Category Archives: Folk speech

“Do not rest under a bad three and do not drink bad water” (恶木盗泉)

Nationality: Chinese
Age: 18
Occupation: Student
Residence: United States
Performance Date: April 24th, 2020
Primary Language: English

Original Script : 恶木盗泉

Phonetic (Roman) Script : È mù dào quán

Transliteration : Do Not Rest Under a Bad Tree and Do Not Drink Bad Water

Full Translation : Do not do anything bad that you will be shameful in the future regardless of the situation you are in

Context : 

My informant is a high school student who was born in Denver, Colorado. His family moved to the United States before he was born from mainland China. Even though his first language was technically English, as his family used Chinese at home, he grew as a bilingual student. Here, he is describing an idiom that his grandparents and parents taught him when he was young. He is identified as Z in the dialogue and this piece was collected over a phone call. 

Z : The idiom “do not rest under a bad tree and do not drink bad water” means that you must not do anything that you would be shameful of in the future no matter what situation you are in. You might be in a very tired state and want to rest and drink lots of water for recovery but resting under a bad tree and drinking bad water will influence you in a negative way and you will regret your rash decisions later on. 

Analysis :

This idiom indicates not only that people shouldn’t do anything that will embarrass them later on but also the fact that when a person is tired and desperate, their sense of what is right and wrong might be distorted too. This idiom tells the people that even in those hard times, one must not lose their consciousness and know how to make right choices to prevent the aftermath. 

“3 Cobblers are better than Zhuge Liang” (三臭皮匠葛亮)

Nationality: Chinese
Age: 18
Occupation: Student
Residence: United States
Performance Date: April 24th, 2020
Primary Language: English

Original Script : 三臭皮匠葛亮

Phonetic (Roman) Script : Sān chòu píjiàng gé liàng

Transliteration : 3 Cobblers Are Better Than Zhuge Liang

Full Translation : Two heads are better than one 

Context : 

My informant is a high school student who was born in Denver, Colorado. His family moved to the United States before he was born from mainland China. Even though his first language was technically English, as his family used Chinese at home, he grew as a bilingual student. Here, he is describing a proverb that his grandparents and parents taught him when he was young. He told me that since he couldn’t remember in detail and had to ask his parents again, a lot of the dialogue is summarized. This piece was collected over a phone call. 

The informant started off with who Zhuge Liang is; Zhuge Liang is a very well known Chinese politician and a military strategist that is known for its excellent strategic skills that have led past China to victory in multiple battles. The informant implied how he is the symbol of intelligence and often admired and looked up by people. However, cobblers are jobs that are not always favored and are less significant when compared to a nationally-known military strategist. However, this quote is meant to show how 3 less-significant people can beat Zhuge Liang, who is an individual. 

Analysis :

Zhuge Liang is an admired figure in Chinese society for its intelligence and military strategy. On the other hand, cobblers are considered as an ignorant people when compared to Zhuge Liang. In this proverb, it is implied that no matter how ignorant cobblers are in comparison to Zhuge Liang, when three cobbers come together and think as a whole, Zhuge Liang, he himself as an individual cannot win the cobblers. This shows that more than one person is always better than an individual regardless of their intelligence and educational levels. The comparison to Zhuge Liang also shows how Chinese people admire Zhuge Liang as a smart intelligent person. 

I wanted to add the Korean version of this proverb: “It is better to hold a single piece of white paper together with someone rather than yourself (백지장도 맞들면 낫다)”. While a piece of paper is very light and everyone can simply carry it without any hardships, it is always better to hold it with someone. This can be translated into no matter whether an issue might be easy to handle, it is always better to do it with someone. 

“When the tiger used to smoke” (호랑이 담배피던 시절)

Nationality: Korean
Age: 53
Occupation: Broadcasting Station Producer
Residence: South Korea
Performance Date: April 23rd, 2020
Primary Language: Korean

Main Piece : 

“호랑이 담배피던 시절”

Original Script : 호랑이 담배피던 시절

Phonetic (Roman) Script : Horangee dambae pidun shijul

Transliteration : When the tiger used to smoke

Full Translation : Long, long time ago… 

Context :

My informant is an adult male who was born in the Gangwon Area of Korea, which is located on the East side of the peninsula. He received Korean education throughout his life and he now works in Korea. Here, he is describing a commonly used proverb that is used in the Korean society. He is identified as S in the dialogue. This piece was collected over a phone call in Korean and was translated into English.  

S : So ‘호랑이가 담배피던 시절’ is one of the most famous opening lines of Korean folk stories. The storyteller, or whoever narrates the story would start off with this opening sentence and continue telling the first chapter of the story. It is similar to how Disney movies start with “once upon a time..”. They never identify the exact year of what’s taking place, but only hints that it is a very long time ago. 

E : Is the author for this opening line known?

S : I don’t think so. I’m not an expert on this, but because this is a very widely used opening in countless folk stories, I think it is unknown and will be hard to find who started this. I don’t think the author for “once upon a time” is known too. I’d be surprised if the author is known. 

Analysis :

I think this particular folktale opening reflects a very Korean aspect as they introduce the tiger out of all animals. Tiger has been a national animal of Korea for a very long time and a lot of the ancient folk drawings or cultures include, or is related to tigers. Tigers in Korean folklore hold a great importance and has been used in various occasions such as the Olympic mascot. Also, when we explain smoke, it doesn’t mean Western cigarettes, but it is most likely believed to be ‘곰방대(Gombangdae)’, which is a traditional smoking device of Korea made out of wood and metal. This opening lets the readers imagine a tiger, sitting in his house like a human, and smoking, using Gombangdae. The triggering of the imagination of the readers gives off a mystical feeling to open the scene. 

