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sluãluoJ Jo âlgeJ i(a1a>1ragtp sârolsìoog Pueq-Puo)âsÍueu aqr ul rulq ol ernlrrl ol Í4141:ag rïtr-4\sìooq ro3 lunq ol PU!sluJPnls Jo sPerPunqslq or Surdrd Surn8t-lrurstq ot real E âluo a8elr.trrdplrads Íru uaag ^\olloj rllll rlÌl turq â^Ei.lsãIll osJEspr{ rI puts (('erolìloCJo :edr4 par,1,,Jo Pâur?e a,ttltrtdruolJo ?lrrry aql sndur: snoruï -^nle âsâqtJoIfV'sãÌpnls ârofïlo; ãlEnPErõârolìlo3 reqr Suqeru 'Ía1a1:ag ol Pllo.lt ãrÌl PunorÈ rllog sluãPnls slH 'sluãPllls lsãqãqt pãlrerttPosÌE stq a1.nlsSurq:eal PJuIloJUl pue lrureu'ip ra8ra gç7 se Íutu st slloruâ reql ,ia1a1:agle âsrnol ,,âroPIIoCol uolllnP -ollul,, rurlS t srãlJoât{ leai Í;a,rg 'sluãPnlsJo sPuesnoqr-i're::rr1 Jo 'Iol -uilu put râtlrÌÌ:)l t sr: uotlplndãl slq sl os lnq ',i,lepua8alsr drgs-leloqrssnou -runlo^ sIH 'lsuoÌìlo1 rrtsetu pqo13 ;qr sEluãLUr,\ãIqrE aIUIIâJII stq Surzru ã_rì -Sora: Íp:r1 '{ouIrãlpdui ãzÌrd q:rl4 addasnlC âqr Pã^Iârãroslt seLÌ 'ãrtul uããqãq seq loN âzud ãrolìlo4 o8e:rq3 ÌÌtuoÌleurrluIâLll tÌlL\\ Pârouoq '\Ìuo .plro,\\ sr:q ãrïl ur lsÌrolì1o3Sutpeal âql sÌruonEtndar leuorreurâturuE paure8 ãiÌ 'sg/(rI Í1:eeaqr a:ursÍa1a1;ag re PIuToJIIPìJo,\lÌsrâ^Ìul'ì âr{l lE ãloPlÌoC 'ìsel sÌql uo âìEl ol sãPunq pur Í8o1odon{ruv Jo rossâJordsV ltrlads ãlN uEIVu?ql pagtpnb ro Pru^\ouãrãloru rEÌoLIrsE PunoJã^eq lou PFol 'sÍrp o.ru asagr8ur:np e:t1d aler III'\\ leql V(03dnq taSunotr rdjd+I aql uo runtsodrufgfuuotluufilul ãtì] PutsSuruado uolllqlqxâ dqJ,, uolstlro ãLil lt ssãrPPE aqt Taqïantg .tata1 r(q,,squttl.td qtlquul.tdqpN Jo arouÍa1 aqt Strrra.rrlepíq Íepor sn 8ur;ouoq sl srPUÌ-ÌCJord l?ql PãsEãÌd rIâLIl stl âreJ,!\ pu ! 'uoÌlerqãlâfÌPIUUãlueflq rno Sur.rnpJJoJJq a:u:sud qll'{\ prssàlq:,ter-1 Íaq1 'luoullr^Jo rqr uorSurl'rngor uÍ1o-rel1 ^ìÌslr^tun Pur sr tl ãJI^\slq put sãpun(Ì uE[V Jord ãrüo]lâ.\\ol rouoq 1el:adst peaprrr uoDf,nPoJluI

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sqnaotd Çls??upyaqpN s.re8unoÃãq] Iâq8enrg rãlârd ((êããJIeq} tuo5 IIsc alddy eql sãoçl rE{ aoH,, 16 Alan Dundes

Prof. Dundes's scholarly oeLivrecomprises hundreds of articles and dozensof books pubiished on alÌ continents.A scholarof his breadth and depth is hard to pin down, br-rtit can certainly be sratedthat his major accomplishmentlies in the internationaland comparativeappro:rch to folk- lore. His pr-rblicationsare replere u'ith hundreds of sourcesfrom dozens of cultures and languages,and it is this linguisticallyhighll. dir.erseresearch approachthat Prof. I)undes also ir-rstillsin and expecrsfrorn his students. Anvbody wanting to studv folklore rvith Alan Dundes better have the knowledgeoÍrat leastnvo foreign laneuages.It is, after all, rhis compararivc analysisof folklore rhat safeguardsthis intriguing acadenricdiscipline frorn being misappropriatedand manipulatedas it rvasduring Nazi Germany'. Above all, Prof. Dundes is knorvn for his morphologicaÌ,strucrural, and psychoanalvticalapproach to various folklore genres.In fact, he is also the Ìeading Freudian folklorist, something rhat r,villbecome quite clearduring his lecture this afternoon. Unfortunately I cannor cite all of his intriguing pubÌications,but let me ar leasrmenrion a fervtitles of his m;'riad of books. Plcasenote the vasrnessof ethnic, cultural, folkloric, a.rd theoreticalrhemes that inform theseptrblicarions: The Motpltology of ÌVorth American Indidn Folktales (1964) T'heStutl1 of Folklore (1965) Urban Folklorefom tbe PapertuorkEmpìre (1975) Lì.fe is Lilee a Chicken Coop Ladder: Portrait of Gernt,ut Cuhure through Folklore(1984) CrackingJolees:Studies in SìcleHuntor C),c/esand Stereo4,pes(1987) Parsing througb Customs:Essays by a Frettdian Folklorist (1987) The Blood LibelLegend:A CaseBook ín Anti-Semìtic Folklore(1991) FolleLaw; Essaysin the Theorl, and Practice oJ-LexÌYon Scripto (1994) Frorn Gante to War: PsychodnalyticEssay on Fo/hlore (1997) International Folh lorìsrìcs ( 1999) HolT Wrít as Oral Lít: The Bible ds Folklore (1999) The Sltdbbat Eleuator dnd Orher Sabbdth Subterfuges(2002) Fablesof the Ancìents?Folklore in the Qur'an (2003) The list of intriguing titles with me:rningfuland sense-makinginterpre- tations of folkloristic conundrums goeson, and it includesfinally also the book 1z Questof the Hero (1990). It should be clcar ro you who my hero is, to whom I owe so much of my own scholarly careerand whose knowledge and friendshiphave inspiredancl supported me for three decades. But finallv,Prof. Dundes and his former studentClaudia Stibbehave also authored the invaluable book The Art of Mixìng Metaphors: A Follelorìstìc Ìttterpretatìonof the "NetherlandìshProuerbs" (1981). And so, wearing his hat snorJnJE sr suonÌPEJIgJ3^oJd ol lJâdsrJ r{lÌ,\\ .\\ãuì ãfuârPnEs,lã8ãnrg lEt{,\\ '(g '"çgt:266I Jo rronrnlsuorâr le]nãrÌtoclÍqsr91. .\\opeãN) ,,ue s,la8anrg or sagreordde rnsrrolìloJ Jo uor]Etn3âr luâlâr 8,, sE strol3ã .rag or Ípui -.tordde srãJãr.\\opEãW 'eruãÌpne s,la8an;g Íq pazru8ore.rÍlqeurnsard se.t Itr{l uonrpÈJllsrueurnq praua8 t3o rred se.trrnbrturÌprlssplr uro-lj sqra.tord ìerrD pue une'Ì sE sq.ra.r.o.rdìlo3 lo l?ro r1lnru os lou a.ra,lrSutluted aqt ur pârÌreluor sqre.r.ordãrp ltr{l panS:e í1GGIuI slttoy ary4 Í8o1oqrue s,tãPâIt\ ur parurrdar sE.{\pue 166I ul u!1al/ng LtV àHt ur pe:eadde lsr5 tplq.\\ ,.rruãrpnv lsruÈrunH e JoJ IJV âfuESsIEuâU:8urrure4 qrà^oJd s,1a8an.rg,, 'y Íessa Surrep put âlrpnJâ s,u?^tÌlnç rare8re1,l,1'sãr-Inos 3o uonsanb 1e -;aue8 ãqt qlr.t\ op ol setl uoÌl!rlJÌluãpt Suiu-la:uor rnssr rug 'srâqunu ^âì uEgl ãJoru qJnur srrrâfuoJ uollEfuÌluãPÌ lnoqB rlEqJP âqI ^lrEloqrs '0ffçU:696I rãrlrPN) sqla,tord ZEI srsrl 'râ^â,{\oq'Suttuted aqt 3o sardor sra8ut.totraql laq8anrg ate14] Jo lerâ^âsjo ípnts snl ur râÌlr?N ,.'sgrâ.\ordr{sÌLUã1,{,, E6 srsrl [7 'partrdap Ído: :addely ruasa-rdãrÌl roJ Sopter aq1 sclra,ro:dJo ràgulllu eqt or lradsarqÌI.{\ ''3'a'sardoo aqt Suoue sãruãrãlJlpãrt ãrãtll'(Zt!,SSe t) .ra8unol aql laq8anrg rerar4 Íq parured í1pnr:e a;a.ttsatdo: Ítua.ttt âurosJo auru í1uo r?LIl sulÌ?Ìl 'aldurexaroJ '.ztr3 'rãIIrrE sÌtÌ Jo srãqluaruíq parured uaaq Sur.teq or pasoddo se ;a8unol aqr 1aq8:nrg :atar4 íg parured rctj ur í1pnr:e se,uÍdoc ;e1n:ured E rãtllâLl,{\jo uotrsanb E sãLUIIâtuossI ãrâLlJ 'ra8unoa agr lag8anrg râlârd Jo sardo: snld Írua.ur ãrll Jo ãuo PâtPnlsã^Etl 'squltor(I IEJâ^ãsrncl Surrured s,la8an.rgJârãId uo pãl?rluãluor ã^eq lsotrN qslpuuyaqpN ur p:rcrdep sLLroIpÌ:qr ,gnuepr or slduaue Jo rãqunu p uââq ã^pq ãJârlI 'uoilrra:dr:luÌ sr puoJàsrr.ll put ruoÌteruÌtuãPlst lsJU aqt :sdarspdnurrd o,\\l ãre a:aqr 'íSolopolllãril rÌlsuolìloJ Jo sulrãt uI ',{qdat8 o u ot J qr d(to.t(J 'sallauãt,t Jo uonprrlgnd aqr âluIs pãnulluor seq drqsrelog:s âqr PUV Surlrrrs olul surorpl IEqJã^Jo uolrelsueJrâÌqËìretuãJ slrll Jo uolluâlle Í1rt1og:s aqr Sur,traral ol ãsoÌr sãruo) ua,ra Sutluted .raqro o111'ro8unol aqr 1eq8an.rgrarar4 Íq aptu satdoc âtll ro Surruted srqt ol Surrra3a:ruaqr àlgle Jo gil rs!eïlE rllï,{\ sâÌrur 8/t ãrt rrâLp'(666I) [qíut8ouot1 qratto'td -n1e.tílasuarutur s,rìsãÌqospue rãpãIN LtI'tqano.t4 qtlpua/tafidN s.la8en.rg râlãrd sr Íllerradsa) srsuollloj pue su!IlolsIqu? qroq (stsrSolorua:ed T pâteurrse; lsour serl rrqt Surlured auo aqr reqr lgnop âptlÌ sI a::g-l-, eJntf,â-I

