light of these many other- Bull-Frog, and in what Manner All the Pollywogs, worldly abilities, Glooskap is similar to many legendary Crabs, Leeches, and Other Water Creatures Were Cre- heroes of ancient Greece (such as ), Egypt (in- ated.” The Algonquin Legends of New England. Bos- cluding Horus), and even the folklore of early Christian- ton: Houghton, 1884. 114–19. Print. ity (such as St. George, who slays a dragon to protect Mathis, Andy, and Marion Wood. North American Civi- townspeople and convert them). lizations. New York: Rosen, 2004. Print. However, Glooskap is also a creator. He regulates the 5DQG6LODV7HUWLXVLegends of the Micmacs:KLWH¿VK VL]HRIDOODQLPDOVHQVXULQJWKDWWKH\ZLOOOLYHLQKDU- Kessinger, 2006. Print. mony with humans. According to a continuation of this story (a version told by the Passamaquoddy and Micmac tribes), after Glooskap vanquishes the water monster, he UHWXUQVWR¿QGWKHSHRSOHRIWKHYLOODJHVRMR\IXODWOLIH ‹ George : in the water that they wish to live in it. He therefore I Cannot Tell a Lie KHOSVWKHPEHFRPH¿VKFUDEVOHHFKHVDQGRWKHUZDWHU creatures, living in the river that he created by his battle. Author: 7KLVVWRU\RI*ORRVNDSZDVUHYHDOHGWRWKHUHVWRIWKH Time Period: 1701 CE–1850 CE ZRUOGE\6LODV7HUWLXV5DQGD1RYD6FRWLDQPLVVLRQ- Country or Culture: North America ary traveling into Wabanaki territory (in a large portion Genre: Legend along the Atlantic seaboard) during the late nineteenth century. Glooskap is said to have formed many of the PLOT SUMMARY region’s geographic features in addition to reducing the Mason Locke Weems’s famous tale of George Washing- VL]HRIWKHDQLPDOVWKHUH7KLVVWRU\SURYLGHVH[DPSOHV ton and the cherry tree appears in chapter 2 of his nar- of both actions. During his battle with the water monster, rative The Life of Washington$IWHUEULHÀ\LQWURGXFLQJ

