HOW DIFFERENT WE ARE - Kompalita

LLP COMENIUS,
Project No LLP– 010-COM-MP-089
HOW DIFFERENT WE ARE
SUMMARY
“How different are we?“ includes students from 9 European schools
who are interested in the psychology of personality. The project aims at
establishing skills for intercultural communication based on tolerance,
understanding, empathy and active citizenship. Our thesis is that
knowledge and understanding of others, starts from the knowledge of
ourselves.
To live together in our common European home, we should appreciate
and respect not only the common between us but also our uniqueness.
It is focused on:
1. Exploring the collective unconscious through fairy tales and myths,
using the techniques of psychodrama and art therapy, discussion and
analysis.

2. Discussing what is our behavior, values and motivation today,
leaving the irrational world; creating a collection
The Sameness and Differences in the Symbols and Archetype Models
of European Countries.
3. Analyzing teenagers’ most used and favorite words, having in mind
that the language is a reflection of our thoughts; creating a multilingual
dictionary, using experts’ analyses /psychologists and linguists/.
4. Synthesizing the fantasies and images into a “new symbol” for each
partner on the basis of our new experience and collaboration.
5. Acquiring knowledge about different national cultures and
languages. Improving our competencies in English.
6. Enhancing the European dimension in our schools.
7. Improving the ICT skills in students and teachers.
The results created by the project team summarizing worth knowing
facts about Europe and the EU, multiculturalism, European identity and
values.

LLP COMENIUS,
Project No LLP– 010-COM-MP-089
HOW DIFFERENT WE ARE
Symbols and Archetype Models
of European Countries
Collection
2011

I Latvia Sērdienīte un mātes meita
Viņos laikos vienai sērdienītei bijis jākalpo pie niknas
saimnieces. Nabadzīte, kaut arī nezin kā gribējusi, nekad nevarējusi
saimniecei izdabāt pa prātam. Reiz saimniece likusi sērdienītei uz akas
malu dziju vērpt. Bet vērpjot pavediens neviļot notrūcis, un vārpsta iekritusi
akā. Nekā darīt – gājusi pie saimnieces žēloties, cik netīši noticis.
Bet saimniece piecirtusi ar kāju:
«Tu man te stāstīsi – netīši. Tūliņ akā pakaļ lēkt pēc vārpstas – jeb
pēriens kā likts!»
Sērdienīte raudādama aiztecējusi uz aku un lēkusi arī, lai kas būdams
– vai paliek dzīva vai ne. Bet tos brīnumus! Kā lēkusi, tā izlēkusi
akai cauri uz zaļu pļavu. Šinī pļavā cūku gans ganījis cūkas.
«Puisīti labais, vai manu vārpstu neesi redzējis?»
«Redzēju gan – vecs vīriņš tagadiņ aiznesa. Ej tik uz priekšu, gan
panāksi viņu!»
Sērdienīte tecējusi uz priekšu. Pa gabaliņam ieraudzījusi govju
ganu.
«Ganiņ labais, vai neesi redzējis vīriņu ar vārpstu?»
«Redzēju gan – tagadiņ pagāja garām. Teci labi mudīgi, gan panāksi.»
Sērdienīte tecējusi un panākusi vīriņu pie mazām mājiņām. Nu lūgusies:
«Labais tētiņ, vai jums nav mana vārpstiņa?»
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«Ir gan, meitiņ, bet bez maksas nedošu. Izkurini man pirti: uz lauka
ir maitas kauli – tā laba malka, laidarā ir virca – tas labs ūdens, grāvī ir
ērkšķi – tur laba pirtsslota.»
Bet sērdienīte domājusi:
«Tā nu gan ne! Kas nu ar kauliem ies krāsni kurināt, kas vircu nesīs
pirts ūdenim, kas ērkšķus ņems pirtsslotai? Aiztecēšu uz mežu pēc žagariem,
uz avotu pēc ūdens, uz birzi pēc slotas.»
Kā domājusi, tā uz mata arī izdarījusi. Vakarā vecais vīriņš nopēries,
kurinātājai tencinādams. Nu sērdienīte atkal ieminējusies par vārpstu,
bet vīriņš atteicis:«Še, čaklā meitiņa, tava vārpsta, tomēr uz mājām šovakar
neteci – pāriesi no rīta diezgan.»
Labi! Sērdienīte labprāt palikusi. No rīta vīriņš ievedis sērdienīti
īpašā istabā, tur bijušas divas kastītes: viena lielāka, otra mazāka.
«Kuru kastīti tu vēlies?» vīriņš prasījis.
«Mazāko!» sērdienīte atbildējusi.
«Labi! Ņem mazāko, es tevi pavadīšu līdz vārtiem.»
Pie vārtiem viņš teicis sērdienei: «Nāc man pakaļ!»
Sērdiene gājusi pakaļ. Drīzi bijis jāiet govju ganam garām.
Gana suns sācis riet: «Am, am, am! džiņdž, džiņdž, džiņdž!»
Sērdienīte neko. Drīzi bijis jāiet cūku ganam garām, tam arī bijis sunītis,
tas sācis riet tāpat: «Am, am, am! džiņdž, džiņdž, džiņdž!»
Sērdienīte neko. Drīzi pienākuši pie lieliem vārtiem. Vecais vīriņš
attaisījis vārtus un uzpūkstinājis sērdienīti saimnieces sētas vidū. Bet
kastīti sērdienīte tai dienā neattaisījusi vaļām, nolikusi klētī, lai stāv.
Otrā rītā tad attaisījusi, un kā nu visi pārbrīnījušies: kastīte bijusi pilna
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ar spožu zeltu. To redzēdama, saimniece plijusies virsū, lai sērdienīte
izstāstot, kā pie zelta tikusi.
«Tā un tā,» viņa teikusi, «lecu akā pēc vārpstas – izkritu zaļā pļavā,
pa zaļo pļavu iedama, uzgāju mājiņas ar vecu vīriņu, tam bija mana
vārpsta. Bet viņš ātrāk neatdeva, kamēr izkurināju viņam pirti. Nu, un
tā vīriņš nopērās, atdeva man vārpstu un iedāvināja vēl šo kastīti.»
«Tā, tā!» saimniece atteikusi un tūliņ sūtījusi savu meitu arī pie akas
vērpt, lai nepaliktu sērdienei apakšā.
Saimnieces meita vērpusi, vērpusi, bet pavediens negribējis un negribējis
trūkt. Beidzot tīšu pārrāvusi pavedienu un iesviedusi vārpstu
akā. Saimniece tūliņ izskrējusi:
«Lec tik nu pakaļ, lec tik nu pakaļ!»
Lēkusi arī un izlēkusi zaļajā pļavā, kur cūku gans ganījis.
«Vai neredzēji manu vārpstu?»
«Redzēju gan – vecs vīriņš tagadiņ aiznesa, ej tik uz priekšu!»
Pa gabaliņam ieraudzījusi govju ganu.
«Vai neredzēji manu vārpstu?»
«Redzēju gan – vecs vīriņš tagadiņ aiznesa, ej tik uz priekšu.»
Saimnieces meita gājusi un panākusi vīriņu pie mazām mājiņām.
Vai neesot pacēlis viņas vārpstu?
«Esmu gan, bet par velti neatdošu. Izkurini man pirti: uz lauka ir
maitas kauli – tā laba malka, laidarā virca – tas labs ūdens, grāvī
ērkšķi – tā laba pirtsslota.»
Un tā tūliņ saimnieces meita pagrābj tos pašus kaulus, iegrūž pirts
krāsnī un vairāk nemaz neprasa, lai ir kā būdams. Tāpat ņem ar vircu,
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lai kāds dumbrs, kad tik slapjš, un ar ērkšķiem arī labāki ne – lai kāda
slota, kad tik slotas izskatā. Vīriņš aizgājis pērties, bet ko viņš atradis?
Spriesli nemaz nečūkstējuši, tik nenosalis uz lāvas. Vircā nemaz
nomazgāties, vēl melnāks palicis. Ar pirtsslotu nemaz pērties, viscaur
gandrīz sabakstījies.
Pēc pirts saimnieces meita ieminējusies par vārpstu. Vīriņš atdevis
vārpstu, ne vārdiņa nesacīdams. Bet šī vēl gaidījusi zelta lietas, tādēļ
nočūrojusies šā tā un negājusi tai vakarā mājā. No rīta vīriņš ievedis
īpašā istabā un prasījis, kuru kastīti gribot: vai mazāko vai lielāko?
«Lielāko!» saimnieces meita atteikusi, domādama par sērdienīti
vairāk zelta pārnest.
Vīriņš atdevis lielāko un vadījis uz mājām. Pie vārtiem tas teicis:
«Ej pa priekšu, tu pati ceļu zini, es iešu pakaļ.»
Šī gājusi pa priekšu. Drīzi bijis jāiet govju ganam garām. Gana suns
sācis riet:
«Am, am, am! klab, klab, klab!»
Saimnieces meita nesapratusi to. Drīzi bijis jāiet cūku ganam garām.
Tas suns atkal tāpat rējis:
«Am, am, am! klab, klab, klab!»
Beidzot nonākuši pie lielajiem vārtiem Vīriņš atvēris tos un uzpūkstinājis
saimnieces meitu sētas vidū. Saimniece tūliņ aizskrējusi pie
meitas: lai nesot kasti klētī, lai rādot, cik pārnesusi. Ienesušas klētī un
smiedamās taisījušas vaļā. Bet tavas briesmas – zelta vietā no kastes
uguns izšāvusies. Visa klēts nodegusi, bet sērdienītes kastīte nedegusi
neparko.
7

I Latvia The Little Orphan and
the Mother’s Daughter
Once upon a time there was a poor little orphan who
had to serve a grumpy mistress. The poor thing, no matter what she
did, it was never good enough for the mistress. Once the mistress made
the orphan go and spin wool by the well. But while spinning the wool,
a thread broke and a spindle fell into the well. Well, there was nothing
she could do – she went to the mistress and told how sorry she was, that
it was an accident. But the mistress stamped on the ground and yelled:
“So you’re telling me it was an accident? Go straightway after the
the spindle or you will get a spank!’’.
The poor little orphan went crying to the well and jumped into
it, not interested in what might happen or if she’s going to survive or
not. But what a miracle! When she jumped, she jumped all the way
through the well to a green meadow. And in this meadow a swine
shepherd was looking after swines.
“Hei, the kind boy, have you seen my spindle?’’
“Yes, I have seen it – an old man just took it away. Just go straight,
you’ll probably catch up with him!’’
The little orphan proceeded forward. After a while she saw a cow
shepherd.
“Hei, the kind shepherd, have you seen a man with a spindle?’’
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“Yes, he‘s – just passed by. Walk as fast as you can, and you might
catch up with him.’’
The poor little orphan ran briskly and reached the man at the small
houses. Now pleaded:
“The kind daddy, don’t you have my spindle.”
“Yes, I have it, darling, but I will not give it to you for nothing. Heat
me a bathhouse: In The field there are carrion bones – they are good
firewood, behind the cattle shed there’s slurry – it’s good water, thorns
in the ditch – they could make a good bunch of birch twigs.”
But the little orphan thought:
“No, certainly not! What good the bones will do for heating the
bath and the dung for bath water and the thorns for the bunch of
birch twigs? I’ll go to the forest to pick up sticks to heat the water and
make a good bunch of birch twigs.”
The old man took the bath in the evening, being grateful to the
poor little orphan. Then the little orphan mentioned the spindle
again, and the old man said:
“Here you are, the diligent girl, your spindle, but don’t go home
today.”
“Ok!”
The poor little orphan stayed with pleasure. In the morning the old
man took the little orphan to a special room, where two boxes were
hidden: one big and one small.
“Which one do you want?” asked the old man.
“The smallest!” The poor little orphan answered
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“Ok! Take the smallest one, I’ll show you off until the gate. “
Near the gate he said again: “Come with me! “
Then they walked by the cow shepherd, the shepherd’s dog started
to bark. After that, they walked by the swine shepherd, there was a
dog too and it did the same.
The poor little orphan didn’t pay attention to the dogs. Soon they
arrived at the big gate. The old man opened the gate and moved her
back in the middle of the misstress’s courtyard. But the box wasn’t
opened on that day but she put it into the barn. The next morning the
poor little orphan opened the box which was full of bright gold. When
they saw it, the mistress anxiously asked the poor little orphan where
she had got the gold.
And so she said:
«I jumped in to the well shaft after the spindle – I fell in the
meadow, the green meadow, all along the way, I came across a house
with an old man, there was my spindle. But he did not give me it until
I had heated his bath house. Well, and only then he handed me my
spindle and even this box. »
„Well, well” The misstress said and as soon as posible she sent her
daughter by the well to spin wool, because she didn’t want her to feel
inferior to the orphan.
The daughter of the mistress spun and spun, untill she deliberately
ripped the thread and threw the spindle into the well.
The mistress ran out and shouted: „Jump into the well shaft and
get it back!”
10

She jumped in and came out on a green field, where the swine
shepherd was taking care of his swine herd. „Did you see my spindle?”
,,Yes, I did.” The old man took it, go straight forward if you want
to follow him”
Some steps away she saw the cow shepherd. „Did you see my
spindle?”
„Yes, I did.” The old man took it, go stright forward if you want to
follow him
The daughter of the mistress went and caught up with the old man
near the small house.
„Haven’t you seen my spindle?”
,,I have, but I won’t give it for nothing. Heat me a bath house! In
The field there are carrion bones – they are good firewood, behind the
cattle shed there’s slurry – it’s good water, thorns in the ditch – they
could make a good bunch of birch twigs.
And then very soon the housekeeper’s daughter took the same bones
and put those in the stove and didn’t ask anything else, let it be as it is.
Then took the slurry, if it is wet, it is good and there is nothing better
than thorn too – just to make a nice bunch of twigs. The man went to
take a bath, but what did he find? He was cold and wet, almost froze on
the plank bed. He couldn’t wash in the slurry, just became dirtier, with
birch twigs he couldn’t slap himself but almost pricked all over.
After the old man had taken the bath, the housekeeper’s daughter
mentioned the spindle. The man gave it back, not even mentioning a
11

world. But she was waiting for some golden things, so she got angry
and didn’t go home in the evening. In the morning the man brought
her into some special room and asked which box she wanted: „The
smallest or the biggest?”
”The biggest” the hauskeeper’s daughter said thinking how to bring
more gold home than Orphan.
The man gave the biggest box and showed the way back home. At
the big gate he said:
”Go in front of me, you know the way and I will follow you.”
She went in front. Soon they had to go by the man who took care of
cows. The dog barked in a way to warn her but she didn’t understand it.
Soon they had to go by the man who took care of swines. The dog
barned again.
Finally, when they got to the big gate, the man opened it and moved
the houskeeper’s daughter in the middle of her yard. Immediately the
houskeeper ran to her daughter. She said her to bring the box into the
barn and show her how much she had brought.
They brought it into the barn and while they were laughing they
opened it. But instead of gold ,the fire set up! Within minutes the
whole building was blazing. The barn burnt down, but the little
orphan’s box remained untouched.
12

I Czech Republic Božena Němcová – Chytrá
horákyně
Byli dva bratři. Jeden z nich byt bohatý statkář,
neměl žádných dětí a byl tuze lakomý. Druhý, chudý chalupník, měl jedinou
dceru a byl příliš dobrý. Když šlo děvčeti na dvanáctý rok, dat ji k
bratru za husopasku. Dvě léta sloužila za stravu, po dvou letech zesílila
a nastoupila za děvečku.
„Služ jen, Manko, spravedlivě,“ řekl ji strýc, „až vystoupíš, dám ti
místo mzdy jalovici. Právě mám čtyrnedělní tele, to dochovám, a tobě
to bude jistě milejší než peníze.“
„To víte,“ odpověděla Manka, a od té chvíle byla do práce jako oheň
a krejcaru strýci neumařila. Ale strýc byl šelma. Manka sloužila tři léta
poctivě a bez reptáni, otec ale churavěl a stárnul, a ona musela domů,
žádala tedy jalovici, z které už byla hodná kráva. Tu obrátil milý strýc
kolečka, řka kdesi cosi, že jí tolik nedá, že jí to neslíbil, a chtěl ubohou
Manku několika groši odbýti. Ta však nebyla hloupá, aby byla peníze
přijala, ale doma s pláčem otci všecko povídala, usilujíc, aby šel panu
prokurátorovi žalovat. Otec, jsa zlostí popuzen na nesvědomitého
bratra, šel bez meškání do města a žalobu přednesl. Pan prokurátor
ho vyslechl a poslal pro sedláka. Sedlák ale dobře tušil, jestli to pan
prokurátor nějak nespraví, že musí jalovici dát, proto hleděl, jak by
ho na svou stranu dostal. Pan prokurátor byl v rozpacích. Bohatého
13

y si nerad byl rozhněval, a chudý měl přece právo na své straně.
Rozsoudil tedy chytrým způsobem. Zavolal si každého zvlášť a dal jim
hádačky: „Co je nejbystřejšího, co je nejsladšího a co nejbohatšího?“ s
tím doložením, kdo to uhodne, že dostane jalovici.
Mrzuti odešli bratři domů, celou cestu rozvažujíce, co by to asi bylo,
ale ani jeden ani druhý nemohl se pravdy domakat.
„No jak?“ ptala se žena bohatého sedláka, když přišel domů.
„Čert aby ty soudy vzal, teď jsem v bryndě,“ řekl sedlák a hodil
tchořovkou o stůl.
„No a proč, co se ti stalo, prohrál jsi?“
„Co prohrál! Neprohrál, ale co nejspíše teprv prohraju. Prokurátor
mně dal hádačku: ‚Co je nejbystřejšího, co nejsladšího a co nejbohatšího?‘
Jestli to uhodnu, zachovám jalovici.“
„To jsou věci s hádačkou. Já ji sama uhodnu. Co by mohlo být
bystřejšího nad našeho černého špicla, co sladšího nad náš sud medu,
co bohatšího nad naši truhlu tolarů?“
„Dobře máš, ženo, tys to uhodla, jalovice je naše.“ Tak se uspokojil
milý sedlák a nechal si chutnat, co mu žena přistrojila.
Chalupník přišel domů celý smutný, pověsil klobouk na hřeb a sedl
za stůl.
„No, Jak jste pořídil, táto?“ ptala se Manka.
„Ba pořídil. Jsou to páni, ti by člověka div nezbláznili.“
„Nu a co, povídejte pak.“
Táta povídal, co mu pan prokurátor uložil.
„Nu a co víc? To já sama uhodnu, jen nebuďte smuten, ráno vám to
povím.“
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Chalupník ale proto přece celičkou noc oka nezamhouřil. Ráno
přijde Manka do sednice a povídá: „Až se vás bude prokurátor ptát,
řekněte, nejsladší že je spaní, nejbystřejší že je oko a nejbohatší že je
zem, z níž všecko pochází. Ale to vám pravím, ať neříkáte, od koho jste
se to dověděl.“ Chalupník šel k panu prokurátorovi, žádostiv, zdali ta
odpověď bude dobrá.
Nejdříve zavolal prokurátor sedláka a ptal se ho na rozluštění
hádaček.
„Inu, já myslím,“ odpověděl sedlák, „že nemůže být nic bystřejšího
nad mého špicla, který všecko vyčmuchá a vyslídi, nic sladšího nad můj
sud medu, který již čtyři léta leží, nic bohatšího než moje truhla tolarů.“
„Milý sedláku,“ řekl pan prokurátor a pokrčil rameny, „to se mi
nezdá, ale vyslechnu, s jakou bratr přišel.“
„Milostivý pane, já myslím, nejbystřejší že je oko, které mžikem
všecko přehlídne, nejsladší že je spaní, neboť ať je člověk jak chce
zarmoucen a utrmácen, když spí, neví o ničem a někdy se i ve snu
potěší, a nejbohatší že je zem, z niž všecko naše bohatství pochází.
„Tys uhodl, a dostaneš jalovici. Ale pověz mi, kdo ti to řekl, neboť
vím, že se to z tvé hlavy neurodilo!“
Dlouho nechtěl chalupník povědět, ale když pán na něho naléhal,
spletl se a vyjel s barvou ven.
„Dobře tedy, když je tvá dcera tak chytrá, ať přijde zítra ke mně, ale
ať to není ani ve dne ani v noci, ani ustrojená ani nahá, ani pěšky ani
na voze.“
To byl chalupníkovi zase kámen na srdce.
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„Milá Manko,“ řekl, když přišel domů, „tys to pěkné spravila, prokurátor
nechtěl věřit, že to mám ze své hlavy, já musel povědět, co jsem věděl, a
nyní máš k němu přijít, ale nemá to být ani ve dne ani v noci, nemáš být
ani nahá ani ustrojená a nemáš přijít ani pěšky ani na voze!“
„Nu, to je toho, jen nechte, však já to vyvedu.“
O dvou hodinách s půlnoci Manka vstala, vzala režný, velmi řídký
žok, oblékla ho na sebe, na jednu nohu vzala punčochu, na druhou
naboso střevíc, a když bylo ke třetí hodině, mezi dnem a nocí, sedla
na kozu a napolo pěšky, napolo po jezdecku do města se dostala. Pan
prokurátor se koukal z okna a chytrou horákyni již očekával. Uviděv, že
tak dobře svou úlohu provedla, vyšel ji naproti a pravil: „Nyní vidím, že
jsi vtipné děvče, chceš-li, vezmu si tě za ženu.“
„Proč ne, chci,“ odpověděla Manka, přeměřivši pana prokurátora
od hlavy k patě. Ženich si vzal hezkou nevěstu pod paždí a vedl ji do
pokoje. Nato poslal pro tátu, pro krejčíře, a dal ušít šaty pro nastávající
paní prokurátorovou.
Den před svatbou přikázal ženich nevěstě, aby se nikdy do jeho věcí
nepletla, do žádného soudu ani do čeho jiného, sice že se musl tu chvíli
k otci navrátit.
„Učiním po tvé vůli,“ odpověděla nevěsta.
Druhý den byla svatba, a z Manky se stala velká paní. Než ona se
dobře do všeho hodila, ke každému byla vlídná a manžela milovala,
za to ji také každý měl u veliké vážnosti. Jedenkráte přišli k panu
prokurátorovi dva sedláci, jeden měl hřebce, druhý kobylu. Oba koně
ale měli dohromady. Když kobyla dostala hříbě, nastala otázka, komu
16

náleží. Sedlák, co měl hřebce, tvrdil, že vším právem jemu hříbě patří;
sedlák, jemuž kobyla patřila, dokazoval, že má k hříběti ještě větší
právo. Tak se hádali, až se dostali k panu prokurátorovi. Sedlák, jehož
byl hřebec, měl velké bohatství, i dal panu prokurátorovi dobré slovo
po straně, a hřebec dostal hříbě.
Zatím ale paní prokurátorová všecko ve vedlejším pokoji vyslechla,
i nelíbil se ji nespravedlivý rozsudek pana manžela. Když vyšel chudší
sedlák ven, zakývala na něho a pravila mu stranou:
„Vy hloupý, pročpak jste se nechal tak napálit? Kdopak to jakživ
slyšel, aby měl hřebec hříbě?“
„Inu, jáť ovšem myslím, že se mi velká křivda stala, ale když to
milostpán tak spravil, co mám dělat?““Věřím vám, ale poslechněte,
co vám řeknu, pod tou výminkou, jestli se žádný nedoví, kdo vám tu
radu dal. Zítra okolo poledního vezměte sítě, vylezte na vrch Skarman
a dělejte, jako byste chytal ryby. Můj muž půjde s několika pány v tu
dobu okolo. Až vás uhlídají, budou se vás ptát, co tam děláte, vy jim
odpovězte, když mohou mít hřebci hříbata, že mohou také na vrchu
ryby růst.“
Sedlák se paní poděkoval a slíbil, že se podle rady zachová. Druhý
den si vyšel pan prokurátor s několika pány na lov. Tu vidí již zdaleka na
Skarmanu sedláka sítě roztahovat. Pustili se všichni do smíchu, a když
přišli až k samému vrchu, ptali se sedláka, co na vrchu dělá. „Chytám
ryby,“ odpověděl sedlák.
„Ty bláznivý!“ křičel pan prokurátor, „kdo to jakživ slyšel, aby na
vrchu ryby rostly?“
17

„Když mohou mít hřebci hříbata, mohou také na vrchu ryby růst,“
odpověděl sedlák.
Pan prokurátor zůstal jako pivoňka; hned si ale zavolal sedláka
dolů, vzal ho na stranu a řekl: „To hříbě je tvoje, ale dříve mi povíš, kdo
ti tu radu dal.“
Sedlák zapíral co mohl, ale konečně přece paní prokurátorovou
vyzradil.
Navečer přijde pan prokurátor domů, ale paní si ani nevšímaje
chodí po pokoji, nemluví ani slova a na žádnou otázku neodpovídá.
Paní si hned pomyslila, jaký škvor mu v mozku vrtá, nicméně trpělivě
očekávala, k jakému konci se to schýlí.
Po hodné chvíli zůstal pan manžel se zamračenou tváří před ni stát
a pravil: „Víš-li pak, co jsem ti před svatbou přikazoval?“
„Vím to, vím.“
„Pročpak jsi tedy sedlákovi radila?“
„Protože nespravedlnost snésti nemohu. Ubohý sedlák byl ošizen.“
‚Aťsi byl ošizen, nebo ne, tobě do toho nic nebylo. Nyní se navrať,
odkud jsi přišla; abys však neřekla, že jsem i s tebou nespravedlivě
naložil, dovolím ti odtud vzít, co tobě nejmilejšího.“
„Děkuji, milý muži, za tvou dobrotu, a když jinak být nemůže,
poslechnu. Dovol, abych ještě naposled s tebou povečeřela, a to tak
vesele, jako by se nebylo pranic mezi námi událo.“
Manka běžela hned do kuchyně, dala dobrou večeři přistrojit a to
nejlepší vino uchystat.
Když byla jídla na stole, sedli oba za stůl, jedli, pili a hovořili jako
o hodech. Pani připíjela panu manželu dost a dost, a když viděla, že je
18

trochu zpitý, poručila služebníku, aby jí ještě tu nalitou sklenici vína
podal.
„Milý muži! Tu sklenici vína vypij na moje zdraví a na rozloučenou.
Jak to učiníš, půjdu domů.“
Pan manžel vzal víno a jedním lokem je vypil na zdraví manželčino;
ale již ledva jazykem vládnul. Po chvilce mu hlava sklesla a on tvrdě
usnul. Paní všecko zamkla, služebnici pána uložili, potom ho vzali i
s posteli na ramena a šli za paní. Otec spínal ruce, vida pozdě v noci
podivný průvod k chalupě přicházet. Teprv když mu dcera všecko
vysvětlila, byl spokojen.
Slunce stálo hezky vysoko, když se pan prokurátor probudil. Kouká,
mne si oči, a nemůže se vzpamatovat, co se to s ním stalo. Tu vejde
do dveří jeho paní v prosté, ale čisté selské sukni, s černým čepcem na
hlavě. „Ty jsi tu ještě?“ ptá se jí.
„Nu, proč bych nebyla? Vždyť jsem doma.“
„A co já tu dělám?“
„Což jsi mně nedovolil, abych si vzala s sebou, co mi je nejmilejšího?
Tys mi nejmilejší, tedy jsem si vzala tebe.“
Pan prokurátor se dal do smíchu, řka: „Budiž ti odpuštěno! Vidim
však zřejmě, že jsi nade mne chytřejší, proto budeš také od dnešního
dne ty soudit, a ne já.“
Paní prokurátorová byla tomu ráda a od toho dne soudila ona, a bylo
všude dobře.
19