'ssârppparouía1 slq LIIL{\sn a8ualleq: Pu! rouorl .\\ou Ìlr.{\ sãpuÌìC up[V Jord '.r?lot{)sq-ra,to:d uEIpnãU pagsrn8unsrp3o

/t ,;âary af uo.1{pag alddy atlt eo(J ra! onH,, IB Alan Dundes exercisein speculativereception theory. From a folkloristic persPective,it is qtiite renriniscentof "gesunkenesKuÌturgut" theory, an elitist Ìlotion that basicallyfelt that proverbs and other folklore was much too artful and inge- nious to have been createdby ignorant, illiterate Peasants.Rather it was claimed,such fòlklore could onlr.'havebeen createdby educatedaristocratic individuals after which such folklore trickled don'n to the folk who often mangledit. Sr.rllivannotes for examplethat "Castingiõìeq beforeswine" is a varianr of the Biblical "Casting pearlsbefore su,ine." This is surelyaccurate, but the point is that Bruegel was unquestionablyclever enough to have painted "pearlsbefore swine" if he had so desired.The fact that he chosea folkloristicvariant rather than the standardBiblical text could be construed as prima facieevidence that Bruegelfavored folk materialrather than elitist classicalor biblical versions.Bruegel also utilized the folk version in one of his twelveproverb scenes of 1558.The peftiÌlent questionthat shouid alwa,vs be addressedto advocatesof the "gesunkenesKulturgllt" theofy or a variant thereof is: where do they think that the classicalliterary Presumedsource came from? Poetsand painters in antiquiW also drew on f-olklorearound them for inspirationjust asÌater poetsancl painters did and do. It rvould be analogousto assumingthat Aarne-Thompson tale q'pe 1137' Polyphemus, originated with Homer's versiort of the tale in the Od1'ssev(Hansen 2002:289-301)or that Aarne-Thompson tale wpe 901, The Taming of the Shreu.,began with Shakespeare'splav whereas in fact it is undeniable that Homer borrowed the tale fron-roral tradition iust as Shakespeareborrorved the plot of Af 901. Mozart in his "Variatior-renüber Ah, vous dirai-je maman" writes a theme and variations to the melod,vwe know as TwinkÌe 'fr.vinkÌeLittle Star or Baa Baa Black Sheepor the Alphabet Song. Mozart surelydid not invent the melodr'.The point is that it is folklore which is the sourceof high culture, not the other lvav round. one striking exampleof the critical importance of proper identification involves the depiction of an eye shorvn benveen the nvo bladesof a scissors. fPlate3, Figs. 1 and 2] I believethis imageis absolutelvessential for a com- prehensiveundelstar.rclin g of ÌVetherlandishProuerb.i. Yet if it has been noticed at ali, it is often misidentified.Marlier proposes"It is a largelantcrn that gives no light" which does not explain the image at all. The cataloguefor the KÌapper version lists 'An eye for an eve." There is such a proverb reflecting the lex talionisof the Old Testamentbut it completelymisses the point of the idiom Bruegelobviously had in mind which is "Een knip oog" or a "snip- cye" or a "wink." To understand this idiom's significancewe must consider the traditional folkloristic gestureof the wink. If A is talking to B and C comesalong and A rvinks at C, it is to tell C not to ipterferein the conver- z.3H