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Washington’s childhood, Weems presents truth as a HOHPHQWVRIWKHWDOHVHUYHVWRP\WKRORJL]HWKH¿UVW86 theme in the boy’s history. He praises at length the boy’s SUHVLGHQWDVDPDQRIÀDZOHVVYLUWXHIURPWKHWLPHRIKLV KRQHVW\DVWHVWL¿HGE\KLVIDWKHUZKRGHOLYHUVDVSHHFK ER\KRRG7KHLQWHQWWRP\WKRORJL]HHYROYHGRYHUVHY- in which he praises honesty and then declaims its oppo- eral years; Weems’s 1806 work The Life of Washington site. He describes truth as the best quality of youth and the GreatLQZKLFKWKHWDOH¿UVWDSSHDUHGZDVWKH¿IWK VZHDUVWKDWKHZRXOGULGH¿IW\PLOHVWRVHHDER\ZKR edition of an earlier, modestly successful biography that is so honest that every word he speaks is dependable. KHKDG¿UVWSXEOLVKHGLQ7KHHDUOLHUHGLWLRQZDV Everyone loves such a boy: parents and relatives exalt less enticingly titled The Life and Memorable Actions him endlessly and beg his peers to follow his angelic of and did not feature the legend of example. In contrast, a dishonest boy has no credibility WKHFKHUU\WUHH7KLVODWHDGGLWLRQLVRQHVLJQWKDW:HHPV and is actively shunned by other parents. invented the cherry tree anecdote. However, Robert G. Mr. Washington assures the young George of his af- Miner explains in his preface to the work that Weems fection but declares, “Gladly would I assist to nail you VRXJKW WR H[DOW DQG P\WKRORJL]H *HRUJH :DVKLQJWRQ XSLQ\RXUOLWWOHFRI¿QDQGIROORZ\RXWR\RXUJUDYH´ MXVWDVRWKHUQDWLRQVKDGGRQHZLWKWKHLUnational heroes. UDWKHUWKDQNQRZWKDWKLVVRQLVDOLDU :HHPV 7RWKLV Weems saw an opportunity to create in Washington a *HRUJHDVNVZKHWKHUKHKDVHYHUWROGOLHV7KHIDWKHUUH- YLUWXRXVKHURVSHFL¿FDOO\IRU\RXQJSHRSOHWRHPXODWH plies with great relief that George is impeccably honest, 0LQHU GHVFULEHV :HHPV¶V REMHFWLYH FOHDUO\ ³:HHPV and he condemns parents who inadvertently encourage was not concerned with reality. His ‘mishandling’ of lying by beating their children for the offense, which then the facts of Washington’s early life is a myth-handling, encourages further lying to avoid additional abuse. He DMRXUQH\EH\RQGPHUHKLVWRU\WRWKHFROOHFWLYHXQFRQ- urges young George that when he errs, he should come to scious of the nation” (ix). his father “like a little man” (9) and confess the deed, and Interestingly, Weems constructs Washington’s hero- he promises to honor rather than punish the boy. ism by underscoring the meaning of his virtue not in As evidence of George’s honesty and his father’s public but in private terms, which he claims have special sound parenting, Weems then offers the famous anec- meaning, particularly for his target audience of children. dote. At six years old, George receives a hatchet as a In chapter 1, Weems forcefully makes the argument that gift. “Like most little boys,” Weems notes, George is it is not the public life of military exploits and states- “immoderately fond” of the tool, so he proceeds to chop manship that matter but private life, because “private “every thing that came in his way” (9–10). In the family life is always real life” (4). His biography is necessary, garden, where he is accustomed to cutting his mother’s he claims, because nothing has been written of the pri- pea stalks, he turns his hatchet on an English cherry vate roles that Washington played: “the dutiful son; the tree. When his father discovers that one of his favorite affectionate brother; the cheerful school-boy; the dili- trees has been irreparably damaged, he enters the house gent surveyor; the neat draftsman; the laborious farmer; to determine who is responsible. the widow’s husband; the orphan’s father . . . and poor $W¿UVWQRRQHFRPHVIRUZDUGZLWKLQIRUPDWLRQDERXW man’s friend” (4). He argues that these private virtues the deed, but then George presents himself, and his father are important because they form the basis of strong asks him directly whether he knows who has destroyed character and all the achievements that stem from it. the tree. George does not answer immediately as he strug- Moreover, Washington’s private virtues are relevant to gles with the question, but then he looks squarely at his children because they generally care most about char- father and admits, “I can’t tell a lie, Pa; you know I can’t DFWHUDQGDOWKRXJKWKHYDVWPDMRULW\RI\RXQJSHRSOH WHOODOLH,GLGFXWLWZLWKP\KDWFKHW´  7KHIDWKHU¶V cannot hope to aspire to Washington’s great deeds, they elation at his son’s honesty is immediate and unequivo- FDQDVSLUHWRPDWFKKLVSHUVRQDOYLUWXH7KLVFODLPWR cal. “Such an act of heroism in my son,” he proclaims, “is represent Washington’s private virtue via true childhood more worth than a thousand trees though blossomed with anecdotes reveals Weems’s rhetorical effectiveness and silver, and their fruits of purest gold” (10). H[SODLQVVRPHKLVWRULDQV¶REMHFWLRQVWRWKHVHPL¿FWLRQDO nature of this biography. SIGNIFICANCE Ashleigh Imus, PhD 7KHWRQHRI:HHPV¶VODQJXDJHLQWKHVWRU\RI:DVKLQJ- ton and the cherry tree is exultant and, along with other

