Category Archives: Folk speech

Conservation of Evil

Text: Below is a interview about a folk metaphor, conservation of evil.

Interviewer: Are there any sayings for groups you’re a part of?

Interviewee: Yeah, so, uh, in the physics community, when we find ourselves trying to solve a very difficult problem, and we make, let’s say, an approximation or, we apply some technique to make it easier, it turns out that that just doesn’t make the problem easier. It just shifts the difficulty to later, and, uh, we, that’s what we call the conservation of evil, and it kind of comes from, like uh, you know in physics there’s like a, conservation laws, conservation of energy, conservation of momentum, and stuff like that, and that’s just a fun play on how the problem is still as difficult as it was before, you just shifted it to somewhere else.

Context:

The interviewee is a college Senior who is studying physics. He was asked about any folk speech he knew from any academic folk groups he was in. He thought for a bit, then remembered the above folk speech. He uses the folk speech to describe to his classmates physics problems that are hard no matter what technique is applied to them.

Analysis:

The folk speech demonstrates the experience of solving a hard physics problem. While a student may use laws of physics to try to simplify the problem, there are many unlabeled aspects of questions that relate to the experience of working on a hard problem. Therefore, folk speech and jargon is necessary to explain the characteristics of the problem. This folk speech also exists as an example of moralizing physics problems. The physics problem is difficult to solve, therefore it is labeled evil. The expression also holds wisdom that is more generalizable to more areas than just physics problems. Some issues are difficult, no matter how they are repositioned.

Knocking on Wood

Interviewer: “OK, personally some rituals i’ve grown accustomed to and practice are mostly related to theatre. Superstitions such as avoiding naming the play “Macbeth” in the theatre, never wearing your costume outside of rehearsal and performance, and a created folk song that was local to my high schools theatre department. What are some rituals or superstitions you believe in?”

AB: “I always knock on wood when I say something I don’t want to jinx, I don’t really even think about it anymore its more of an automatic reaction out of fear or something”

Interviewer: “Why do you think that works, like why do you use it?”

AB: “I don’t know, it makes me feel like i’m undoing evil energy, like your correcting it before some karmic lesson is taught to you, its like proactive.”

Context: The informant learned this practice from her parents. Her parents are very spiritual and superstitious and thus this, among many other practices, have become common place in her life. She recalls using the practice of “knocking on wood” since she was very little, around 9 years old. She is unsure if this practice has a tangible affect on her life, however she still uses it as a method of providing comfort to herself, proactively “saving” herself from an event before it occurs.

Analysis: This interview highlights how folk beliefs persist even when individuals do not fully rationalize or consciously believe in them. AB repeatedly framed their practices, such as knocking on wood as accidental or habitual, suggesting that these rituals function more as a medium to grant oneself peace of mind rather than superstition. This suggests that these rituals function less as explicit belief systems but more as engrained cultural behaviors where the action of knocking on wood takes less energy than the worry that accompanies bad karma.

“A stitch in time saves nine”

text: “a stitch in time saves nine”

Context: after telling my partner the Chinese proverb “未雨绸缪 (wèi yǔ chóu móu) or “repair the roof while the sun is shining” she said that another English proverb with the same message a “stitch in time saves nine”. She said that he learned the proverb from her grandmother who lived in rural America. It represents a universal truth about efficiency.

Analysis: Proverbs are often used from parents, telling their children a warning in order to induce better behavior and to instill a moral within children. This is an older proverb that has withstood the test of time which is impressive in our fast paced consumer culture, and has been passed on through oral tradition. This also demonstrates multiplicity and variation of folklore as two different proverbs from two completely different languages have the same meaning and cultural effect, employed in the same way in order to teach lessons.

“Bless your heart”

Interviewer: “Can you think of any folk speech or phrases that are passed through oral tradition in your family?”

AB: “Bless your heart sounds like a very nice thing to say to someone, however in the South it is considered an insult. It is a weaponized phrase that we use on dim witted people under the guise of wishing them well.”

Context: AB lives in the South, and her family has used this insult for a long time, it reflects both a cultural and geographical shared folklore, but also familial. What initiated the conversation was her explaining difficulties of moving to California to attend USC. She has heard female figures in her family use this phrase, particularly in church or faith based settings. She now uses this phrase in California against people who don’t know the origins or meanings of this folk speech, enabling her to slyly insult people.

Analysis: This piece of folk speech is an important example of how context is important, as the words do not have visual meaning, but require the performance and subtext of the speaker. This is regarded as a Shibboleth, as it differentiates southern people as their own group with shared customer. It is reflective of the gernous and kind culture of the south and how people have to employ folklore in order to navigate the strict confines of Southern society.

Chinese Funeral Ritual

Text:

“When my family members pass away, we have a funeral ritual. When my grandmother passed away, the coffin was first placed on the ground floor of the apartment building. Before carrying her to the funeral parlor, my father had to break a porcelain bowl on the floor and say something he wanted to say to her — usually something short, like ‘may you go peacefully.’ Then the coffin was carried to the funeral parlor.”

Context:

This text was collected from a Chinese international student from Beijing. She recounted the ritual from personal memory, having witnessed it during her grandmother’s funeral. The practice involves two distinct symbolic acts performed before the deceased is transported to the funeral parlor: the placement of the coffin on the ground floor of the family’s apartment building, and the breaking of a porcelain bowl by the closest male family member — in this case, her father — accompanied by a brief farewell address to the deceased. The phrase her father used, “一路走好” (yī lù zǒu hǎo), translates roughly to “may you go peacefully” or “have a safe journey,” a common Chinese expression of farewell to the dead. The informant presented the ritual as standard family practice rather than something unique to her household, suggesting it reflects broader Beijing or northern Chinese funeral customs transmitted through family participation rather than any formal or institutional instruction.

Analysis:

This piece is a customary ritual operating at the intersection of material culture and folk belief, and it demonstrates Van Gennep’s rites of passage framework. The funeral ritual stages the deceased’s transition out of the living world through two carefully sequenced symbolic acts. The breaking of the porcelain bowl follows the logic of sympathetic magic, more specifically the contagious variety, where the destruction of a physical object in the shared space of the living enacts a spiritual severance, which could formally close the bond between the deceased and the household. The ground floor placement of the coffin before departure further emphasizes this threshold symbolism, positioning the body literally between the domestic space of the living and the outside world before the final transition to the funeral parlor. The father’s spoken farewell, “may you go peacefully,” functions as folk speech with ritual authority, a fixed phrase whose repetition across generations gives it vernacular power.