This article highlights how Korea used a white tiger as a mascot for their 2018 PyeongChang Winter Olympics and what tiger means in their culture.

Press F

Nationality: US
Age: 20
Residence: Sunnyvale
Performance Date: 4/29/20
Primary Language: English
Language: Mandarin

Background: My informant is a friend of mine of Chinese heritage. He is active in the gaming and computer science communities, and is very knowledgeable about memes and internet culture.  The purpose of the call was specifically so that I could gather folklore from my informant, and they were aware about that as well. 

Context: This conversation was recorded on a zoom meeting that we had on a Wednesday afternoon. My informant is a friend of mine, and the conversation occurred in both of our rooms. The purpose of the call was specifically so that I could gather folklore from my informant, and they were aware about that as well. During the call and in between our discussions of different folklore items, we talked socially about how his finals were going. Thus, this conversation relatively casual. The main piece is made up of a transcription of our call.

Main Piece: All right. Like, have you ever heard of people say like f in the chat or like Press F to pay respects.

Me: Oh yeah, that’s like pay respect right

Yeah, press have to pay respect, like that’s like from call of duty. But now, people just use it as a generic way to, like, say like oh I’m sad for you, like, That’s unlucky, whatever.

You do, you know, like how it started in Call of Duty, like how did that happen?

Someone posted like a picture and I don’t know, it was like a meme. So it started as like a picture someone posts that unlike other subreddit, or like some kind of forum. And people just kind of spread the image everywhere. It was like a while ago, but like, kind of like subtle asian traits (a popular Facebook group) y’know. 

Yeah, anyway, so, it was for Call fo Duty Advanced Warfare in that game. There was like a scene when you’re…when you’re playing on PC. Like you’re…you’re at a funeral, and you have to pay respects, so you press the F button that’s just what you do. 

And so like a youtuber actually he uploaded it. Like a video of the sequence about when you touch the like the casket to pay respects and then after that, like when the thing got posted. Conan O’Brien actually…He reviewed the game and criticize the gameplay especially like the Press F to pay respects part because it was like…O, it’s just such a stupid like a meaningless kind of action and then from then on, there were like videos like… so there were like videos called like intense respect playing.

And now…a lot of people just refer to, like, sad events or like if like you’re trying to empathize with someone. They just say F, like in the chat as much as specifically for like Twitch chat, I guess, but like a mutation on the meme.

Thoughts: I was at once really impressed and somewhat surprised about my informant’s knowledge of the meme and/or saying of Press F. My informant is generally the type of individual to be knowledgeable about these things, and the origin of this gaming folklore is relatively recent, so I cannot say I am totally surprised by his knowledge. Nevertheless, I think it’s fascinating how he plays the role of a folklorist as he analyzes and details how the saying and meme has evolved over time.

Owa Tagu Saiam

Nationality: White American
Age: 56
Occupation: Media relations specialist
Residence: San Francisco, CA
Performance Date: 4/28/2020
Primary Language: English

Context:

I collected this bit of wordplay from my mother (LP) in a face-to-face interview. She grew up in a white Unitarian household in suburban Colorado in the late 20th century. She learned this joke from her mother, who pulled the prank on her and her brother when they were young.

Text:

The prankster says to their victim:

            “Say: ‘owa tagu saiam’”

After repeating it, the prankster asks them to say it faster until it sounds like they’re saying “o what a goose I am.”

Thoughts:

I remember other silly word pranks like this from my childhood, where one person employs a riddle or a pun to get another person to say something self-deprecating or otherwise humorous. The appeal of the joke comes from the moment of recognition when a string of nonsensical sounds becomes language. These games, while seemingly inconsequential and banal, offer a profound look into the mechanisms of signification. The humor of the joke comes from the moment of recognition in which a string of nonsensical sounds becomes meaningful, takes on significance. What was thought to be nonsense becomes sense, becomes a signifier of something completely unexpected.

The prank points to a couple of interesting traits of spoken language. One, that sounds bear no intrinsic relation to their significances: a string of gibberish to one person in one particular subject position (the victim when speaking the phrase slowly) can hold meaning to those occupying other subject positions (the prankster and the victim after the moment of recognition.) Secondly, it reminds the participants that all words are first and foremost just sound. Sounds are assembled and juxtaposed to signify abstract notions, and this process of signification can get so entrenched, so internalized that the signified takes precedence over the signifier, and the language-bearer is “tricked” into equating the two. This prank shatters that implicit assumption by pointing to the sonorous qualities of the word and laying bare the process by which sounds are tied to meanings. This disenchantment with the word, the recognition of the materiality of the signifier, has radical implications. For one, it allows for a kind of verbal play, a refiguration of sounds and their meanings, a liberation from the logocentric notion that words contain no ambiguity, no internal contradiction, that individual words always mean the same thing, like in a dictionary. But dictionaries are produced and disseminated by publishing companies that operate under certain ideological agendas which are always political, which have in their interest the imposition of hegemony.

Such pranks as these can act as subversive and counter-hegemonic, calling into question the ways in which meaning is constructed through language, opening up the potential for resistance through wordplay.