Myth_World.indb 19 11/21/2013 1:09:02 PM 20 Ň THE AMERICAS

BIBLIOGRAPHY Fearing for his life, Arouk’s father then orders his Cornog, Evan. The Power and the Story: How the Craft- wife and daughter to pack their belongings. Just as the ed Presidential Narrative Has Determined Political young man regains consciousness, they paddle safely Success from George Washington to George W. Bush. DZD\ IURP WKH IMRUG WKRXJK WKH\ FDQQRW LJQRUH WKH New York: Penguin, 2004. Print. man’s menacing voice threatening them, vowing that Leary, Lewis. The Book-Peddling Parson: An Account Arouk will never marry and her family will never be fed of the Life and Works of Mason Locke Weems Patriot, if they are starving. After paddling all day, the family Pitchman, Author and Purveyor of Morality to the reaches an island where there is an abandoned house. Citizenry. Chapel Hill: Algonquin, 1984. Print. 7KH\OLYHWKHUHKDSSLO\IRUDORQJWLPHDQGPDNHWKH Levy, Philip. Where the Cherry Tree Grew: The Story of island their home. , George Washington’s Boyhood Home. One day, much to her parents’ surprise, Arouk an- New York: St. Martin’s, 2013. Print. nounces that she is married, although when her father /HZLV7KRPDV$For King and Country: The Maturing ¿UVW VHHV KLV VRQLQODZ KH WKLQNV KH LV KDOOXFLQDWLQJ of George Washington, 1748–1760. New York: Harp- for the man is a tiny atliarusek, or gnome. When Arouk erCollins, 1993. Print. confesses to the marriage, the father is quite happy, es- Miner, Robert G. Preface. The Life of Washington the pecially when the gnome hunts food for them. Great. By Mason L. Weems. New York: Garland, 1977. One day the gnome says that he must leave Arouk iii–x. Print. temporarily to visit his family. Arouk and her parents 5HMDL0RVWDIDThe Young George Washington in Psy- insist upon following his kayak in their umiak. As they chobiographical Perspective. Lewiston: Mellen, 2000. WUDYHOWRZDUGWKHIMRUGRWKHUJQRPHVMRLQWKHP$WRQH Print. point, the gnomes travel under the water so they can- Weems, Mason L. The Life of Washington. 1800. Introd. not be seen, but they eventually resurface. Finally, the Peter S. Onuf. Armonk: Sharpe, 1996. Print. caravan reaches the Valley of the Caribou, where Arouk DQGKHUIDPLO\VWD\DOOVXPPHUDQG¿OOWKHLUXPLDNZLWK meat and furs. 8SRQ DUULYLQJ KRPH$URXN¶V IDWKHU KHDUV WKDW WKH ‹ The Girl Who Married families in their old village are starving to death. After some consideration, he decides to bundle up some meat a Gnome and hides and return to the village. When he arrives, rather than being greeted by grateful friends and neigh- Author: Traditional Inuit bors, he is spoken to harshly, especially by the young Time Period: 1001 CE–1500 CE man who had threatened him years earlier. He is ridi- Country or Culture: North America culed for lying about his hunting prowess and for claim- Genre: Folktale ing to have procured all that meat without a son-in-law. 7KHIDWKHUOHDYHVWKHIRRGEHKLQGLQDQJHUDQGUHWXUQV PLOT SUMMARY home furious about their lack of appreciation. When he A young woman named Arouk lives with her parents expresses his feelings, his son-in-law suggests that he LQDVHDOVNLQWHQWQHDUDEHDXWLIXOIMRUG$URXNGHVSHU- invite the villagers to their home for a feast. 7KHIDWKHU ately wants to marry, but her father has yet to meet a immediately warms to the idea. Soon the old neighbors man who is good enough for her. One day an unfamil- appear in their kayaks, including all of the young men iar man appears in his kayak and calls out to Arouk by ZKRPKHKDGUHMHFWHGIRUKLVGDXJKWHUDQGWKH\EHJLQ QDPH:KHQVKHSHHNVWKURXJKWKHWHQWÀDSKHUIDWKHU to feast on dishes made from seal and caribou. Mean- yells at the man to go away. Instead of leaving, the while, the father takes advantage of their presence and young man starts to walk right up to the tent, which proceeds to speak to them about their insensitivity, es- angers the father and incites a shoving match. After pecially regarding the treatment he received from his the father is pushed to the ground by the stranger, he daughter’s belligerent suitor. Most of the guests express throws a rock at the young man’s head and knocks him UHPRUVHDQGVKDPH:KHQKHLV¿QLVKHGKHKDVPDGH unconscious. peace with the villagers, and they with him.