I Czech Republic The Clever Mountain Lass –
Božena Němcová
Once upon a time there were two brothers. The
first of them was a very wealthy landowner, who didn’t have any children
and was very mean. The second one, poor small farmer had only
one daughter and was really good. When the girl reached the twelfth
year, he gave her to his brother as a goosegirl. For two years she was
working just for food and living, but after that she grew up, got stronger
and became a maidservant.
Her uncle told her: ”Manka, if you serve for me equitably and
honestly, after your service I’ll give you a heifer instead of money. I
think that you’ll appreciate it more.“
Manka enthusiastically agreed and from that moment, she was so
into the work and never stole a single uncle’s coin . But her uncle
was a cagey rogue. Manka served there for next three years honestly
and without answering back, but her father was still getting worse in
health and the age made a big sign on him. One day Manka recognized
that she has to go home, so she asked for her pledged heifer. But what
happened! Her uncle seemed not to be anxious about his brother and
told Manka that he won’t give her so much as a cow was. He offered
her a few sous instead. She wasn’t stupid to accept the offer.
At home crying Manka told everything her father and strenuously
asked him to go to local procurator’s office and complain. Her father,
20

immediately got angry with his brother, agreed and did what Manka
had wanted him to do. The procurator carefully listened to him and
told his co-workers to bring the landowner to his office.
The landlord was absolutely sure, that if the procurator doesn't
fix it, he will have to give the heifer so he was trying to get him on his
side. The procurator felt embarrassed. He didn't want to make the
rich one angry, but the poor one was right. He judged them in a smart
way. He invited both of them separately and gave them three riddles:
,,What's the cleverest, the sweetest and the richest?,, And the one who
will solve the riddles, will get the heifer.
Grumpy brothers were going home, thinking the whole way, what
it could be? But no-one was able to guess.
,,So what?“ asked wife of the rich landlord, when he came home.
,, Damn judgements, now I get myself into a tight corner,, said the
landlord and pitched his stick on a table.
,,And why, what happened to you, you've lost??“
,,Lost?!“ Not, but probably I will. The procurator gave me three
riddles: ,,What's the cleverest, the sweetest and the richest?“ ,,If I
guess, i will save our heifer.“
,,Huh so easy, I'll guess it on my own. What could be cleverer than
our black bloodhound, sweeter than our barrel of honey and richer
than our chest of talers?“
„You’re right, dear wife, you’ve guessed it, the heifer is ours!” So
the farmer contented himself with that and tasted, what his wife had
prepared for him.
21

The small farmer came home very sadly, hung his hat on the nail
and sat down to the table.
“So, how did you do, dad?” Manka asked.
“Nay I did well. They are lords, they would even drive someone
mad.”
“So what, tell me.”
Dad was narrating, what the procurator had ordered him.
“Well and what’s more? I can guess it on my own, just don’t be sad,
in the morning I’ll tell you.”
However, the small farmer didn’t close his eyes the whole night. In
the morning Manka came to the room and said: “When the procurator
asks you, tell him, the sweetest thing is sleeping, the sharpest is an eye
and the richest is the soil, which everything comes from. However, I
warn you, don’t say from whom you have learnt.” The small farmer
went to the procurator wondering, if the response is good.
First the procurator called the farmer and asked him about the
solution of his puzzles.
„Well, I think,“ the landlord answered, „ that nothing could be
brighter than my dog, who snoops everything, nothing is sweeter than
my barrel of honey, which has been lying for four years , nothing is
richer than my chest of talers. “
„Dear landlord, „said the procurator and shrank up his shoulders,
„this seems somewhat fishy to me, but I will listen what is your
brother's idea.„
„Dear sir, I think that the brightest is an eye, which looks over
22

everything immediatelly, the sweetest is sleeping, because when a man
is completely sad and dead tired, while sleeping he knows nothing and
sometimes he could be pleased in his dream and the richest is the land
which everything comes from.“
„You are right, you will get the cow. But, tell me, who adviced you,
because I know, it didn't come from your head.“
The small farmer didn't want to give away the secret for a long
time, but when the procurator urged him, the small farmer made a
mistake and gave the secret away.
Well then, if your daughter is so smart, let her come to me
tomorrow, but let her do it neither in a day nor at night, neither
dressed nor naked, neither walking or be driven in a carriage.
The small farmer had a stone at heart.
“Dear Manka,“ he said when he came home, you thought it up very
well, the procurator didn't want to believe that it was from my own
head and I had to say how I knew and now you should go to him
but it should be neither in the day-time nor at night, you should be
neither naked nor dressed and you should come neither by foot nor
on vehicle!”
“Well, don't deal with it, though I'll do it.
At two o'clock in the morning Manka woke up, she took a very thin
sack from greige cloth, she pulled it on, she put a stocking on one leg,
and a shoe on the second bare feet and when the third hour got near,
between day and night, she sat on a goat and half by foot, half by ride
she got to the town.
23

The procurator was looking out of the window expecting the clever
mountain lass. He went to meet her when he saw how well she had
made her problem and said: “Now I see you are a smart lass and if you
want, I'll marry you.”
“Why not, I want,” answered Manka and measured him from top
to toe.
The Groom took the pretty bride by his hand and led her to a room.
Then he sent for her dad and for a tailor and got a dress tailored for
the future lady procurator.
A day before the wedding the groom commanded his bride never
to break into his things, to any judgement or anything else, otherwise
she has to return to her father.
„I‘ll do your will.“ responded the bride.
Next day was the wedding and Manka became a great lady. Then
she was well-suited to everything, she was nice to everyone and she
loved her husband, and everyone had a great regard for her because
of that. Once two peasants came to the prosecutor, one of them had
a stallion and the other one had a mare. But they had both horses
together.
When the mare got the foal, there was a question, who its owner
is. The farmer, who had the stallion claimed that the foal has to be
his. Farmer, who had the mare also claimed that the foal has to be his.
They were arguing so much that they got to the prosecuting attorney.
The farmer, who had the stallion, was very rich and he gave a small
promise to the prosecuting attorney and the stallion got the foal.
24

However, Mrs. Procurator heard everything in the next room and
she didn’t like the unfair verdict of her husband.
When the poorer landlord went out, she waved to him and she said
to him silently:
“You silly, why did you let it be? Who has ever heard, that a stallion
has a colt?“
“Well, of course I think, that an unfair thing happend to me, but if
the toff did that, what shall I do?”
“I trust you but listen to my advice which I will give you now. You
must promise me that no one will ever find out who gave you the
advice. Tomorrow around the noon time take your nets, go on the
Skarman peak and pretend you are fishing. My husband is going to
walk around with a few other lords at the same time. By the time he
will notice you and ask you what you are doing there, tell them that if
stallions can have foals, it is possible that fish is growing at the top of
the Skarman peak.”
The peasant thanked the lady and promised to her that he would
act according to her advice. One day after, Mr. Procurator went out
hunting with a few other lords. They could see the peasant spreading
his nets at the top of Skarman peak afar. They all started laughing and
when they came at the top of the peak they asked the peasant what he
was doing there.
“I am fishing,” answered the peasant.
“You mad man!” screamed Mr. Procurator, “Who has ever heard
that fishes are growing at the top of a peak!”
25

“If stallions can have foals, fishes can grow at the top of a peak.”
said the peasant.
Mr. Procurator was staying astonished as a peony. He immediately
asked the peasant to come, he took him aside and said:
“The foal is yours but you must tell me who gave you the advice.”
The peasant was denying everything but at the end he finally told
Mr. Procurator the truth.
In the evening Mr. Procurator came home, not noticing his wife
at all, walking from one room to another and didn’t answer any of
her questions. Mrs. Procurator immediately started thinking what
could have happened to him and which bee he has in his bonnet.
Nevertheless, she was waiting patiently and thinking how this all will
end.
A long time the husband stayed in fron of her with a frown face and
told her: „Do you know what I have ordered you before the wedding?“
„Yes, I know it.“
„So,why did you advise the farmer?“
„Because I can‘t stand an injustice. The poor farmer was swindled.“
„Whether he was swindled or not, it wasn't your bussiness. Now
you return, whence you came. Nevertheless, not to say that I dealt
unfair with you, I allow you to take with you one thing from here, that
you like the most.“
„Thank you my dear husband for your goodness and when it can't
be in a different way, then I will obey you. Allow me one last time
to have dinner with you, and as happily as if nothing had happened
between us.”
26

She immediatelly ran to the kitchen where she ordered to prepare
dinner and choose the best wine. When the meals were on the table,
they sat down and were eating, drinking and talking as at the banquet.
The lass proposed the toast to her husband many and many times
and when she saw that he was a little drunk, she ordered the servant
to hand her one more glass of wine.
“Dear husband. Drink this glass to my health and farewell. As soon
as you do it, I will go home.”
The husband took the wine and drank it to his wife's health at
one gulp. But his speech started to be slurred. In a short time his
head dropped and he fell fast asleep. The Lady locked everywhere,
the servants put the master to bed and then shouldered the bed with
him and followed that lady. Her father was folding his hands, when he
saw a strange procession , which was approaching to the farm-house
at the late night. He wasn't satisfied until his daughter had everything
explained to him.
The sun stood pretty high, when the public prosecutor woke
up. While he was rubbing his eyes, he couldn't get over, what had
happened with him. Suddenly his lady came in. She was wearing a
simple but clear country skirt and a black hat.
“You are still here?”he asked her.
“Well, why shouldn’t I be? After all, I am at home.”
“So what am I doing here?”
“Haven’t you allowed me to take with me, what is the dearest to
me? You are the dearest one, so I took you.”
27

The public prosecutor started laughing : “I have to forgive you! I
see, You are much cleverer than me. Therefore, since today I leave
everything to you to decide.”
The lady was glad and since that time, she passed judgement and
everyone was satisfied.
28

I Lithuania Vilniaus įkūrimo legenda
Kartą Gediminas su savo kariais ir kunigaikščiais išjojo
medžioti. Kiaurą dieną medžiojo, ragų aidai toli skambėjo. Atėjus
vakarui, visi pavargę, išalkę susirinko ant aukštos kalvos, kur Vilnia įteka
į Nerį. Ten suvilko visus užmuštuosius žvėris – briedžius ilgais lyg
medžių šakos ragais, vilkus, gauruotus lokius. Gediminas tada nukovė
didžiausią taurą. Visi nustebo, mat nebuvo matę tokio didelio. Naktis
buvo rami ir šilta, todėl Gediminas panūdo ant tos kalvos ir miegoti. Ta
vieta jam labai patiko – kalnas buvo apaugęs senais ąžuolais ir baltais
beržais, pakalnėje plaukė Neries upė.
Ryto metą kunigaikštis atsikėlęs papasakojo regėjęs nuostabų
sapną: ant aukšto kalno stovėjo didelis geležinis vilkas, o kaukė jis
taip garsiai kaip šimtas vilkų. Niekas negalėjo Gediminui paaiškinti,
ką toks sapnas galėtų reikšti, tik vyriausias lietuvių vaidila krivių.
Krivaitis tarė:
„Vyriausias kunigaikšti, geležinis vilkas yra miestas, kurį tu turi
pastatyti ant šio kalno, miestas bus tvirtas kaip geležis. Priešai jį
puldinės daug kartų, norėdami sugriauti ir suardyti, tačiau neįveiks jo.
O toks stiprus vilko balsas reiškia, kad garsas apie galingą ir turtingą
miestą pasklis plačiai po visą pasaulį.“
Gediminas pastatė miestą ant kalno, kur nakvojo, ir pavadino jį
Vilniumi. Paskui persikėlė į jį gyventi. O per daugelį metų išsipildė
krivaičio žodžiai apie Vilniaus galybę ir garsumą.
29

I Lithuania Legend of Vilnius: Gediminas‘ dream
and the irony wolf
Once Gediminas with his warriors and dukes went to
hunt. All day they were hunting, echoes of horns sounded far away. In
the evening tired, hungry and exhausted men gathered together on a
high hill, where the river Vilnele falls into the river Neris. They brought
all hunted animals – mooses with long horns, wolves, bears. That day
Gediminas hunted the biggest bison. All were astonished because they
had never seen such a big bison.
The night was calm and warm, so Gediminas decided to sleep on
that high hill. He liked that place – it was grown by old oaks and white
birches.
In the morning the duke Gediminas told everybody seen an amazing
dream: on a big hill there was standing a big irony wolf, it was yowling
so louldly as it would be hundreds of wolves. Nuobody could explain
Gediminas, what could such dream have meant. Only the priest Kriviu
Krivaitis told the duke: „The irony wolf is the town, which you have to
build on this hill, and the town will be strong as an iron. There will be
lots of enemies who want to destroy it, but they won‘t manage to do this.
And the loud yowling of the wolf means that powerful and rich town will
be known in all the world.“
Gediminas built the town on that hill and named it Vilnius. Later he
moved out to live there.
During many years the priest‘s words about Vilnius‘ power came true.
30

I Bulgaria Дар от сърце
Тръгнали трима братя за чужбина – пари да
печелят. Стигнали на един кръстопът. Най-големият казал:
– Тука ще се разделим. Аз ще поема нагоре по десния път,
ти – обърнал се към средния брат – тръгни по левия, а пък ти
– обърнал се към най-малкия – ще държиш средния път. Подир
три години, на Димитровден, ще се намерим пак тука на този
кръстопът и ще видим тогава кой какво е спечелил. Бива ли?
– Бива, бате – рекли двамата по-малки братя, целунали му
ръка и се простили.
Най-големият брат слязъл в един град, станал хлебар и
спечелил за три години пълна кесия с жълтици. Средният
брат отворил кръчма до един мост. Запретнал ръкави и почнал
да продава вино. Продавал вино и вода, продавал, докато си
напълнил джобовете. А най-малкият се пазарил у един добър
човек – стар овчар. Като минали трите години, момчето отишло
при овчаря за сметката. Овчарят му начел припечелените пари,
натрупал ги на купчина, извадил от пояса си три ореха и рекъл:
– Аз съм човек стар и болен. Запрях вече и не мога да тичам
подир овцете. Добре, че се намери ти, инак стадото ми щеше да
пропадне. Много съм ти благодарен за овчарлъка. Падат ти се
толкова и толкова пари или тези три ореха, дето съм ги сложил
31

напреде ти. Парите давам без сърце, защото те са като огъня:
човек лесно може да изгори ръцете си с тях. А орехите давам от
сърце. Ако щеш, вземи парите, ако щеш – орехите.
Момчето помислило, помислило и посегнало към орехите.
– Ще взема орехите, защото ги даваш от сърце.
Взело орехите, целунало ръка на стария овчар и си тръгнало.
Тъкмо на Димитровден тримата братя се срещнали на кръстопътя.
Големият ги попитал:
– Какви са печалбите?
– Добри са – отговорил средният брат.
– Дайте да ги видим! Ето, най-напред вижте аз какво спечелих!
Той развързал кесията си. Средният брат също извадил от пазвата
си една торбичка с пари.
– Не си лапал мухите в кръчмата – казал му големият.
Последен бръкнал в джоба си най-малкият и извадил трите
ореха.
– Туй ли ти е печалбата за три години? – попитал го найголемият
брат.
– Туй е – три ореха, но те са дадени от сърце – отвърнал
малкият. – Даде ми ги един стар човек – овчар, задето му пасох
стадото. Като баща се грижеше за мене. Другите двама избухнали:
– Все бяхме виждали прости хора, но по-глупав мъж от тебе
не ще се намери по целия свят. За три ореха – три години ратай,
де се е чуло и видяло такова чудо! Върни се да поискаш пари от
овчаря, инак да не си посмял да влезеш в бащината ни къща! –
развикал се най-старият брат.
32

Момчето се нажалило н тръгнало назад. Тежко му било на
душата.
– Аз мислех – думало си то, – че дар от сърце е най-хубавото
нещо на земята, а то какво излезе!
Стигнало една чешма. Навело се да пие вода, но преглътнало
само две глътки, защото било гладно. Бръкнало в торбата си –
нямало трошица хляб.
„Я да счупя орехите, че да залъжа глада си!“ – помислило си
момчето.
Счупило първия орех. Тогава станало чудо. Изведнъж
счупеният орех пораснал, станал голям колкото бъчва столетница
и от черупката почнали да излизат овце, овни със звънци, млади
агнета – цяло стадо излязло от ореха.
От радост момчето не знаело какво да стори. Подбрало стадото
и го подкарало към бащината си къща.
Вървяло, що вървяло, наближило родното си село.
„Я да счупя и втория орех, да видя какво има в него“ – рекло
си то и счупило втория орех. Щом пукнало черупката, от ореха
излезли два млади вола с големи рога. Подир воловете – кола, а
на колата желязно рало.
– Бре! – ударило се момчето по челото, хванало синджирите
на воловете и ги повело след стадото. Преди да влезе в селото,
решило да счупи и третия орех. Счупило го. Тогава от черупката
излязло едно момиче – толкова хубаво, че не може да се опише с
перо.
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– Води ме – продумало момичето – в бащината си къща; аз съм
неродена мома и съм отредена да ти бъда невеста.
Качило момчето девойката на колата, повело воловете,
звъннали звънците на стадото. Прибрало се в дома на баща си.
Като видели братята стадото, новата кола и девойката – езиците
си глътнали. Тогава им станало ясно какво значи дар от сърце!
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I Bulgaria Hearty/Kindly Gift
Three brothers decided to go abroad to earn some
money. They were on a crossroad when the oldest said:
Here we will separate. I’ll go right, you will go left, and you – he
said to the youngest one – will walk along the middle road. After three
years, on this day, we will meet on this crossroad and see what we
have earned. Do you agree?
Yes – said the younger brothers and made their farewells.
The oldest brother went to a town, became a baker and made a full
purse with golden coins for three years. The second brother opened a
pub near a bridge. He sold wine and water until he filled his pockets.
The youngest worked for an old shepherd. When the three years
passed the boy went to get what he earned. The shepherd counted the
money, piled them up and took out of his belt three walnuts. Then he
said:
I’m an old and sick man. I can no longer dangle after the sheep. I’m
glad I found you to help me. You can take either these money or the
three walnuts. I give this money reluctantly, because they are like fire:
man can easily burn his hands with them. The walnuts I give kindly.
Choose what you want.
The boy thought a little and took the walnuts.
I’ll take the walnuts because you give them kindly.
Then he left.
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The three years passed and the three brothers met on the crossroad.
The biggest asked:
What are the earnings?
Good – said the second brother.
Let’s see them! First, see what I made! – He opened his purse. The
second brother did the same.
You did a good job in the pub – said the oldest.
Then the youngest took out the three walnuts.
That’s your earnings for three years? – asked the oldest brother.
That’s it – three walnuts, but given kindly – said the youngest. –
An old shepherd gave them to me for helping him with his herd. He
looked after me like a father.
The other two started laughing.
We have seen simple-minded people but no one was as dumb as
you. You have worked three years just for three walnuts. Who has
heard of such thing!? Go back and take the money from the shepherd
or don’t come home! – the oldest brother bursted into shouts.
The boy became sad.
I imagined – said to himself the boy – that a hearty/kindly gift is
the best thing, but it turned out different.
He stopped by a fountain and drank some water, because he was
hungry. The boy didn’t have any bread in his bag.
“I should break the walnuts to beguile my hunger with them” –
thought the boy.
When he broke the first walnut a miracle happened. The broken
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walnut grew bigger and from it came out sheep, rams and lambs – a
whole herd.
He was thrilled with joy. He drove the herd on to his home. When
he reached his village he broke the second walnut. When the nutshell
cracked, of it came out two bullocks with big horns. After them a
bullock-cart came out. The boy was amazed. Before he entered the
village he decided to break the third walnut. From it a girl so beautiful
that can’t be described came out.
Take me to your home – said the girl. I’m a not-born maid meant
to be your bride.
They get on the cart and went on to his home. When the brothers
saw the herd, the new cart, the girl became speechless. Then they
understood what a hearty gift means.
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I Spain La llegenda de Sant Jordi (catalàn)
Diuen que assolava els voltants de Montblanc un
monstre ferotge i terrible, que posseïa les facultats de caminar, volar i
nedar, i tenia l’alè pudent, fins el punt que des de molt lluny, amb les
seves alenades envierinava l’aire, i produïa la mort de tots els qui el respiraven.
Era l’estrall dels remats i de les gents i per tota aquella contrada
regnava el terror més profund.
Les gents van pensar donar-li cada dia una persona que li serviria
de presa, i així no faria estrall a tort i a dret. Van assejar el sistema i va
donar bon resultat; el cas difícil fou trobar qui es sentís prou avorrit per
deixar-se menjar voluntàriament pel monstre ferotge. Tot el veinat va
concloure fer cada dia un sorteig entre tots els veïns de la vila, i aquell
que destinés la sort seria lliurat a la fera. I així es va fer durant molt de
temps, i el monstre se’n deiuria sentor satisfet, car va deixar de fer els
estralls i malvestats que havia fer abans.
Heus ací que un dia la sort va voler que fos la filla del rei la destinada
a ser presa del monstre. La princesa era jove, gentil i gallarda com cap
altra, i feia molt dol haver-la de donar a la bèstia. Ciutadans hi hagué
que es van oferir a substituir-la, però el rei fou sever i inexorable, i amb
el cor ple de dol va dir que tant era la seva filla com la de qualsevol dels
seus súbdits. Així, el rei va avenir-se a que la princesa fos sacrificada.
La donzella va sortir de la ciutat tota sola i espantada, i va començar
a caminar cap al cau del monstre. Mentre, tot el veinat, desconsolat i
alicaigut, mirava des de la muralla com la princesa anava al sacrifici.
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Quan portava una estona caminant se li va presentar un jove cavaller,
cavalcat en un cavall blanc, i amb una armadura tota daurada i lluent.
La donzella, esborronada, li digué que fugís de pressa, puix que per allí
rondava una fera que així que el veiés en faria xixina. El cavaller li digué
que no temés, que no li havia de passar res, ni a ell ni a ella, per tal com
ell havia vingut expressament per combatre el monstre, per matar-lo i
alliberar del sacrifici a la princesa, com també a la ciutat de Montblanc
del flagell que li representava el veïnatge d’aquell monstre.
Entre aquestes, la fera va presentar-se, amb gran horror de la donzella
i amb gran goig del cavaller, que la va escometre i d’una llançada la va
malferir. El cavaller, que era Sant Jordi, lligà la bèstia pel coll i la donà a
la donzella perquè ella mateixa la portés a la ciutat. El monstre va seguir
tot manso i estemordit a la princesa. Tot el poble de Montblanc, que
havia presenciat la baralla des de les muralles ja esperava amb el braços
oberts la donzella i el cavaller, i enmig de la plaça va esbravar el seu odi
contra la fera, de la qual aviat no restà bocí.
El rei volia casar la seva filla amb el forcívol cavaller, però Sant Jordi
va replicar que no la mereixia; va dir que havia tingut una revelació
divina sobre la necessitat urgent d’anar a combatre el drac ferotge i
alliberar la donzella, i amb ella la ciutat de Montblanc. I així ho havia
fet amb la protecció divina i per manament diví. Per tant, ell no havia
fet res per ell mateix i no mereixia cap premi.
Aleshores, Sant Jordi desaparegué misteriosament, talment com
havia aparegut.
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I Spain La leyenda de Sant Jordi (español)
Dice la leyenda que un monstruo feroz y terrible asolaba los
alrededores de la villa de Montblanc. Un monstruo que poseía las
facultades de andar, volar y nadar y que tenía un aliento apestoso
hasta el punto de que, hasta en la lejanía, su aliento envenenaba el aire
y producía la muerte de todos aquellos que lo respiraban. Causaba
estragos entre el ganado y las gentes y por toda la comarca reinaba un
temor profundo.
Las gentes pensaron en darle cada día una persona que le serviría
de presa y así no haría estragos a diestra y siniestra. Ensayaron el
sistema y dio buen resultado. La cosa difícil fue encontrar a alguien que
sintiera suficientemente aburrido para dejarse comer voluntariamente
por el monstruo feroz. Todo el vecindario concluyó que diariamente
se haría un sorteo entre todos los vecinos de la villa y aquel al que la
suerte destinara sería ofrecido a la fiera. Y así se hizo durante mucho
tiempo y el monstruo debió sentirse satisfecho ya que dejó de hacer
los estragos y las maldades que había hecho hasta entonces.
Pero llegó el día que la suerte quiso que fuera la hija del rey la que
fuera destinada a ser la presa del monstruo. La princesa era joven,
gentil y gallarda como ninguna otra y era muy doloroso tener que
ofrecerla a la bestia. Hubo ciudadanos que se ofrecieron a sustituirla
pero el rey fue severo e inexorable y con el corazón lleno de dolor dijo
que tanto era su hija como la de cualquier otro de sus súbditos. Y así el
40

