Author Archives: Sanjana Manchala

Charity

Item:

“Once a beggar, do a good deed. Twice a beggar, pay him no heed.”

Context:

The informant related to me the importance of this proverb in his life – “This proverb is a rule to live by. When I first came across it, I liked it because it rhymed and had a nice rhythm to it. But it served me well later in life. I remember when I was starting in the business world, and even much, much later, I was approached by several charity cases who had real talent in fields that were vital to my firm and my business. Therefore, I gave them chances. And more chances. And yet more chances. Until I realized one day that they were obviously trying to swindle me by quietly taking advantage of my generosity. It was then that I remembered this proverb. Since then, I have lived by it religiously. Everyone gets one opportunity. If you blow it, so long.”

Analysis:

This proverb is actually quite simple and easy to remember due to, as the informant said, its rhyme and rhythm. It came in handy a lot later, when he realized that people were conning him because of his affinity to give out infinite “second” chances. It is, therefore, a precautionary proverb. It is also rather pessimistic, even slightly cynical, because it serves to remind people that not everyone in the world is deserving of a second chance, even those who seem most sincere. It also is a harsh reminder that people are not as nice and genuine as we chalk them to be. The informant’s experience demonstrates this clearly, because no matter how pure his intentions were, people always tried to put one over him because he was just too darn nice. It is also a warning against freeloaders, telling us to remember that while it is right to help someone out in need, one mustn’t let this pity blind one to the parasitism that is fueled by excessive generosity.

Silence Is Not Always Golden

Item:

“Be wary of silent dogs and still waters.”

Context: 

The source interviewed related his personal experiences with this particular proverb – “Growing up, I always made the wrong friends. I didn’t know they were the wrong friends, but my dad did. Because he was my dad, and he knew everything. My friends were those people who would be incredibly sweet and make easy conversation, but would be very guarded around other people about their own secrets and opinions. One day, I stumbled upon these guys talking the classroom. I was outside in the corridor, and they didn’t know that I was there and listening to them. Naturally, they were talking about me. And they said some things that I can’t repeat in front of you. Upset, I went home and complained to my dad, who told me ‘Be wary of silent dogs and still waters’ – meaning it in particular about people who don’t voice their opinions on others frankly and instead plot and scheme behind the backs of others.”

Analysis:

This proverb is a classic Indian warning against people who don’t talk. Indian people in general are quite talkative, never hesitating to share their opinions, even and sometimes especially when it proves to awkward or unwanted. Therefore, when people aren’t talking, it means that they must be up to something. So, when someone isn’t being obnoxiously vocal about their opinions on your personality, sever all ties with them, because they probably don’t like or care about you.

A Big White Van

Item and Context:

“My seniors in school – the eighth graders – would always tell us to ‘Never trust a man in a big white van!’ We were all really interested in why, especially because my friend Evan thought that white vans were pretty cool. Haha, no… So he, bold as he is, went up to one of the many eighth graders repeating this warning and asked them what the story was. When he returned, he informed me that it was because this one kid from our middle school had been kidnapped by a man in a big white van and held for ransom! So when a friend of mine asked me about it, I repeated to him exactly what Evan had told me. After a few days, there was a rumor spreading around the school that the man in a big white van had taken away one of the students many years ago, and that student had been held for ransom, and when the parents failed to come up with the cash, the kid was murdered and his spirit was the one telling the eighth graders to ‘Never trust a man in a big white van!’! I did not understand how this happened. I assume that it traveled from Evan to me to A to B to C and so on, finally resulting in this wild exaggeration. How strange, no?”

Analysis:

The proverb/superstition that this story is based on is an example of children’s lore. However, what is most interesting is that while it is an example of a type of folklore, the story the informant provided is also a perfect depiction of exactly how folklore happens. I doubt that his friend was even told about a “ransom”, and instead added that detail just to spice up the story. As the story went around the middle school, everyone freely added their own details to it, resulting in something starkly different than what these eighth graders were probably talking about, much like the game ‘Telephone’, which is also an excellent example of the process of folklore creation. The belief that the warning is based on is that large, white, unmarked vans are usually driven by creepy pedophiles who offer little girls candy and then whisk them away. Hence, according to the informant and his seniors at school – ‘Never trust a man in a big white van!’

 

Vikram And Vetal: The Bride’s Dilemma

Item: 