r '3!r

6L ..iaa.tJ aqi uto.{ 1pg alddV aqt sao(J rai moH,, 20 Alan Dundes sation becauseA is not telling B the truth. A is putting on B and doesnot want C to give hin-raway. The wink is a way of entering into a contract some- times conspirirtorialin nature.It is asif to say,"I know tharwhat I am saying is not the trllth and I know that i.ou u'ill realizethis, but pleasedon't spill the beansand give me away." \ü7hatthis means for our painting is that Bruegel the artist is rvinking at his audienceand l-reexpects the viewer to understand that what he l-raspainted is a huge put-on. The failure of art historians to iclentifythis idiom has,in my opinion, led them astrayin their unclerstand- ing of this famous painting. The wink is also a somervharplayful gestureand it is preciselyplaying with metaphors that constitutes the vcry heart of the painting's meaning. Art historians agreethat one of the central imagesof the painting is the blue cloak, but this too hasa clor-rblemeaning. Biue is the color traditionally associatedwith the Virgin Mary, and among the connorations of blue is honestyas in English with the phrase"true blue." But at the same time, theStq.ç.çloak refers to adultery and the suggesriontl.rat rhe u)oman wearing the blue cloak is cuckolding or shoulcl we say "hoodwinking" her lrusband.So it is a double image (Snow 1983:44-45):honesty and virginiry with cuckoldry. This in turn is also reiated to the ropsy-tur\y world irnage and tl.reidea that things are not alwayswhat they seem.'lb miss this idiom of "snip-eye" or wink is to miss the fact that Bruegel may have intended his painting to be an elaborateput-on. It is analogousto taking literally u'hat was meant metaphoricallv.And what Bruegel and his son have done is to display dozcns of rnetaphorsin a literal but deliberarelyplayful way. Meadow's doctoral dissertation, published as Pieter Bruegel t/te Elderi Nether/andìshProuerbs and the Practiceof Rhetoric ín 2002 makes a good case for consideringthe painting as a kind of collectionof proverbs. Bruegelas a collector of folklore worked in more than one genre as his painting of Children'sGames dating from 1560, one year Ìntcr rhan rhe proverb painting, attests.And as a collector,he did just what folklore collectorsofìen do even to this day,he baseclhis collectionon previouscollections. So Bruegelusecl thirty-seven of Hogenberg's forty-three proverbs containecl in the latter's 1558 etching Die Blau Hrticke.Ìn Hogenberg'sprint [Plate2], the proverbs are labelledwhich obviatesany problem for the viewer in terms oF identifì- câtion. In Bruegei'spainting, in contrast,he obviouslypreferred to let the viewer try to identify tl-reproverbs depicted. In the light of so-called "per- formance theory" in rvhich it is argued that folklore does not live in printed texts but Ìivesonly when actuallyperfomred, Bruegelt çraintingconstirutes a kincl of perlormance insofar as the verbal expressionsare enacteclor ro pur it another way "performed." In rhat sensethc painting replcsentsa perfor- mance if a somewhatpuzzling one oltproverbsand folk merapl.rors. -euJãlÌEâsãril lErlt sn sPuIluâJ,^aoPEJIN 'sl1sJâ^ur snPunuj Jo ,,u.\\oPâPrsdn plro.\\,, âLlt sr ãrãrÌt '.ãurãrildratppe ur ol Surrra3ãr7aol) dryg eqt sãplsãg 'Surrured ãql Jo sãirreuã^n?urelle eqr Jo auo Íq papr,to.rdsr ãnlr ãuO Burqr;e'a.r.oíuearaqr- srrnq,rãr{rou?,**ffit"ql;l;' ilïiï"r:iiì lr.4Àãr1t Jo suÌrâl lerrotcrd olur sruorpr leqrâ^Jo uontÌsurrt Jã^ãlJslr ro3 3ur -rurcd eqr Íoíue ol íldrurs luãrrll3ns pãruããpsr r1 ,.'8uraqro3 ãsnlxã u.^Àoslr (âsrno) '8tI sr Írneag,, t?ql rurxtru rr{l uo ìlEq IIEJor q8noua Ísea si lr JO -ruredaqr 3o Surureu alqrssodãql tnoqp SurqrÍue3r g:nu Íes or 1re;llrann uãql pue (ra8earurrqter sr uonerrrroJrrrsrrÌt 'uos put rârllr3 's1a(q)Banrg ãql Jo ãser agr ur q8noqr) íqdr.r8orq s,.ralurrdrrll Jo slretãpãruos uonuãul pue pãìro,e\ -raturedãql L{rrrl.^Àur por-radãr{r Jo punorSpeg le]uotslr{ ro nãrlrru ãL[]ãqrnsâp Ìlr^\ sueuotsrll lrv 'stsuolìlo3 s? lrrlãrãp se tsní âg or sup -rrorsrq uÈ puu I ãrãH ;Sunured sqattl"t(Iqslpuq"taqeN aqr 3o (1ern1d)s8ur 'Surueeu -ueâur ãrÌl ârE ;o SurueatuãLIl sr ler{.^ :sr uonsanb lÌlrnÌrf ârlt oS sã^lo^uruoneta.tdratur puv 'uonÈtard-raturroJ ãtnlnsqns ou sr uorlrlardrarur :o3 atrsrnbarardÍress::arr e q8noqt 'as ;ad uonefunuâpr tng 'srsr.ro;11o3Íq pauuad sâllnrtsro sìoog ur srâgulnu aciÍr apr roJnoul Lllr.4ÀuãpEI sãloutooj sersãuo Íq.u sr leqr pu! uonerunuâpr qlr.u dots ol puãl slsrrolìlo3 ueuo oo] ttqr .{esor pES.,'uonela.rd;atur,, sr slsÍ1eu?lnsrroÌìloJ ur dalspuolãs ãrÌJ 'âprst lâs aq or l-rnluar rlllreãlãuru aqr 3o Suruur8ag ãrll lE srulurr) ãqr ãrurs slsrrofì1o3íq paío1dua pue u.{\ou>Í'suonruÌlsrp erua8 rnsrrolìÌo3 pr?pue]s ãsãql JoJ uoseãJou sr teqt 'suonrsodruoJJâr{ Jo srq ur spua8alpu? 'ísâprìlog'sçíru sãsnJuorrãlrr,&\ eJJ 'sarua8Surugap or,tB -rãrrãLlfnur Pãlo^ãPã^eLl stsuolììoc'rìElsrlu E sr srql'(.9ç:2002),,slErrãlEur u.raporu-e:dSurraprsuoc uãq.\\ ãprs?lâs lseâl te ';aqte8ory?pãssrrusrp lou JÌ '.àqpporls pur 'sãr;nos pur8r.roaql íq parroddns ãuo tou sr lÌ,, laÌt spunor8 eqr uo uoulunsrp arue8 rnsrrogloJ ãqr stcaíe: .\\opeãN 'urroJ ÌEnsr^ ur lr rJpuâr or Jãrseãrr 8ur>1euírrlrgrxeg ratear8 srr í1asr:erd sr qra,tord E uerll '8urpro.u ;aqter .roqderãruìloJ e 3o a8erue.r.peâr{I asna.rdãqr lou leuonrp -!rl sr qrILI.\\roqderaru ãLItsr lI ,.'pâl u.{\ol aqr rured ol ãìrl ppo.,!\ eH,, ,,'ípâr u,^ô.olãql parurednoÀ,, ,,'pãru,\\ol ârll tured or Suro8 ru,1,,ã^eq uer âuo .,'pãr u,\\o] ãql tured or,, 'alduexa ro3 'roqderau ìloJ E qrllN '1erq:a.to.rc{pãtueãp ãq ppo^\ suorssardxaâsorlt Jo rãqlrãu rnq ,lU Ìlr.\\ âLurL, ro ,.,trãltaura,, Íes í1 'q-ra,tord -urelJer uer euo e sÌ .,sãrlgãrul1., Í'te,t utr ãsuãl qrâ^ pue rcaíqns ãrÌt sEãÌqxâLJ ãJouJ qrnuJ srrogderau ììoj E 'lseJtuor uI 'âJntfnrts tuJruruof crdor aserqdpaxg aralduor E sr qrã^ordV'ç96t ur ruwqanoq ur â]ouJãIrq 's-roqdetau e ur .ro1Íe1rrrÌrrv íq rno parurod sE.\\srrlJ ìlo3 rãqler ârE tng IIE lE sqrâ^ord lou are Sulrurcd ârlt ur sruorprjo lrrroíeu tse^ ãqt ter{l ã^rl -:adsrad lnsÌrolïlo3 ârl] ruog ure8e '8unou iÌlro.r\ sr lr'arua8 jo Suqeadg

T7 ..i)àtJ )qt uo.{ 11u1alddy aqt sào1 iü! moH.. 22 Alan Dundes

tive titles of the painting postdatethe painting and the painter (2002:133). But there may yet be some hidden significance in the up5-id.edown world motif. Kunzle, however,warns us inhis 1977 essayon rhe subjeõi that"the -ïnverted globe in Bruegelt painting and the proverb engravings represenrs not so much the philosophicleitmotif of the picture aswhole, but just one proverbial phrase among a hundrecl orhers, and not one rhar may be prop- erly said to characterizeproverb "philosophy" here or elsewhere."Meadow too is dubious about attributing too much significance to a single proverb, "It seemshighly questionableto attempt to assigna single meaning to over a hundred proverbs"(Meadow 1992147). I Here I would like to comment briefly on rhe notion that proverbs are somehow repositoriesof philosophy or wisdom. The fact thar there are con- tradictory proverbs,e.g., "Look before you leap" vs. "He who hesitatesis lost" reminds us that if there is wisdom in proverbs, it is relative, not absolute. "'I'he devil can quote the scriptures" suggeststhat one can almost always find a proverb to justi$' any particular course of action. But what folklorists know that some art historians do not is that there is an ancient folkloristic motif J 2450 "Literal fool." Indeed there is an enrire sectionof the six-volurne Motif-Indo of Folk-Literaturr devoted to the foolishness ensuing from a literal interpretation of metaphor.The equation is: Inter- preting a metaphor literally (Motifs J2450-J2499) is a recipe for folly. Since Bruegel and son by translating proverbs and folk metaphors into visual rep- \ rcsentations,they are interpreting metaphorsliterally. Hence the painting i depicts not wisdom but folly and does so in traditional folkloristic fashion. ' This bringsus to a criticalissue in interpretingthe painting. Both art his- torians and folklorists sharea common mistrust if not outright antipathy to consideringunconscious motives as an influence in artistic representarion. 'The idea that an artist'sunconscious could be a factor in his or her art pro- duction appears to be unthinkable. Typical would be Kavaler'sstatement made about Bruegel's paintings in general, not specificalÌy about Netherlandish Prouerbs: "Bruegel's paintings often suggesr an obvious recourse to Reason as a means of gaining control over threatening chaos" (199:23).If one readsthe vast literature on Nether/andisbProuerbs, one sees virtuaiÌy nothing but discussionsof consciousreasoning, e.g., recourseto recorded historical events, local details of peasant or political Ìife, etc. Meadow summarizesthe current thinking very well. "Historians of art now seek to discover insights into his art not in the fertile landscape of the Brabantcountryside, but in the intellectuallandscape of the humanists...the allegories of the rederijikers, in the company of Rabelais, Erasmus, Coornhert and Ortelius" (1992:141). Intellectual landscapemeans con- ãrlt uo ìooq luetJodun ue ã1oJ.4Àsâuof ]sãurg 'rJrltg u,^o JãrlÍueru ot qsr.tt snorfsuofun s,ratq8nepâr{lJo uorsJâ^uruE sr retqSnepu,{\o srqírreru ot qsr,r,r s,rârìltJãrÌt ltr{t rlfns uoÌsJà^ura,r,n:aío:d ler I teLI.{\Josrurãl ur elet ãr{l pâ 'rãrlle3 -la-rdralurâ^eq I rârÌ roJ ã^ol râr{ ãrellãp ol ãlq!un sr srarq8nepaarqr p 3o raSunoÍ e r{lrrl.^^ur ,.'íllESãìrJ ã^oJ,, 'pu prr8o1 -oqrlsd sla8en.rgur SurqrÍue ãq ppol ãrãr{l reql turrl ou sr ãrâql'sãrrnos snorfsuoJunãpnlfur tou sãopt1 dluo sãfJnossnoÌ)suor pue seJJnossnor)s