ey estuvo de acuerdo en que la princesa fuera sacrificada. La doncella
salió de la ciudad sola y asustada y empezó a caminar hacia la guarida
del monstruo. Mientras tanto, todo el vecindario, desconsolado y
alicaído, miraba desde la muralla como la princesa iba al sacrificio.
Cuando ya hacia un rato que caminaba se le presento un joven
caballero cabalgando en un caballo blanco y una armadura dorada
y resplandeciente. La doncella, impresionada, le dijo que huyese de
prisa ya que por allí rondaba una fiera que cuando lo viera lo haría
picadillo. El caballero le dijo que no temiera, que nada pasaría, ni a el
ni a ella, ya que el había venido expresamente a combatir al monstruo
para matarlo y liberar a la princesa del sacrificio y también a la cuidad
de Montblanc del flagelo que le representaba ser vecinos de tal
monstruo.
Mientras tanto, la fiera se presentó para gran horror de la doncella
y gran gozo del caballero que la atacó y de una lanzada la malhirió.
El caballero, que era Sant Jordi, ato a la bestia por el cuello y se la dio
a la doncella para que ella misma la llevara a la ciudad. El monstruo
la siguió completamente manso y atemorizado. Todo el pueblo de
Montblanc, que había presenciado la pelea desde las murallas, ya
esperaba con los brazos abiertos a la doncella y al caballero, y en
medio de la plaza, se desahogó de su odio contra la fiera de la cual no
quedó ni un trocito.
El rey quería casar a su hija con el forzudo caballero pero Sant Jordi
replico que no la merecía. Dijo que había tenido una revelación divina
sobre la necesidad urgente de ir a combatir al dragón feroz y liberar
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a la doncella y con ella a la ciudad de Montblanc y así lo había hecho
con la protección divina y por mandamiento divino. Por tanto, él no
había hecho nada por el mismo y no merecía ningún premio.
Entonces, Sant Jordi desapareció misteriosamente, de la misma
manera que había aparecido.
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I Spain Sant Jordi’s legend
Once upon a time, there was a terrible and fierce
monster which besieged the town of Montblanc. This monster had the
abilities of walking, flying and swimming and it had such a bad breath
that its breathing poisoned the air in the long distance and all those ho
breathed that air died. It was the destructor of cattle and people and
deep fear could be felt everywhere.
People thought about offering it everyday a person who would be
its prey so that it would not destroy everything around. They rehearsed
the system and the result was a good one. The difficult thing was to
find anyone bored enough willing to be eaten by the fierce monster.
The entire neighbourhood finally concluded that there would be
a daily draw among all neighbours in the town and the neighbour
whose fate was the draw would be delivered to the monster. And so
it was done for a long time time and the monster had to be satisfied
with the gift since it stopped the depredations and evildoing which
had done before.
But the day arrived when the one chosen was the king’s daughter
and she would be the one to be the prey for the monster. The princess
was young and beautiful like not another in the country and it was
painful to give her to the monster. There were people who volunteered
to replace her but the king was strict and inexorable and with his
heart full of pain he proclaimed that her daughter was like any other
43

daughter of the inhabitants. So the king agreed that his daughter
should be sacrificed.
The girl left the town alone and scared to death and she started
walking towards the monster’s den. Meanwhile, all neighbours,
heartbroken and devastated, were watching from the walls of the
town how the princess was heading towards her sacrifice.
She had not been walking very much when a young gentleman
appeared riding a white horse and wearing shiny golden armour. The
princess, deeply impressed, told him to run away as soon as possible
because there was a monster around which would tear him into pieces
if it met him. The gentleman told her not to be afraid that there was
nothing to worry about and that there would not be hurt for any of
them since he had come in purpose to fight against the monster, kill
it and free the princess from the sacrifice and also free the town of
Montblanc from the scourge of the fierce monster.
Soon, the wild beast appeared for the scaring of the princess and
the joy of the knight who attacked the monster and seriously wounded
it with a spear. The knight, who was Sant Jordi, lashed down the beast
and gave it to the maiden so that she herself could lead it to the town.
The meekly and afraid monster followed the princess. All the people
in the town of Montblanc, who had witnessed the fight from the walls,
were already waiting to embrace the maiden and the knight and, in the
middle of the square, they showed their hatred towards the monster
which soon was slaughtered into pieces.
The king wanted his daughter to marry with the strong knight but
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Sant Jordi answered that he did not deserved her. He said that he had
had a divine revelation about the urgency to fight the fierce monster
and free the maiden and the town of Montblanc . So he did it with
the divine protection and command. So, he had not done anything by
himself and, therefore, did not deserve any compensation.
And next, Sant Jordi disappeared as mysteriously as he had
appeared.
45

I Romania Master Manole
The legend says that Negru Voda, a Romanian Ruler,
was walking on the banks of a river, along with nine artisans and masons
and Manole, in search of a place where they could build a monastery.
Along the way they came across a shepherd that was playing the
flute. The Ruler asked him if he had seen an unfinished wall on his
way, up and down the banks of the river. The man told him that he
had seen the wall, and all the dogs that got near the wall started to
bark without reason.
Hearing this, the ruler continued his path along with his artisans.
Arriving at the wall, he ordered the workers to build a big and beautiful
monastery and promising that he would reward them with money, a
title or a piece of land, and if they didn’t do it they would be built alive
in the foundation of the monastery.
When the masons heard this, they started working and, without
any measurements, began to dig ditches. But everything they built,
collapsed the next day. They kept building for four days but the walls
kept collapsing. When the king saw this he was surprised and he
threatened the workers that they would end up in the foundation of
the monastery.
The next day Manole woke up and told the workers what he had
dreamed. Any sister or wife that happened to come the second day
46

was to be sacrificed, to be put alive in the walls of the monastery so
that they were able to finish the monastery in time. And they swore
that they would sacrifice whoever comes first the second day.
***
The next morning Manole woke up and climbed on the scaffolding
to check the path. He saw his wife, that was supposed to bring him
lunch and some wine. He fell in his knees, praying for a rain so
powerful that his wife would turn, and go home. But his wife didn’t
stop, despite the heavy rain. Seeing this, Manole fell in his knees again
and prayed again, but this time he prayed for a powerful wind, so
powerful that it would tear the trees apart. But not even the most
powerful wind could convince her wife otherwise.
When the other mansons saw her they were happy, but Manole
was very sad. He took his wife in his arms, kissed her and took her up
the scaffolding and he put her in the wall telling her in a funny way
that he wanted to play. His wife believed him, she laughed and let
herself to be put inside the wall.
Manole sighed and started to build up his wife, Ana, who was
crying because the wall was crushing her, but Manole chose to ignore
her and with difficulty continued to build her inside thus succeeding
to finish the monastery.
At the end the king arrived and bowed at the mighty monastery as
if he had never seen a more beautiful one before. He asked the artisans
47

if they could build another one even bigger and more beautiful than
that one. The artisans said that they could always build a greater one.
Hearing this the king ordered his troops to destroy the scaffoldings
and to take the ladders so that the ten artisans would die on the roof.
In their desperate attempt to save themselves, the used the wood
at their disposal as wings but they all fell, dying. When Manole
wanted to jump, he heard his wife from inside the wall saying that she
was being crushed. Hearing this Manole fell to the ground, and in the
place where he died, there appeared a fountain with salty water.
48

I Turkey Deli̇ Dumrul
Orta Asya’dan kalkıp Anadolu’da yeni biçimlere dönüşen
Şaman-Dede geleneğinden yola çıkılarak anlatılan kahramanın
karmaşasını, insanın tercihlerinin yaşamını nasıl değiştireceğini Dede
Korkut’un dilinden anlatan modern biçimler üzerine kurulu bir geleneksel
gösteri..
Deli Dumrul, kuru bir çay üzerine köprü kurar geçenden de
geçmeyenden de para alır, Dumrul her şeyi kaba kuvvetle çözer fakat
kaba kuvvet her şeyin çözümü değildir, elbet Dumrul’dan da büyüğü
vardır, Dumrul dersini acı bir şekilde alır; peki Dumrul ne öğrenir? Kim
bilir?
Söylemiş Dedem Korkut, gelin bakın ne söylemiş?
DELİ DUMRUL HİKAYESİ
Günün birinde Oğuz illerinde Duha Koca’nın oğlu Deli Dumrul
varmış. Kuru bir çayın üstüne köprü yapmış. Köprünün üzerinden
geçenden 30 akce geçmeyenden de döve döve 40 akce alırmış. Bir gün
yakışıklı yiğit bir adam körünün yakınındaki bi obada ölmüş. Deli
Dumrul feryatları duyar ve birinin öldüğünü öğrendi ve ölen adamın
canını kimin aldığını sordu. Adamın canını Azrail’in aldığını söylediler.
Bunun üzerine Deli Dumrul Azrail’e çok sinirlenmiş ve adamın canını
kurtarmak için Azrail’e meydan okumuş. Fakat bu haraket Allah’ın
hoşua gitmemiş. Bunun üzerine Allah Azrail’e emretmiş ve ‘şu deli
adama bak benim üstünlüğümü ve gücümü bilmiyor. Gi , korkut ve
49

şunun canını al’ demiş. Bu yüzden Azrail Deli Dumrul’a görünmüş ve
Dumrul Azril’e tekrar meydan okumuş ve kılıcıyla saldırmaya başlamış.
Sonra Azrail güvercin olup uçmuş. Dumrul da şaşmış kalmış. Sonra
Azrail tekrar gelmiş ve Dmrul’u yere sermiş. Dumrul kalkıp Azrail’e
vuramıyormuş. Yere yapışıp kalmış. Sonunda Deli Dumrul Azrail’le baş
edemeyeceğini anlamış. Azrail de Allah’ın emrini Dumrul’a anlatmış.
Bunun üzerine Deli Dumru Azrail’e yalvarmaya başlamış. Ve ‘ Senin
benden daha güçlü olduğunu, canımı alabileceğini anladım. Lütfen
beni affet, canımı alma’ demiş. Azrail Dumrul’un bir şeyleri anlamaya
başladığına sevinerek O’na ‘Sen bana değil Allah’a yalvarmalısın,
ben sadece O’nun emir kuluyum’demiş. Sonra Deli Dumrul Allah’a
yalvarmaya başlamış. Ve ‘Allah’ım lütfen benim canımı alma beni affet’
demiş. Dumrul’un yakarışı Allah’ın hoşuna gitmiş ve Allah Azrail’e
şöyle emretmiş. ‘O yaşamak istiyorsa eğer kendi canı yerine can bulsun
ben de O’nun canını bağışlayayım’demiş.
Bunun üzerine Deli Dumrul yaşlı babasının canını kendisi için
verebileceğini düşünmüş ve babasının yanına gitmiş. Allah’ın emrini
babasına anlatmış ve babasının kendisi için canını verebileceğini mi
yoksa arkasından ağlayacağını mı sormuş. Fakat babası Dumrul’a
‘Oğul , ,senin için bütün servetimi veririm sen benim tek oğlumsum.’
Dumrul sevinmeye başlamış ama babası devam etmiş. ‘Fakat can
farklı, dünya güzel, ben canımı severim ve kimse için feda edemem’
demiş. Bunun üzerine Deli Dumrul çok üzülmüş ve annesinin yanına
gitmiş. Yolda ana yüreğinin farklı olduğunu düşünmüş. Annesini
gördüğünde Allah’ın emrini annesine anlatmış ve annesi çok üzülmüş.
50

Annesi de ‘ Oğul, oğul, gözümün nurusun, dokuz ay karnımda taşıdım
onuncu ayda doğdun. Keşke seni altın akcelerle kurtarabilseydim.
Ama dünya tatlı, can aziz, kimse için canıma kıyamam üzgünüm
oğul’ demiş. Bunun üzerine Deli Dumrul ölümünü kabullenmiş ve
Azrail’e bir karısının ve iki çocuğunun olduğunu , ölmeden önce son
kez onları görmek istediğini söylemiş. Bunun üzerine Dumrul’un evine
giderler ve Dumrul karısına öleceğini anlatır ve iki çocuğunun yetim
kalmaması için istediğiyle evlenebileceğini söylemiş. Karısı da O’na
‘Sen ne söylüyorsun , benim canım sana kurban olsun. Ben sensiz nasıl
yaşarım? Sensiz yaşayamam.’ demiş.
Bunun üzerine Azrail Dumrul’un karısının canını alacağı sırada ,
Deli Dumrul Allah’a ‘Allah’ım eğer karımın canını alacaksan benim
de canımı al’ diye yalvarmış. Allah’ın bu hareket hoşuna gitmiş , Deli
dumrul’un duasını kabul ederek O’nu bağışlamış.
Son olarak da Allah Azrail’e, Deli Dumrul’un annesinin ve babasının
canını almasını ve de O’nun ve karısının ömrüne 140 yıl eklemesini
emretmiş.
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I Turkey (Crazy) Deli̇ Dumrul
This traditional story, which is recreated in modern
style, tells the story of the traditional hero whose characteristics firstly
shaped in the middle Asia and then in Anatolia under the influence of
Shamanizm-Old Man tradition, deals with the matter of choosing and
how it changes one’s life. And teller of this story was a man called ‘Dede
Korkut’(Grandfather Korkut)
Crazy Dumrul had built a bridge on the dried stream , and he asks
for money from all passengers who passes and who does not pass over
the bridge. He practises brute force and physical strenght to solve
everything and this of course does not solve anything. For sure there
may always be stronger than Crazy Dumrul and he learns this lesson
bitterly. But what does Crazy Dumrul learn? Who knows?
And now come and see what did my Grandfather Korkut said?
STORY OF (CRAZY)DELI DUMRUL
Once upon a time there was a place named Oguz and there used
to live Duha Koca’s son Crazy Dumrul.He had built a bridge on the
dried stream and he had asked for money from everbody who passed
on it and had taken 30 akce (currency) from them and who didn’t pass
on it and had taken 40 akce (currency) from them as well as he had
bludgeoned them. One day, a good looking valiant man had died next
to a groups of nomands near the bridge. And Crazy Dumrul heard the
cries and had learnt that somebody had died and asked to people that
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who took his soul? And they answered that Azrael ( the death angel )
took his soul. So he had become angry with Azrael (the death angel)
and he had challenged to Azrael to rescue the life of the man. But
the God hadn’t liked his speech. So that the God said to Azrael and
ordered : ‘Look at that crazy man and he doesn’t know my hegemony
and my strenght . Go and frightened him after that take his soul’
So Azrael had appeared to Crazy Dumrul and Dumrul had
challenged to Azrael again and attacked against to Azrael with his
sword. Then Azrael had become a dove and flight. And Crazy Dumrul
had become utterly confused. After that Azrael had come again and
Dumrul fall on to a floor but couldn’t stand and hit to Azrael.
At last Crazy Dumrul understood that he couldn’t manage to beat
Azrael. And Azrael said the God’s order about him. So Crazy Dumrul
began to appeal to Azrael ‘I understand that you are stronger than
me and you can take my soul , please forgive me and don’t take my
soul’ and Azrael had become happy that Dumrul began to understand
something and said to him : ‘You should appeal to the God because I
am only a behest vassal’ and after that Crazy Dumrul began to appeal
to the God: Oh my God please don’t take my soul, please forgive me, I
understood that you are the strongest and can do whatever you want.’
And the God had been pleased with his rogation and ordered Azrael
like this: ‘If he wants to live he should find a life instead of his life .
After that I can absolve him’. So that Dumrul thought that his old
father could give his life for him and went to his father. And said the
God’s order to his father and he asked his father if he could give his life
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for him or would cry after himself. But his father told him ‘Dear son
I can give all my wealth for you , you are my only son’ when Dumrul
became happy he went on ‘ But life is different ,world is beautiful, I
love my life so I can’t give it for anyone’ So that Dumrul became upset
and went to his mother. On the road he thought that mother’s heart
was different. And when he saw his mother he told the God’s order to
his mother she became upset. And her mother told to him ‘ Son, Son,
you are lights of my eyes , I carried you nine months in my stomach
but you born at the tenth month. I wish I could rescue you with gold
akce (currency) but world is sweet life is saint. I can’t give up my life
for anybody sorry my son’ So that Crazy Dumrul accepted his death
and asked to Azrael that he had two children and a wife and wanted
to see them finally before he die. So they went to his home and he told
his wife that he would die and she could marry whoever she wanted
so that their two children couldn’t be orphan. And his wife answered
‘what do you say my love, my life can be sacrifice for yours, how can I
live without you? I can’t live without you.’ Hereupon, while Azrael was
taking his wife’s life, Crazy Dumrul appealed to the God. ‘If you will
take my wife’s life,please take my life,too’. And the God had pleased of
this beseech and had forgiven Deli Dumrul.
Finally, the God ordered to Azrael that: ‘take his father’s and
mother’s life and add 140 more years to Crazy Dumrul’s and his wife’s
life.’
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I Italy The Adventures of Pinocchio
The Adventures of Pinocchio is a novel for children
by the Italian author Carlo Collodi. The first half was published in
serial form between 1881 and 1883 and then completed as a book for
children in February 1883. It is about the mischievous adventures of
Pinocchio, an animated marionette, and his poor father, a woodcarver
named Geppetto. It is considered a classic of children’s literature (see
also Disney’s classic animated movie of 1940) and it gave birth to commonplace
ideas, such as a liar’s long nose.
The part chosen is the episode with Mr Cat and Mr Fox, which
exemplifies the shrewdness of the 2 animals on one side and the
foolishness of Pinocchio on the other side: he didn’t listen to the
Blackbird here (the Talking Cricket in another chapter), nor did he
listen to the wise words of his father Geppetto.
(Pinocchio is at Fire Eater’s Funfair: the Fire Eater gives Pinocchio
five gold pieces for his father, Geppetto, but the marionette meets a
Fox and a Cat and follows them).
The next day, the Fire Eater called Pinocchio aside and asked him:
„What is your father‘s name?“
„Geppetto.“
„And what is his trade?“
„He‘s a woodcarver.“
„Does he earn much?“
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„He earns so much that he never has a penny in his pockets. Just
think that, in order to buy me an A-B-C book for school, he had to sell
the only coat he owned, a coat so full of darns and patches that it was
a pity.“
„Poor fellow! I feel sorry for him. Here, take these five gold pieces.
Go, give them to him with my kindest regards.“
Pinocchio, as may easily be imagined, thanked him a thousand
times. He kissed each Marionette in turn, even the officers, and,
beside himself with joy, set out on his homeward journey.
He had gone barely half a mile when he met a lame Fox and a blind
Cat, walking together like two good friends. The lame Fox leaned on
the Cat, and the blind Cat let the Fox lead him along.
“Good morning, Pinocchio,” said the Fox, greeting him courteously.
“How do you know my name?” asked the Marionette.
“I know your father well.”
“Where have you seen him?”
“I saw him yesterday standing at the door of his house.”
“And what was he doing?”
“He was in his shirt sleeves trembling with cold.”
“Poor Father! But, after today, God willing, he will suffer no longer.”
“Why?“
“Because I have become a rich man.”
“You, a rich man?” said the Fox, and he began to laugh out loud.
The Cat was laughing also, but tried to hide it by stroking his long
whiskers.
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“There is nothing to laugh at,” cried Pinocchio angrily. “I am very
sorry to make your mouth water, but these, as you know, are five new
gold pieces.”
And he pulled out the gold pieces which Fire Eater had given him.
At the cheerful tinkle of the gold, the Fox unconsciously held out
his paw that was supposed to be lame, and the Cat opened wide his
two eyes till they looked like live coals, but he closed them again so
quickly that Pinocchio did not notice.
“And may I ask,” inquired the Fox, “what you are going to do with
all that money?”
“First of all,” answered the Marionette, “I want to buy a fine new
coat for my father, a coat of gold and silver with diamond buttons;
after that, I’ll buy an A-B-C book for myself.”
“For yourself?”
“For myself. I want to go to school and study hard.”
“Look at me,” said the Fox. “For the silly reason of wanting to study,
I have lost a paw.”
“Look at me,” said the Cat. “For the same foolish reason, I have lost
the sight of both eyes.”
At that moment, a Blackbird, perched on the fence along the road,
called out sharp and clear:
“Pinocchio, do not listen to bad advice. If you do, you’ll be sorry!”
Poor little Blackbird! If he had only kept his words to himself!
In the twinkling of an eyelid, the Cat leaped on him, and ate him,
feathers and all.
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After eating the bird, he cleaned his whiskers, closed his eyes, and
became blind once more.
“Poor Blackbird!” said Pinocchio to the Cat. “Why did you kill
him?”
“I killed him to teach him a lesson. He talks too much. Next time
he will keep his words to himself.”
By this time the three companions had walked a long distance.
Suddenly, the Fox stopped in his tracks and, turning to the Marionette,
said to him:
“Do you want to double your gold pieces?”
“What do you mean?”
“Do you want one hundred, a thousand, two thousand gold pieces
for your miserable five?”
“Yes, but how?”
“The way is very easy. Instead of returning home, come with us.”
“And where will you take me?”
“To the City of Simple Simons.“
Pinocchio thought a while and then said firmly:
“No, I don’t want to go. Home is near, and I’m going where Father is
waiting for me. How unhappy he must be that I have not yet returned!
I have been a bad son, and the Talking Cricket was right when he said
that a disobedient boy cannot be happy in this world. I have learned
this at my own expense. Even last night in the theater, when the Fire
Eater. . . Brrrr!!!!! . . . The shivers run up and down my back at the mere
thought of it.”
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“Well, then,” said the Fox, “if you really want to go home, go ahead,
but you’ll be sorry.”
“You’ll be sorry,” repeated the Cat.
“Think well, Pinocchio, you are turning your back on Dame
Fortune.”
“On Dame Fortune,” repeated the Cat.
“Tomorrow your five gold pieces will be two thousand!”
“Two thousand!” repeated the Cat.
“But how can they possibly become so many?” asked Pinocchio
wonderingly.
“I’ll explain,” said the Fox. “You must know that, just outside
the City of Simple Simons, there is a blessed field called the Field of
Wonders. In this field you dig a hole and in the hole you bury a gold
piece. After covering up the hole with earth you water it well, sprinkle
a bit of salt on it, and go to bed. During the night, the gold piece
sprouts, grows, blossoms, and next morning you find a beautiful tree,
that is loaded with gold pieces.”
“So that if I were to bury my five gold pieces,” cried Pinocchio with
growing wonder, “next morning I should find--how many?”
“It is very simple to figure out,” answered the Fox. “Why, you
can figure it on your fingers! Granted that each piece gives you five
hundred, multiply five hundred by five. Next morning you will find
twenty-five hundred new, sparkling gold pieces.”
“Fine! Fine!” cried Pinocchio, dancing about with joy. “And as soon
as I have them, I shall keep two thousand for myself and the other five
hundred I’ll give to you two.”
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“A gift for us?” cried the Fox, pretending to be insulted. “Why, of
course not!“
“Of course not!” repeated the Cat.
“We do not work for gain,” answered the Fox. “We work only to
enrich others.”
“To enrich others!” repeated the Cat.
“What good people,” thought Pinocchio to himself. And forgetting
his father, the new coat, the A-B-C book, and all his good resolutions,
he said to the Fox and to the Cat:
“Let us go. I am with you.“
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I Slovakia A story about how the dog Bodri died
Countess Mrs. Esterhazy was at a health resort in
Piešťany for 2 months. She was relaxing and enjoying life. There weren’t
any telephones or post offices at that time so she didn’t know what was
happening in her small castle in Levice. When she spent all her money,
her coachman Kubo went to pick her up and brought her back to Levice.
Kubo loaded her suitcases into the coach and helped her Countess
get on. Then he wrapped her up in blankets and lashed the horses. He
had never talked much, but now he was deadly silent. The Countess
was very curious so she started talking with her coachman:
What’s new at home, Kubko?
Nothing important, my Countess.
Nothing at all? I’ve been away for 2 months! Tell me something!
Bodri has died...
My dog Bodri? Poor puppy. What happened to him?
He ate too much.
What did he eat too much of?
Of those 2 horse heads.
What heads?
Those 2 burned horse heads.
What burned heads?
Well, Giza and Keso have burned…
You’re getting on my nerves, Kubo! So Giza and Keso, those nicest
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and most beautiful horses of mine, have burned. When and how? Say
it quickly. Oh, I think I’ll go mad!
In the stable, my Countess.
Have the stables burned down too?
All of them!
How did they burn down?
The castle has also burned to the ground, my Countess.
The castle? So the castle has burned down too. Has it, Kubo?
That’s right, my Countess. Just the main walls have remained.
And who burned it?
Well who? The young count, of course!
My poor husband?
Exactly, my Countess.
And when, for god's sake?
Just a minute before he hanged himself.
The Countess fainted and “chatty” Kubo had enough problems
awaking her.
The castle was rebuilt and the young widow wasn’t alone for long.
Immediately she got married. It happened so fast that she didn't even
have time to forget the death of her dog Bodri.
“Chatty“ Kubo is an example how to say even the worst news
gently. From this time on, when someone wants to tell you bad news
in this area, they will start it like Kubo did:
“Bodri has died…”
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Analysis and reasoning of students
We translated the tales and legends. We looked for similarities and differences
between European cultures by exploring symbols and archetypal models in the
stories.
We based our work on the following:
Each tale is the story of the same person on their way to self-perfection.
Everything that happens in a story (I.E. the different characters, events, conflicts)
actually happens to one person in the process of their development, the display
of his/her various life roles and images.
We reflected on the following:
Which character do I identify with and why?
What is the relation with my present life situation?
What is similar and what is different in our partners’ stories?
(LITHUANIA)
Similarities
Latvian, Italian and Czech Republic stories both reflect their society,
especially from negative side. For example: In Italian story fox and cat are
the symbols of society, and in Czech Republic– procurator.
All stories and legends have happy endings.
In all stories except Lithuania legend, where doinate positive characters,
we can find good and bad characters.
Livestock in stories is used as a pay and it shows power and wealth.
The most obvious similarity in all stories is cleverness. Because of this
feature all stories end happily.
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In Romanian and Lithuanian legends dominate rulers.
In Spain and Romanian legends there are sacrifices and in both there are
women.
In Lithuanian and Slovakian legends there are exact places (i.e. names of
the towns).
Differences
Some stories are miracle tales and others are legends. Legends talk about
how something was created.
In some stories there is magic, others are like real life.
Pinocchio story unlike other stories has an author.
Slovakia story is told in a form of a dialogue.
In Turkish story there dominates religion.
Only in Turkish story there is such a strong relation of love.
Symbols:
In Bulgarian tale there dominates number 3.
It’s a symbol of perfection.
3 is lucky number.
Wallnuts symbolize harmony, happiness, gladness.
In Italian tale about Pinocchio there dominates animals’ symbols:
Fox symbolizes the negative cleverness.
Cat simbolizes cheat.
Blackbird simbolizes trust and wisdom
In Lithuanian legend of Vilnius the one and the biggest symbol is iron wolf.
Wizard said that wolf simbolized the strong city like iron. So wolf means strength
and inmortality.