“Vikram and Vetal stories are popular all over India. Originally, there are only twenty five, but they became so popular that people began to come up with their own. The first story starts off like this – the brave and clever king Vikramaditya, identified later on simply as Vikram, is summoned by a tantrik (sorcerer) in order to bring back a corpse which has been possessed by a vetala (malevolent spirit, sometimes translated as ‘vampire’), in order for the sorcerer to exorcise the spirit and perform the last rites of the corpse. So Vikram, courageous as he is, ventures into the haunted, creepy forest and finally finds the tree from which the animated corpse is hanging. Vetal, as the spirit calls himself, is an incredibly sharp-witted individual, and offers King Vikram a trade – he will tell Vikram a long story and end it with a question. If Vikram answers the question correctly, then Vetal will return to the tree. If he stays silent, his head will explode into a thousand pieces. So, Vetal starts to tell a story – ‘Two young men named Suryamal and Chandrasen travel to a town one day to visit a temple nearby. When they arrive there, Suryamal sees a beautiful young woman praying to the Devi (goddess). He falls in love with her straightaway, predictably. And so, excited by this, he goes to tell his friend Chandrasen. The latter young man advises Suryamal to speak to her parents if he’s serious. So he does, and they say that the only condition of the marriage would be that the young woman has to return to her town every so often to pray to the Devi, of whom she is an ardent devotee. Suryamal agrees readily, and gets married to the young woman. Her parents ask him to stay longer,but he and his friend are required to return to their hometown because of some urgent matter. On their way back through the forest, however, they are attacked by a gang of bandits, who behead them and leave them there. The bride, on her way to perform her prayers to the Devi, stumbles across her dead husband and his friend. Devastated, she prays to the Devi, who answers her prayers and tells her to fix the heads back onto the bodies of the two men and sprinkle some amrita (nectar) over the corpses to reanimate them. She obeys, but in the process accidentally puts the heads on the wrong bodies – Suryamal’s head ends up on Chandrasen’s body and vice versa. Which one should she marry? Remember, if you do not answer my question, your head will burst into a thousand pieces!’ Vikram takes a moment to think about it before speaking but finally responds – ‘Since the brain is the most important organ of the body and makes all the decisions, stores all the memories, then she should marry the man who has Suryamal’s head, of course!’ Vetal is satisfied with this answer, but alas! Vikram spoke, so Vetal flew away.”

Context:

The interviewee explained her memories of these stories – “Every month, we would get a children’s magazine known as Chandamama (Uncle Moon). In these magazines, the most popular read was the Vikram and Vetal story. I used to devour these stories and fight over them with my older sister. This one stuck in my head because it was the first one that I had ever read, and because the problem posed in the riddle was pretty intriguing to me. If I was in the bride’s shoes, I wouldn’t know which one to marry!”

Analysis:

The Vikram and Vetal series of stories is extremely interesting because not only does it contain an embedded narrative, but the inner narrative takes the form of a sort of neck riddle. Now, in the original series, King Vikram has to try twenty five times before Vetal comes up with a complicated enough question to stump him. Upon the king’s confusion, Vetal at last decides to accompany him back to the tantrik. Within these twenty five tries, the story opens in much the same way every time – ‘Once again, the undaunted King Vikram arrived at the tree and carried Vetal away with him, and once again Vetal began a story.’ and also ends the same way every time – ‘Vetal was satisfied with his answer, but alas! Vikram spoke, and so Vetal flew away.’ This almost unchanging structure is demonstrative of the Parry-Lord Oral Formulaic Theory. What is interesting, however, is that much like the format of the many versions of the Arabian Nights, the neck riddle stories embedded in the narrative are not restricted only to the original twenty five. In fact, as with the magazine, youngsters all over India and within the Indian diaspora who are familiar with the stories come with their own neck riddles all the time, creating an infinite wealth of Vikram and Vetal folklore. The riddle in itself takes the form of an anecdote ended with a question, which is never straightforward. This story in particular stresses the importance of the mind over the body, which corresponds with the traditional Hindu view that the body is nothing but a vessel for the soul and the mind. Therefore, as Vikram concludes, the bride would be better served to marry the man with Suryamal’s head/brain rather than the one with his body.

The Drowning Man’s Appeal

Item:

“A Hindu man is in a rowboat in a particularly stormy section of the river. All of a sudden, his boat rams into a boulder, and he goes flying into the icy water. The rapids are carrying him away, and so he holds onto a small fragment of the wooden boat, trying to stay afloat. This doesn’t help him for very long. Just as he’s about to drown, therefore, he has the brilliant idea to pray to Ganesha, the deity of overcoming challenges and obstacles. Ganesha appears before him, and asks him what he wants. The man tearfully begs the elephant-headed god to get him out of the water, to which Ganesha replies – ‘Hah! You drown me every year, without even asking me what I want, and then when you’re drowning, you expect me to help you out of the water? Yeah, right!'”

Context:

The informant, a devout Hindu and an avid joke-teller, related the history of this joke – “This is one of the most hilarious jokes I have ever heard. A lot of Hindus know the joke, and know the significance of the joke. It’s funny because it puts the festival and rituals of Ganesh Chaturti into the perspective of the god himself, turning the joke around on us and making us wonder what the gods actually think of what we do to them.”

Analysis:

This joke mocks the rituals of Ganesh Chaturti, a traditional Hindu festival in which earthen idols of Ganesha are immersed in the nearest holy river or lake, symbolizing his return to his mother, the goddess of the earth Bhumi Devi, amid a spectacular celebration. It personifies the idol of the young, elephant-headed god, and switches the positions of the drowner and the drownee, putting Ganesh in the position of power here. In addition to this, the god is portrayed hilariously immature and vindictive, diminishing his deified dignity and showing him to be actually disgruntled by the rituals of a festival which celebrates his birth and ascent to heaven, a situation which people don’t really consider when performing these grand and honorific traditions.