ZL ,.intJ )ry ruo{ yag alddy atlt sao(J"tal moH,, 24 Alan Dundes

Oedipal aspectsof Hamlet (1950). To dismisssuch efforts as anachronistic on the grounds that Freud's discoveriesoccurred after such literary master- pieceswere written is unacceptable.In geoiogical theory, there is a notion labelled "uniformitarianism" according to which a principle no matter when discoveredmay be assumedto have been operative in the past. It assumes that earlier geologicalprocesses are not different from those observednow in the present time. I would say that uniformitarianism is appropriate with respect to psychoanalytic insights. Let us assumefor the sake of argument that this is so. \7hat can it teach us about Bruegel and his and his son's NetherlandishProuerbs paintings? Even the most conservativeart historian admits that there is a good deal of fantasy in Bruegel'spaintings (Barnouw 1947).If there is fantasy,then the use of psychoanalytictheory ought to be relevant.The issueI am addressingis whether or not psychoanalytictheory can give us any help into peering into the psychesof both Brueg(h)elscen- turies after they lived and painted. According to one relatively recent essayamong many discussingthe psy- choanalytic approach to art, 'Applying psychoanalysisto art, then, amounts to demysti$'ing and unmasking it. For Freud, the work of art is a kind of dream-if a social one-and the poet and the artist daydreamers"(Kuspit 7991.:4).I do not think it would be amissto consider Bruegel'sNetherlandish Prouerbsas a kind of Wimmelbild (Foote 1968:147) dreamscape.The same might be said of Childreni Gamespainted one year later, a painting which was aiso copied by Pieter Brueghel the Younger,though unfortunately those few copiesappear to have been lost (Hindman I98l:448). Just as dreams are products of the unconscious, so also are paintings as are all works of art to some extent, even if not always recognizedas such by conventional art crit- ics. From a psychoanalyticperspective, 'A work of art is essentiallythe inter- nal made external" (Spiu 1985b:11).To the extent that it is legitimate to regard such paintings as dreams, we can see that most art historical discus- sions are limited to considering the manifest content only with little or no concernfor possiblelatent content. Standard analytic theory contends that "painting is a sublimation of anaÌ impulses."According to Hungarian analystMelitta Schmidebergin her essay "On Sublimation," "Painting is derivedfrom smearingwith excrements"but what we have in painting, thanks to libidinal sublimation is "the wish to beautify insteadof the original wish to smear" (1947:98; for another con- sideration of the role of sublimation in art production seePickford 1970). Ever since Freud's ground-breaking essay"Character and Anal Erotism", there has been a steady stream of papers on the subject by Karl Abraham, "the ErnestJones, and many others,e.g., Grunberger (1976).That is to say, uo ârdBEN ârp qlr.{\ admspuul,, Sunured le8an;g ãrp uI lttll arou íeu ar1ç '(ç6) ,.s.uo1p8agr uo slltls ãH,, ''3'a 'sa.rnrea3g:ns Íeldsrp qrlq^\ s-roqdelaru 'elueuãp ãq uÈr ìlo1 l!rã^âsãr? ârãrll se IIã,la'se uotssarSSeFue Jo sluãtuãle ârãrlr rerll sruÌti srLII 'QLt:Çret ra8uruuary) (uluerd arer8allor-ro Ílrural -E{ ul punoj ua5o) ,.ruredgtr,tr sÌe^rrJo lrrado:d aqr Surqnepãq,,sã^lo^uÌ sur8r:o IEuE ruo5 Sutuuats Ílpesoddns stlell rãllerrrp ãqr Jo ãuO 'sqDnoq qs?uplüqpN âtll esn Íru a.tl8 ur parrrdap sãuãfs eql Jo ãuros Surqrrtsap uI l?lnleurã^ Jo 'suoltrun3 ol Surrra3a-luI ãur!tÌs -ro3 IÌ1.\\noí adoq I oS Í11poqIErnlEu q)ns ssâlqrntu se.t\ãtar{l 'ãrnllnr (ueu:a3 uI sEÌlã.\\ sE)gllnq ur Ílleuorrrpt-ra s.roop 'rr ol JãJâr ol sursÍtllãqdna leuonuã^uof Jo lsorl E Sursn pue pâsol3pulrlâq rlp ãql tno 8utÍ-l:trJo sturãl uI qloq ate.tud Í-la,t s:alleu grns 'uoIlElãJãP lle âIll daal or puãt ìloJ Pãte^IlÌnl urâPotu e,lr 'lserluor uI Jo lnoqe ssãuuãdoa:otu r{fnuI sE^\a.raqr Íep s,la8an'rguI leql râqruãLllãrPUE 'Sullsn8srp rou purru uado ue daal 11r.r,rnoÍ teqr adoq Í1uo ut: 1 rgSrru.trop ol uolssnlsÌPãr{lJo âuros 3r ruesealdunse noí3o ãurosãìÌrls íeru,tto11oj 'sqrânl,tdqsrytupyaqlaN uÌ sâlâJgrr.tr SurdtldJo ãluãPI^ã rr:rldxa luâsãJd lue sr a:aqr Jãr{lâr{^\3o uortsanb aqr dn ãìEl ol Puâlul ã,ra.'lxã.luol ãql sBI{ eql uI'(tee t ryqsÍr11)ãr^nâo s,la8an.rg ut íSololersJo ânssl Pãsler e í1ug rreqreg erues Jn re lrotsrq trE uI stsãqlsrâls?ur pagsrlqndun auol 's8urluted ',(8o1orecsor ,Golorrq:sa -ra3a.rdot PUât sueltolslri t;y s,le8anrg lâ^ãu or rãrrereqr Ì?uE tnoqe seapr ,sauof Í1ddt or qrlrgtuoì o] Pãlrnlro tlrlnq lpua:edde rr rng'(0BZ:0ç6I) ,,,a,rua8,Josrãlseul í;nlual-qtuaãlxls osle sE,\\r1rl]gluo) ãrlt Jo 1sãteâ;3aqa,, rurq 8ur1pt la8anrg Jo rerrtuPe uE Ílultrr:o (Çç6I pue s8utttr.r,t,sauof rsaurE qtr.u Írr-lerlrulÌJE Pâlerlsuoruap Jo rãgruã^oN ur Írarcog pcnlpuy-ogrís4 gsrrt.rgãql ol ãrnlrã1 sauof ]sãurã s,qllrqtuo3 ãr{1sE pãluãsard ,.rry3o írorsr11 ãqt Put stsípuy-otlcÍs4,, íessa 'sauof tsaurg pârltupe Ípear8 qluguro) 'H 'ã uet:olslg lre PãLuE{ ,-'-.'^-' tuloll!lAJ \v6L-vLL.Lvvct- ".-V".?. âlpplzu td'trâSaqJ âr.ÌoJ ãP rnot ,seuof E osle sI ur ..'Í8o1orecsJo sãsfÌ aqt :arard1re1,,Pãlllluã r:ldeqr q;adns e uÌ ãrãrl1 .,'lrv por8o1orec5,,or pâlo^âPpu.tnof uy ãLI]Jo ãnssr1er:ads lrÈ uerrxãW ruãrtu?3o Ípnls g66I s,urãDl?IIâIãJ Pue 'IIEC pue dutqrng3o Ípnrs 9661 s,pre.{\oH''3'a'srrnpo.rd rre ot uollnqlrluor lllorã IEUÌ algtssod agr paroldxaã^er{ suelrolslr{ rre.^AâJ e Í1uo'(eçg61 ard5 'ç86I suqn) 'í2ç6I srr;4) p;aua8 ur rre Jo Ípnrs :nÍpueoq:Ísd ãqt ol Pâlo^ãPârnl !rãlll Ielluels -qns ! sï ãrãilt q8noqlly '.readdesrpílaraldruor tou íetu tisr,lr pur8rro aqt râ^ã,\\oH'(LG,tr;t Sraqapruqog),,suos-radpa.to1-Ípuap^Igtue ro3 s?^uel aqr 'sra8ugslq roJ rlsnrg ãI{l 'sluâtuãrfxã.ro3 rured sâlnttlsqnsãH 'uollnlìls -gnsJo íe.tr Íq urroJ pãtlgrqul-urÌE ue ut saslndul snollsuorun âsãql sagrte:8 pue'sluãruârrxã I{rL^ Íe1d or ãrÌsãPr^ttlurrrd srq PãlIqIquI ser{FnPI^ÌPuI