In Spanish legend there is told about monster and holy knight who defeats
that monster.
Monster symbolizes evil and knight symbolizes goodness, of course knight
kill monster ;)
In Czech Republic story one of the symbol is barriel of honey. This simbolizes
materiall good life, but nothing can be sweeter than sleeping. The girl could be
the symbol of the Chech Republic society in general.
In Latvian story “The Little Orphan and the Mother’s Daughter” the daughter
of the mistress symbolizes the negative side of the society.
The orphan symbolizes the pasitive side. Here confronts two contrary powers.
Spindle shows that booth poor women and aristocratic ladies spent much of
their time spinning; it became a symbol of ,,conteplative life”.
In Romanian tale number 9 is a symbol of success.
Flute symbolizes warmth and love.
Fountain is the symbol of knowledge and wisdom.
In Slovakia story ,,How the dog Bori died’’ horse symbolizes power and it is
widespread through most cultures. It’s a symbol of life-force.
All conversation can symbolize people’s culture: their calmness, tolerance.
In Turkish tale bridge symbolizes connection and separation among people
and religion (between temporality and eternity).
Azrael symbolizes the angel of death.
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(BULGARIA)
Essay
To live together in the common European family, each of us must know
yourself, culture and traditions of its people. Bulgaria is a country with rich
history, one of the oldest on the continent. Our people is among the first of its
literature and culture. I can proudly say that Iwear Bulgarian values and traditions.
In me are interwoven dramatic events in Bulgarian history and inspiration of the
important matters of great Bulgarians. At the same time as a modern young
man I feel myself like a citizen of Europe. I have friends in different European
countries. The project “How different are we”, in that part, my dating other people
from different countries helps me find myself. To combine work with pleasure
and felt growing up as a person. This is extraordinary adventure and challenge.
Teamwork strengthens relationship with others and makes me feel more secure
and protected. Fairy tales, which translate and role despite their differences,
had many common symbols and messages. In its analysis, we realized that each
story, legend, myth, with its characters, stories, miracles, messages is actually
the story of the same person in the course of his personality development and
improvement. Each story is a dramatic confrontation between the “shadow” and
“persona”. In this sense most deeply touched mе “A story about how the dog
Bodri died”. Check out this story in comparison with the parable of the corriage,
coachman, horses harness, told by Horhe Bukay. The carriage represents the body
of the people taking the human spirit in themselves, coachmen or talker Bodry –
conscience and common sense, horses – the passions and feelings. Countess of
the story is in severe emotional crisis. Animus is lost. / Favorite Count is dead / .
It lost the desire for action, motivation. At the end of history, Countess still finds
its entirety / harmony between the Anima and Animus. She married again and
move forward. This story touched me because I and another man going through

crisis periods in their lives. My problem is to find harmony between reason and
emotions. One must be aware of yourself and put yourself within.
In the story it comes to how their messages serve.
When talking with someone, we want to be not only heard but understood.
However, this takes at least two creatures. The model for effective communication
is very simple. Mature, sensible person tries to comprehend the needs and
feelings and to justify his message through them. Otherwise the message is a
scream of the needs and feelings. They therefore respond directly to the feelings
of the opposite and gives rise to conflict.
With all the talk I found images – symbols:
Primary feelings and emotions: spoiled girl, cat and fox – from Pinocchio,
animals killed by hunter (Legend of Vilnius);
Of reason, conscience: The Mage, who explained the dream of the hunter, the
old woman of the story of the orphan, Manka, God in Dumrul’s story, Fairy from
Pinocchio, talker Kubo .
The conclusion that I do for myself is that we are representatives of European
countries have more in common than differences. I am glad that I had and have
the opportunity to touch upon the wealth of different national cultures. Our
effective communication depends on the value to themselves, but also the
dignity of others.
Kalina Licheva, XI a
Bulgaria
How different are we?
Every nation has a language, a culture, a different religion and traditions.
These things distinguish it from the others. But there is something that connects
all nations, something similar – universal values. They are handed down from
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generation to generation through tales. In fairytales fantastic happenings are
combined with real feelings so that different values and virtues can reach us.
The most common virtue is wisdom. There is a wise man who gives advice
to others in almost every tale. His role is very important for the development of
the action because he helps the characters to make the right choice. I think that
wisdom is the supreme universal value. It is innate only to man, because he is
a rational being and thanks to that he survived many centuries. Wisdom comes
from the experience that man obtains. That is why wise people are older. This can
be seen in the tales we discussed – the Latvian, the Turkish and the Slovakian tale.
The Czech story impressed me the most, because the wise man was a young girl
– Manka. Other important virtues and values are modesty and generosity. Stories
try to teach us that choosing a small thing or sharing something will make us
happier. The constant pursuit of bigger things can get us in trouble. For example
in the Latvian tale the smaller box contains gold and inside the bigger one there
are snakes and the like. In the Bulgarian story there was a similar moment with the
walnuts: choosing that hearty gift and not the money the boy wins more things
in the end. Tales impress us with fantastic and bizarre endings and we remember
them easily. But along with the unreal moment we memorize the feelings of the
characters – the happiness they feel when they get the unexpected from small
things which seem insignificant at first. In this way the notion of good and bad is
formed in us.
In my opinion the differences between nations are not that important,
because a language can always be learned, views and religion can be changed,
and new traditions can be made. The important is what unifies us – our values,
because they make us people and guide our life.
Kalina Nikolaeva XIa
Bulgaria
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(CZECH REPUBLIC)
Bulgarian Story
The Bulgarians are focused on heartiness and feelings. The family and its
financial security are really important for them but on the other hand money isn’t
a great priority for them. Regarding sibling relationship it has a big importance,
too, mainly in the moment if they have to seperate and look for their own
happiness.
In the fairy tale there are traditional Bulgarian jobs (a baker, an innkeeper, a
shepherd). All these jobs are connected with typical Bulgarian landscape and its
warm climate.
For upright work they want to have good earnings. If they don’t get it, they
feel it unfair (one of the brothers had to choose between inadequate reward and
trivial three nuts). But in fact in the offer there are hidden choices/morals – not to
become rich a lot, not to get showy and not to be lazy and willingness to accept
a petty gift from heart.
Hazelnuts can hide a secret, it can emphasise the symbol of number three.
The Bulgarian flag has got three colours, which means peace, courage and
productivity of the earth.
When the youngest brother made a decision about the kind of present –
the important fact was accepting the advice of the old shepherd (respect for
authority). During repeated meetings of brothers at the cross way it turned
out, that two older brothers hadn’t understood his good nature, modesty and
character, because they were focused more on material gain.
In the secrets, which are hidden in the nuts and that were cracked after the
family argument, we can find real and true national values. The flock of sheep as
a source of support, the ox as a symbol of the help to man with the fertilization of
land and woman as a symbol of love, family and maternity. The woman is for the
man an equal partner, no inferior person, a maid.
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If we compare the Czech and the Bulgarians, the Bulgarians are less astute,
more intent on traditional values, especially in agriculture and families. They are
in conformity with nature and honesty.
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Lithuania / Litva
The legend of Vilnius: Gediminas’s dream about iron wolf
The story is a national tale about the rise of the capital city of Lithuania –
Vilnius. Probably the students chose it because they are proud of their country.
The legend shows Lithuanians to be proud, brave and purposeful people. It
shows Lithuania to be an extensive, plane and woody country.
Really, Gediminas was a prince, a Jagello. He was born in 1275; in 1376 he
came to the throne. He established the city of Vilnius, he built up the castle of
Vilnius and the Gediminas’s tower. In struggle against German crusaders he
broadened the land – today’s Bellorussian and Ukrainian. His reign ended with
his death – in 1341.
Rivers: the river Neris is the second largest river of Lithuania, it’s called „Mother
of Lithuanian rivers“.
Fame of the city: the city became famous after Gediminas invited German
businessmen. In 16th century Vilnius was the most meaningful center of Europe.
Iron wolf: today Lithuanian people explain it as representing the threat of
German crusades but direct proof doesn’t exist.
Romanian Story
This story reminds us of the biblical story of Jefta and his daughter. Jefta prays
to God that if he is given a victory in the following battle, he will sacrifice the first
person coming to him. Later it is his daughter who comes so that Jefta keeps
his promise and makes his daughter serve God in a temple (in comparison with

Manole, he does not let her die). In Manole´s case it seems to be quite cruel to
put his wife inside the wall. It can indicate a strong obedience to people who are
superior, even unquestioning obedience as well as willingness to make personal
sacrifice – this may be typical for Romanian people. But sometimes the sacrifice
might be unnecessary and made in a wrong course. Sometimes it can be enought
to keep some other rules – for example in the story it would be enough if the
masons worked doing the necessary measurements...
The ruler´s wish to build the biggest monastery can also demonstrate
unexcusable pride which makes others to sacrifice what they love just to fulfill
their wishes.
It might also show us that progress is necessary – as Manole admitted that
they always could build a bigger monastery – and the ruler should not have hold
it back... At the end of the sory, salt water becomes the symbol of regret about
uselessly lost life of a beloved person...
Španělsko / Spain
Accroding to the story, we could think that Spanish people have only good
atributes, but we know, that they just don’t tell tales about bad ones. We can’t
deny that they are clever and cunning, otherwise they wouldn’t find out how to
stop the dragon from ravaging the country. Also we can’t deny their devotion.
The fact that they were willing to give themselves to the dragon instead of the
princess is admirable. Courage is also important for Spanish people. The reason
why we think so is corrida which is known as the bull fights. In the story they
prove their courage by heroically saving the princess. But there is still one bad
attribute and it is vengefulness. The way Spanish people attack the wounded
dragon is cruel, but understandable. The fact that the knight wants nothing for
saving the princess is breathtaking. In Czech our silly Honza gets a princess and
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half of the kingdom, but in Spain the knight humbly leaves without any reward.
Spanish people are without doubt very religious and so it’s no wonder when it
shows that everything is God’s doing.
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Turkey / Turecko
Story about Deli Dumrul
Our class was given a task to make a project about Turkey including the
analysis of the Turkish story.
The main character of the story is Dumrul. Well, what is the punch line and the
moral of the story?
The message of the story is: Dumrul´s parents were punished for their
selfishness and reckless desire for a comfortatable life. They were sentenced to
death penalty by the God. The God decided to give Dumrul and his wife 140
years more to be able to care for their children properly because they need both
parents. The God educates young parents and punishes old parents.
From the story About Deli Dumrul we learned that the Turkish are dedicated,
friendly, cheerful, appreciate the life but they are also stubborn. They are
influenced by their religion deeply. The Turkish young people behave very
respectfully to their mothers. They willingly help you and they are able to reward
you. We think that they are very kind and open people. But on the other hand,
they appreciate their immediate family very much and in this direction they are
much closed.
Latvian Story / Lotyšsko
From the analysis, we can see that in the story, there are magical elements – a
well, magical old man and fire. The fairytale is about a conflict between good and
evil. The girl has to complete several tasks to get what she wants. In comparison

with the Czech fairytales, the punishment for evil housekeeper and her daughter
is too strict. Daughter loses her gold and moreover, their barn burns down. The
woman´s daughter and little orphan have the same tasks, both complete them,
but the orphan has the well-being of old man in mind and she is rewarded. There
aren’t any names in the story, on the other hand, in the Czech fairytales we often
use names. Typical fairytale elements are beginning formula, fight between good
and evil, simple direct characterization and repetition of the situation, but there
isn’t any ending formula or magical numbers. Jump into the well represents the
vital secret of water and dependence on water. In contrast, there is symbol of
flame. The fairytale has an education meaning.
Italian Story
The Italians chose a part from Pinocchio, very famous and popular novel for
children, which is well known all over the world including our country. There is
also a film based on the story about Pinocchio. We think that the Italians must be
very proud of Carlo Collodi, the author of Pinocchio as they made this choice. To
tell the truth, the part was quite difficult for us to analyse because we couldn´t
recognize much about the Italian people´s opinions, attitudes or character. From
this point of view we think that it was not chosen carefully enough and that is
why we conclude that Italians are quite impulsive and spontaneous and they did
not think about the choice for long.
On the other side, there is something interesting what we have found in the
story. Due to Pinocchio we suppose that Italians are really kind and friendly, they
are trustful and generous (not miserly) but maybe a little bit naive. As for some
vices – the Italians seem to be quite foxy and tricky.
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(ROMANIA)
Symbols in “A Story about how the dog Bodri died”
Horse – symbol of greatness, image of the perfect beauty through
the dominance of the spirit over the senses. The horse is one of the
fundamental archetypes which human kind imprinted in their memory. It’s
life and continuity over discontinuity of our lives, it is magnificent and it’s
no wonder that man considered it sacred so often.
Animal – it represents the deep layers of the unconscious and of the
instincts, symbol of principles and cosmic forces, material and spiritual. The
animals have links with all of the 3 levels of the universe: hell, earth and
heaven.
Fire – after Yiying, the fire corresponds to the south, the color of the tomato,
summer, heart, it symbolizes the passions, love and anger, symbolizes
the spirit, the fire of the spirit which is also the breath and the intuitive
knowledge.
Castle – it is usually placed on high grounds or in forest clearings. It’s a tall
construction, solid, and difficult to reach; it gives a feeling of safety as a
home, in general, it is a high security place or a symbol of protection.
Symbols in the story of crazy Deli Dumrul
Crazy Dumrul – In art, the crazy man represents a way of camouflaging the
absolute spirit. Madness designates out of the ordinary behavior. A folk legend
says that there are 3 kind of craziness:
The one that had everything and suddenly lost it all;
The one that didn’t have anything and all of a sudden he gets everything,
without transitions;
Crazy, mentally ill.

Bridge – The bridge that allows crossing from a shore to another means
crossing from the earth to the skies, from the human state to the superhuman
state. Also the bridge signifies crossing over the water which separates this world
from the other world.
Death – The mystery of death is felt through tradition as disturbing and it
makes its presence felt in terrifying forms. As a symbol, death is the perishable
and destructive aspect of existence.
Pigeon – The pigeon is fundamentally a symbol of purity, of innocence and of
love in other parts, but it is also considered a bird of evil, because its cooing could
be the mourning of tormented souls.
Soul – The word soul evokes an unseen power, a distinctive existence; part of
a human being or a simple, yet vital phenomenon. Through its mysterious power
the soul suggests a supernatural force, a spirit, an energetic centre.
Gold – Is considered through tradition the most precious of metals. The gold
is the perfect metal it has the glow of light. It’s defined as a product of fire, royal
and divine; it also represents fecundity, heat, wealth and love.
Ten (10) – it has the meaning of fullness, to fulfillment, of returning to the
unit after carrying out the cycle of the first nine numbers. Also the number ten
represents the symbol of universal creation.
The Adventures of Pinocchio
-Symbols-
The Creator; creation – it symbolizes the end of chaos by the intervention in
the Universe of a certain form, a new order, a new hierarchy. The order is sufficient
enough to characterize invention. Invention means perception of a new order,
some new relations between different terms, creation is the establishment of this
order through an energy.
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Wood – is by excellence the matter that expresses even the folk language, the
heir of the crafting traditions. In India it’s the symbol of the universal substance. In
Nordic traditions, the wood or tree, in all shapes, takes part in science.
“Black beard” The Black – in absolute valor, black is the color opposite of
white, it’s equal. Symbolic it is often known under its cold aspect, negative, being
associated with primordial darkness, originating indifference.
The puppet – small puppets, made of painted wood, cloth or ivory, which
an unseen artist makes them move with the help of some strings or his fingers.
Symbol of creatures which lack consistency and listen to every external influence;
person with no character and principles. The puppet unites people from a nation,
channeling the power of its passions, traditions and legends. The puppet charges
itself with all these forces and ends up by holding a huge magical power. When it
reaches a certain age, it passes on from theatre to antiquarian, but it is presumed
to keep its mysterious virtues and poets surround it with consideration, like a
wonderful symbol of humanity.
Fox – independent, but happy that it’s so active, inventive but at the same
time destroyer, it symbolizes the contradictions of human nature.
Cat – the symbol of cat is very heterogeneous oscillating between benefic and
malefic tendencies. This thing can be explained through its attitude kind and hidden.
Gold – Is considered through tradition the most precious of metals. The gold
is the perfect metal which has the glow of light. It’s defined as a product of fire,
royal and divine; it also represents fecundity, heat, wealth and love.
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The symbols in “The Clever Mountain Lass”
Two – symbol of opposition, of conflict, this number signifies the balance
made or latent threats.
- signifies the principle of feminism, number two was in ancient time the
attribute of Mother.

- symbolizes the dualism on which any dialect or effort, any fight, any move,
any progress relies.
- expresses an antagonism which from latent becomes manifest.
- a double image -two lions, two eagles, increases by multiplication , the
symbolistic value of an image or both, reveals by halving, internal divisions which
attenuates.
- the main Persian expressions which utilizes the number two are many and
show that the virtutes of the person are doubled, tenfold, amplified by square or
to infinite.
- in Persian symbolistic the number two amplifies the power to infinite.
Horse - there is an old belief in the memory of all civilizations, which says that
originally the horse sprung galloping like the blood in the veins.
- It is son of the night and the mystery, this archetypal horse is the carrier of
both life and death, bounded with the fire that destroys and triumphs and with
the water that feeds and drowns.
- the psychoanalysts made the horse the symbol of the unconscious or the
non human psyche.
– archetype near the Mother as memory of the world or time, because it’s
bounded by the great natural clocks, or by the unbridled desire.
– symbol of greatness: solar, harnessed to the luminary cart, the white horse
becomes the image of perfect beauty, by the domination of senses by the spirit
of The Master of the Cart.
- white, but a shiny white, the horse is the symbol of greatness.
- it is often rode by the Faithful and the True, by Christ.
Coin - it’s significant in China, where the round “ sapec ” has a special square
hole: the image of the Supreme Triad, intermediary space between the Lion
(round) and the Earth (square) occupied by the seal of the emperor, Son of the
Sky and Earth, image of the Universal Human.
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Honey - prime aliment, both food and drink, like milk, which is often associated
with, honey is first of all the symbol of richness, wealth, and sweetness different
from sugar, as what nature gives is different from what nature hides.
– principle of fecundity, the spring of life and immortality
– powerful offering that can attract divine goodwill, a symbol of protecting
and relief.
Poverty – it means the return to simplicity
Eye –organ of visual perception, symbol of intellect.
- the physical eye receives the light; the frontal eye– the 3rd eye of Shiva; the
hearts eye: receiving the spiritual light.
- in Bhagavad Gita and in Upanisade, the two eyes are identified as the two
light bringers: the sun and the moon; these are the two eyes of Vaishnava.
- the unique eye, without eyelids is the symbol of Essence and Divine
knowledge. The unique eye of the Cyclops indicates the subhuman condition, as
the multitude of Argus’s eyes.
- human eye as symbol of knowledge, of supernatural perceptions, has
sometimes amazing particularities.
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The symbols and archetypes in „The legend of Sant Jordi”
St Jordi (Gheorghe) – is the symbol of the victory over evil. It is an example of
manhood and courage being the protector of the army.
Spear – symbolizes power, protection, authority, strength, and courage.
Horse – The horse is quite often a solar symbol, and in the Bible it is one of
intelligence. According to its color, a horse may symbolize either destruction or
victory (fiery-red and white, respectively). It is a maternal archetype, and it might
also symbolize impulsiveness, impetuosity of desire, the instinctive impulses that
motivate man. It is connected in many ways with aspects of the earth, specifically

the SUN, MOON, and WATER. In addition, it is related to air and wind, acting as the
mediator between heaven and earth;
Centaurs are wind gods. A highly sacred animal, considered a taboo to eat.
It carries many characteristics of the person as well, such as fertility, fidelity,
sensitivity, strength, selfishness, anger, stubborness, stupidity and vanity. In
psychology it can be the unconscious, subhuman side. A figure highly associated
with many aspects of war, especially in the Greek tradition. Colors: white
symbolizing innocence and divinity; black – famine; red – war; grey – devil. Types
of horses: two – intellect, especially when harnessed together; winged – poetic
relations; grazing – peace.
The legend of Vilnius (Gediminas’s dream and the iron wolf)
Archetypes
Wolf:
Synonymous with wilderness; The wolf is the solar symbol of light, warrior
hero, mythical ancestor for the Nordic people.
The mythic ancestor Genghis Khan was known as “The Blue Wolf”
The North Americans were known as lonely wolves
In Japan the wolf is a protector against wild animals
Romulus and Remulus’ wolf is a symbol of fecundity
Anatolia – barren women invoke the wolf in order to have children
The infernal aspect of the wolf remains dominant in the European folklore
In Greek mythology, Hades, Lord of the Underworld, wears a cloak made from
wolf fur.
In the Middle Ages the wizards shape-shifted in wolves; the belief in werewolf,
dates back since antiquity.
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Hunting
Primordial occupation; for the Northern American Indians following the
tracks of an animal was the way leading towards the Great Spirit
In Old China, hunting was an evil act except for sacrifices
For the Egyptians it was an expansion of the Divine Creation, but it was also
a sport.
It’s an act of magic because everything that was hunted could’ve been offered
to the evil powers
Hunting was a test of valor for a king, and in the Roman Empire it was the
Emperors privilege
The Koran forbids hunting for those who are in a sacred pilgrimage or a man
who leans towards God.
Dionysus was called the Great Hunter and Artemis was the goddess of
hunting, archer maiden with a silver bow.
Iron
Symbol of robustness, of roughness, of vigor, of excessive rigor and of
flexibility
In biblical tradition, iron is the opposite of copper or bronze.
For some cultures the iron is sacred, considered fallen from the sky
Iron protects bad influences but it’s also a satanic instrument, of war and
death
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Symbols
Oak
Sacred tree in countless traditions, invested with the Supreme Heavenly
Divinity privileges because it attracts thunder and symbolizes greatness

The oak of Zeus from Dodona, of Jupiter Capitoline at Rome, of Ramowe in
Prussia and Perun at the Slavs. Designates strength, power, longevity and height,
both in spiritual and material sense. Synonymous with force, this is the impression
the tree leaves when it reaches maturity.
The figure of the tree or the axis of the world, it’s available for both Celts and
Greeks.
In the movie The Odyssey, Ulisses consulted the divine foliage of the great oak
of Zeus. The Golden Fleece, guarded by the dragon, was hanging in an oak which
had the value of a temple.
The oak is adored by the Celts and it represents an emblem of hospitality and
the equivalent of a temple.
Birch
It is, by excellence, the sacred tree of the Siberian populations, which assumes
all functions of “Axis mundi”.
As a cosmic pole, it receives seven, nine or twelve notches which represent
the heavenly levels.
Sacred tree in Oriental Europe and Central Asia.
It symbolizes spring in Russia.
Selkup hunters put images of the protecting spirits in birches near their
homes.
In all cases it is tightly tied to human life, as a symbol of tutelary, of life and
death.
Bison
It is the primary source of meat an leather for hunter tribes from Northern
America.
It’s a symbol of abundance and of prosperity.
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The bison is found even in the farmers rites where is associated with corn
cobs.
Hill
This small elevation of the earth was for the Egyptian people a symbol of
what came first to the surface from chaos, when the wind blew fiercely over the
primordial waters
The Gods step on the originating hill and create light
The hill is the first manifestation of the creation of the world
The soft lines give a sacred insight
For the Irishmen the other world is located in the hills
For Celts the hill is the other world.
Night
For Greeks Nyx night was the daughter of Chaos.
Night gave birth to sleep, death, dreams, nightmares, scam. Often the nights
were prolonged after the gods own will, which stopped the sun and moon.
Night passes in its chariot pulled by four black horses
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The Little Orphan and the Mother’s Daughter
-Symbols-
Bone – Primary element of the human body. Symbol of force and virtue.
For some cultures, the reason they are so respected, is because the most
important soul has its shelter in bones.
Dog – The primary function of the dog is that of a guide for humans, in the
darkness of death, after it was his companion in the life of light. Sometimes
the dog is a civilizing, mythical ancestor, symbol of vitality because of its

medical virtues. The barking of dogs near houses is a warning sign of death
and meanwhile it represents a symbol of greed.
Well – The well means life, immortality, never ending youth. Through its
always changing waters it symbolizes immortality as well as rejuvenation.
Box – female symbol, interpreted as a image of the unconscious and of
the maternal body, the box always contains a secret. The box hides and
protects inside it and separates what is precious, fragile or dangerous.
Bath – the purifying and regenerative virtue of bathing is well known and
certified, in profane perspective as well as in a sacred one through similar
habits for all cultures.
Pig – The pig symbolizes greed: it swallows everything that finds in front
of it. In many myths, the pig has this role, to swallow everything in its way.
It also signifies obscure tendencies: ignorance, greed, selfishness, and lust.
Gold – Is considered through tradition the most precious of metals. The
gold is the perfect metal, it has the glow of light. It’s defined as a product
of fire, royal and divine; it also represents fecundity, heat, wealth and love.
The symbols in ’Master Manole’
The monastery
The monastery is a cosmic center, connected by three levels of the universe:
the world of underground, the surface, the celestial world. The monastery is a
symbol of intimate relationship with divinity.
Number 10
10 symbolizes the creation of the Universe; it is the number of completion, of
perfection.
Manole’s wife
Ana is symbol of life, of love and human purity: the church and her are two
„halves” of the hero’s personality
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Death
Death is presented as „a game” in which the artist’s power of sacrifice makes
it possible to achieve absolute genius and entrance into eternity.
The place
The place the King chose for the monastery represents the human beings’
need to feel protected from all attacks that come from outside, from feelings and
fears.
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OБЩОТО И РАЗЛИЧНОТО В АРХЕТИПОВЕТЕ И
СИМВОЛИТЕ В ПРИКАЗКИТЕ И ЛЕГЕНДИТЕ НА
ЕВРОПЕЙСКИТЕ НАРОДИ
Люба Цанова,
(психотерапевт, експерт в рамките на проекта)
До колко различни и еднакви сме през колективното творчeство
на приказките и легендите и през архетиповете и символите
в тях? Магията на този проект ми повлия още при коментирането
му с инициатора му, засили се при срещата с партньорите
и общото преживяване на work shop-a в Свищов. Няма да крия,
че се оказах отрезвена от магията му в момента, когато започнах
да опитвам да направя анализа на това общо и различно, защото
става дума за приказки, за 9 държави, за избори на приказки (неслучайни)
и за начини на работа с тях (също неслучайни), защото

