Category Archives: Legends

Narratives about belief.

The Butterfly Lovers Legend

Age: 22
Occupation: College Student
Residence: Los Angeles, CA
Language: English

Text

Collector: “Can you tell me a legend you heard growing up?” 

Informant: “So the legend takes place in Eastern China during the Jin Dynasty. It is basically a love story. The girl Zhu YingTai is the 9th child and only daughter of a wealthy family and she brought her family pride and joy because she was very disciplined and made beautiful embroidery.Her biggest dream and goal in life was to go to school and take on scholarly pursuits, however women at this time are discouraged from going to school. She convinces her parents to let her go to school so long as she disguises herself as a man and promises to come home after her studies to be a dutiful wife. Along the way, she meets a scholar named Liang Shanbo, and they form a strong friendship. Liang Shanbo does not know Zhu YingTai is a woman. Over the next years, they study together and even share a room.They take an oath of fraternity, become sworn brothers. She starts to fall in love with him and Liang Shanbo feels a strong connection. Liang Shanbo obviously grows suspicious of Zhu YingTai overtime, as she always wears thick robes up her neck. People start noticing her secretive behavior and she is forced to leave school and go home. 

When she returns home she finds out that her parents have arranged for her to marry a wealthy merchant from the Ma family. At the university, Liang ShanBo feels like his studies are dull and pointless without Zhu YingTai and decides to visit the Zhu family. When he knocks on the door he sees a young woman and asks for her brother before realizing it is Zhu YingTai herself. As soon as their eyes meet, they recognize each other and admit to his love for her, now that he knows she is a woman, proposes to her. However she has already been engaged. He is devastated but understands. Liang Shanbo tries to get her engagement broken off, but the girl’s family says breaking off engagement will bring them great shame. 

Liang Shanbo falls ill. Fearing that he would not be able to see her on the wedding day, he writes her a final letter and dies after completing it. In the letter he tells her, if you love me, you will light incense at my grave on your wedding day. On the day of the funeral, there were thunderstorms.

Zhu YingTai honors his request and lights incense, wishing they could still be together. When she is done, thunder cracks the tomb and she throws herself in the grave to join him. When the thunder clears, two butterflies come out of the grave.”

Context

The informant is both Chinese-American and a violinist. When he was in high school, he was instructed by his violin teacher to learn The Butterfly Lovers violin concerto. The Butterfly Lovers violin concerto that is based on the Butterfly Lovers Tale, which the informant learned from his mother. It is also a relatively popular Chinese tale. His interpretation of the story is that it is a cliche story about love. True love can never be hidden nor broken.

Interpretation

 The story conveys the fact that true love has no bounds and that individuals who are meant to be together will find each other in the end. This tale reinforces the traditional norms and expectations of women during the Jin Dynasty, as women were not allowed to seek an education during and had a duty to marry into a good family and be a dutiful wife. Familial expectations are seen in this story and initially act as a barrier to their love. However, Zhu YingTai sacrifices her life in order to be with her true love and they are brought together in the afterlife, which coincides with Buddhist beliefs of reincarnation. Butterflies in Chinese folklore are often associated with one’s soul, therefore the two butterflies emerging from the grave represent the fact that Zhu YingTai and Liang Shanbo have an unbreakable bond. Across other cultures, butterflies often represent a rebirth or a transformation.

The Pele Curse

Age: 55

Text: The Pele Curse

Context: “Growing up, we often visited my aunt in Oahu, because she moved there before I was born and lived there until moving back to Korea in her 50s. We would normally go once a year. Although she is not Native Hawaiian, she became very integrated in the culture and learned how to respect Hawaiian natives and ancestors. She taught us many important Hawaiian customs and values to respect, but one legend that stuck with me, and one I taught to you, is the Pele Curse. Pele is the Hawaiian goddess of fire, lightning, and volcanoes. Pele is such a powerful being that she is capable of putting a curse on tourists who come to Hawaii and disrespect the land. When my sisters and I were young kids, we always wanted to take home the pretty seashells from the beach. My aunt told us that if we took them, Pele would curse us and bad things would happen when we go home. We had dogs growing up, and my aunt said that Pele would take them away from us. As naive children, we immediately believed this and then became too scared to even touch a shell on the beach. Now, I know that the curse is not true, but it is something that I told to you and your brother as children, because I wanted you to understand the importance of respecting Hawaiian culture. Even if a real curse is not put on you by Pele, you still have to treat the land and environment with respect.”