)W ruo.{ alddy aqt saz1 nJ moH,, >c ,,iad.tJ 11ag 26 Alan Dundes

the Gallows," the magpie supposedlyrepresents gossip which is equatedwith "shit" as stechow observes(1969:144), an interpreration basedon the image of a dancer breaking away ro defecatein the bushes(Gowing 1970:25). An even more forceful folk metaphor is: "He shits on the whole world" (17). others include: "He moves along ai though his backsidewas on fire" and "[ç-yvrp''e,shis ass-onthe door" (66). In the caralog,this last item is identi- fied as "He rubs up againstthe door (of the prisonl" which is not nearlyso striking. Another example would be "Two shit through one hole" (73).The folk metaphor involving "throwing one's money into the warer" 174) is a structural and symbolic parallel to defecating into the canal (Dundes and Stibbe 1980:37-38). Then there is a scene which we identified as "That hangslike a shithouseover a canal" but for which Mark Meadow has recenr- lysuggestedan alternative:"to make a castleout of a shithouse"which in his unpubÌished dissertation he notes (1994:9) was nor previously identified. This proverb could well serveas an epigram for rhe entire painting and I am gratefui to Meadow for having identified it. In any case,rhere is surely both aggressionand defiance implicir in shitting on the gallows (showing disre- spect for the ultimate punishment mered out by lawful sociery)and shitting on the whole world similarlyrequires no additionalgloss. The ideaof sitting on top of something also has anal roots. As Grunberger phrasesit, "Since Freud we know that possessionpossedere: 'sitting on rop of' and "posses- sivenessare and taìrc" (1976:106). Even rcday, in ouÍ own socicry,scÀolars suffering from writert block are somerimes negatively described as "sitting on their material," clearly an allusion to symbolic constipation. Thus "pub- Ìish or perish"could be â more polite renderingof "Shit or ger off the pot." One of other prominent featuresof the anal eroric is the fascinationwith the digestiveprocess such that food is perceivedin terms of its end product fecesand accordingly food and fecesare often confused. As an example of reversalor inversion, fecesbecomes food. "Horse manure is not figs" would fit into this rubric. In a well-known Bruegel print, in which the hay pursucs the rear end of a horse, we have a food item placed at the wrong end of the digestivetrack. This is parallel to the image in Mad Meg in which a bowl of food is proffered to the anus-mourh. In NetherlandishProuerás a similar inversion is suggestedby "There hangs the pot outside" in which a chamber pot is suspendedoutside of an inn insteadof a jug. Asign of elimination is thereby substituted for a sign of drinking According to Sym in an essayenti- tled "Derivatives of Anal Erotism," oral and anal aperruresare sometimes conflated (Sym 1963:142). A rather brilliant example of this occurs in Bruegel'sDulle Griet or Mad Meg. In the lower left hand quadrant we have a creaturewhose mouth has a spoon protruding from it but with the wrong <

Fig.4

the mouth, :"d of visual gèited i n th is .onìËCtïõìïìffiï'ãndi ry .;" iï; entlre sequenceot cap- turing, digesting and absorbing the object (Heimann 1962:406).If this were valid, then the proverb "Big fish eat little fish' (75) would fit the pattern. It may be noteworthy that Bruegel made a print (1557) of this very proverb besidesincluding it in Netherlandish Prouerbs. Perhaps one of the most striking anal metaphors is one that appears in some, though not all of Pieter Brueghel the Younger's renderings of Netherlandish Prouerbs, but which may or may not have been in Pieter Bruegel the Eldert original painting. In at least three of the Younger's paint- ings we have in the lower left quadrant a hat containing feces fFigs. 5 and 6] ..iaatJaql ruo.{11u9alddV aclt saoe rry moH,, 30 Alan Dundes

(Dundes and Stibbe 1980:61).This image is one of the detailsDuckwitz usesto distinguish two differenr groups of the Younger'scopies of the paint- ing (2002:69). Marlier offers, "Van buiten bont, van binnen srronr" "On the outsidefur; on the insideshit." Stibbeand I cite 'He doesbadiy who letsoth- ersshit in his hat, but evenworse off is he who puts it on his head" (Dundes and Stibbe 1980:62),but we alsocite an earliercritic who suggestedthat the fecesin the hat may be a play by Pieter Brueghel the Younger on his father's nickname "the droll," as "droll" in Dutch can mean both quaintly amusins and feces. Since this image does nor appear in Pieter Bruegel the Elder's original painting, there would seemro be two possibiliries.One that we proposedwas based on the theory underlying the historic-geographic method or the Finnish method in folkÌoristics. In this merhod, the folklorist garhers as many versions or texts of an item as he or she can in order to attempt to reconstrLlct the archerype or ur-form of the item. If we regard Pieter Brueghel'scopies of his fathers paintings or so-ro-speakas versions of that painting then it could in theory be possiblero reconsrruct the hypothetical archerypewhich we could then compare with the actual original form, a lux- ury not ever availableto pracririonersof the Finnish method. Since the hat filled with fecesappears in severalof Pieter Brueghel the Youngert copies (versions)of the painting, we might logically assumethat the scenewas in rhe originaÌ and that perhapsin the original by Pieter Bruegel the Elder it might have been painted over as being too overdy offensive. (Professor Mark Meadow in hearing this suggestionindicated that this was nor the case.This part of the Berlin original had not been painted over.) (Not only is it absent in the Klapper version, but the fecesproduced by the adjacent pig found in Pieter BruegeÌ'soriginai painting is also absent.)On the other hand, the rela- tionship between an original and copiesis an exrremelycomplex one. In the history ofart scholarship,the issuecovers all aspectsofarr, nor just the graph- ic arts.There are copiesof sculptures,for example,and of architecturalmon- uments. The issuesare discussedar some length in volume 20 in Studiesin the History of Arr. "Retaining the Original: Multiple Originals, Copies, and Reproductions" published by the Natìonal Gallery of Art in Washington DC (Preciado 1989). Experts are consrandy being askedto aurhenricarea partic- ular piece of art though often a copy may be stigmatizedby being labeiled a forgery.The so-calledsearch for aurhenriciry (Bendix I997) alsoplagues folk- lorists who are constantly on the alert for "fakelore," that is, items which are cÌaimed to be authentic examplesof orally transmitted traditions but which turn out to be fabrications by enrrepreneursusually inspired by the profit motif. ol rãJãrí1rr:r1dxa regr srogdtrãur ãtll 11eSuue;arunua íya-raruueqT sqtdnlql qslPup/DwdN uI slueurrlã rllorã IeuPlnoqE PIESâg ol ãroru sÌ ãrãgl lng 'ssâiãtÌlruouIÌg PIP lI lnq 'rãrl àql tuo{ rp1 ueÌle3ã^eq rou leu aldde ãql oS 'GZ,W61 âqqps PUEsãPunq) ,,p1.to.n lÌt uo rrqs I 'lÌEãp sI prer âql uãtL4N,,sE uoIlErUIluãPr rãIIr?ã ue paronb a,teq I pue âqqlrs qrlq^\ ro3 ãuãrs t '(9 1) .,pre: aql sla8 1oo3aq1" uÌ rnoJ uerÌl rãr{lpr sprtr ã^U erp ãrâtlt snql PuP (19) ,.ãuoqâuo uo sSopo,t[,, ul s8op o.tu 'sluleJlsuol ulqll.{\ ãrlt Jo uoÌtEJolol ãql uI uoÌlEIrE^ sl ãJãrll os Jo lâs leql suonErâtle,^AãJ E ãìelu ot ãlEtÌseqlou PIP ãtÌ 'âtuÌl ãuJEsât{l fi )nq sqün0q qtyupl"tdt/eNJo luãluof pu? uollezlurS.ro1p;a.to â91 or InJr{rIEiPâuleluãr âtl .{rardprlg jo suoseârro1 '.PuEI{âuo eql uo oS '3ul^r1t Surleru 3o satrua8txa Suraq sdtq âql ol ãnp ì1o.4,srãqleJ srq 8urÍdoc ol PârnPâr re'snot:suo:un -rad ,tuauruâsãJãtuos uârq ã^Eqtsnru ãJãr{lâLuIl ãtuesârÌt lE lnq 'râqleJslrl ra8unol aql 'rq8l: 3o snrua8aqr partr:ardde a.teqí1a;ns rsnu laq8an-rg-ralar4 'ãfuãlÈ^Ìqrut s8urlar3 u.{\o srq uÌ JeluIEo paluâÌ?t Ìl Pue lsÌlr? ,{\olÌâJe sV jo ãLuosol pãl â^pqíFrrelrac tsourlElsnul ãnssrpdrpag aqr 'Surrureds,rãrltBJ sltl u1 'rq3r1 âuIEsãql uI 3o sardocíueu os 8ul1eu 3o ãstnol aqr pdrpag Prnrls -uor rq plnor ãrueu tsel srqjo 3ur11adsãql ol ,q,, ue Surppeuo âruãlsÌsuI sllÌ Sunrnd rql uã^ã 'Sunured s.rãrlle3srq 3o ídoc sÌq uo ìretu IEnPI^lPul srq rrnlnsuo: rq8rtu ãurEuìfru s,rãIllEJslq ol e)uãrâJarSuruund srqr Surppe srq sdeq:adreqt a.rntcaíuooÍeru a,t tg8ll lttÌl uI 'a:atd;atseu s,rãqleJsrq 8ur í-ra.r'íeru uos aql -ssedrnsrou 3r uodn 8ut.r.o:dur3o srq8nogr PEq ã^ELI11a.ra. reqr areprads utr ã,lt (7997 zrr.,lr>1on(Ìosle 'p 'L9-09t0097) putbtro utl;ag s,rãrpe3sItÌ pue sardo: s,1yrãlãId uêâ.{\-lrqsãruerãIJIP snoÌre^ agr 3o slsÍpue srq pue (6ç-9çt0002) Surrured s,rãqlPJsÌq or II :arar4 Íg pappe s-roqdtraru ol s1ueq1 'acatd pue sg;a.to.rdJo zlrE snepE Íq papr.tord Í;etutuns ãql -JJtsEurs,râqrEJ srg uodn a,tordut ot uos ãr{l roj ìs?l âlgBlunourrnsul lou (sq"taalrd âLÌl luãLuã^ãrr{re JÌ rlnr5Jlp e aq dlrealo PFo,\\ r qslPurl"tdqoN Jo 'uotlednrto âre.\\ qlog uã^ã InJrãlseruãql uã^ID ãuresâql 3ur.,to11o,;lou Jr ãq 'rãqleJãqr sEãureu atuesÍ.ra.L ãqr PEI{uos ãqlJI Pãl?qrãrexãípear8 PFo.^. uos pue rer{ltJ E uae.^^lâqs8urlaa3 pdrpag Ìerurou ãtÌl leql rãqun3 lsaS8ns sreaÍ ppo,\\ 1 'algrssodâq Ìllrs plno.^Àa133nns a.ttlrladruoc pdrpag agr 'a8ejo ua,tg a.lg í1uo se.r,rra8unol aqr lag8anrg rãtãId uãI{,{\PrrP rrqreJ rgr q8noqr 'snorrsuorun tlãql? rãqleJ pue uos uãã,{\lâqírp,lr: a.ttrtradruo:30PuIì ãluos uãâq ã^Erl rriSru araqt IEI{I ã^ãIIâq or Ísea ãq PÌno-{\lt '.ratutede aq or dn ,uar8 uos sÍql IEI{I llg ãqt ua,tr8pue âuleu u,^Àoslq qll{\ uos sÍq Sur,Ltopua uo luãlulxof ol írtssacau lt 1a8:nrg rãlâId Jo suotte:tldrut snol^go âql rg8noqr seq a8pel.tloul Íu or uelrolsÌrÌ tre oN 'rãtlleJsnoure3 stq uo dn auo oB or Surlrr se.^ãq âsnerãqa8erur eqr PãPPEâ^eq Íeu ra8unotr agl laq8anrg rãrârdleql sI rulll tsru ãr{l :o3 esodord,{\ou I qllq,\\ írrpglssod Puorâsãrll