става дума за хиляди години живот, история и търсения складирани
и експлицирани през избора на легендите и приказките на
тези държави, и език, който не е матерен за мен и всички партньори
по проекта.... Как водена и учена от водещите архетипове в моя
живот да бъда обективен, компетентен и разбираем анализатор в
рамките на 6 страници? Не мога. Започвам анализа знаейки, че не
мога да бъда изчерпателна и съвсем обективна, съобразявайки се с
ограниченията на личната си компетентност, времето, езиковите
ограничения и желанието си да освободя и реализирам архетиповата
енергия на Героя в мен и да разкрия общото и различното в
архетиповете и символите на приказките и легендите избрани от
различните държави партньори по проекта. Имам фантазията, че
моите лични преживявания (ентусиазъм и затруднения) са сходни
на тези на останалите участници в проекта. Приказките ни
въздействат така, както са въздействали години наред на много
поколения. И може би това е първото нещо, които е общо, че приказките
ни карат да се идентифицираме и проектираме, като личности
по пътя на индивидуацията си. Минаваме през изпитания,
„неизпълними задачи”, объркваме се, изправяме се пред страховете
си и побеждаваме с относителен успех. Другото общо е, че групите
работещи по проекта са юноши на възраст 15-18 години. Този
факт предопределя и влияе на избор на приказките и изводите за
общото и различното в тях, защото юношеството в антропологигичен
аспект също е обвързано с процеса на инициация (процеса
на формиране и обособяване на отделното същество, като отделна
85

личност, различаваща се от общото, от колективната психология).
Инициацията е буквално «тайно посвещаване»). Младият индивид
трябва да премине от детството към света на възрастните, като
придобие знанията и уменията типични за тях. Древните хора са
възприемали порастването като смърт на детето и раждането на
възрастния. В тотемните общества юношата е прекарвал своята
инициация извън племето, изучавайки племенните тотеми, закони
и ритуали и упражнявайки дейности, типични за мъжкото
съсловие. Чак след придобиването на тези знания и умения, често
и след полагането на изпит/изпитание, юношата е можел да се
завърне в селото като възрастен индивид. Традициите на инициация
в различните общества и периоди са много и многообразни.
Общото е, че тя – този преход на юношата между детството и
зрялата възраст – е от изключителна важност във всички култури.
Юношата трябва да мине през тази инициация, за да може да бъде
интегриран в племето като зрял индивид. Това е означавало да познава
племенния тотем. Без това той няма да е пълноправен член
на това племе. Говорейки за инициацията при прехода в тази възраст,
искам да отбележа още един факт, който е общ за различните
страни участници в проекта и той е членството им в Европейския
съюз т.е. „издържали са изпита” за пълноправни негови членове.
Тук е и различното, защото всяка от държавите по различен начин
и по различно време е успяла да стори това, жертвайки различни
аспекти от автонономността и идентитета си в това „посвещение”.
Турция все още се намира на „моста” на това членство и имайки
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предвид горното, ще започна анализа с приказката за „Лудия Думрул”.
Приказката започва с „Имало едно време място наречено
Оуз”, като, че ли за да ни подготви, че мястото е от значение за
развитието на героя. То не е случайно, както не е случайно и разположението
на Турция, която е като мост между два континента,
между изтока и запада. На такова място живее сина на Дуа Коса
Лудия Думрул. В приказката не става ясно, защо се казва така и ако
приемем, че не става дума за лудост в смисъла на психична болест,
а по-скоро за лудост в смисъл на различност от общоприетото,
ще даде по-лесно да съотнесем избора на приказката, с която се
представят в проекта турските партньори с факта, че по този начин
подчертават и своята идентичност и различност. Имам предвид
това, че от 9-те държави партньори по проекта само Турция
не е станала член на Европейския съюз и това, че е единствената
държава, чиято официална религия е исляма. И ето, сина на Коса
строи мост върху изсъхнал извор и иска пари на всеки, който минава
по него, а на тези, които не минават по него, иска повече пари
или ги налага с тояга. Като, че ли на този етап от развитието си
нашия герой се идентифицира предимно с персоната си, и „наказвайки”
с тояга всички идеи, несъзнавани импулси неотговарящи
на представата му за това, кой е (колко пари струва). Без да си дава
сметка, че в това залитане, той блокира истинските си желания,
чувства, стремежи и по този път на развитие, той има къде да
стъпва (има мост), но му липсва водата (женската съзидателност и
енергия). Не е чудно, че „Един ден, добре изглеждащ храбър мъж
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умрял в гората близо до моста. Лудия Думрул чул виковете и плача,
научил че някои е починал, и попитал хората кой е отнел неговата
душа.”. Пренебрегването на нуждите на душата, която иска да излезе
на светло, да бъде осъзната и интегрирана, води до загубата
ѝ за съзнанието, като ресурс. И това води до празнота и усещане
за смърт. Ставаме като черупки. Пресъхнали извори. Но ето, че
Домрул усеща загубата на тази важна част от себе си, жертвана за
това, да „изглежда добре” и „храбър” (както всеки юноша) и иска
да си я върне, но още не е узрял за този момент. А ако персоната
като форма на приспособяване на индивида към средата и е силно
повлияна от нея (майка, баща, съученици, обществото, религия и
т.н.) така и душата е формирана до голяма степен от несъзнаваното
и неговите свойства. И така, нашият герой, в общочовешкия
си стремеж към цялостност, трябва да се изправи пред себе си. А
срещата със себе си е преди всичко среща със собствената сянка. И
тогава Думрул се изправя срещу ангела на смъртта, който е пратеник
на Бога, праотеца (дядото), старото. „Ядосал се” и го предизвикал”.
Егото (Думрул) се опитва да разреши вътрешната си криза
(вероятно възрастова и екзистенциална) за това кой съм и какво
искам чрез опълчване, неподчинение и детрониране на авторитетите
(семейни, религиозни, образователни) на фона на бушуващи
хормони и физиологични промени (плач и рев) и недостатъчен
опит. Тази вътрешна битка е страшна, героят може да се уплаши и
да остави душата си да бъде отнета от Бог.
Той атакува Азраел с меча си (осъзнаването, волята) и това
преобразява Азраел в гълъб, но тази трансформация, отново е по-
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стигната през мъжкото, което е подчинено на „бащата” и свръхегото
носещо духа на патриархалното и религиозното. Това обърква
героя. „Мъжкото лице (принцип) осигурява на нашия свят
структура и стабилност преди всичко чрез правилата, законите,
и вярванията, докато женското лице (принцип) осигурява движението
и възможностите, най – вече посредством съзидателността,
вдъхновението и интуицията. Когато се набляга приоритетно
само на единия аспект, това принуждава другия аспект да надигне
глава, за да възвърне позицията си. Когато света стане прекалено
структуриран и изгуби своята спонтанност и способност за растеж,
женското лице предлага безредици, хаос, объркване. Едва
след объркването си, героят е готов да се срещне с родителите си
(като символ на бащата и майката) и представата си за тях по един
смирен и приемащ начин, което го подготвя за саможертва в името
на жена му (душата), раждайки се от утробата за нов цикъл на
живот, приемайки саможертвата ѝ и осъзнaвайки липсата на смисъл
без тази важна част от него. Защото непресъхващия обмен на
енергиите между мъжкия и женския принцип на съзиданието е
силата, която създава здрави, споделени и удовлетворяващи връзки,
в които всички аспекти са еднакво уважавани и еднакво ценни.
Това осъзнаване на индивида и готовността му да жертва нуждите
на егото си в постигането на цялостност прави възможно постигането
на тази цялостност. Като и в края на приказката отново се
появява архетипния мотив за жертвоприношението: „Накрая, Господ
заповядал на Азраел да отнеме живота на родителите му и да
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добави още 140 години към живота на Лудия Думрул и жена му».
Сътворението (новата личност, „новия човек” в новата възраст, в
новия свят и т.н.) може да стане само от живо и пренесено в жертва
същество (идея, его-аспект, вяра и др.). В това вярване е въплътена
идеята, че животът може да възникне само от друга форма
на живот, т.е. насилствената смърт в този контекст е съзидателна,
жертвоприношението е само пренасяне на енергия или трансформиране
на енергия.
Макар и не толкова подробно, ще се спра на легендата за майстор
Манол, където отново се повтаря мотива за жертвоприношението.
Прави впечатление и дублирането на символиката на
числата, както в предходната приказка. Героят майстор Манол
обслужва заръките на краля заедно с 9 майстора „... нареди на
работниците да се изгради голям и красив манастир и обеща, че
ще ги възнагради с пари, собственост или парче земя, но ако не
успеят, че ще бъдат вградени живи в основите на манастира”. Градейки
върху стара стена обаче работниците не успяват да построят
стабилна постройка и тогава Майстор Манол споделя на работниците
своя сън а именно, че онази сестра или съпруга, която дойде
на втория ден, ще бъде пожертвана и вградена жива в стените на
манастира, за да завършат навреме строежа.
Легендата за вградената невеста е израз на вечната представа
на народите, още от най-древно време, за порядъка и хармонията
в Космоса. Ако се вгледаме внимателно в нейното съдържание, ще
видим, че там са отразени основните идеи на всички съществу-
90

ващи и днес религии. Чрез строежа, който никога не свършва, е
пресъздадена вярата за идването на новото и новия ред. Те трябва
да заменят хаоса на земята, а вода да свърже реалния свят и отвъдното.
Това непременно става с цената на скъпа жертва към духа –
стопанин и пазител на мястото, където трябва да се извърши строежа.
Той самият е символът на това, което гради Майсторът творец
– Създателя. Неговото име най-често е Манол (в българския
фолклор също съществува легендата за майстор Манол, който
обаче строи джамия за турски владетел.). То има древен семитски
произход и произхожда от името Емануил. Означава «Бог е с нас».
Манол – твореца е една двойственост или синтез от парадоксални
свойства. От една страна, той е индивид, но от друга – лишен от
индивидуалност творчески процес. Изкуството му е вродено като
нагон, който го обзема и превръща в инструмент. Като личност,
той може да има и нрави, и воля, и собствени стремежи. Като творец,
обаче, той е човек в по-висок смисъл, личност в повече, колективен
човек, носител и ваятел на неосъзнато дейната душа на
човечеството.
За разлика от „Лудия Домрул” и „Майстор Манол”, където много
силно присъства архетипа на мъченика и духовното приключение
на героя започва след формиране на егоидентичността му, то в
откъса от романа на Карло Колоди „Приключенита на Пинокио”
особено изразен е архетипа на „невинния” и „скитника”. Героят
е малко дървено човече, което е в началото на своя житейски и
личностов път на развитие. Невинният живее в свят отпреди гре-
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хопадението, зелен рай, където животът е приятен и всички потребности
на човека се задоволяват в атмосфера на грижовност и
любов. Най-близките до това изживяване еквиваленти от всекидневието
принадлежат на ранното детство — за хората, чието детство
е било щастливо, — на първите етапи на романтичната любов
или на мистични изживявания на Единство с космоса. Но човешката
душа иска развитие и проява. Кара героя да върви напред,
макар това да означава да направи своите грешки, трупайки познания
за света и себе си, преживявайки „грехопадението”, идващо
със знанието за добро и лошо (възпитание), формирайки его и съпътстващите
го персона и сянка. Няма постигане на цялостност и
селф без път. А няма път без изпитания и трудности. И така, незрелият
аз, движен от животинските си инстинкти, нужди и глупост ,
заравя в земята единствените си златни парички, с които би могъл
да си купи буквар и да се върне при баща си. Защото героят знае, че
е рано за „завръщането”, не е натрупал „богат” житейски и душевен
опит. Ето защо той се вслушва в инстинктите си си (лисицата и
котката) изоставяйки сигурността, за да се впусне в странстване
по откриването и разбирането на себе си. И ако в откъса за Пинкоио
„лисицата” и „котарака” излъгват героя, то в Легендата за Св.
Джорди този вътрешен психичен конфликт се случва различно.
Легендата започва с разказ за страшното чудовище, което живее и
обикаля около града. Половият инстинкт се проявява внезапно по
време на пубертета. Това не е вече първичния инстинкт на малкото
дете, а склонност насочена към нещо. Сексът се надига като мощна
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вълна, която въздейства в момент, когато юношата вече е белязан
от възпитанието, което му е дадено. Появата на половия инстинкт
е съпътствана и от появата на чувствеността, от която юношата не
може да скрие. Тя реагира на всичко, което „лети”, „ходи”, „плува”.
Потискането на тази мощна сексуална енергия води до загуба на
сили и стабилност. „То унищожавало добитъка и хората и дълбокият
страх можел да се почувства навсякъде.”. Дъщерята на краля
приема своя жребий да бъде пренесена в жертва на чудовището
отправяйки се по пътя към неговата пещера (дълбините на несъзнаваното)
уплашена и разплакана. Приемайки жребия си, тя е
готова да се срещне с природата си и точно тогава идва Рицаря,
който ранява, опитомява звяра и спасява девойката. Кризата на
сексуалността е решена с убиването на звяра от жителите на града,
което може би е свързано с това, че вътрешната битка между морала
и нагона е решен с платонична любов, която като че ли остава
по-скоро в сферата на фантазното или възвишеното. В тази приказка
не се стига до брак между анимата и анимуса, но това може
да е свързано по-скоро със специфичната криза на сексуалността,
която се разрешава в периода на пубертета.
Сега ще разгледаме архетипния мотив за инициацията в „Историята
как Бодри умря” , където се стига до свещения брак. В историята
героинята е напуснала дома, но поради това, че е свършила
парите се налага да си тръгне от курорта, където е прекарала два
месеца. Тук е интересен факта, че за разлика от други приказки
(повечето), където героят тръгва по пътя на героичността си волю
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или неволю, тук героинята се завръща. Нейното духовно обедняване
се дължи до голяма степен на това, че дълго време се е идентифицирала
с персоната си и носи със себе си куфарите (социалните
си роли). За това тя се отправя на пътешествие към себе си,
емоциите си, истинската си същност. Това събужда жизнената ѝ
енергия от една страна (каретата и все пак е теглена от конете, които
са бързи енергични животни) и съвестта или духа ѝ (кочияша)
от друга. Това завръщане към себе си е среща със сянката. Тази
среща, равносметката и изживяването ѝ, и помагат да се справи с
кризата на идентичността си. Тя осъзнава, какво е загубила, блокирала
енергийно, за да бъде това, което не е (страстта си –конете,
целостта си (замъка), смъртта на анимуса. В този процес тя преживява
символична смърт – припадане, за да може да се прероди
отново и да постигне цялостност (нов замък, женитба).
В „Легендата за Вилниус” на парньорите от Литва, преоблаващите
архетипи по пътя на индивидуация са тези на „Воина” и на
„Магьосника” и архетипния мотив за Автохтония – мистично изживяване
на коренячеството, дълбокото чувство, че сме изплували
от пръстта, че сме заредени със сила, която струи от земята. Свързва
се с идеята за преображение по посока съвършенство, смяна на
културното и на екзистенциалното ниво. Героят от легендата, подобно
на героинята от предходната приказка е херцог. Човек със
статус, което сочи, че става дума за човек, постигнал определена
духовна зрялост. Той е уловил различни животни, обуздал е низките
си страсти и нужди, правейки възможно „нахранването си”,
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усвояване на енергията, освободена от тяхното осъзнаване. Ето
защо, той се чувства добре да се отпусне и да спи на високия хълм
(висота на съзнанието) и да се довери на интуицията си, като сънува.
Може би не е случайно, че на хълма има река, тъй като водата
символизира женската енергия и интуицията. И той обича това
място, където има стари дъбове и млади брези (хармония между
мъжко и женско, старо и ново), като че ли всичко там му дава сила
и храна за душата и духа. Символично умирайки (заспивайки) и
потапяйки се в несъзнаваното, той получава сън, че на този хълм
има железен вълк. Говорейки за героя, аз си мисля за мъж в средата
на живота си, постигнал много, който в най-голяма степен
е усвоил и проявява модел на поведението, движено от архетипа
войн, който е свързан с висока мотивация за постижения. Воинът
е енергичен, действен, ефективен. Той полага големи усилия, за да
печели своите битки. Обича съревнованието, стреми се винаги да
е победител. Дисциплиниран, трудолюбив, с нагласа да променя
света. Но по пътя си на развитие, следвайки жизнения цикъл и
уроци, той навлиза в енергията на магьосника. Следвайки и проявявайки
мъдреца в себе си, героят успява да постигне цялостност,
да прояви присъщия за архетипа стремеж към съзидание, активност,
развитие, Постигайки цялостност, хармония, равновесие
и истинност на всички равнища и сфери. Посредством егото си,
той реализира духа. Той е над дуалността и противоречията ѝ.
Той приема и обича природата си (хълма, гората, животните), но
строи град там. Вълкът също, обикновено е диво животно, но при
95