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SIGNIFICANCE Rink, Henry. Tales and Traditions of the Eskimo: With a 8QOLNH,ULVKOHSUHFKDXQVRU1RUVHHOYHVWKHYHQHUDWHG Sketch of Their Habits, Religion, Language, and Oth- “little people” in European mythology and literature, er Peculiarities. 1875. Mineola: Dover, 1997. Print. gnomes do not feature as prominently in Inuit culture. Wolfson, Evelyn. Inuit Mythology. Berkeley Height: 7KHVWRU\RIWKHJLUOZKRPDUULHGDJQRPHZDV¿UVWFRO- Enslow, 2001. Print. lected by Dr. Hinrich Johannes Rink and published in Tales and Traditions of the Eskimo (1875). In Green- land, gnomes were called atliaruseks or ingnersuaks and were believed to live within rocks along the shores ‹ How Jack O’Lanterns ZKHUHWKH\LQWHUDFWHGZLWKKXPDQVDVWKH\¿VKHGDQG KXQWHGIURPWKHLUND\DNVDQGXPLDNV7KH\ZHUHPRVWO\ Came to Be benevolent creatures and were considered guardians of KXPDQVDOWKRXJKWKH\ZHUHFDSDEOHRILQÀLFWLQJKDUP Author: Zora Neale Hurston or creating unwanted mischief. Time Period: 1851 CE–1900 CE; 1901 CE–1950 CE 7KLVfolktale conveys much about Inuit family life, Country or Culture: North America marriage, and social values and the challenges to Inu- Genre: Folktale it survival. In Inuit society, men were the hunters and were thus responsible for feeding their families. Hunt- PLOT SUMMARY ing, then, was more than a desirable skill in a husband; During the time of slavery, there is an incredibly strong it was crucial for survival. and large slave named Big Sixteen, so called because :KHQ VHDO ZKDOH ¿VK DQG RWKHU VHD OLIH ZHUH RIKLVVKRHVL]H%LJ6L[WHHQ¶VVODYHPDVWHUUHFRJQL]HV plentiful, families would congregate together near the how powerful he is and assigns him the most arduous coastline. During the summers, hunters also chased tasks around the plantation. One day, the slave master reindeer inland to places such as the Valley of the Cari- tells him to go retrieve heavy twelve-by-twelve sills that ERX7KHVKDULQJRIPHDWDQGVNLQVEHWZHHQYLOODJHUV² KDYHEHHQOHIWLQDVZDPS7KLVVHHPVOLNHDQLPSRV- many of whom were related—was commonplace, and sible task for one man, but Big Sixteen brings all of the community-wide feasts often marked successful hunts. sills back to the slave master’s house and stacks them During famines, the sharing of food between neigh- himself. bors and relatives became especially crucial. Both the After the chore with the sills is complete, the slave Inuit father and his gnome son-in-law in the tale, then, master instructs Big Sixteen to go and retrieve some demonstrate a strong sense of conscience toward their PXOHVWKDWDUHRXWLQWKHSDVWXUH7KHPXOHVDUHVWXEERUQ IHOORZ YLOODJHUV ZKHQ WKH\ VKDUH WKHLU IRRG QRW MXVW and uncooperative when Big Sixteen tries to lead them RQFHEXWWZLFH7KHWDOHDOVRVHUYHVWRSURYLGHDPHDQV DORQJE\WKHLUEULGOHV7KHEULGOHVVQDSVRKHSLFNVD to teach societal and familial values from generation mule up under each arm and brings them back to the to generation. slave master that way. Sally Driscoll, MLS Surprised by Big Sixteen’s astonishing strength, the slave master says that if he is strong enough to carry BIBLIOGRAPHY mules under his arms, then he must be strong enough to Bierhorst, John. The Deetkatoo: Native American Sto- catch the Devil. Big Sixteen agrees to the task, as long ries about Little People. New York: Morrow, 1998. as he is supplied with a nine-pound hammer, a pick, and Print. DVKRYHO7KHVODYHPDVWHUJLYHV%LJ6L[WHHQWKHVHWRROV Campisi, Jack. “Legends from Greenland: Or, What Be- and the slave goes to work digging his way down to came of the Norse?” Pequot Museum. Mashantucket Hell. It takes him nearly a month of digging to reach the Pequot Museum and Research Center, 2002. Web. 31 'HYLO¶VKRXVH8SRQDUULYLQJ%LJ6L[WHHQNQRFNVRQWKH May 2013. door. When the Devil pokes his head out, Big Sixteen ³&DQDGD¶V )LUVW 3HRSOHV 7KH ,QXLW´ First Peoples of smashes him over the head with the hammer, killing Canada. Goldi Productions, 2007. Web. 30 May him. He carries the Devil back up to the slave master, 2013. who is shocked that Big Sixteen was actually able to