Iç ,,iDtJ aqi ulo.{ pag a1ddVaqt eo(J rpi moH,, 32 Alan DunrJes the act of defecation or the results thereof. It may or may not be of interest tlrat in several of Pieter Brueghel the Younger's copies of I'letherlandish Prouerbs,the contents of the chamber pot hung outside the inn (11) are depicted while they are not in the original by Pieter Bruegel rhe Elder. It is nor rhar Pieter Bruegei the Elder was the least bit shy about depicting feces and he doesso in "The one shearsthe sheep,the other the pigs" (37). But to more fully analyzeBruegel's scatological tendencies, we need to review more aspectsof anal erotic character. And for this we turn to Ernest Jones' remarkabie, insightful essayon 'Anal-Erotic Character Traits." He notes, "Interest in the act of defaecation often leadsto interest in the site of defaecation-i.e., in the anal canal itself." Among the various chacterologicalconsequences, Jones observesthat "The most interesting one is the tendency to be occupied with the feverseside of various things and situations. This may manifest itself in many difïerent ways: in marked curiosiry about the opposite or back side of objectsand places-e.g., in the desireto live on rhe other side of a hill becauseit has its back turned to a given place; in the pronenessto make nlÌmefous mistakes about right and left, eastand west, to reversewords and lettersin writing; and so on. Another curious trait of the same origin is a great fascination for all underground passages,canals, tunnels, etc." Analyst Heimann in her "Notes on rhe Anal Stage"adds that "Reversalconsists in the change of the original direction into its opposite. Akin to reversalare the mechanisms of turning upon the self and undoing" (1962:413). Here we may also recall the central- ity of the topsy-rur\y element rn the Netherlandish Prouerlts'The globe (read world) is turned upsidedown so that its bottom is on top. This is not just a reversal but one that puts the bottom into prominence. So the whole meraphor of the mundus inversusfrom this perspectivealso conforms to the anal erotic pattern. To be sure Bruegel did not invent the world upside down image.There is considerablescholarship devoted to tracing its history. But he certainly featured it. I also found of interest in the present context that one art historian (Gowing) noted that "Most of the figures that Bruegel noted were drawn from behind....He often drew the figure again from in front, but the effect is iessconvincing. (m/ emphasis)" (Gowing 1970:23). Just reflect on how many bottoms are on display.Balancing the bottom protruding out of the window that shits on the entire world in the upper left hand quadrant, we have in the lower right quadrant "He falls through the basket" (50)' show- ing a man whose naked buttocks have fallen through a basket.The latter bas- ket case'suse of the thumbing the nose gesture,the so-calledShanghai ges- ture, studied by Archer Tâylor, is also balanced by the man just above the individuai shitting on the entire world, in the upper left hand corner of the 'suollEluãsãJdãJ ãrE,\\Elou uJ? I qlns SuIPreSãJsãroul u,\\o Jno qlÌ,4í\uosutd sâPnllll? uI -uror ur ípoq aqr 3o rred srgt Sutssncsrpto 8uríeldslP sPre,{\ol âruãrãlJrpâqtJo sn sPururãrslql UIEãV',,rãIÌlâIrìtlrsrv, sl uerxrã) uI ruoIPI se sI oq,\\ ãrlJ 'rouop ltrruetod E Jo Puã rEãr ãr{l otut Surdaa;c paut8erul rãrâuelï ro rueqdocÍs E o] srajãr r{rtnq Pue uerurã) ur qllq,l.t rdlqJlauqJs ãrour uã^E rae pãIxlue ,.sqra.to;d r^là.{[,, àtl] Jo ruo sI rIlEtuErP 'ru:teípe sStq Áeuou ãql ol reÌIulls í18ur1rrrssl puno;8 âql uo 3ur33e:psìlollnq pârtolq e qllq.^ uI'sârl^ uã^ãsãrllJo ãuo'.,ãruE^V, ãrll ãuo sr osle a.ttlse88n5 3o ruerpenb pueg rq8rr rã.^Àolâtll uI sãuârs Jo 2urtr -uor Íaqr op IEL[,\\st uotlsanbâqJ'srrulE]uor sEsãÌPoqJo ã^Iãluof ol PãPUâI 'ã^Itsã88ns r{ll^\ tulrq âql ol slsãql ãrnseerl la8an:g ílurerrar sI sulor IÌnJ '8tA] s8eg pue srod crqd;oruodorqluesll Lïrl^\[6 (.Zqçt),,saxog-3uort5put -lauo141eqt jo rq8r'I aq1,, ruud slq lnq uotlenba slr{lJo a8pal,uoul snolrsuor 'uottenba ã^Ilerreu ul ou ã^Er{plnor 'âsrnor 3o 'ia8an:g eql uoddns IIE ìloJ 33a uaplo8 ãqt pIEI reqr asoo8aql ro íauou Jo IInJ rodrrqs t 3ur>1truro lrIP -Írd a>1r1surolpl ro sseãtlt dn Íauoru Sut.teqro 'ãrrnl íqr1g .roqcrr Surluns ro ol strÌ rãlleretll Íçp se qcns qcaadsìloJ 'uolltnba sa:a3-íauou ãql qll.&\oP ãuo sdtq-ra4 '(,lou uJãI{l rnorã Ìeue Jo slã3EJârrezlq Í18uiuaas lsotu ãrÌl Jo spuersrãpunleql sìooq 8url.r-rersse uEJo ssãuãìIÌãq1,, ol lÌEsory ãtllJo ^^'e'I suorre8rygoagr rdarre ol ãsnjãrorÌ^\ srr^ãIlequnSur.redtuol (ç ãuII '79 qernS) ue,:n| âql uI uolsnlle uE uã^ã sI ârãrll 'ãrolìloj q]L4í\uoÌlBulcse3 s.1a8anrg sâtensnllrosp 'Ílpruapt:ut 'aSeuttsÌql.'{Ìooqls l? ssv aqa,, rutld 1çç1 s,1a8anrgroJ sV srq ur lerâ^ãsããs uer ã,ü'sãplsìreq ãreq ro3 rueq:uad 'aue8 srra;ppqt ? sErreq: ílod E rePlsuol or a8uerr5 'Sunured atp e ããsoslE ã,4í\ uãìol euIEsãI{1 3o lpnts slq uI tI slâqeÌ,{\ous st ,l]]od Sututetl,, ,rno:ro ãìEr íq rng '[8 pue / 's8l{] leld sppqc jo PuH snolrnr e í1arns'Írled re^AolJtll uI ããsosl? Sunp e 8ur1rr.rlrïrÌls E qtl.{\ u?uJonÀe 'lut:penb luo{ rJãl e^ 'sqa(to"kJqslputl.taluN :er3e rtal auo tsní parurtd sdaat s,udrqlxt/) roJ sV 'u?rrlsãpãdSuucadsnsun uE oluo leãrls ãql a.togeSurplrnq E Jo .{\oPUL E ruoU parnod ãg ol lnogP sI qlrq^\ (srod .raqu-reqrJo sluâluoo) ,.lare.tt:gl roJ lno rJ)lE,\\,,Surutatu (,nEã.IzâPrE3,, r{luãu ãql ruou sãuror rr ÍlpasoddnS 'uloorrptg ro3 (,ool,, turar 3ue1s qsrpug aqr sureldxa Í8o1ouíra 11oj alqrsneldâuo ol Surprorce rÌllq,l.r s,\\oPulttJo tno stod rãqluegl Jo sluâluor 'Ot :11.3etueruPulH) aqr Surdunp Jo ruolsnr PIo eqr Jo sn sPultuâr sIIìJ sdruat suaq4ry) uI ãuãrs rEÌIurIs E Pãsn er{ ãsn?lâg ,^ oPuI.&\E Jo lno Íleruaprcul 'PuU ol ãlq! Suueca3apJo eãpl eqr pãìII ã^Brlot sruaasla8an;g sp,^Àãq ter{l ãJntsãOreq8ueq5 aqr3o 'uanb âlue urnulturãl 3 'uollt;lsnllÌ lsâÌl âr?CE-L, -rEããqr \ 60Ç7LGt) ro1Áeaor Surprocoeqrlq^\ ,,snoJsãP Pãlllluã se erntsa8slql 09çI Jo lutrd e uI lI uI Pãsnosle Ípuaredde aq PãìII la8anrg 'pãtelârrãlut {\olÌruros ãJe sâuâfs o,4^lâql reqr 8unsa88nslgaregr 'Surrured