него е желязно, оцифилизено. Героят не се бори със своята сянка,
не я отрича (приема тълкуването на свещеника, осъзнава важността
на съня) и така пресича пътя на проекциите ѝ, пести енергия,
която използва за съзидателност, градеж на новото.
В приказката „Малкото сираче и маминото детенце” главният
герой е момиче – малко сираче. То прави всичко по силите си,
за да заслужи одобрението на мащехата си, но без успех. Още в
самото начало на приказката се срещаме с женска троица, която
на някакво ниво е триликата богиня „майката”, „девицата” и „старицата”.
Посредством различните си образи и проявления, Майката
(по-късно я виждаме и символизирана от свините и кравите)
съхранява своето плодородие, като ни храни с изобилие от
възможности да превърнем духа в материя, набирайки сили от
скъпоценните камъни на мъдростта, които се раждат от нашите
преживявания. С богинята и женското начало са свързани: интуицията,
която съхранява връзката с истинския образ на нашата
душа; емоциите, които са силата, ръководеща всяко сътворение и
трансформация и циклите, които предотвратяват застоя и осигуряват
непрестанно развитие посредством възможността за смърт
и прераждане. И ето нашата героиня, която на съзнателно ниво е
наказвана и недолюбвана, на подсъзнателно ниво (под земята) е
обгрижена и наградена; а онази ѝ част, която е галеница „горе” ,
е наказана под земята от „старицата”, който я изпраща със скрит
огън. Бихме могли да допуснем, че става дума отново за девойка,
която е в процес на съзряване, която употребява персоната си, за
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да получи „желано отношение” в междуличностовите си отношения,
но не се идентифицира с нея. Тя следва нишката на съдбата
си и се отправя на духовно приключение, вътрешно и дълбоко. Не
сме ли всички ние така? Както казва Ричар Бах в „Метаморфози” :
„Намираме проблемите, защото имаме нужда от техните дарове”.
В хода на това пътешествие, тя жертва персоната си, но се сдобива
в психичен план с енергията на анимуса си или мъжкото под формата
на огъня, който опожарява, трансформира всичко. Тя вече е
цялостна, разполага с Великия разум, който символизира фокуса
на съзиданието, източника на внимание, посока и разпознаване
– съзнателният разум, без който женската сила на съзиданието остава
в аморфна форма. Женската сила на съзиданието и мъжкия
фокус– заедно, дават началото на намерението. Героинята е минала
успешно през този етап наосъзната и с трансформирана душа.
От заглавието на приказката на Чехия „Умната девойка” разбираме,
че героинята ще бъда умна т.е. ще проявява или ще се сдобие
с мъжки качества и свойства на психиката. Става дума за девойка,
която напуска дома на баща си за да служи на чичо си и две години
е гъсарка. След този период чичо ѝ казва: “Манке, ако ми служиш
разумно и честно, след твоята работа ще получиш юница (млада
крава), вместо пари. Мисля, че би я оценила повече.”. Юницата
много често символизира Богинята майка. Ето защо допускам, че
става дума за девойка, която напуска дома си незряла и духовно
бедна (баща ѝ е бедния брат) и две години пасе патките. Това може
да е свързано с напускане от рода, с напускане на бащиния дом. Но
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през този период тя все още не е осъзнала своята женственост и
не се е срещала със своята сянка. Тази възможност и дава чичо ѝ.
Движена от този мотив „да стане жена” да получи юница, тя „ентусиазирана
се задълбочила в работата си”, но остава излъгана в
очакванията си от плътското в себе си (земевладелеца). Това задълбочаване
и измама може да са свързани със сексуалния опит в
тази възраст, който се оказва не така сакрален и може би много осъждан
от интрапсихичния ѝ прокурор. Стига се до „страшен съд”
с участието на мъжка троица и до етапа, в който бащата казва на
Манка, „Сега ти трябва да отидеш при него, но не трябва да е нито
през деня, нито през нощта, да не бъдеш нито облечена, нито гола,
нито пеша, нито с превозно средство!”. Девойката вече е натупала
oпит и е готова за срещата с анимуса си. За да се случи това, Манка
трябва да е полугола (да бъде автентична и сeбе си, да бъде и социално
приемлива с части от персоната си), да е „стъпала на земята”
т.е. пеш и да е движена от нещо по-висше, и да осъществи срещата
на пресъзнавано, полусъзнавано ниво, ниво на разширено състояние
на съзнанието, когато нито сме напълно будни, нито спим,
нито ден, нито нощ. Това прави възможна срещата и женитбата, но
отново връзката не е сакрална, защото анимусът ѝ ушива роклята
и иска да я владее. Истинският енергиен и осъзнат брак на Манка
с анимуса ѝ се случва след като тя, приемайки го, отграничава себе
си и го прибира в своя дом, зачитайки важността му и водейки
го, му се подчинява (вземи най-ценното със себе си). Не е ли найценното
за всеки човек душата му. И ето, че след изпитанията на
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плътта, вината (цензурата) и отдаването на властта на тъмната си
страна, Манка намира решението за своята цялостност.
Последната приказка, с която ще завърша анализа, е българската
- „Дар от сърце”. Сърцето символизира – любовта. В теорията
за чакрите на сърцето съответства четвъртата чакра, която Юнг
обозначава, като начало на индивидуацията в средата на живота,
фокусирано първоначално върху баланса на вътрешното мъжко
и женско, или между анимуса и анимата. Любовта е и принципа,
който Спасителят носи на земята, като син Божи. Основните права
на тази чакра са това да обичаш и да бъдеш обичан, градейки социалната
си идентичност. А целите на развитието символизират
постигането на любов и баланс. Самото заглавие на приказката ни
навежда на мисълта, че по пътя на индивидуация, героя ще получи
даровете на 4-тата чакра: любов, баланс, решавайки интрапсихичната
дилема или кръстопът на физическо, емоционално, душевно
и духовно. Приказката започва с това, че трима братя тръгнали да
печелят пари в чужбина и спрели на кръстопът, за да решат, кой
път да хванат. Числото 3 е разглеждано като знак на абсолютното
триединство на света – небе, земя, вода; тройната природа на
човека – тяло, душа, дух и т.н., триъгълникът е и първият символ
на понятието “всичко”, символ на творческата сила на движението
напред. В теорията за чакрите първата чакра (първия брат) е свързана
с правото да бъдеш тук. Нашето право да бъдем тук е нашето
право да същестуваме – правото, което е основата на нашето оцеляване
и сигурност. Следствие на това право е правото да имаме,
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по-специално да имаме онова, от което се нуждаем, за да оцелеем.
Това право лежи в основата на способността ни да съдържаме, държим,
съхраняваме и проявяваме – всички аспекти на здравата първа
чакра. Нашия герой е с добре развита 1-ва чакра, която нарежда
на останалите 2, къде да тръгнат. 2-та чакра (брат) символизира
правото да чувстваш. Чувството е начинът, по който получаваме
важна информация за своето благосъстояние. Когато правото ни
да чувстваме е намалено, ние загубваме контакт със себе си, вцепеняваме
се и изключваме. Следствие от това право е правото да
искаме, така, че ако не можем да чувстваме, е много трудно да знаем
какво искаме. Правото ни на здрава сексуалност е тясно свързано
с правото ни да чувстваме. Третата чакра (най-малкия брат) е
свързана с правото да действаш. Когато това право е ограничено,
волята и спонтанността изчезват и жизнеността ни спада. Това не
означава, че за третата чакра са полезни безсмислените или ексцентрични
действия, а че се нуждаем от свобода, за да развием
своя вътрешен авторитет. Следствие от това право е правото да бъдем
свободни. И така нашият герой е на кръстопът. Материята (4)
+ духъ (3) = на 7 степенната природа на човешкия индивид. 7-те основни
чакри в енергийната система на човека. Третия (3) син, като
най-млад представлява нашата човешка раса, която е на по-високо
духовно равнище. Това е човека, след Христа. След тайната вечеря
с хляб (големия брат е хлебар) и вино (малкия продава вино),
божият син е разпнат, за да изкупи греха на човечеството. Умира,
за да се роди новия човек, в който Христос и предходните човеци
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продължават да живеят. Новият човек се ражда от един завършен
етап на развитие (Тройката – 3) за да започне нов – средния път –
пътя на любовта. 4-тата чакра освен, че се свързва в с любовта се
приема и като мост между 3-те нисши чакри, които са присъщи и
на животните и се свързват със земното и 3-те висши чакри, които
се свързват с небето. Блокажите в тази чакра не позволяват на
визшите енергии да се материализират и на земните да се одухотворят.
„В бездната между небето и земята любовта е свързващата
сила, която обединява многоцветните стъпала на моста на дъгата”.
И така еволюиращия човек, индивид през любовта извисява
енергията с присъщите ѝ архетипове от „нисшите чакри” нагоре
по енергийния канал към 5-та чакра (творческото и личностово
изразяване) по начин позволяващ обединяването на резултатите,
преживени през предишните етапи на развитие и формиране на
чакрите. Свързана е с основното право „Да говорим и да чуваме истината”).
Следва еволюиране на съзнанието и енергията към 6-та
чакра. Това е един интровертиран етап на оттегляне от външното,
когато човек е удовлетворил екстравертираните си пориви и вече
иска вътрешно развитие. Това е свързано с осъзнаване и упражняване
на правото да виждаш, формирайки архетипова идентичност.
Отварянето на третото око – органа на вътрешното възприятие. И
последният етап от равитието на индивида е свързан със 7-мата
чакра. Етап на мъдрост, духовно разбиране и познание и на формиране,
осъзнаване и проявление на универсалната ни идентичност.
В обобщение мога да кажа, че в приказката героят е новият
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човек, който подготвя прехода от епохата Риби (започнала с идването
на Христа) към епохата на Водолей символ на свободата и
демокрацията. В този процес важно е да усвоим основния урок на
този знак, да намерим Краля в себе си и сами да поемем отговорност
за действията си, бидейки служители на цялото човечество.
Хари Салман (холандски философ и социолог) пише, че тази нова
духовна епоха е започнала 20 век с едновременното появяване на
двама духовни учители в Европа Петър Дънов в България и Рудолф
Щайнер в Централна Европа. Ученията, донесени от Петър
Дънов и Рудолф Щайнер, идват от един и същи източник на съвременната
духовност и представляват два различни аспекта на едно
и също течение – езотеричното християнство.
Затова една съществена задача на съвременната духовност е отново
да свърже ума и сърцето. Тук движенията на Бялото братство
(Дънов) и на антропософията се допълват взаимно. Бялото братство
работи в Източна Европа между хората с по-силно развито
влияние на сърцето. Антропосфското движение работи от страна
на западноевропейските държави и тяхната интелектуална култура.
Така двете течения имат различна отправна точка, но работят
в посока към синтез на силите на ума и сърцето. Правя това,
уточнение, защото в развитието си, героят успява да направи това
обединение на ум и сърце. Да приемем, че добрия стар човек – овчар
от приказката, дава възможност за избор чрез подаръците на
колективното несъзнавано, които изразяват тези две тенденции
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на учението на двамата духовни учители изобразяващи пътя с ум
(пари, които са като огъня) и този със сърце (орехите) в еволюцията
на човека. След извървян цикъл на развитие символизиран от
3-те години овчарлък при стареца, момъка избира дара от сърце
(3-те ореха). Но героят все още не е осъзнал съдържанието им, не е
осъзнал богатството си и се срамува. „О, неразумни... поради що се
срамиш да се наречеш българин...” пита народния будител написал
„История славянобългарска” Паисий Хелендарски . За какво
ни е славната история, когато не я познаваме. За какво са ни даровете
на сърцето, на колективното несъзнавано, на духовното ново
учение, ако не съзнаваме стойността и съдържанието им, ако не се
вълнуваме от символите им (християнството) и не ги прилагаме
в земния си живот. Липсата на знанието за това, което вече притежава
момчето е символизирано от липсата на трошичка хляб в
торбата, когато движен от физическата и емоционална идентичност
(големия и средния брат) е подтикван да преразгледа избора
се и се спира до една чешма.
В настоящата култура съвременното съзнание е фокусирано в
главата. Това важи особено за Западния свят, докато разумът на
сърцето все още е по-силен в Източна Европа.
Но тенденцията е към обединението им. Ето защо разчупването
на орехите от най-малкия брат прави възможно обединението
на тези два модела на езотеричното християнство, на източно
европейския модел и на западноевропейския. Това успява да на-
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прави човекът от епохата на водолея, като с избора си постига изобилие
(стада), хармоничност (два впрегнати вола) и цялостност
(единение с душата си – неродената мома.
Приключвам това пътешествие в света на символите с усещането
за извървян път. Радвам се, че излизайки от влиянието на женския
архетип на водата и сърцето, България започна да проявява
характеристиките на огъня в стратегиите си за оцеляване и е пример
в изготвянето и реализираното на този проект. Девет държави
обмениха ценности, посредством приказките и легендите си, създавайки
балансиран оприказен психодрафски портрет на групата
по проекта и на съвременния Европейски човек.
И тъй децата са героите на тази инициатива и на бъдещите обновени
архетипи. Ще завърша с цитат на ученичката Калина Николаева:
„Според мен различията между народите не са толкова
важни, защото винаги може да се научи един език, да се променят
възгледи и религия, да се създадат нови традиции. Важното е това,
което ни обединява – нашите ценности, защото те ни правят хора
и те ръководят живота ни.”
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SIMILARITIES AND DIFFERENCES IN THE ARCHETYPES AND
THE SYMBOLS IN THE STORIES AND THE LEGENDS OF THE
DIFFERENT COUNTRIES
Lyuba Tsanova
(Expert psychologist)
How different are we seen through the collective work of the stories
and the legends and their symbols and archetypes? I was under the
influence of the magic of this project as far back as the preliminary
discussions with its initiator; this magic became even stronger during
the meetings with the partners of the project and the shared experience
at the workshop in Svishtov. I will not conceal it from you that I
sobered up from this magic as soon as I started to analyze the similarities
and differences since it is a question of stories, of nine countries, of
choices of stories (not accidentally) and of ways of working with them
(not accidentally either), since it is a question of thousands of years
of life, history and quests stored and then made explicit through the
choice of these country’s legends and stories, and a language that is not
the mother tongue for all participants in the project. How can I, being
lead and taught by the prevailing archetypes of my life, be an objective,
competent and understandable analyst in six – page analysis? I can not!
I am starting the analysis knowing that I can not be exhaustive and
completely objective having in mind the limitations of my own competence,
the time, the language limitations and my desire to release
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and realize the archetypal energy of the Hero in me and to reveal the
similarities and the differences in the archetypes and the symbols of
the stories and the legends chosen by the different counties – partners
in the project. I have the fantasy that my own experiences (enthusiasm
and difficulties) are same as those of the other project participants. Stories
make an impact on us in the same way that they have been doing
it on many generations years and years on. And maybe this is exactly
the first common thing – that the stories make us identify and project
ourselves as individuals during the process of our individuation. We
go through trials and “unrealizable tasks”, we get confused, we face our
fears and more or less win. The other common thing is that the groups
that work on the project are 15-18 year-old teenagers.
This fact predetermines the choice of the stories and the conclusions
for the similarities and the differences between them, because
from anthropological point of view adolescence is also related to the
process of initiation 1 (the process of forming the unique personality,
different from the commonness, from the collective psychology. The
initiation means “secret dedication”). The young person must go from
childhood to the world of the adults by acquiring the knowledge and
the skills they have. The ancient people had perceived the growing up
like a death of a child and a birth of an adult. In the totemic communi-
1 Initiation is a rite of passage ceremony marking entrance or acceptance into
a group or society. It could also be a formal admission to adulthood in a community
or one of its formal components. In an extended sense it can also signify
a transformation in which the initiate is ‘reborn’ into a new role.
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ties the young people had spent their initiation out of the tribe, studying
tribe’s totems, laws and rituals, practicing activities typical for the
male individuals. Only after achieving these skills, often after taking a
test or trial, the young man could come back in the village like a grown
up person. The traditions of the initiation in different societies and
ages are many and various. The common thing is that this passage from
childhood to adult’s age is very important in every culture. The young
man should pass through this initiation so that he can be integrated
in the tribe as a grown up person. This meant that he should know the
tribe’s totem. Without this he could not be a full member of that tribe.
Talking about the initiation through the passage at that age I want to
point out to one more fact, which is common for the different countries
that take part in the project and this is their membership in the European
union, i.e. “they have passed the test” to be its full members. Here
also lies the difference because each one of the countries has done this
at different time, in different ways, sacrificing different aspects of its
autonomy and identity in this “dedication”. Turkey is still trying to pass
the “bridge” toward this union and considering all I have said above
I will start the analysis with the story “Crazy Dumrul”. It begins with
“Once upon a time there was a place named Oguz...” as if to prepare us
that the place is important for the growing up of the hero. It is not accidental
just like the location of Turkey which is like a bridge between
two continents, between East and West. On such a place lives the Duha
Koca’s son Crazy Dumrul. It is not very clear in the story why he is
called like that and if we assume that it is not about madness meaning
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psychological illness but about craziness in a sense of being different
from the conventional it would be easier to correlate the Turkish partners’
choice of the story to the fact that in that way the highlight their
identity and their difference. What I have in mind is that from all nine
countries – participants in the project only Turkey has not become a EU
member state and that Turkey is the only country whose official religion
is Islam. And here he is – Koca’s son is building a bridge over dried
stream and charges money everybody who passes it and those who do
not pass it are charged even more or are bludgeoned. It seems that at
this stage of his growing up our hero identifies himself primarily with
his persona 2 and “bludgeos” all ideas, unconscious impulses that do
not correspond to his notion of who he is (how much he is). Without
realizing that in this deviation he blocks his true wishes, feelings and
pursuits and following this course he has a place to walk on (there is a
bridge) but he lacks the water (female creativity and energy). No wonder
that “One day, a good looking valiant man had died next to a groups
of nomands near the bridge. And Crazy Dumrul heard the cries and
learnt that somebody had died and asked people who took his soul.”
Neglecting the needs of the soul which wants to go out in the daylight,
to be understood and integrated leads to its loss for the consciousness
as a resourse. And this leads to emptyness and a feeling of death. We
become like shells. Dried streams. But now Dumrul feels the loss of
this important part of his being, a part sacrificed for “being handsome”
2 persona, in psychology, the personality that an individual projects to others,
as differentiated from the authentic self.
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and “being brave” (like any other young man) and wants it back but he
is not mature enough for this moment. And if the persona as a form of
individual’s adapting to the environment and is heavily influenced by
it (mother, father, classmates, society, religion, etc.) then the soul is
formed to a great extend from the unconscious and its properties. And
thus our hero in his common to all mankind pursuit of integrity has to
face himself. Facing himself means above all facing his own shadow 3 .
And then Dumrul faces the Angel of Death who is God’s messenger, the
forefather (the grandfather), the old, he gets angry and challenges Him.
The Ego (Dumrul) tries to solve his internal crisis (probably an age and
existential one) about who I am, what I want through opposing, disobedience
and dethroning the authorities (family, religious and educational
ones) on the background of raging hormones and physiological
changes (crying) and insufficient experience. This internal battle is terrible;
the hero may get afraid and leave his soul to be taken by God. He
attacks Azrael with his sword (consciousness, will) and this transforms
Azrael in a dove but once again this transformation is achieved through
the male which is subjected to the “father” and super-ego carrying the
patriarchal and religious spirit. This confuses the hero. The male side
(principle) provides to our world structure and stability through the
rules, laws and believes while the female side (principle) provides the
3 In Jungian psychology, the shadow or „shadow aspect“ is a part of the unconscious
mind consisting of repressed weaknesses, shortcomings, and instincts.
It is one of the three most recognizable archetypes, the others being the anima
and animus and the persona.
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motion and opportunities through creativity, inspiration and intuition.
When only one of the aspects is emphasized this forces the other
to raise head in order to regain its position.
When the world becomes too structured and loses its spontaneity
and ability to grow, the female side offers disorder, chaos, confusion.
Only after his confusion, the character is ready to meet his parents as
a symbol of mother and father and his notion of them in a humble
and accepting way, which makes him ready for a sacrifice in the name
of his wife (soul), coming into the world out of the womb for a new
cycle of life, accepting her sacrifice and realizing that the life means
nothing without her – a very important part of him. Because the never
failing exchange of energies between the male and female principles
of creativeness is the power, which creates strong, shared and satisfying
relations, in which all aspects are equally respected and valuable.
This realization of the individual and his willingness to sacrifice the
needs of his ego to accomplish completeness makes it possible. In the
end of the story the theme of sacrifice appears again: “In the end, God
ordered Azrael to take his parents’ lives and to add 140 years to the lives
of Dumrul and his wife”. The creation (the new individual, “the new
person” in the new age, in the new world and so on) can happen only
by a living or a sacrificed creature (idea, ego-aspect, faith and others).
This belief incarnates the idea that life can originate only from another
form of life, namely the violent death in this context is constructive, the
sacrifice is only transferring or transforming energy.
I will duscuss the legend of Manole although not in such details.
It repeats the theme of the sacrifice. What makes an impression is the
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doubling of the symbolism of the numbers, similar to the preceding
story. The character – Master Manole obeys king’s orders along with
9 other masters “...ordered the workers to build a large and beautiful
monastery and promised to reward them with money or a piece of
land, but if they don’t succeed to be built in alive in the foundations
of the monastery”. Building over an old wall, however, the workers do
not manage to erect a steady building and then Master Manole tells
them his dream according to which that sister or wife who comes on
the second day should be sacrificed and built alive in the walls of the
monastery so that to finish the building in time. Since the olden times
the legend of the built-in bride is an expression of that eternal peoples’
notion of the order and the harmony in the universe. A closer scrutiny
reveals that this legend reflects the basic ideas of all religions. By
means of the construction that never ends it is expressed the belief of
coming of the new and the new order. The have to replace the chaos on
the earth with water connecting the real world and the hereafter. This
invariably happens at the cost of sacrificing something dear for the
spirit – a keeper and protector of the place where the building must be
erected. The building itself is a symbol of what The Master – The Creator
builds. Most often his name is Manol (in Bulgarian folklore there is
also a legend about master Manol who builds a mosque for a Turkish
king. The name is of Semitic origin and comes from the name Emanuil.
It means “The God is with us.” Manole – the creator is a duality or synthesis
of paradoxical features. On the one hand he is an individual;
on the other hand he is a creative process devoid of individuality. His
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art is inborn like an impulse that takes him and turns him into an instrument.
As an individual he may have a character, will and his own
pursuits. As a creator, however, he is a human-being in a higher sense,
much more of personality, a collective person, a bearer and a sculptor
of unconsciously active soul of the humanity.
In contrast to the Crazy Dumrul and Master Manole where the
archetype of a martyr is powerfully seen and the spiritual adventure
of the hero begins after the formation of his ego-identity in the novel
The Adventures of Pinocchio by Karlo Kolodi the archetype of the “innocent”
and the “wanderer” is strongly expressed. The hero is a small
wooden kid who is in the beginning of his way of personal and life
development. The innocent person lives in a world before the original
sin, a green paradise where the life is nice and all the human needs are
satisfied in the atmosphere of love and consideration. The closest to
this experience daily life equivalents belong to the early childhood (for
those people whose childhood was happy), to the early – stage romantic
love or to the mysterious experiences of Unity with The Universe.
But the human soul wants a development and a manifestation and
urges the hero forward even if this means to make its mistakes while
gathering knowledge of the world and itself, experiencing the original
sin that comes with the knowledge of the good and evil (upbringing)
and forming the ego, and the concomitant persona and shadow.
There is no completeness and a self without a path. And there is no
road without trials and obstacles. And so the immature self lead by his
instincts, needs and foolishness buries underground his golden money
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which he may use to buy an ABC book and to go back to his father. It is
so because the hero knows that it is early for”coming back”, he has not
gained a rich worldly and spiritual experience. That is why he listens
attentively to his instincts (the fox and the cat) and having left the security
he rushes into wandering to find and understand himself.
And while in the excerpt from Pinocchio “the fox” and “the cat”
deceive the hero in the legend of St. Jordi this internal psychological
conflict happens in another way. The legend begins with a story about
a terrible monster 4 which lives around the town. The sexual instinct appears
suddenly during the puberty. This is not any more the primary instinct
of a little child but inclination directed towards something. The
sexual desire rises as a mighty wave which takes effects at a moment
when the teenagers are already influenced/marked by the upbringing
which was given to them. The emergence of the sexual instinct is attended
by the emergence of sensuality from which the youth can not
get away. The sensuality responds to everything that “flies”, “walks”,
“swims”. Suppressing that mighty sexual energy leads to the loss of
strength and stability. “It (the monster) was the destructor of cattle
and people and deep fear could be felt everywhere. The king’s daughter
accepts her fate of being a monster’s scapegoat and sets off towards its
den (the depths of the unconscious) frightened and in tears. Accepting
her fate she is ready to meet the Nature and that is when there comes
the Knight who wounds and tames the monster and saves the girl. The
4 The monster can be considered as a manifestation of the sexual desire/in-
stinct.
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crisis of the sexuality is resolved with the killing of the monster by the
townspeople which is connected with the fact that the internal battle
between the morality and the sexual desire is solved with Platonic love
which is more or less in the sphere of the fantasy and the eminence. In
this story there is not matrimony between the anima and the animus
but this may be connected with the specific crisis of the sexuality which
is solved in the period of puberty.
Now, let’s consider the archetypal motif of initiation in the story A
Story about How the Dog Bodri Died, where there is a holy matrimony.
In the story the heroine has left her house but due to the fact that she
is short of money she has to leave the resort where she has spent two
months. What is interesting is that, in contrast to many other stories
the where the hero takes his heroic way voluntarily or not, here the
heroine comes back. Her spiritual impoverishment is due to the fact
that for a long time she has identified herself with her persona and she
carries her suitcases with her (her social roles). That is way she sets off
for a journey towards herself, her emotions, and her true nature. This
wakes up on the one hand her life energy (her carriage is pulled by
horses which are fast and energetic animals) and on the other hand her
conscience or her spirit (the coachman). This return toward oneself is
an encounter with the shadow. The encounter, the striking of the balance
and its experiencing help her cope with her identity crisis. She
realizes what she has lost in her desire to be someone else – her passion
(the horses), her integrity (the castle) and the death of the animus. In
this process she undergoes a symbolic death – fainting in order to be
born anew and to achieve integrity (a new castle, marriage).
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In the Lithuanian story Legend of Vilnius the prevailing archetypes
in the process of initiation are those of the Warrior and the Magician
and the archetypal motif of Autochtony a mystical experiencing of being
native, the deep feeling that we emerged out of the earth, that we
are charged the energy that emanates from the earth. It is connected
with the idea of reaching perfection, changing the cultural and the existential
level. Like the heroine of the previous story the hero of this
legend is a duke. He is a man with a particular social status that means
that he has achieved a certain spiritual maturity. He has caught different
animals, mastered his low passions and needs making possible his
“feeding”, absorbing the energy released by their realizing. That is why
he feels comfortably to lay down and to sleep on the high hill (highness
of the mind) and to trust his intuition dreaming. Maybe it is not accidental
that there is a river on the hill since the water symbolizes the
female energy and intuition. A he loves that place with its old oaks and
young birches (a harmony between male and female, old and new) as if
every thing there gives him strength and intellectual and spiritual food.
That is why by the symbolical dying (falling asleep) and immersing into
the unconscious he receives a dream telling him that on this hill there is
an iron wolf. Talking about the hero I think about a man in the middle
of his life who has achieved a lot and who to a great degree has acquired
and shows a behavioral model determined by the archetype of the warrior
which is connected with a high motivation for achievements. The
warrior is energetic, active effective. He puts a lot of effort to win his
battles. He loves competitions, he strives for victory. Disciplined, hard-
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working and inclined to change the world. But on his way of development
following his life cycle he interferes with the energy of the magician.
Following and showing the wise man inside him the hero manages
to accomplish integrity and to manifest the ingrained in the archetype
aspiration toward creativeness, activity, development achieving integrity,
harmony, balance and truth on all levels and spheres. Through his
ego he realizes his spirit. He is over the duality and its contradictions.
He accepts and loves his nature (the hill, the forest, the animals) but
he builds a town there. The wolf which is usually a wild animal here it
is made of iron. The hero does not fight his shadow; he does not reject
it (he accepts the priest’s interpretation, he realizes the importance of
the dream) and thus he intersects its projections, saves energy which he
uses for creativeness and building the new.
In the story The Little Orphan and the Mother’s Daughter the main
character is a girl – a little orphan. She makes everything she can to
deserve he step-mother’s approval but with no success. Since the every
beginning of the story we met the female trinity which at some level is
three-face goddess “the mother”, “the maiden” and “the old woman”.
Through her different faces and manifestations The Mother (later on
we see her symbolical manifestations as cows and swine) keeps her
fertility feeding us with an abundance of opportunities to convert the
spirit into matter, gathering strength from the precious stones of the
wisdom which are born from our experiences. The goddess and the female
beginning is connected with the intuition that keeps the connection
with the true face of our soul, the emotions which are the driving
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force for every creation and transformation and cycles that prevent getting
into a standstill and provide continuous development through the
possibility of death and rebirth. And our heroine, who is punished and
disliked on a conscious level, is cared for and rewarded on an unconscious
level (underground); that part which is a minion in the upper
world is punished underground by the “old man“ who sees her off giving
her a hidden fire.
We could suppose that again this is a maiden who is in a process of
becoming mature and who uses her persona to get a “desired attitude”
in her interpersonal relations but she does not identify with it. She
follows the thread of her destiny and sets off for a spiritual adventure
– inward and deep. Are all of us not the same? As Richard Bach says in
Metamorphoses “We find the problems because we need their gifts”.
In the course of this journey she sacrifices her persona but she gets, in
psychological plan, the energy of her animus or the male in the form of
fire which burns and transforms everything. She is already one whole,
she has at her disposal the Great Mind which symbolizes the focus of
the creation, the source of attention, a point of departure as well as
distinguishing – the conscious mind without which the female force of
creation stays in amorphous form. The female force of creation and the
male focus together give the beginning of intention. Aware and with
transformed soul, the heroine has successfully undergone this stage of
her development.
From the title of the Czech story tale The Smart Maiden (The Clever
Mountain Lass) we understand that the main character will be smart
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i.e. she will acquire some male psychic qualities and properties. It’s
about a girl that runs away from her father and goes to live with her
uncle. After a period of time her uncle tells her: “Manka, if you serve
me wisely and honestly then after finishing your work I will give you a
heifer instead of money. I think you will appreciate it more “. The heifer
often represents the mother goddess. That’s why I think it’s about a
girl that leaves home immature and spiritually poor (her father is the
poorer brother) and she grazes geese for two years. That might be connected
with leaving the family and leaving the home one was brought
up in. Through this period she still hasn’t realized her femininity and
hasn’t met her shadow yet. She is given that opportunity by her uncle.
Driven by the motive “becoming a lady”, to receive the heifer she “starts
to work enthusiastically “, but she is deceived in her expectations by
the carnal inside her (the landlord). That immersion and fraud might
be connected with the sexual experience at that age which is not that
sacral and maybe it is blamed by her intrapsychic prosecutor. It comes
to a “doomsday” with the participation of the male trinity and to the
stage in which her father says to her “Now you have to go to him but
it must not be during the day or during the night, you can be neither
dressed nor naked, you can go neither on foot nor by any means of
transport!” The girl now has gathered experience and is ready to meet
her animus. For that to happen she must be half naked (so that she can
be herself, to be socially acceptable with parts of her own persona),
she must have her “feet on the ground”, i.e. on foot, and she must be
driven by something higher and she must accomplish the meeting on
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another level of consciousness in a state that expands the boundaries
of her mind, when one is not truly awake nor truly asleep, when it is
not day nor night. That makes the meeting and the marriage possible
but again the connection is not sacral because her animus makes the
dress that she is going to wear and wants to be able to control her. The
true powerful and realized marriage of Manka and her animus comes
true after accepting it and her putting herself within her own limits
understanding the balance between the animus and the anima. She
takes him at home respecting his importance and takes him as long as
she obeys him (take the most precious things with you). Isn’t the most
important thing for every human his soul? And after the trials of the
flesh, the guilt (the censorship) and giving the control to her dark side
Manka finds the solution to her integrity.
The last tale with which I will end the analysis is the Bulgarian
tale called Hearty Gift. The heart represents love. In the theory of the
chakras the heart matches the fourth chakra which Jung thinks is the
origin of the individuation in the middle of one’s life, focused primarily
on the balance between the male and the female or between the
animus and the anima. Love is the principle which the Saviour, God’s
son, brings to earth. The basic rights of this chakra are to love and to
be loved while building one’s social identity. The purposes of the development
that it symbolizes are balance and love. The title of the tale
itself makes us think that the main character will receive the gifts of
the fourth chakra: love, balance, solving the intrapsychic dilemma or
crossroads between body, emotion, soul and spirit. The tale begins
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with three brothers that are trying to make money abroad and have
stopped on a crossroad to decide which road to take. The number 3 is
considered to be the absolute trinity of the world – sky, earth, water; a
trinity of the human nature – body, soul, spirit, i.e. the triangle is the
first symbol of the concept of “everything” as a symbol of the creative
power of movement forward.
In the theory of the chakras the first chakra (the first brother) is
connected with the right to be here. Our right to be here is our right
to exist – the right which lays the foundations of our surviving and security.
A consequence of this right is the one to own, especially to have
those things that we need to survive. This right lays the foundations
of our ability to contain, hold, keep and show – all of the aspects of a
healthy first chakra. Our hero has a well-developed first chakra which
tells the other two which path to take. The second chakra (brother)
symbolizes the right to feel. The feeling is the way by which we receive
important information about our well-being. When our right to feel is
reduced we loose the contact with ourselves, we become paralyzed and
switch off. A consequence of this right is the one to want. Thus if we can
not feel we will not know what to want. Our right of healthy sexuality is
closely connected with our right to feel. The third chakra (the youngest
brother) is connected with the right to take actions. When this right is
limited, the will and spontaneity vanish and our vitality lowers. This
does not mean that for the third chakra the meaningless and eccentric
actions are useful but that we need freedom to develop our own
authority. A consequence of this right is the one to be free. And so, our
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hero is on a crossroad. The matter (4) + the spirit (3) = 7-stage nature
of the human individual. Seven (7) basic chakras in the human energy
system. The third son as the youngest one represents our human race
which is on a higher spiritual level. This is the human being after the
coming of Christ. After the secret dinner with bread (the oldest son is
a baker) and wine (the youngest sells wine) the son of God is crucified
to redeem the sins of the humanity. He dies to be born the new man
into whom Christ and the other men keep on living. The new man is
born out of one completed stage of development (number 3) to begin
a new one – the middle path – the path of love. The fourth (4 th )
chakra apart from being connected with love is also a bridge between
the three (3) low chakras that are intrinsic to the animals too and it is
connected with the terrestrial and the three (3) high chakras that are
connected with the celestial. Blockades in this chakra do not allow the
high energies to materialize and the terrestrial to spiritualize. “In the
abyss between the sky and the earth the love is the connecting force
that unifies the multi-coloured steps of the rainbow bridge.” And thus
the man (individual) who undergoes evolution by means of love raises
the energy with its intrinsic archetypes from the “the low chakras” upwards
through the energy channel to the fifth (5 th ) chakra (creative and
personal expressing) in a way that allows the unification of the results
experienced during the previous stages of development and forming of
the chakras. It is connected with the basic right “To speak and to listen
to the true”. The next step is evolution of the mind and the energy toward
the sixth (6 th ) chakra. This is an introvert stage of going away from
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the outside world when a man has satisfied his extrovert impulses and
now he seeks an inner development. This is connected with becoming
aware and exerting the right to see forming an archetypal identity.
The opening of the third (3 rd ) eye – the organ of the inner perception.
And the last stage of development of the individual is connected
with the seventh chakra. A stage of wisdom, spiritual understanding
and knowledge, awareness and manifestation of the universal identity.
In summary I can say that in the tale the hero is the new person
who prepares the transition from the age of the Fish (that started with
the coming of Christ) to the age of the Aquarius, a symbol of freedom
and democracy. In this process it is important to learn the main lesson
of this symbol, to find the king in ourselves and to take responsibility
for our actions, being servants of the humanity. Harry Salman (a
Dutch philosopher and sociologist) writes that this new spiritual age
started in the 20-th century with the appearance of two spiritual teachers
in Europe – Petar Danov in Bulgaria and Rudolf Steiner in Central
Europe. The doctrines brought by Petar Danov and Rudolf Steiner
originate from one and the same source of modern day spirituality and
represent two different aspects of one and the same course of study –
esoteric Christianity.
That is why one important task of modern day spirituality is again
to connect the mind and the heart. Here the movements of the white
brotherhood (Danov) and anthroposophy complete each other. The
white brotherhood works in Eastern Europe where people have a better
developed heart influence. Anthroposophical movement works
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on the side of the Western European countries and their intellectual
culture. Thus the two movements have different starting points but
they work towards synthesis of the mind and heart. I make this point
specific because in its development the hero manages to achieve this
synthesis of the mind and heart. Let us accept that the good old man
– a shepherd from the tale gives a chance for a choice through the gifts
which express these two tendencies of the doctrine of the two spiritual
teachers that represent the path with mind/wit (money which are like
fire) and that with heart (walnuts) during the evolution of human beings.
After having walked the cycle of development symbolized by the
3 – year – shepherd’s trade with the old man he chooses the gift of
the heart ( the 3 walnuts). But the hero has not realized yet their content,
he hasn’t realized his wealth and is ashamed, “Oh, unwise… why
are you ashamed to call yourself a Bulgarian…” asks Paisius of Hilendar,
the leader of the Bulgarian National Revival who has written The
Slavonic-Bulgarian History. Why do we need a glorious history if we
do not know it? What will we do with the gifts of the heart, of the collective
unconscious, of the new spiritual doctrine, if we do not realize
their importance and value, if we do not care about their symbols (the
Christianity) and do not use them in our everyday life? The absence of
knowledge about what the boy owns is symbolized by the absence of a
crumb of bread in his bag when driven by the physical and emotional
identity (the old and the middle brother) he is urged to reconsider his
choice and stops by a fountain. In the present day culture consciousness
is focused in the head. That is especially true for the western part
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of the world while the consciousness is focused on the heart in the
Eastern Europe. But the tendency is toward their uniting. That why the
cracking of the walnuts by the little brother makes possible the union
of these two models of esoteric Christianity – the eastern-European
and the western– European one. This is what the man from the Age
of the Aquarius makes and trough his choice he achieves abundance
(herds), harmony (two oxen in harness) and entirety (unity with his
soul – unborn maiden). I end this journey in the world of story tales
with the feeling of accomplished path. I am happy that through getting
out of the influence of the woman archetype of water and heart, Bulgaria
started to show features of fire in its strategies for survival and an
example of this tendency is the preparation and the realization of this
project. Nine (9) countries exchanged values through tales and legends
creating a balanced imaginative psychographic portrait of the group
that was involved in this project as well as of the modern European.
The kids are the heroes of this initiative and of the future updated
archetypes. I will finish with a quote from the eleventh-grade student
Kalina Nikolaeva: “I think that the differences between nations are not
so important because we can always learn a foreign language, views
and religions can change, new traditions can be created. The important
thing is what unites us – our values, because they make us human beings
and they are the ones which shape our life”.
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ПРИКАЗКАТА – ПОСЛАНИЕ ЗА ОБЩУВАНЕ
доц. д-р Радослав Радев
(експерт в рамките на проекта)
Приказката е послание чрез общуване, тя носи топлотата и обратите
на устната реч, родена е като потребност от разказване и
слушане, затова и съвременните психоаналитици като Бруно Бетелхайм
препоръчват тя да не се чете, а да се разказва, защото детето,
което ще я чуе ще постави разказвача на страната на добрите.
Именно поради това тя има универсални послания, които могат да
бъдат разбрани от всеки един човек на планетата Земя, но съдържа
и нещо от нравите, обичаите, мисленето на отделните народи и
затова според Мари фон Франц в нея се съдържат причудливостите
на отделните общности. Аз бих събрал именно двете думи – „чудеса”
и „причудливост”, защото приказката, дори когато се отнася
за неща, свързани с бита, трябва да ни огрее с някакво чудо, с което
даряваме другите. Сладостта на чудото е, че то не е нещо, което
притежаваме като собственост – и слава богу, но то може да се онаследява
и да бъде част от паметта ни, защото чудесата на нашите
предци стават част и от нашите чудеса. Може би и поради това народът
ни обича да удвоява – „чудни чудеса” или „чудна чудница”и
то за да се внуши, че те не само се преживяват, но и трябва да се видят
от другите. Една от най-приятните фрази изразяващи споделяне
и желание за добруване, заедно с другите е: „Ела с мене, да те
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отнеса близо при Бога, да видиш чудни чудесии”. Същевременно
народът ни е измислил и думата „причудливост”, защото съзнава,
че човек става по-различен, странен, нереален, когато се вживява
в тайните на приказните чудеса. Очевидно е обаче, че на човек не
му трябват много чудеса, защото привиква с тях и после иронично
си казва: „Всяко чудо за три дни”. То е пак като в приказката за таралежа,
който знае само три хитрости, но му стигат, за разлика от
лисицата, която се мисли за хитра по природа, но в труден момент
не знае как да реагира. После човек трябва да има и сила да понесе
чудото, да има душа, ум и сърце, за да се пренесе в света на въображението
и фантастичното. Чудото е като идеала, не бива да се проектира
пряко в действителния живот, а само му дава необходимата
светлина. Случи ли се пряко в реалното битие на човека, може да
има и опасни сетнини. В тази връзка е и поговорката: „Какво чудо
ми дойде на главата”.
Обстоятелството, че млади хора от различни народности са решили
да представят приказки, показва, че днес имаме нужда не
само да си разменяме рецепти, за да обогатяваме кухнята си, но и
от приказки, за да съхраняваме душата си. Общуването чрез тях
показва, че стремежът ни към различие, към оригиналност е найдобрата
възможност да искаме да сме заедно.
Особен е начина, по който се осмислят приказки, свързани с
християнството. Известната легенда за св. Георги, която е позната
в православния и в католическия свят е разказана като се запазва
връзката с християнството – героят действа по божие повеле-
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ние, но вече се свързва със спасяването на отделен град, в случая
Монбланк. Интересно е проявено и съвременното светоусещане
– принцесата, която вече се е примирила със съдбата си моли героят
да се отдалечи от гибелното за него място, за да се спаси. Това
е може би един от най-важните моменти в приказката – жертвата
е примирена със съдбата си, но е благородна в желанието си да
спаси този, който не е отреден като поредната дан за чудовището.
Има класически варианти на легендата, в които св. Георги (Джорджи)
не убива змея, а го укротява, за да го представи на хората и те
да решат съдбата му. На мен това особено ми допада и се радвам,
че разказвачът е избрал този финал, защото по този начин силата
на героя се представя не при самия акт на битката и смъртта на
чудовището, а чрез повелята. „Свети Джорди повалил звяра и го
предал на девойката, за да може сама да го заведе до града.” Да си
повелител, особено ако си боговдъхновен, е много по-стойностно,
отколкото ако си извършител на определено действие. Първото
гради бъдеще, чрез второто се спасява настоящето.
Особено привлекателна за младите разказвачи на приказки е
играта. Интересното е, че те не я възприемат толкова като забава,
колкото като възможност да се разрешат трудни задачи, свързани
с битието или да отдадат справедливост. Младите хора са особено
чувствителни към правдата, а още от античността чрез играта се
търси божествения смисъл на едно или друго човешко проявление.
„Ние разграничаваме три игрови форми в протичането на
съдебния процес, отбелязва Йохан Хьозинха в книгата си „Homo
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ludens”,: хазартната игра, състезание или залагане и словесна схватка”.
Разказвачите от проекта предпочитат състезанието – то им се
вижда с най-големи възможности за проява на въбражението и с
него най-лесно се преодоляват социалните граници в обществото.
Именно в това е и красотата на приказката „Умната девойка” от
известната чешка писателка Божена Немцова. Справедливостта
изисква този, който притежава нещо или му принадлежи поправо,
да е достоен за него. В старо време играта е било важна част
от притежанието. Например ако на даден човек е отнето нещо
чрез кражба, той трябва да надбяга крадеца в съзтезание, не само
за да си върне собствеността, но и да се покаже, че е достоен за
нея. Именно поради това играещият е можещият човек. Самодоволството
никога не е добър съветник, особено когато се основава
на натрупаното богатство. Драмата на богатият е, че той не може
да види нещата отвъд парите и имота, които притежава. Жената
на богатия земевладелец ще отговори на зададените въпроси, не
според истината, която трябва да потърси, а според това, което
има: „Кое може да е по-наблюдателно от нашата черна хрътка, посладко
от нашето буре с мед и по-богато от нашия сандък с пари?”
Умната девойка търси смисъла на въпросите според естественото
състояние и възможности, съзнавайки че човек трябва да бъде
благодарен, за това, което му е дадено свише: ``Когато прокурорът
те попита, кажи му, че най-сладкото нещо е сънят, най-наблюдателно
– окото и най-богата е почвата, откъдето идва всичко”. В
играта се наказват глупавите, а умните стават по-добри. Победата
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чрез игра не е назидание за другите, а послание, което те трябва да
разберат. Бащата на умното момиче ще послуша дъщеря си, но той
няма само да възпроизвежда думите ѝ пред прокурора, а ще ги осъзнае
и чрез себе си, ще внесе свое разбиране без да променя смисъла.
В старата традиция състезанието има много важен дял при
избирането на годеница или годеник. Според Йохан Хьойзинха
корените на думите за сватба на английски (wedding) и на холандски
(bruiloft), изразяват игрови смисъл – басиране и надбягване.
С игрови форми прокурорът избира и своя годеница. Неговите
загатки, които Манка трябва да разреши, лишават героинята от
представителност, дори я поставят в положение на карнавалност
и пародийност. „Манка се събуди в два сутринта, взе много тънък
чувал, облече го, обу си чорап на единия крак и обувка на другия
си бос крак и когато наближи три часа, между ден и нощ, качи се
на една коза и наполовина пеша, наполовина с превоз пристигна в
града”. Така стават по-ясни съвременните послания на приказката,
защото умната девойка не търси признание и равенство с мъжа си
чрез отрицание, ярост или омраза, а с обич. Любовта е тази, която
осветява ума ѝ, за да преобрази живота. Поуката от приказката, в
която се степенуват различните игрови форми, свързани с загадка
и находчивост, ни напомня, че за да искаме да променим живота
си не бива да възприемаме играта само като еднократен акт – тя
е състояние на духа. И нещо повече – играта е характеристика на
културата и тя най-добре може да свърже отделните народи, защото
по-добре е те да разрешават гатанките, които си поставят,
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отколкото да хабят време за войни и омраза. Гатанките не само ни
учат на обич, но и на благородство в състезанието, правилата на
което трябва да уважаваме.
Особено място в съзнанието на младите разказвачи заема проблемът
за човешкото предизвикателство спрямо природни сили и
божества. Религиите по-скоро утвърждават идеята за наказанието
за всеки, който дръзва да се мери с Бога – Крали Марко загубва
силата си, защото прекалено много се хвали. Много малко творци
успяват да пресъздадат библейската сцена на борещият се с Бога
Иаков, без да внушат наказанието или човешкото възгордяване.
А всъщност борбата на Иаков е да бъде благословен от този, когото
иска да победи: «26. И (му) рече: пусни Ме, защото се зазори.
Иаков отговори: няма да Те пусна, докле ме не благословиш. 27. И
рече: как ти е името? Той отговори: Иаков. 28. И (му) рече отсега
името ти ще бъде не Иаков, а Израил, защото ти се бори с Бог,
та и човеци ще надвиваш (Бит. 32:25-27)». В този дух е и своеобразната
битка на героя с Бога в турската приказка «Историята на
лудия Думрул», което показва, че различните религии разрешават
по сходен начин въпроса за човешките сили и възможности. Историята
на предизвикателството винаги завършва с потребността от
омилостивяване, защото ако битката с Бога се финализира с наказание,
пътят на човека е затворен и той трябва да преживее краха
на всички свои нравствени, социални и духовни стремления. Лудостта
на Думрул няма своите причини и основания, нито история
– той просто е определен в лудостта си и ние не разбираме защо до
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момента, в който не се сблъсква с Господ. Лудост е да не се осъзнава
могъществото на бога. Приказката не въвежда пряк сблъсък – човекът
се бие не с бога, а с неговите представителите, които само
изпълняват заповедите му. Молитвата за опрощение обаче трябва
да бъде отправена директно към бога. Силата на тази приказка е,
че тя показва как се проверяват отношенията между хората, когато
възникват извънредни обстоятелства. По особен начин са конструирали
разказа си Айлин и Сибел, когато представят връзката
между син и родители. Думрул не обяснява на баща си защо трябва
да жертва живота си за него, но споделя с майка си за повелята на
бог, защото си мисли, че нейното сърце е по-милостиво. От психологическа
гледна точка това е един от най-интересните моменти
в приказката. Съотнесени са сладостта от живота и липсата на
готовност човек да го изгуби заради близък. Родителите и Думрул
като че ли са се научили да живеят един без друг – тяхната близост
е кръвна, но не и духовна. Жената е готова да жертва живота за
съпруга си, защото не вижда да е възможно съществуването ѝ без
него. Взаимността е тази, която дава сили и на двамата. Изпитанието
е най-великото тайнство в човешкия живот, защото неговият
смисъл не може да се разбере отвъд обичта. Ако то събуди само омраза
или гняв, вратите на тайните му остават затворени. Ето защо
стои малко като отчужден финалът на приказката, който утвърждава
наказанието на родителите и струва ми се, че така се измества
поуката. Защо в душата на Думрул няма място за милост към родителите,
след като той не се е разгневил от техния отказ, а е приел
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съдбата си. Нима в това смирение той не осъзнава и собствената
си вина? Пред родителите си той не разкрива вината си – изразява
само искането си да жертват живота си за него. Вярно е, че и
пред съпругата си не изказва вината си, но споделя болката си и я
опрощава като освобождава от угризения съвестта ѝ. Приказният
и реалистичният момент се заплитат в разказа и в това заплитане
на финала е надделяло чувството за действителност, макар да е
въведено фантастично разрешаване на проблема. Това е вероятно
и една от особеностите на разказвачите в този проект – използват
приказни средства, за да разкрият сюжета, но ги подчиняват
на съвременното си мислене, съотнасяйки го към днешния начин
на живот. Правят го вероятно, защото тяхното битие се нуждае от
чудо, а си представят, че и чудото има потребност от нови хора,
за да може да съществува. И в това няма нищо лошо, само да не се
губи чувството за игра.
Чрез приказката в много голяма степен се премисля съдбата на
човека. Доколко в живота си той е свързан с зли, демонични сили
или доброто, което прави, обръща битието му към светлото начало.
Младите хора имат особено влечение към тайнствата на живота,
защото все още не искат да се подчинят на социалния порядък.
Дори и тъмните страни на събитията при тях са свързани с някаква
надежда. „Човешката душа – пише Елин Пелин – без тайното,
без тъмното, без неузнаваемото не може да живее щастливо. За
нея е нужна тъмнина, защото тя иска да стане слънце”(„Душата на
учителя”). Може би именно поради това разказвачите са привле-
132