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catch him. Repulsed by the sight of the corpse, the slave , who is possibly the best-known African master tells Big Sixteen to throw the Devil back down $PHULFDQWDOOWDOHKHUR6LQFHDQ\VLJQRIYHUEDOGH¿- to Hell, which he does. ance or strength might be seen as a threat to the slave Big Sixteen lives for many years after this event. master, tall tales of superhuman characters such as Big When he does die, Big Sixteen goes up to Heaven. Saint Sixteen were rare in African American folklore until af- Peter looks at him and sees that he is too powerful to re- ter emancipation. side there. Fearing that Big Sixteen might cause trouble, “How Jack O’Lanterns Came to Be” is an example Saint Peter tells him to leave. With nowhere else to go, RIDQH[DJJHUDWLRQVWRU\7KHVWRU\H[SODLQVWKHorigins Big Sixteen goes down to Hell. RIMDFNR¶ODQWHUQVZKLFKEHVLGHVEHLQJDFRQWHPSRUDU\ 7KH 'HYLO¶V FKLOGUHQ DUH SOD\LQJ QHDU WKH JDWHV RI Halloween tradition, are prevalent in folktales around +HOOZKHQWKH\VSRW%LJ6L[WHHQ7KH\UHFRJQL]HKLP WKHJOREH7KLV$IULFDQ$PHULFDQYHUVLRQLVVLPLODULQLWV as the man who killed their father and begin to call for conclusion to many of the other stories, particularly the WKHLUPRWKHU7KH'HYLO¶VZLIH\HOOVIRUWKHFKLOGUHQWR Irish folktale “Stingy Jack.” In this tale, a man named run inside the house. When Big Sixteen gets to the door, Jack manages to trap the Devil. He later frees him un- the wife says he is not allowed in Hell. She hands him der the condition that when he dies, the Devil will not DÀDPLQJKRWFRDODQGWHOOVKLPWRJRVWDUWDKHOORIKLV FODLP-DFN¶VVRXOLQ+HOO7KH'HYLODJUHHVEXWZKHQ own. -DFNGLHVKHLVUHIXVHGHQWUDQFHLQWR+HDYHQ7KH'HYLO 3HRSOHZKRVHHDMDFNR¶ODQWHUQLQWKHZRRGVDWQLJKW insultingly gives Jack a hot coal to light his way as he know that it is Big Sixteen wandering around with his wanders the earth. Jack carves out a turnip, into which coal, looking for a place to rest for eternity. he puts the burning coal, and is thereafter known as Jack of the Lantern or Jack O’Lantern. SIGNIFICANCE ,W LV FRPPRQO\ EHOLHYHG WKDW MDFN R¶ODQWHUQ VWRULHV When enslaved Africans were brought over to the evolved from will-o’-the-wisp stories, which can also Americas, they brought their long tradition of storytell- EHIRXQGLQIRONWUDGLWLRQVDURXQGWKHJOREH7KHZLOO ing with them. Since slaves were prohibited from learn- o’-the-wisps refer to ghostly lights or orbs that have fre- ing how to read and write, it became essential for them quently been seen at night, typically around swamps and to pass on their histories, morals, and folklore orally to marshes. In many folktales, these lights draw travelers preserve their cultural heritages. Generations of story- off their path. “How Jack O’Lanterns Came to Be” can tellers passed on traditional songs, legends, folktales, be read as the African American version of these vari- SURYHUEV DQG RWKHU RUDOO\ WUDQVPLWWHG WUDGLWLRQV 7KLV ous tales. strong oral tradition helped enslaved Africans hold onto Patrick G. Cooper their cultural identity and values while adapting to their harsh new environment in America. BIBLIOGRAPHY Many African American folktales provided exag- Abrahams, Roger. African American Folk Tales: Stories gerated and sometimes humorous explanations for the from Black Traditions in the New World. New York: creation of certain things. For example, there are stories Pantheon, 1999. Print. about how snakes became poisonous and how possums Andrews, William L. “How Jack O’Lanterns Came to ORVWWKHKDLURQWKHLUWDLO7KHVHIRONWDOHVDUHDOVRFRO- Be.” African American Literature: Voices in a Tradi- loquially referred to as “lies” and are similar to Ameri- tion. Austin: Holt, 1992. 182–84. Print. can tall tales. Other types of African American folktales %URZQOHH&DWKHULQH7KRUQWRQRecurring Themes of Af- include fables centered on animals and stories of trick- rican American Folktales 3KLODGHOSKLD 7HDFKHUV VWHUVODYHVZKRRXWVPDUWWKHLUPDVWHUV7KHWULFNVWHUVLQ ,QVWRI3KLODGHOSKLD8RI3HQQV\OYDQLD-XO\ these stories are often named John or Jack. Oftentimes, 3')¿OH perhaps because of their situation, many folktales cre- Courlander, Harold. A Treasury of Afro-American Folk- ated by slaves are concerned with escape and fantasy. lore: The Oral Literature, Traditions, Recollections, 7KHIRONKHURRIBig Sixteen is one such fantasy, as he Legends, Tales, Songs, Religious Beliefs, Customs, possesses superhuman strength and stature. He is strong Sayings and Humor of Peoples of African American enough to kill the Devil, in fact. He can be compared to Descent in the Americas. Boston: De Capo, 2002. American tall-tale characters such as and Print.