rai moH,, çç .,iaarJ aW uo{pag a1ddVaqt saoe 34 AIan Dundrs pa8e114relppad aqa,, turrd (29çD rl{r q'[tt Put 0I 'sglg] lutrd gra'rord JãrlJEes(râr{te3 slq ueqr arour a8eruraqr srgSl1q8rrluqlsre^ PeJolo) s,la8unotr -ïïõire*ntã js55q-" aqr pq8anrg rarer6" ÍãüÕ-ú spï5ÏC {rtduexa or readde Ílurerrac pFo À (rurrd aqi u ,(auourJo qf,reãsuI "r:t-.::.p?Í.,_Bi"g:p) sìrounq aqr SurraruESutraruE <(ïâurãIrìI{f,srv,..ragcaulgcsrv, ol pniiiüõfrr"smpsr;;esor'üp1prtilãtp"$nqrsrl!sotr-ü^{org "õi uorssardxeaqjãs*"otrtffiõlilqíÌrt\ da.!g]j{ or 11a111&ez'sr rorradnsB or dn sessuloq/( Jo ssesâssDl oqr* auoÍuy 'ssesïffõi^llatueu 'luale.tlnbapq -Jâ^ e qtr^r arnlsaSE o] pãIEIâJsI ruorPl ãql rEI{r sI qlnrt pclSolorulra ãqr rng lno d-rrer ot â^Er{ oll\[ ,,'slurod ãru^{oJg,, uJEã ot JePJouI qstr pareu8lsãP ípcldlr seru^{oJg sE u,raouì dnor8 e 'slnocg sIJID Jo sros.rncardeql ol JeJaJ 'u9ME4I{?P Ípralduroc a.leaserqd aqr Sutsn prn leqr '

I E?t

moHD çç <<ëaailaqt uto{ 11agalldV aqt sao1 wl 56 Alan Dundes

Fig. 9 by Apes" [Fig. 12] we find more evidenceof Bruegel'sscatological penchant. One monkey inspects the naked buttocks of the sleeping peddlar while one to its immediate left defecatesin the peddlert hat, a scenereminiscent of the missing "fecesin the hat" segment of the Netherlandish Prouerbs.In the 1557 print "Pride" [Fig. 13ì we find once again a naked buttocks defecatingonto a platter which spills down onto a piece of music resting on a roof. Barnouw II'3H

aqt sao(Jrry moH,, LX ,,;aa"tJaW uto"{ 11agalddV Alan Dundes

Fig. 12

Fig. t3 pe8e8ua ãJnteârf e 3o suortnadar lueur oor lldrurs ãJeeJãrp 'lua,u íue u1 'ârenf,e ã or rueJur IIErusË a3ernooue ol tdtuãDe s.tualed pcldlr arpJo IesJã ãr t sr turt8 EJo $lf,ounq eqr ruoï saraj ,(rd or Sullrr 1t{F eesue) artrrq31 reqt q 'se psruâIïrJo suolsJe luel8 se stuared ããssluEJuI lBqr Puels -Jepun rJEca.ti 'tue3ul ue 3o aÍa eç q8norrp pa,uacrad sE sluãrcd are slrrer8 rrgr a8payrrouì ãql grrlç '1a3enrg ranld ol slrelrorslq uE Íq pãtnqrrrre lle ((.ãJuapuadaput,, -raua8 'lerrLaqr lq 'slrert esâgr qroq qrle\ PuE (($uEIJaP,,Jo srrcn &lpuosrad rppe JãIBIol rosrncard eql sr sryl lpasoddng 'saca;rlaç ãul -ploqgry'r l1lEuol]uerul lg arecaSepot s8ur8rn pruared ol âruBlslseJPUE âf,Ire -Uãp 1úoqs sãuJltãtuosstuEJuI ',fioaç uEIPnerJ or Sulprocoy '1ryd1aga,ro;d Itru slsagrodlg rltor3 [ErrEâr{r erãH iuoltedllsuo3 Jo ãser are ãs ! e ãIIãr ol ldurãlle ut rsní rr s1 lrutl8 E ãser auo ur ruog sâJeJlno 8uú-rd se paroldap sârnlteJc jo Surueeru âqr aq plnor req/\ 'tno sa)eJ âI{t ãJroJ ot sreadsglrzrr rueÉ aqr Sulppord sI 1Ëoge ur Surtlrs s8urag3o dnor8 e ureSt l{8noql ,.'llqs ot Áze1oot,tuet8 ,he1e amrTãa [9I 'qJ] (LççI),J{}olS,, uI 'Prlq )ruotuãP EJo ïEeq aqr lq paprc lpuaredde arecaSopot slenbs rãuro) PuBr{ Ual reaol ãql ur ueunq E [çI '\t] Uççü,lreqca1,, uI 'ureãrts ãql o]ul Surlenre,re rBoq BJo apruun8 aqt uo paricrad laluotu pa8uur e ââsa.4a'sãuãs eurEs Jgl uI tlt '8tgl,ArE,, tuttd (1çç11arpu1'(t1:116T) (wgt uo rrqs1) .,do ry uaqrs rerp,, :tdruatuor pgre^ 3o uorssardxa r13rnq e slueserdar snp leqr stulep

il'3H

pl 6ç <.jaarJae7 *orllot alddV aqt saoe moH,, Alan Dundes

Fig. 15

Fig. 16 'Fqdínod? ãq Ítru reqr ]uãPIruI pairodal e 'rrg s,rãpuEIAIu?^ IãrEJ ul Ì[e,\\ aql -pri 3.titt1"t,terauo t:,'ra,u.oq'.sI ãrãtll'(Et:çg6t zrrd5)Árpuosrad s,lsrue :rgrÍsd Ì] sE lJe ãrll :as ol ldtuaue ue JãrllEJrnq Jo uollfâlÌãr ro rrnpo.rd ìJo,\\ a'teqa'r't acurs) (ãJIIpur pooqpirlll s,la8an;grâlãId lnoqt ÌIErãPã{ulÌ snorlald e Sutlardratul ãs?l e lou rqJ"i8otq s(lsllreaqt io rq8rl ãql uI lrÈ Jo ìro'\\ Jo 'slql surlrolslq rre leqr adoq ,, ,rq, ,"q, Ì1p.rg ãrou PÌnoqs %t\ a8pal'ttoulce u.rattedluãlslsuol e r:ed s sqranor(I pFo^\ p,r* 1t8rtltg Jo lre âql ut 3o "^ ol qsryupLtaqeNur lpog ãqlJo Ear?rãt1lãu ãql uo srseqduarql leql àPnlruor ãruãPI^ãâqr uo-rg 's8urluled alqeuoseersI lI tetlt IrãJ'â.{\'paruaseld ãrãLI IF râPuo'u Ítru ,i.1go ,o1o, pdrc.,rrd aql se u.\\orqJo ãrIoql s,la8an'rglnoq ! 11a'u '(lno sâlunlsof âuo 'txãluof fnoJã leut tuasa;d ãql uÌ lng puers leJâ^rsJo âql sãì!ru ãsrnor tÌlltl'4 u'^ org sr sqraaoq pãr eql Pue ìEoÌr âqr Jo ãnlq Jo ) 'ìuI u1úorg qtlpupLtaqeN uI rolor rueuluopard í18uru1aq'urã^o ãt{I 'u'^\org rolor ãgl rsn p"" ut art sluud s,rãPIEaqr la8anrg Jo lso'\ Jo ""a aqr 3ur,r1o,turs1a(q)Benrg qloq íq ãPeuI ãrloqr rllãqlsã ãql sI_ÌIEIãPPuorãs ro]rãÌÌor e se pap:e8a: ag Ílarerut y"algor

