By Harold Scheub
ISBN-10: 0299290735
ISBN-13: 9780299290733
The trickster and the hero, present in such a lot of of the world’s oral traditions, are possible hostile yet frequently united in a single personality. Trickster and Hero presents a comparative examine a wealthy array of worldwide oral traditions, folktales, mythologies, and literatures—from The Odyssey, The Epic of Gilgamesh, and Beowulf to local American and African stories. Award-winning folklorist Harold Scheub explores the “Trickster moment,” the instant within the tale while the story, the teller, and the listener are reworked: we're either guy and girl, god and human, hero and villain.
Scheub delves into the significance of trickster mythologies and the transferring relationships among tricksters and heroes. He examines protagonists that determine centrally in quite a lot of oral narrative traditions, exhibiting that the genuine hero is usually to some degree a trickster besides. The trickster and hero, Scheub contends, are on the middle of storytelling, and the entire chances of existence are there: we're taken aside and rebuilt, dismembered and reborn, defeated and renewed.
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Additional info for Trickster and Hero: Two Characters in the Oral and Written Traditions of the World
Example text
He is forever theatrical. He creates theater in the world that we know, the real world. Without that frame, Trickster’s antics are merely obscene and silly. But within that frame, he becomes significant and eternal. Trickster makes the flawed moment eternal. He ties us to our ancestral past. But within the tradition of the people, he is destroying one part of us and creating another part; he is recreating us, reshaping us, but always within the tradition of the people. We have to differentiate between our own history and the tradition within which that history unfolds.
But there are other tensions, too—those, for example, of the unfulfilled work of art; the entire experience is in tension until the completion of the work, when it lingers for a moment, then vanishes. There is also a tension between the worlds of experience and art, essential to the perceptual processes of the work of art. And there are tensions within the work too, on the level of conflict and resolution, the tensions that exist among the various characters and actions of the developing drama. There is tension generated by the process of metaphor, between the surface of the work of art and the perceptual elements generated by bringing various narratives into conjunction.
He went on, and arrived at his father-in-law’s place. He had been expected, and he was given some beer. As he was swallowing it, the feces said, “Give me some to drink, Hlakanyana! ” Hlakanyana pressed the feces down with his hand, pressed it into his pocket. It was quiet then, and it again went down into the pocket. ” He pushed it down into his pocket. Again the feces came out of his pocket and disappeared in a pot. Hlakanyana ran, even leaving his hat behind! He went home, he arrived at his home.
Trickster and Hero: Two Characters in the Oral and Written Traditions of the World by Harold Scheub
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