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With the great interest in mythology—both classical and COMPARATIVE MYTHOLOGY comparative—a plethora of books have emerged ap- Given the diversity of the texts and genres, these volumes pealing not only to the general reader but also to teach- would appeal more to a comparative mythology course HUVDQGVWXGHQWV7KHERRNVLQWKLVVHULHVDUHSDUWRIWKLV rather than to a classical mythology class, although in- profusion. How then are teachers and students to make structors in the latter course could still refer their stu- the best use of the reference works in this series? dents to relevant articles on Greco-Roman myths. In In order to evaluate the role that volumes in this se- comparing myths from different cultures, scholars have ries would play in a classroom course, it may be useful focused on accounting for the similarities between WREULHÀ\RXWOLQHWKHJRDOVDQGFKDOOHQJHVLQWHDFKLQJ them. In this respect, many myth courses outline two - DP\WKRORJ\FRXUVH7KHUHDUHEDVLFDOO\WZRPDMRUDS- sic approaches: diffusion and similar thought patterns. proaches. At a minimal level students should become 7KHGLIIXVLRQLVWDSSURDFKUHFHLYHGLWVJUHDWHVWLPSHWXV FRPSHWHQW LQ UHFRJQL]LQJ WKH VWRULHV FKDUDFWHULVWLFV from the discovery of the Indo-European languages in and attributes (many instructors would include visual the late 1700s and the subsequent development of I-E representations here) of mythological characters. Such linguistics in the following century. Just as linguists FRPSHWHQF\ VKRXOG DOVR DOORZ VWXGHQWV WR UHFRJQL]H could compare words and grammatical and syntactical allusions from later literature and art to contemporary forms and attempt to reconstruct a protolanguage, those political slogans and commercials. Here, textbooks DQDO\]LQJP\WKRORJ\DOVRKRSHGWRZRUNRXWUHODWLRQV with summaries of the stories would serve the purpose. EHWZHHQP\WKRORJLHV7KHPHWKRGRIWHQLQYROYHVORFDW- 7KURXJKWKLVEDVLFUHFRJQLWLRQRIWKHVWRULHVDQGDOOX- ing common elements that are unique to the two myths sions it is argued that students will improve their reading being compared. An example would be the birds sent DQGXQGHUVWDQGLQJRIWH[WV7KHVHFRQGDSSURDFKLVWR RXWLQWKH0HVRSRWDPLDQDQGELEOLFDOÀRRG VWRULHV,I UHDGWUDQVODWLRQVRIWKHSULPDU\WH[WVRIP\WKRORJ\7KLV enough of these unique common elements can be found, approach teaches a different type of reading in which then a genetic relationship can be posited about the two students encounter multiple levels of meaning, nonlin- P\WKV7KHRWKHUDSSURDFKSRVWXODWHVWKDWWKHVLPLODUL- ear presentation, archaic thought patterns, and so forth. ties between myths arise from similar thought patterns. Such an approach is challenging both for students and 7KXV&DUO-XQJSRVLWHGWKHXQLYHUVDOXQFRQVFLRXVDQG teachers. its archetypes, and Joseph Campbell regarded myths as Other challenges confront instructors of mythol- following his monomythic pattern. Yet interpreters of RJ\FRXUVHV7KHVHFRXUVHVFDOOXSRQLQVWUXFWRUVWREH mythology must also take context into account (and the knowledgeable in more areas of expertise than any other best interpreters of either stripe do). Sources need to be course that they teach: language and literature, myth evaluated; learning as much as one can about the dating, theory, archeology and art, history, anthropology, and storytellers, and audience is a necessity. Differences be- psychology, to name a few. In comparative or world tween the stories should also be explored in detail (dis- myth courses, instructors often teach stories that are out- cussed below under Interpretative Approaches). VLGHWKHLU¿HOGRIH[SHUWLVH+RZWKHQGRWKHYROXPHVRI For a comparative mythology course, the articles in this series address these goals and challenges? these volumes could serve as a basis for the exploration A brief overview of the format of each volume gives of a theme. Whether the student has been reading prima- a starting point in answering this question. Each volume ry sources or a summary of the tale, the article furnishes FRQVLVWVRIDUWLFOHVVXPPDUL]LQJDQGDQDO\]LQJP\WKV a starting point for obtaining a deeper understanding of fairy tales, legends, sagas, and folktales on a certain WKHVWRU\XQGHUFRQVLGHUDWLRQ7KHDUWLFOHVDUHZULWWHQE\ theme (e.g., love, heroes) from various cultures around VFKRODUVNQRZOHGJHDEOHLQWKHLUUHVSHFWLYH¿HOGV7KLV the world. Each article, where possible, highlights an in- DVSHFWRIH[SHUWLVHLVRQHRIWKHPDMRUFKDOOHQJHVLQWKH terpretative or theoretical approach. Part of the article teaching of comparative mythology, as noted above. focuses on cross-cultural comparisons and closely ana- Apart from calling in colleagues who are experts in their O\]HVDWOHDVWRQHUHWHOOLQJRIWKHWDOHLQDUW¿OPPXVLF ¿HOGVVXFKDUWLFOHVDVDUHIRXQGKHUHIXO¿OOWKLVSUHVVLQJ and so forth. QHHG7KH\VKRZKRZDVFKRODUZKRVWXGLHVWKHFXOWXUH