Analysis: This story about the Pele Curse is considered a legend, as Pele is a legendary figure rooted in ancient Hawaiian culture. She embodies the elemental power of the Hawaiian islands. Her legend blurs the lines between everyday life and sacred culture, as she is a divine force that can intersect with the real world. This legend can be considered a pedagogical legend, as it is used to teach a moral lesson and guide behavior.

Although the interviewee is not Native Hawaiian, she is engaging with Indigenous folklore and spreading it to others. While this idea of reshaping folklore that does not belong to someone may seem problematic, it is done with the intention of care and respect. The story is told to teach ethical and moral values. This connects to a lot of discussion from lecture and discussion, which is the question of what happens when folklore is removed from its original cultural setting. In this case, the folklore survives, but the exact form and function does not remain the same. However, the general idea and lesson being taught remains, which is the most important takeaway from this specific legend.

This story also shows how ritual belief is passed down, even if it is not literally believed. It is more about the symbolism behind the story than its truth value. The interviewee still chooses to pass down the story to future generations because of its functional power.

The curse itself can also be related to magic superstition, as discussed in class. The idea that an object so small as a shell could bring misfortune demonstrates the idea of contagious magic. An object that is connected to a spiritual figure can carry power. Taking a piece of the island, both literally and metaphorically, is seen as removing a piece of Pele herself. This is violating the sacred relationship between Hawaiian people and their land. This is why stories like the Pele Curse continue to be told, as they function to help enforce respect and moral behavior.

Haunted house on the hill

Age: 20

Text: Ghost story of Richmond, England – haunted house on the hill

Context: “In my town in London, I live close to this really popular hill. On the hill, there’s a pub, and a lot of people go there at night, or they just walk up the hill during the day. There’s a huge, really nice, old house on the top of this hill. It’s beautiful, and definitely worth a lot of money, but it is completely abandoned. No one actually knows why, but people have made up a lot of stories about how it is haunted, because they think there must be some explanation for why no one lives there, and also why it’s never gone up for sale. When I was younger, my neighbor told me that it was haunted by a spirit. She said a pianist once lived there, named Isabelle. She moved into this huge house completely alone, and no one knew where she got the money to afford it, or why she needed such a big place for just herself. Anytime you walked near the house, you could hear her playing the piano. One night, the piano completely stopped, and no one heard from or saw Isabelle. Eventually, the police broke in and found the piano open, with a warm cup of tea sitting on it, but no sign of Isabelle. No one ever found her. Anyone who moved into the house after this, would hear the piano playing at the middle of the night. When they went downstairs to investigate it, it suddenly stopped. One tenant tried to move the piano out of the house, but tripped and fell, hit his head on the piano, and died. After this, no one dared to move into the house and it has remained empty ever since. After hearing this story, I told all my friends, and we used to dare each other to run up to the house and peek inside. One of my friends swore she saw a shadow sitting at the piano. This was only one of the variations I heard about this supposed haunted house, but to this day, no one has any idea why it has been abandoned.”

Analysis: This story about a haunted house functions as a legend. It is set in a real-world location and is framed around belief. The house exists, but the question of whether the ghost truly haunts it is open to interpretation. However, the purpose of this legend is less about whether or not the ghost exists but more about the negotiation of what to believe and the counter-legends that are produced from it.

The interviewee’s account of the story is an example of ostension, which is when people act out the contents of legends in real life. Her and her friends daring each other to run up to the house shows how the legend became social and performative. These performances do not make the story true, but they make the legend feel real. The narrative structure of this particular legend is also FOAF (friend of a friend). The interviewee heard this legend from her neighbor, which helps reinforce the truth. Additionally, her friend claiming that she saw the shadow also makes the legend more believable.

There is also a cultural function of this story. Whether or not the people in this town believe in the ghost, the legend functions to explain a question: why the beautiful, expensive house remains abandoned. People create folklore, like these ghost stories, to fill the gaps in knowledge. The legend also reinforces a collective identity of the town. The house is no longer just a house, but it is a piece of community and history. It connects people through emotions, whether that is fear or curiosity. This shows how folklore performs a social function in maintaining group identity. The interviewee associates this story with her town and the people she grew up with.

The different symbols and variations that the interviewee has claimed to hear can be considered allomotifs. If a specific part of the story has changed (e.g the instrument being a violin rather than a piano), that part would be considered an allomotif. The function of the story remains the same though, as the idea is that there is a haunted instrument that represents the haunting of the dead spirit.