чени от приказката „Дар от сърце”. Съдбата обикновено се разбира
като колело, което времето върти или като път. В приказката е определен
изборът на пътя като повеля на най-стария брат, но в различните
варианти опозицията дясно-ляво има магически смисъл,
така че което е изказано или изписано по един начин, се случва с
обратен смисъл. Срещат се варианти, в които братята се оказват
на кръстопът, от който се разделят три пътя – пред десния пише:
„Който тръгне по този път ще се върне”, пред средния – „Който
тръгне по този път, я се върне, я не”, а на левия категорично е указано:
„Който тръгне по този път няма да се върне”. Завръщането
в приказката се премисля като постигнато благополучие. Тъкмо
най-младият, който тръгва по левия път се оказва най-щастливият
в своето завръщане. В предложената приказка дясно-ляво не са
осмислени като опозиция, защото е значеща повелята на големия
брат и почитта към него, ознаменувана чрез целуване на ръка. Запазен
е смисъла на магическото обръщане – това, което се вижда и
до което се докосваме, за да разполагаме с него, както парите, не е
по-силно от онова, което не виждаме, но изразяваме чрез енергията
на сърцето и душата. Мъдростта на стария овчар изисква той
да постави пред очите на малкия брат парите, които е спечелил, за
да са пред очите му, когато решава какво да избере. Като че ли се
ръководи от народното вярване, че „На едни парите умът вземат, а
други на ум учат”. В първия публикуван вариант на тази приказка
(СбНУ, Т.15, С., 1898, с.106-107) основното въздействие е свързано
с присмеха над младежа, избрал вместо пари три ореха. По-въз-
133

растните от него братя не само го унижават с обидните си хули, но
и казват на приятелите си, за да му се присмеят всички. Присмехът
има специално проявление в културата на отделните народи
по-различно от смеха, тъй като той не е животворен, а е свързан
с тъмните сили. В гръцката антична митология бог на присмеха
и злословието е Мом, чрез който действат мрачните и пакостните
за човека космически сили. Докато Мом се присмивал над Зевс,
Атина, Хефес, Посейдон, Прометей и др. за техните дарове към хората,
те са го търпели на Олимп, но след като започнал да злослови
и срещу боговете Зевс го изгонил. Разказвачите на тази приказка
обаче са туширали моментите, свързани с присмеха. Очевидно за
тях той вече не е знаков, тъй като ги интересува по-скоро положението
на момъка и начина, по който той ще стигне до истината.
Прави впечатление, че и в другите приказки присмехът вече не е
толкова знаково изразен при открояване отношенията между хората
и връзката им с тъмните или божествените сили.
Съществено е променен и финалът на приказката. В по-старите
записи поуката е свързана със стопанската дейност на човека:
„Кога да имаш стока, всякой те сака, а кога да нямаш, ни татко, ни
майка те сака, що рекли стари”. Разказвачите в новия вариант са
предпочели духовното и нравственото послание. Щастието на човека
е свързано с късмета. Този, който е дарен с късмет, е благословен
и за обич, но другите трябва да разберат, че този благослов не
е свързан с парите. Може би затова народът е казал, че парите са
отделени от душата.
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Има мотиви в приказките, които са по-скоро с песенен характер,
особено когато са свързани с баладичното. И тъкмо то като че
ли прави възможно осмислянето на смъртта от младите хора. Такъв
е мотивът за вграждането в приказката от Румъния за майстор
Манол. Във вярването на много европейски народи се приема, че
небесния порядък се гради от душите на деца и чисти създания,
които не са осквернени с грях. Оттам идва и поверието за земния
порядък – да се вграждат душите (сенките) в неща, които се създават
от човека. Единствено при строежа на къща не се допуска
вграждане, тъй като родът, който ще живее в нея пренася устойчивостта
си във времето чрез ражданията. Може би затова и в румънската
приказка градежа е на манастир. Мотивът за майстор Манол
е познат в целия балкански регион. Различното е свързано със
съня – първото предизвестие за преминаване в отвъдното и липсата
на уточняванията за ястието, което трябва да приготви жената
на Манол, за да му занесе обяд. В познатите песенни варианти
майстор Манол заръчва на жена си така да приготви храната, че да
се възвести целия природен цикъл и кръговрат – от засяването на
пшеницата, до смилането на брашното и изпичането на хляба. Румънската
приказка насочва към природните стихии, които трябва
да преодолее жената, за да стигне до мъжа си. Манол измолва
пороен дъжд, бурен вятър, за да не стигне любимата му рано и да
не бъде вградена. Другите варианти на песните и приказките не
познават шегата и играта, чрез които майстор Манол заблуждава
жена си, за да я накара да влезе в основите на сградата. Играта
135