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Myth_World.indb 325 11/21/2013 1:10:32 PM LESSON PLAN

CREATION STORIES: A COMPARATIVE ANALYSIS

Students analyze the origin of humans and the natural world in Maya and Egyptian creation myths. In addi- tion, students analyze metaphor and language in the representation of the human and natural world.

Materials: E. A. Wallis Budge’s “The Legend of the God Neb-er-tcher, and the History of Creation”; Dennis Tedlock’s Popol Vuh, Part 4.

Overview Questions Every culture in the world is rooted in multiple creation myths to explain the beginnings of the human, animal, and natural world. These primordial questions often ground spiritual or religious belief. What is the mythic message these creation stories tell of their cultures?

Discussion Questions

1. How is the form of storytelling different in the selections from “The Legend of the God Neb-er-tcher” and the Popol Vuh? Who are the speakers? 2. In creation myths, the use of metaphor often attributes human characteristics to nature or the animal world. What human characteristics are used? What perspectives on creation are depicted in these metaphors? 3. In the two creation myths, what is the relationship between the human and natural worlds? Are they in harmony or disjunction? Which animals are mentioned in the stories? How are they depicted? 4. What is the order of phenomena in the human and nonhuman spheres? What is atop this order? What place does the earth hold in this order? 5. The stories of Neb-er-tcher and of the Maya creator gods depict differing powers of creation and destruction. Is creation a benevolent or violent event in these stories? Why? 6. Creation myths often speak to human truths of love, fear, and power. What is the spiritual (or spirit) dimension described in the stories?

Comparative Study How do these creation myths compare with stories of creation in your own cultural background? The story of Neb-er-tcher and the Popol Vuh are rooted in a divine relation between nature and the human world. What is WKHVLJQL¿FDQFHRIWKHQDWXUDOZRUGLQFUHDWLRQP\WKVLQ\RXUFXOWXUH"

Response Paper Word length and additional requirements set by Instructor. Students answer the research question in the Overview Questions. Students state a thesis and use as evidence passages from the primary source docu- ment as well as support from supplemental materials assigned in the lesson.