(1548-1606) Dutch and FlemishPainters first published in 1604, he recounts as part of his life of an artist contemporary of Bruegel, Hans de Yries (1527- 1606) that De \4ies wascommissioned to paint a view of a summerhouse in perspectiveand "he painted an open door in this picture, to increaseits beau- ty." Then according to Mander, "Pieter Bruegelhappened to visit while Úies was away, he took the tools, and, in the doorway, painted a peasantwith a soiled shirt, in intimate relationswith a peasantwoman" (Mander 1936l.300. I am indebted to ProfessorDavid Kunzle for calling my attention to this reported incident) If there is any truth to this incident, it would demonstrate Bruegel'simpish senseof humor and it might possibly reflect BruegeÌk own long living arrangementswith a peasant girl prior to his getting married (Mander 1936:154). The fact that the shirt was said to be soiled or dirry in adclition to Bruegel'sact being consideredas spoiling the l)e Vries painting are consonant with the personality profile proposed here. ErnestJones in his analysis of anal traits mentions a sublimation of the primitive smearing impulse as consisting of implanting one'smark on some substanceas in leav- ing a memento of themselveswhich may injure and soil something beautiful florres 1961:432).ln any case,one can only assumethat Bruegelin some senseknew perfectly weil on some level what he was doing and that may be why he decided to wink at his audiencein ÌVetherlandishProuerás. No one should be embarrassedby Bruegel'searthy wit rvhich accounts in part, I believe,for the continued engagingappeal ofhis oeuvre including, ofcourse, NetherlandishProuerbs.It allows a much more uptight and Puritanical culture such as our own to consider in a sociallysanctioned artistic framework a fun- damental part of the human experiencewhich is deemed taboo. Lest anyone think I may have overemphasized just one theme in NetberlandishProuerbs,I would like to close with a joke. On the Berkeley campus I am known as the joke professorand a letter once addressedto the "joke professor" UC Berkeley was actually delivered to me. So it is entirely in characterthat I conclude with a joke: 'A patient goesto a psychiatrist for the first tirne and is given some tests.The ps;'chiatristdraws a circle and says, "What does this make you think oQ" "Sex." The psychiatrist draws a tree and repeatshis question."Sex," the patient answersagain. The psychiatrist proceedsto draw simple figures of all sorts-a house, a car, an apple, and so on-each tirne getting the same response.Sex, sex, and sex. FinalÌy the psy- chiatrist says, "You have an obsessionwith sex. " The patient says, "Me? You're the one whot drawing all those dirry pictures!" In this paper, I have relied on pictures drawn by Pieter Bruegel the Elder and Pieter Brueghel the Youngerand I appreciateyour patience. 'PrrttUI'Ì 'tr7V 'ruÌorp11 Srrrqsrlqn4 uorrns :lllt J xlurotld qpplW enas )qJ '2002 'sauof 'LÇV-çVI'dd'ssa.r4 uorerg :uolsosvsr1auaoqtrscI.uo',,,í"1;;Ï*^,":,";ï:"'ì)Ï),ï); j|:J ]:# ,,,:.i 'çÇ-()Z:01uVlo úowp aqt ul saloN:)rtnoç '9661 ':norulâS ,,'erlrqclo:do3 lsrEpP(Ì pue 'ErEZf'rlÌrq 'dueqxq,, 'PrE,^.oH 'çLí7-Lrr:ç.9ulQllng 1.tv2t/.1 'I861 'Erputs ..'J)uBLl',)Pì.ÍP'^llol'çutu9 tud.tqlttl) s,la8an:grrlrÌd,, '

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'6 L- 8ç dd'runâsntuurlutjruuog :trìrulsÌr!W 'savtdtaluT TaqSanrg'<'pâ '<ìulrg urp uE^ rrlr(ì ur ,,':a8uno1 agl laq8an:g rãrrld Jo doqsl:o,tr rqr ruoU lt ral3u satclo: pup.sqnno'Id t/slputltat/1aN '2002 '!leqrg s(rrpÌE ârÌr laHen:g rârâld :lrtrrq âqì uI sI II^aC âq.L,, '.zllt\ìrncJ 'ssâlduISuorstrl63o,{rrs::,trun :troslPËl\ 'salpn$ a.ro1z11ogtououptanl atg:[tnuuaqtnylo tp.raag ul'LG6l'tur8a; 'xlPuãg '7.6ç.-0Lç.'dd's1oog rrseg :ìroÀ nayl'ns[Tuuooqt[sr1uo s.tadurlyatsa1ag '!ç6I 'lre) ur ,,'rãlrErELIJIruV ãqì 3o Íroaq1 ãql or suollnqÌrluoì,, '{tutrltrgv sãf,uãJâJãu

ç, ,.iaa4Ldf ruo4{11ag aTddV ar1t sao(J nl moH,, 44 Alan Dundes

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Meadow, Mark A. 1992. "On the Structure of Knowleclgein Bmegel'sNerherlandish Prouerbs,"Volkskundig Bulletin 18: I 61-169. Meadow, MarkA. 1994. PieterBruegel, PieterAertsen and the Practiceof Rhetoric in the Sixteer.rth-CenturyNetherÌands." Ph.D. dissertationin Hisror., ,'f A.r University of California, BerkeÌcy. Meadow, Mark A. 2002. Pieter Bruegel the Elderi Netherlandìsh Prouerbs and rhe Practiceof Rhetoric.ZwoÌ[e: \X/aandersPublishcrs. Merrrringer,William C. 1943. "Characterologicand Symptomatic Expressions Relatcd to the Anal Phase of PsychosexuaÌ l)evelopmem," Psychoartalytic Quarterly12:161-193. Micder, Wolfgang Er Janet Sobieski. \999. Prouerb lconography:An [ntemational Biblìography. Nei,v York: Peter Lang. PickÍòrd, R.\)(/.l970. "Dream-work, Art-rvork, and Sublim:rtion in Relation ro rhe PsychoÌogvof Art," The Brirish Journal of Aesthetics10:275-283. Preciaclo Kathleen, ecÌ. 1989. Retaining the Origìnal: Muhiple Origìnak, Copies,ard Reprodttt'tiorts.Studies in the History of Arr, 20 Hanover: Ur.riversiryPress of New F.nglancl.

Schn.rideberg,Melitt:r. 1947. "On Sublimation," Samiksn1:97- I I 8. Snow, Edward. 1983. "'Meanins' in Childreni Cìames:On the Lirnitations of the Iconographic Approach to Brúegel," Representatìorts1:27 -53. Snow, Edward A. 1997. Ittside Bruegel: The Play of Imagesin Children's Games.New York: North Poir-rtPress. Spitz, Ellen Handler. 1985a. Art and Psyche:A Srudy in Psychoanalysìsand Aesthetics. New Haven: Yale Universiw Press. 'ErPq.IEgPILtPç'ÌrIuroJlltJ Jo .{rlsrà^lun 'V'1,\ rtll r-rrÍra8r:ru1 '.r.-rorsrgrry ur srsJLIl ,,'rrPIE agr P8an-rg râlrld Jo sìrolN ur suaStttl,yunrl l\ydvtãouorl luâIJPUl lecrSolortrÇ puts trv âruÈsslÌruâì '166 'rlrtry ulqoX '1eqs,{r1ç uo suorlp^resqo :uoncLrnurlq Jo ,ite8ttul rtll-,, I 'f,fÌÂlâÇ Frlnr[nJ lurlro 'ladrc,y'an.tau,tv4do.mq-atsv :a.to/2/lo1ut s21Pn1San4u.taduo3 'Z161 'rrtllrv ':o1Ít1. 'Lç:ç run|qnaotd (sqrr^ord 'ç96 'ro1'{e1 ..'3urtutt.1 s,laqSnarg uÍ lou sJsBrtld Ì"Iqlâ^ord,, I '.râr'lrrv ' Ç, I - l, I |9 ! iEq otp,{s,1 sr^rlE^ÌrâC,, 'Ç96I 'g'l'l 'uI^S lr)4?ary lo luurnof qsuLlg ,,'LusI]or-CIEUV Jo 'ss::4,úts;e,rtu11aSprrcl rut3 :a8pr:qrut3' ) ruÚss ta uaY 'v 'larr8rt1n1!uË^rlÌ1ìç u.tdqlnl{ dql ul zruatf)nf Pua Ltv :sluosaa1s,1a7an'tg'qt66I 'gor-fsz'dd '.puelre) :ìroÀ.{\ãN'sPloy asly '.'Pr'.rrPâÌN 3ue331or16 uI ,,'rf,urÌPnv^ ls^IuÌlunH uo3 riy ârutsslcurà :8utrure4qre^ord s,p8an:g,,'tl(t6l 'V la:t8;r:tr1'ur:'rr11n5 'rul '6961 '3ue331o1X 'surerqv'51 í-r:tg :ìro^.{\rN 'uplc aqJ laSantgntr!(I '^\oqrrlç 'gT-L:l1.tVuo san4ta{star1nt,(lauuoqtliT ,,'l:y or grto:ddy rIl^llrut 'qç86 'râIPUEH - -oq:Ís4 pur8r:g s,pnãr,IÍqdu:3oqrt4 3o xbrrr:11 V, t urllã 'zrrcls

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