The Kappa Legend

Age: 21

Text: The Kappa: a Japanese legend

Context: “I’m not Japanese, but many of my classmates in my elementary school were from Japan and China, so I heard a lot about the Kappa creature. In eighth grade, my school did a trip to Japan, and all my friends who lived there warned me of Kappas. Any time we walked by a river, my classmates would tell me that there was a Kappa in there, waiting to drown us. I remember some of the rivers even had signs that would show children getting attacked by Kappas. I never saw a Kappa, but they described them as scaly, green reptiles that were almost like a cross between turtles, humans, and dragons. My friends always told me that if we encountered one, it would attack me, and not them, because they know how to treat a Kappa as a Japanese, but because I was not Japanese, it would come for me first.”

Analysis: The story of the Kappa is an example of a legend rooted in Japanese culture. Although the interviewee is not Japanese, he still participates in folklore. This shows how folklore can be inclusive, as he is able to learn about and understand this legend. However, it also shows how folklore is exclusive, as even though he can learn the folklore, he is never truly part of it. His classmates told him that the Kappa would attack him only, because he did not know how to properly respect it, as he is not Japanese. This relates to ethnonationalism, and how folklore can be tied to ethnonational identity. This also shows the difference between emic vs etic perspectives. His classmates represent an emic perspective, as the Kappa is part of their internal worldview. For the interviewee, though, it is an external observation. He becomes a partial participant in the folklore through performance.

This story also shows how folklore becomes institutionalized in everyday life. The fact that it is common for there to be signs warning people of Kappas in the water, shows that the creatures are not just legendary, but also pedagogical. The creature acts as a warning to prevent children from going in the water, making the legend a cautionary tale. Although the creature itself will not drown you, a young child swimming in the water when they are unable to, can cause drowning, and the Kappa is a way to prevent this.

Lastly, this also shows how folklore can be a part of memory and rites of passage. This school trip is defined and remembered by the Kappa, which shows how folklore can create cultural learning. Even though he never had a personal encounter with a Kappa, the creature became part of how he understood not only Japan, but also his status as an outsider within Japanese culture. The personal connection into lived experiences gives the legend power.

Legend of Chupacabra

Age: 20

Text: The Legend of Chupacabra

Context: “My parents told my sister and I about many different Spanish creatures and figures, one of them being the chupacabra. The chupacabra is a vampire-like animal that sucks on the blood of other animals. I grew up on a farm, so we had pigs and cows that we took care of. My sister and I grew up with the fear of the chupacabra attacking our animals, so we had to be extra cautious at the farm. My parents made us have a bucket of water beside the animals, because allegedly, chupacabras are scared of water, and pouring water on them would “drown” them. One time, one of our cows got mange, and my sister and I were so worried that a chupacabra attacked him. It took us a while to get over our fear because we genuinely believed that they were coming to suck the blood of our animals. We realized later on that our parents told us this story for two reasons. The first is, even though I’m Mexican, I did not grow up speaking Spanish well, and my parents were worried I would not have a strong connection to my ethnicity. They told my sister and I this story as a way to understand our culture more. The second was more for teaching purposes, as they wanted us to learn how to take care of our animals properly and be extra cautious in order to prevent them from getting diseases.”

Analysis: This story about the chupacabra is a classic legend. The chupacabra is a folkloric, legendary figure based on Spanish culture. This creature exists in the real world, but the truth value behind it is unknown.

The actions described in the story is an example of ostension, as the belief has led to real actions. The interviewee placed water buckets next to the animals because they believed it would protect them in case they had to come in contact with a chupacabra. Even though this protection mechanism has no scientific evidence or reasoning, it gives the family a sense of control. When one of the cows got mange, the chupacabra was blamed, which shows how folklore can become a cultural model that explains misfortune and negative consequences. Folklore can work as a way to try to explain the unexplainable. Although the legend may not seem believable, the belief is contextual. Since the interviewee grew up on a farm where hsi animals encountered unknown illnesses and death, the legend was a way to explain this. 

The story is also an example of polygenesis, as there are similar stories of blood-drinking animals in many different cultures. For example, the most notable one I could think of is vampires in European culture. It is also often compared to Sasquatches, which are another common predatory figure. These creatures are a reflection of shared fears among different cultures. For example, the sickness and death of animals and humans due to environmental experiences. Without scientific knowledge of why this happened, people turn to folklore to explain it. Many cultures experienced this fear, which is why they came up with legendary creatures, and as a result, the creation of allomotifs. These narrative figures fulfill the same role within their cultures, but are slightly different based on the region.

As the interviewee mentioned, the story also reflects the role of folklore in intergenerational education. By telling their children stories about chupacabras, the interviewee’s parents are not only passing down a story, but also teaching them how to care for their animals. The legend is able to shape the behavior, as a memorable narrative can be more effective than instruction.