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Myth_World.indb 329 11/21/2013 1:10:33 PM COUNTRY AND CULTURE INDEX

Africa 7KH5LVHRI$PHQ ...... 108 7KH'DXJKWHURI6XQDQG0RRQ ...... 81 7KH7DOHRI6LQXKH ...... 109 7KH*RGV'HVFHQGIURP+HDYHQ ...... 82 7KH7ZR%URWKHUV ...... 111 How Beasts and Serpents First Came 7KH9LFWRU\RI6LQXKH ...... 112 into the World ...... 84 7KH6DFUL¿FHRI0yULPL ...... 85 England 7KH6ODYH&DOOHGWKH:RUOG ...... 86 Beowulf and the Battle with Grendel ...... 203 7KXQGHUDQG$QDQVL ...... 87 Childe Rowland ...... 206 7KH7KXQGHU%ULGH ...... 89 .LQJ$UWKXU¶V5RXQG7DEOH ...... 216 7KH0DUULDJHRI6LU*DZDLQ ...... 219 Australia Sir Galahad and the Holy Grail ...... 226 Bram-Bram-Bult ...... 64 Sir Gammer Vans ...... 227 7KH6WRU\RI6DLQW.HQHOP ...... 229 Bulgaria Cinderella ...... 308 France 7KH'HDWKRI5RODQG ...... 285 Cambodia 'LDPRQGVDQG7RDGV ...... 287 2ULJLQRIWKH7LJHU ...... 172 +RSR¶0\7KXPE ...... 294 Princess Belle-Étoile ...... 298 China Princess Rosette ...... 300 7KH&DVWLQJRIWKH*UHDW%HOO ...... 156 7KH'UDJRQV ...... 158 Germany 7KH0DJQDQLPRXV*LUO ...... 171 Little Red Cap ...... 295 Creates the World ...... 174 Snow-White and Rose-Red ...... 301 Water War ...... 180 Yinglong, the Winged Dragon ...... 183 Greece Yu Rebuilds the Earth ...... 184 Athena and the Birth of Erichthonius ...... 235 Bellerophon and the Battle with Czech Republic Chimera ...... 236 Prince Bayaya ...... 319 7KH%LUWKRI=HXV ...... 237 Cronus and the Birth of the Cosmos ...... 240 Denmark 7KH'HDWKRI$MD[ ...... 242 7KH(PSHURU¶V1HZ&ORWKHV ...... 289 7KH'LYLQH/RYHVRI=HXV ...... 243 7KXPEHOLQD ...... 302 *DLDDQGWKH&DVWUDWLRQRI8UDQXV ...... 244 +HOHQRI7UR\ ...... 246 Egypt Hera and the Seduction of Zeus ...... 247 Amen-Ra, the God of Empire...... 91 King Oedipus Is Revealed ...... 250 7KH%DWWOHRI+RUXVDQG6HW ...... 93 7KH/LQHDQGWKH&DYH ...... 252 7KH%HQWUHVK6WHOD ...... 94 7KH/RYHRI$SKURGLWHDQG$QFKLVHV ...... 253 7KH%RDWRI5D ...... 96 7KH0\WKRI$WODQWLV ...... 254 7KH%RRNRI7KRWK ...... 97 7KH0\WKRI(U ...... 256 7KH(J\SWLDQ&UHDWLRQ0\WK ...... 99 Pandora and the Great Jar ...... 257 7KH*RGVRI(J\SW ...... 100 3URPHWKHXVDQGWKH7KHIWRI)LUH ...... 258 Horus and the City of Pe ...... 101 7KH3URSKHF\RI3DULV ...... 260 Instruction of Amenemhet ...... 102 7KH6DFNRI7UR\ ...... 261 Isis and the Seven Scorpions ...... 104 7KH9HQJHDQFHRI0HGHD ...... 265 7KH,VODQGRI(QFKDQWPHQW ...... 105 =HXVDQGWKH7LWDQ:DU ...... 266 7KH1DPHRI5D ...... 107

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