е винаги оневиняваща, защото тя твори свой свят, свои правила,
различни от социалния порядък на обществото. Майстор Манол
не може да излезе от този порядък, защото повелител за изграждането
на манастира е владетеля – Негро Вода. Кралят не се интересува
от това каква жертва е вградена в манастира, а доколко той
може да остане уникален, единствен. Ето защо той ще разпореди
да загинат деветимата майстори, за да не съградят друг, по-величествен
градеж от създадения по негова повеля манастир. Така се
преобразува драмата на майстор Манол – в другите варианти той
е този, който ожалва съдбата на съпругата си, понася болката по
останалото без майка дете, а в румънската приказка ни впечатлява
трагедията на самия майстор, прероден в извор със солена вода.
Очевидно в случая имаме характерно за приказката сливане на
няколко мотива, въвеждане на легендарни сюжети така че тя да
се свържи с конкретно място. Този сюжет показва как пътуващите
мотиви могат да се преобразят жанрово от песен в приказка и оттам
в легенда и да се натоварят с толкова местни характеристики,
че да означат напълно исторически и културно дадено пространство.
Така много народи могат да седнат на раздумка и в румънската
приказка за майстор Манол да припознаят своите истории.
Приказката за майстор Манол поставя въпроса и за тясната
връзка на този жанр с легендата. Оказва се, че разказвачите са горди,
когато за тяхното родно място или друг забележителен град
в държавата им, съществуват легенди. Ето защо високо оценявам
присъствието в проекта на Легенда за създаване на Вилнюс. Ве-
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роятно тя не е толкова популярна, колкото тази свързваща създаването
на Рим с историята на вълчицата, но и съня на Гидеминос
за железния вълк има своето очарование, защото се смесват митологични
мотиви с реално-исторически сюжет. Вероятно малките
народи по-често създават легенди, свързани с идеята за устояване
във времето, защото превратностите на събитията ги поставят в
положение да се борят за оцеляването си. Митологичните и фантастичните
елементи в тази легенда са необходими, за да се внуши
тайнство и непоколебимост, пророчеството на свещеника и тълкуването
на съня, пораждат внушението за постигането на божията
промисъл. И това е като че ли достатъчно, защото вярата е тази,
чрез която ще се твори и ще пребъдват във времето хората и града.
Напълно в очакванията ни в проекта да има и авторски литературни
приказки. Като се има предвид особеното присъствие на
иронията и пародията в съвременното културно пространство, бихми
предположили, че подбора на такива приказки ще е в този дух.
Двете литературни творби „Умната девойка” на Божана Немцова
от Чехия и „Приключенията на Пинокио” от Карло Колоди от Италия
са с ясно изведени послания, в които не откриваме разколебаване
на нравствените и духовни ценности. Ако имаме предвид
подбрания откъс от книгата на Колоди то бихме могли да кажем,
че тази диалогичност между Пинокио, лисицата и котката е много
по-добре постигната от другите приказки, в които връзката между
човека и животните не е така ясно изразена. Вероятно митологичната
обремененост на животните във фолклорните приказки не
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им позволява да излизат от ролите си, чрез тяхната символика са
обяснени те и в анализите към приказките. Докато в литературните
приказки авторът има достатъчната свобода да направи животните
хора, да ги дари с качества, така че те да означат човешкото
битие, за да познаем по-лесно добродетелите от претенциите за
добродетелност.
Има приказки, в които ясно се очертава социалното и нравственото
зло. В далечното минало то е свързано с образа на мащехата
– една от главните героини в приказката от Латвия „Сирачето
и мащехата”. Очевидно е, че днешните деца като че ли не могат
напълно да осъзнаят този образ, поради което те го възприемат
като задвижващ действието, но не се стремят да го откроят като
носител на злото. Привлича ги обрата в действието, пренасянето
от един в друг свят, тайнството на общуването. Същевременно
интригата е заплетена около вретеното, което заедно с хурката е
основният предмет при преденето. В старите култури то има магически
характер и е свързано с посвещението на жените, приемало
се е за опасно занятие и затова се е извършвало само нощем и то в
специални домове. «Съществува някаква мистична връзка – отбелязва
Мирче Елиаде – между женските посвещавания, тъкането и
сексуалността. Дори в развитите общества девойките се радват на
известна свобода преди брака и срещите им с младежите стават в
дома, където се събират да предат»(Елиаде, Мирче. Посвещаване,
ритуали и тайни общества». С., 2001.с.83). В приказката са осъзнати
по-ясно другите послания – човек да бъде добър, да не ламти за
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много, да умее да създава радост на другите – тогава животът ще го
възнагради. Разказващите са се съобразили с митологичната идея
за долната и горната земя, но границата между тях е приета твърде
условно, по-скоро като част от сюжета, а не толкова като откриване
на смисъла. Тази приказка ме навява на мисълта, че и в днешно
време преденето не е напълно излишно, защото то е свързано с
добра, макар и тайнствена, енергия, от която всеки има нужда. Съвременната
жена може да не преде, за да създава дрехи, но какво ѝ
пречи да пришива някакъв знак, който да бъде като малката кутия
на сирачето – наглед невзрачна, но пълна със истинско злато, разбирано
в материален и в духовен смисъл.
От приказките, представени в проекта, само една „Историята за
това как кучето Бодри умира” от Словакия има комично-ироничен
характер. Защо младите хора са пропуснали смеха при условие, че
в значителна част от приказките има симбиоза между смешното
и фантастичното? И това важи за приказките на всички народи.
Дали смехът не е добил някакво друго, самостойно измерение или
е изгубил силата си да открива истината, приемайки ролята само
на забавляващ? Смехът не може да има само и чисто битова характеристика,
защото той не просто регулира отношенията, а ги съотнася
към друг свят, в някаква степен той трябва да е необясним,
тайнство, сила, жизненост. Въпросът защо се смее човек никога не
може да има пълен отговор, защото поводът за пораждане на смеха
е само искрата, която разпалва емоционалния мир на човека,
активира душевните трепети. Смехът е най-бързото бягство от ре-
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алността и същевременно най-безболезненото връщане в нея. Затова
и в народните приказки чудото, което поражда смеха се приема
за напълно естествено, нещо като даденост, което трябва да си
остане в своята необяснимост. „Имало едно време един дядо, и той
имал едно момиче: когато се засмеяло, трендафел цъвтял от устата
му, а когато заплачало, от очите му маргарец капело”. За народния
разказвач това си е дарба на човека, израз на неговата хубост, не
по различна от способността му да пее и танцува. В приказката от
Словакия за кучето Бодри смехът е повече в изненадата, в особената
диалогична конструкция, чрез която контесата и слугата стигат
до истината. Особено сполучлив е констраста диалог-мълчание.
Предварително зададеното внушение, че двамата герои са мълчаливи
прави общуването още по-интригуващо, защото в него няма
обяснителност. Всяка следваща стъпка в разплитането на случващото
се е въведена чрез действието. Смехът най-често се основава
на някаква форма на несъответствие. В диалога то се поражда от
използването на комични средства, чрез които се представя трагичен
смисъл. В това отношение може да се каже, че приказката е шедьовър.
Виждам, че и в другите приказки разказващите въвеждат
диалога, обичат тази естественост на разговора между героите,
нещо което е много характерно за народното творчество, но недостатъчно
са изразили потребността си от смехови ситуации. И при
анализа на приказките се забелязва тази сериозност, стремежът
даже към научност, прецизното уточняване значенията на символите,
което се е получило за сметка на артистичността и играта.
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Като имам предвид приказките и цялостната работа по проекта
– текстовете, анализите, коментарите, общуванията, смятам че
той е изпълнил своята хуманитарна мисия. Комуникацията, изграждането
на умения за диалогичност ще стопли съвременната
цивилизация, а когато това се случи първо в детските души ще се
превърне в потребност и на възрастните. Световете на народите
не са се отдалечили много един от друг – в тях е останала светлата
диря на митовете, наивната хармония на легендите и макар
да е изгубен смисъла на обредите, приказките могат да положат
началото на една нова церемониалност, извеждаща обикновения
разговор до жадуваната мъдрост и емоционалност на диалозите.
Сцената е вече отвъд театъра, защото думите връщат своята свежа
изначалност и се оттърсват от баналността. Скъпи приятели, поемете
риска на диалога. В него ще се утаи скоростта, в която днешното
човечество се губи.
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142
THE TALE – A MESSAGE FOR COMMUNICATION
Doc. Dr. Radoslav Radev
(an expert within the project)
The tale is a message through communication, it brings the warmth
and the turns of the speech, it is born as a need of speaking and listening,
that is why the modern psychoanalysts like Bruno Bettelheim say
that it is better not to be read but to be told, because the child who
is going to hear it will pass a positive judgement on the narrator. The
messages of the tale are universal and they can be understood by every
person on the planet Earth. The tale also contains the traditions, the
characters and the way of thinking of the different nations. According
to Marie von Franz it contains the oddnesses of the different societies.
I would collect the two words – “wonders” and “oddness”, because
the tail has to light us with a miracle which we give to the others. The
sweetness of the wonder is that it is not something we possess, but it is
something that can be inherited and to be part of our memory, because
the wonders of our forefathers become part of our wonders too. Maybe
that is one of the main reasons our nation loves to say “wonderful wonder”
to suggest the idea that they are not only experienced, but they
must be seen by the others.
One of the most pleasant phrases expressing the desire of prosperity
with the others is: “Come with me to take you close to God to see
wonderful wonders”. Our nation has invented the word “oddness” be-

cause it knows that the person becomes different, strange, unreal when
he goes deep in the secrets of the fairy wonders. It is obvious that the
person does not need many wonders, because he gets used to them and
then he says: “Every wonder for three days”. It is like in the tale about
the hedgehog who knows only three cunnings but they are enough
for him in contrast to the fox that is sly but in a difficult moment she
doesn’t know how to react. The person must have strenght to stand the
wonder, to have a soul, intellect and a heart to go to the world of fantasy
and imagination. The wonder is like the ideal, it must not be projected
in the real life. It just has to give the necessary light. If it happens in
the real life of a human being, it may cause dangerous consequences.
In this case very appropriate is the saying: “What a hornet’s nest I’ve
brought about my ears.”
The fact that young people from different nations have decided to
present tales, shows that today we need not only to exchange recipes for
our kitchen but tales for our soul. The communication through them
shows that our aspiration for difference, originality is the best opportunity
to be together. The way we give a meaning to the tales connected
with the Christianity is very special. The famous legend about Saint
George, which is known in the Orthodox and Catholic world, is told
by keeping the relation with Christianity – the character acts like God
says, but it is connected with the saving of a town, in our case the town
of Montblanc. The way the contemporary conception of the world is
shown is pretty interesting – the princess, who has become reconciled
with her future, is begging the character to walk away from the place
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which is dangerous for him, to save himself. That is one of the most
important moments in the tale – the victim is reconciled with her future,
but she wants to save the one who has to escape from the monster.
There are some classical versions of the legend, in which St. George
(Jordi) does not kill the dragon, but he tames him to present him to the
people to decide about his future. I like this very much and I am happy
that the narrator has chosen this outcome, because the strenght of the
character is presented not by killing the monster, but by the fatality.
„Saint George has knocked down the monster and given him to the lass
so that she is able to bring him to the town by herself.“ To be a master
is much better than if you are a performer of an action. The first thing
builds the future and by the second one the present is saved.
Very attractive for the young narrators is the game. It is very interesting
that they do not perceive it as an amusement, but as an opportunity
to solve problems, connected with the human being or to give
justice. Young people are extremely sensitive to the justice. In the past
the game was a way to find the divine meaning of the human actions.
„We know three game forms in the running of the lawsuit“, says Johan
Huizinga in his book Homo Ludens, “the hazard game, a challange or
parlay and a pen duel“. The narrators from the project prefer the challange
because it provides the biggest opportunities to show their imagination
and to overcome the social borders in the society by using it.
That is the beauty of the tale The Clever Mountain Lass from the
famous Czech writer Božena Němcová. The justice needs the one who
possesses something and he is worthy of it. In the past the game was an
important part of the possessing.
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For example if someone steals a thing from someone, the victim has
to outrun the thief in a competition – not only to take his possession,
but to prove that he deserves it. That is why the player is the strongest
person. The smugness is not a good advisor, especially when it is based
on the wealth. The drama of the rich person is that he cannot see things
out of his money and his possessions. The wife of the rich landowner
will answer the questions but not according to the truth, which has to
be looked for, but according the things she possesses: „What can be
more observant than our black dog, sweeter than our cask with honey
and richer than our chest with money?“ The clever lass looks for the
meaning of the questions according to the natural opportunities. She
knows that every person shoul be thankfull for what is given to him by
God: „When the judge asks you, tell him that the sweetest thing is the
dream, the most observant – the eye and the richest thing is the soil.“ In
the game the foolish people are punished and the smart ones become
better. The win through game is not edification, but a message which
they have to understand. The father of the clever lass will listen to his
daughter but he will not only say her words, but also understand them.
In the old tradition the challenge has a very important part when someone
choses a fiancee or a betrothed. According to Johan Huizinga the
roots of the words „wedding“ in English and Dutch (bruiloft), show a
meaning from the field of games – a bet and an outrunning. With game
forms the prosecutor choses his fiancee. His riddles which Manka has
to guess, deprive her of representation and what is more they put her
in a position with elements of a carnival or a parody. “Manka woke up
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at two o’clock in the morning, grabbed a very thin sack, put it on. She
put on a sock on only one of her feet and a shoe on the other naked foot
and when it became three o’clock, right in the middle of day and night,
she got onto a goat and got to the town by going half the way on foot
and the other half mounted.” The modern moral of the story becomes
clearer these days, because the smart damsel does not seek recognition
or equality with her husband by rejection, rage or hate, but by love. It
is love that enlightens her mind for her to change her life. The moral of
the story reminds us that if we want to change our lives, we must not
think the game as an unimportant act as it is a state of soul. The game
is also a characteristic of culture and it can connect the different folks
best, because it is better if they solve the riddles they ask themselves
than waste more time on the hate and blood filled battlefield. Riddles
teach us not only about love but nobility in the competition, the rules
of which we must follow.
The problem of the human challenge towards nature’s powers and
acts of God take special place in the young taletellers’ consciousness.
Religions rather show the idea of punishment for every person who
dares believe he measures up to God. For example Krali Marko (King
Marko) loses his power because he boasts beyond limits. Very few authors
manage to recreate the biblical scene of the God battling Jehovah
without mentioning punishment or pride. Actually what Jehovah aims
with his battle is to be blessed by the one who he wants to defeat: «And
(he said): Let me go because dawn has set. Jehovah answered: I shall
not, until I have been blessed by you. 27. He asked: what is your name?
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He answered: Jehovah. 28. And thus he said: from now on your name
shall not be Jehovah but Ismail because you fought with God and you
will defeat men as well. (Genesis 32:25-27) ».
The battle between the tale’s protagonist and God shares the same
idea The Story of Crazy Dumrul which shows that different kinds of
religions have a likewise view towards the man’s powers and possibilities.
The story of challenge always ends with appeasement because if
the battle with God ends in punishment, man’s right path is closed and
he must live through the collapse of all of his ethical, social and mental
aspirations. Dumrul’s craziness has neither a reason nor origin, he has
just sucked into his own madness and we realize nothing until he encounters
God. It is a craziness not to realize the might of God. The story
does not show a literal battle – He fights not with God but with his
representatives, who only do his bidding. The prayer for forgiveness,
however, must be directed towards God. The power of this tale is that it
shows how relations between people are checked when an emergency
shows up. Aylin and Sibel have constructed their story in a peculiar
manner when they show the relationship between a son and his parents.
Dumrul does not explain to his father why he must sacrifice his
life for him, but he shares with his mother about god’s will because he
thinks her heart is more forgiving. From a psychological point of view
this is one of the most interesting parts of the tale. The love of life
and the lack of willingness to give it up for a loved one are contrasted.
Durmul and his parents seem as if they have learnt to live without each
other, the only thing that relates them is their blood but not their soul.
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The woman is ready to sacrifice her own life for her husband, because
she does not see how it would be possible to live without him. Their
mutuality is what gives them strength. The challenge is the biggest secret
in human life because its meaning can not be grasped outside love.
If it awakes hate or anger, the doors of its secrets remain shut. This is
why the ending of the tale is a little awkward because it shows parents’
punishment and it seems to me that this is how the moral of the tale
is shifted. Why is it that in Durmul’s soul there is no room for mercy
towards his parents when he hasn’t been enraged by their denial, but
rather accepts his fate? Does he not realize his very own guilt while being
in his humility? He doesn’t reveal his guilt to his parents, he only
shows his request for them to sacrifice their life for him. It is true that
he doesn’t reveal his guilt before his wife either, but he shares his pain
and forgives her by releasing her from her guilty consciousness. The
fairy tale and realistic moments are entangled in the story and in this
entanglement of the ending the feel of reality has proven superior even
though the problem’s solution is rather fictional. This is one of the peculiarities
of the narrators in this project, they introduce the story’s
plot as if it is a fairy tale’s but they enforce the modern way of thinking,
linking it to today’s way of life. They make it possible because their
existence (being) needs a miracle and they imagine that even a miracle
has a need of new people for it to exist, and there is still nothing wrong
in that as long as there’s the joyous feeling of playing.
Through tales man’s fate is reconcidered to a great degree; how
much he is connected with evil, demonic powers or the good he has
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done, it all turns his being around and starts a bright new beginning.
Young people are rather attracted to the secrets of life, because they
still do not want to obey the social standards. Even in the dark sides of
the events, connected with them, there is some kind of hope involved
“The human soul,” Elin Pelin writes, “without secrecy, without darkness,
without that which can never be revealed, cannot live happily.
It needs some darkness because it wants to become a sun.” (Teacher’s
Soul) Maybe exactly because of this the narrators are so drawn into the
story The Hearty Gift. The fate is usually understood as a wheel that
the time is spinning or as a road. In the tale it is defined the choice of
the road as a bidding of the oldest brother but in the different versions
the opposition right-left has a magical meaning, so that what is said
or written in one way happens in opposite meaning. There are some
variants in which the brothers are on a crossroad, which is divided into
three paths – on the right it is written: “If you go this way you will be
back”, in front of the middle – “If you go this way you may not be back”,
and on the left is written: “If you go this way you will not be back”. The
return in the tale is like a reached prosperity. The youngest, who is taking
the left way, is the happiest in his returning.
In the offered tale right-left is not introduced like an opposition
because it is important the bidding of the oldest brother and the respect
of him, which is pointed out with the kissing of his hand. The
meaning of the magic turning is kept – this that is obvious and can be
touched and can be used is not more important than what we cannot
see but we express it by the energy of our heart and soul. The wisdom
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of the old shepherd requires putting in front of the eyes of the youngest
brother the money that he earned so that to be in front of him when he
makes his decision what to choose. As if in his actions he follows the
national belief “Money takes the brain from some people and makes
them fools but they teach others”. In the first published version of this
tale (СбНУ, v.15, S, 1898, p.106-107) the main influence is connected
with the ridicule of the young man who chooses the three walnuts instead
of the money. His older brothers tell to their friends too, so they
can laugh all at him. The mockery has a special manifestation in the
culture of the nations more different than the laugh, because it is not
life-giving but it is connected with the dark power. In the Greek ancient
mythology the God of mockery is Momus who expresses the dark
and the bad for the man cosmic powers. While Momus was laughing
at Zeus, Athena, and Hephaestus for their gifs for the people they let
him stay on Olympus but when he started to slander about the Gods,
Zeus chased him. The storytellers of this tale stopped talking about the
moments connected with the mockery. Obviously it has stopped being
important because of their interest in the way the young man will get to
the truth. It makes an impression that the mockery is not so obviously
expressed in the other tales in talking about the relationship between
people and their connection with the dark and the divine powers.
It is also substantially changed the end of the tale. In older recordings
the lesson or the moral of the tale is connected with the economic
activity of the man: “When you have a commodity everyone wants you,
but when you don’t have even your mother and father don’t want you,
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so say old people.” The storytellers in the new version have preferred
the spiritual and moral message. The happiness of a man is connected
with luck and this one who has luck is also blessed with love but the
others have to understand that this blessing is not connected with
money. Maybe that is why people say that the money is separated from
the soul.
There are some motifs in the tales which are with song character,
especially when they are connected with the balladic element. And it
what makes it possible for young people to explain death. The same is
the motif in the tale from Romania about Master Manolee. It is a belief
of many European nations that the order in the heavens is constructed
with the souls of the children and pure creations which are not desecrated
with sin.
From there comes the belief about the earth order – to be build in
the souls (shadows) in things that are made by people. Only in constructing
a house it is not allowed to build in because the family that
is going to live there carries its stability in time by childbirths. Maybe
that’s why in the Romanian tale the building is a monastery. The motif
of Master Manole is known in the whole Balkan region. The difference
is connected with the sleep – the first warning about passing beyond
and the lack of specification about the meal that have to be made and
brought to him for lunch by Manole’s wife. In the known song variations
Master Manole tells his wife to make the food, so that to be proclaimed
the whole natural cycle – from sowing of the wheat to grinding
of the flour and baking of the bread. The Romanian tale directs us to
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the elements of nature that have to be overcome by the woman in order
to get to her husband. Manole prays for torrential rain, stormy wind,
so that his wife cannot come early and will not be built in. The other
versions of the songs and the tales do not use the joke and the game by
which Manole mislead his wife to make her go into the foundations of
the building. The game is always free from blame because it makes its
own world, its own rules that are different from the social order of the
society. Master Manole can not go out of this order because the one
who organises the building of the monastery is the ruler – Negru Voda.
The king is not interested in who is the victim built into the monastery,
but how he can be unique. That is why he gives orders for the nine artisans
to be killed so that they will not be able to build another building
more impressive than his own monastery. That is how the Manole’s
drama is changed – in other versions he is the person who is sorry for
his wife’s destiny but in the Romanian tale we are impressed by the
tragedy of the master reborn in a spring of salty water. Obviously in
this case we have the typical for the tales fusion of several motifs and
introducing of the plot of the legend so that for the tale to be connected
with a particular place. This plot shows us how travelling motifs can be
transformed from the genre of the song to the genre of the tale and of
the legend and at the same time to be loaded with local characteristics
so that to define completely, historically and culturally, a given space.
Thus people from different countries can gather to chat and in the Romanian
tale about Master Manole they can recognise their own stories.
The tale about Master Manole puts the question about the close
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connection between this genre and the legend. It turned out that the
storytellers are proud when there are legends about their birth place or
about a noticeable town in their country. That’s why I highly appreciate
the presence of A Legend of Vilnius in the project. Probably it is
not as popular as that one connected with the creation of Rome with
the history of the she-wolf, but the dream of Gediminas about the iron
wolf has its charm because mythological motifs and the historical story
line are mixed. Probably small nations more often create legends connected
with the idea of stability in time, because the tricks of fortune
put them in a position of constant fights to survive. Mythological and
fantastic elements of this legend are necessary to suggest immovability
and mystery, the prophecy of the priest and the reading of the dream
cause the suggestion of reaching the God’s providence. And this seems
enough because the faith is what makes people create and the people
and the city will live through time.
Completely in our expectations in the project there are also author’s
literature tales. Having in mind the special presence of the irony and
the parody in the modern cultural space we could suggest that the selection
of this kind of tales will be in that spirit.
The two literary works The Clever Mountain Lass by Božena
Němcová from the Czech Republic and The Adventures of Pinocchio
by Carlo Collodi from Italy are with clearly messages, in which we do
not find hesitation of the moral and spiritual value. If we have in mind
the chosen part of Collodi’s book we could say that this dialogue between
Pinokio, the fox and the cat is much better accomplished than
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those ones in other tales, in which the relation between people and animals
is not so clearly expressed. Probably the mythological encumber
of the animals in the folk tales do not let them go out of their roles and
they are explained in the analysis of the tales by their symbolics. While
in the literature tales the author has enough freedom to personify the
animals, to give them qualities so that they can signify the people’s life
(being), to distinguish easier between virtues and the claim for having
them.
There are tales in which is outlined the social and the moral evil. In
the distant past it is connected with the image of the step-mother – one
of the main characters of the tale from Latvia The Little Orphan and
the Mother’s Daughter. It is obvious that today’s children can’t realize
this image and that is why they conceptualize it as a moving force but
they do not try to show it up as a carrier of the evil. They are attracted
by the turns in the story line, the transfer from one world to another
and the secrets of communicating. At the same time the intrigue is
tangled around the spindle which together with the distaff is the basic
object in the process of spinning. In old cultures it has magic nature, it
is connected with the dedication of the women and it was concidered
the most dangerous trade and that is why it was carried on only at night
and in special homes. “There is some mystic connection” – points out
Mircea Eliade – “between the women’s dedication, the looming and
the sexuality. Even in the developed societies girls have some freedom
before marriage and their meetings with the young men happen at the
place where they gather together to spin” (Eliade, Mircea. Dedication,
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ituals and secret societies”, S., 2001, p.83). In the tale are realized clearly
the other messages – the man to be better, not to want much, to be
able to bring happiness to the others – then life will reward him. The
storytellers took into concideration the mythological idea for the upper
and the lower worlds but the line between them is accepted rather
conditionally as a part of the plot than as discovering the meaning.
This tale makes me think that nowadays we have to spin too, because
it is connected with good, although mysterious, energy that everyone
needs. The contemporary woman may not spin to make clothes but
what prevents her to sew some kind of sign that can be like the small
box of the orphan child – plain at first glance but full of real gold in
material and spiritual meaning.
From all the stories included in the project, only one A Story about
How the Dog Bodri Died from Slovakia has a comically ironic character.
Why have young people skipped laughing given that in the considerable
part of the stories there is a symbiosis between amusing and
fantastic? This is true for the stories of all nations. Has laughing given
some different distinct dimension or has it lost its power to discover
truth, accepting the role of the entertainer? It is not possible for laughing
to have only sheer everyday characteristics, because it does not
just regulate the relationships but correlate them to another world, in
some degree it has to be inexplicable, sacrament, strenght, vitality.The
question why a person laughs, can never have a full answer, because
the reason for laughter is only the sparkle, which fires the emotional
human peace, activates the thrills of the soul. Laughter is the fastest
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escape from the reality and, in the same time, the most painless return
to it. That is why in the folk-tales, the wonder which is the reason of
laughter, is accepted as something ordinary, which has to stay in its inexplicability.
“Once upon a time there was a grandfather who had a girl:
when she was smiling, a rose was blooming on her mouth, and when
she was crying, little pearls were falling from her eyes”. For the folknarrator
that is a man’s talent, expression of his beauty, not so different
from his ability to sing and dance. In the tale from Slovakia about the
dog, called Bodry, the laughter is in the surprise, in the special dialogic
construction, through which the countess and her servant reach the
truth. Especially successful is the contrast dialogue-silence. The suggestion
that the two characters are silent makes the communication
more interesting, because there is not an explanation in it. Every step
in the explanation of what is happening is introduced by the action.
The laughter is based on a form of disparity. In the dialogue, the disparity
arises from the use of comic means, which present a tragic sense. In
this case, we can say that the tale is a masterpiece. I see that in the other
stories the narrators introduce the dialogue; they love that simplicity in
the conversation between the characters, something that is very typical
of the folklore, but their need of comic situations is not shown sufficiently.
In the analysis of the tales we can see this seriousness, even a
tendency towards scientific explanations, precisely specified meanings
of the symbols at the expense of the art and play.
Having in mind the tales and the work on the project – the texts,
the analyses, the comments, the communication, I think that it has
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fulfilled his humanitarian mission. The communication, building of
skills for making a dialogue will warm the modern civilization, and
when this happens first in the children’s souls it will become an inner
need of the adults too. The worlds of the nations are not that far from
each other – there is a light trail of the myths, the naive harmony of
the legends and no matter the meaning of the rites is lost, the tales can
start one new ceremonialism, which leads the ordinary conversation to
the desired wisdom and emotionality of the dialogue. The stage is now
beyond the theater because the words get back their fresh originality
and loose their commonplaceness. Dear friends, take the risk of the
dialogue. In it the speed, in which the modern society is being lost, will
be settled.
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ACKNOWLEDGEMENT
Josep Luis Navarro Garcia
Josep Sanllehi Ubach
Jolanta Šеkstello
Claudia Stainer
Oktay Akyörük
Jozef Krnčan
Aiste Petkeviciute
Donatella Delmiglio
Еvdokia Marinova
Andrea Bradlova
Lyuba Tsanova
Milena Bogdanova
Radoslav Radev

СЪДЪРЖАНИЕ / TABLE OF CONTENTS
Latvia Sērdienīte un mātes meita ....................................................................4
Latvia The Little Orphan and the Mother’s Daughter ..............................8
Czech Republic Božena Němcová – Chytrá horákyně ............................................. 13
Czech Republic The Clever Mountain Lass – Božena Němcová ........................... 20
Lithuania Vilniaus įkūrimo legenda .................................................................... 29
Lithuania Legend of Vilnius: Gediminas‘ dream and the irony wolf ....... 30
Bulgaria Дар от сърце .......................................................................................... 31
Bulgaria Hearty/Kindly Gift ................................................................................. 35
Spain La llegenda de Sant Jordi (catalàn) ................................................. 38
Spain La leyenda de Sant Jordi (español) ................................................. 40
Spain Sant Jordi’s legend ................................................................................ 43
Romania Master Manole ........................................................................................ 46
Turkey Deli Dumrul ............................................................................................. 49
Turkey (Crazy) Deli Dumrul .............................................................................. 52
Italy The Adventures of Pinocchio ............................................................ 55
Slovakia A story about how the dog Bodri died .......................................... 61
Analysis and reasoning of students
LITHUANIA .............................................................................................. 63
BULGARIA ................................................................................................ 66
CZECH REPUBLIC .................................................................................. 69
ROMANIA ................................................................................................. 74

Oбщото и различното в архетиповете и символите в приказките
и легендите на европейските народи (Люба Цанова) .............................................84
Similarities and differences in the archetypes and the symbols in the stories
and the legends of the different countries (Lyuba Tsanova) .....................................105
Приказката – послание за общуване (доц. д-р Радослав Радев) ...................... 125
The Tale – A Message For Communication (Doc. Dr. Radoslav Radev) .................. 142