The Fisherman and His Wife

L Aufsätze

H e d a J a s o n , J e r u s a l e m

The Fisherman and His WifeA Case Study of a Hybrid Folktale*

Allow me, esteemed colleague, here, with this modest gift for your Jubilee,to pick up a theme which you have toudied upon1 and which has touched me:the story of the poor fisherman and his ever-insatiate wife (AaTh 555).

For our discussion, two texts narrated by Near Eastern Jews were select-ed2. The problem to which we have addressed ourselves is, to which ethno-poetic genre should these texts be assigned; all other facets have been setaside.

As already observed by our distinguished colleague, the content of a taledoes not automatically define its genre3; texts assigned to the same AaTh-taletype not necessarily belong to the same preconceived genre. Are our textsgenuine and pure fairy-tales, äs AaTh 555 is usually considered to be, in-cluded in Aarne's chapter of fairy-tales?

Text IFA 7282 (see füll text of story in Table l, col. 2—6) answers at leastsome of the criteria for a fairy-tale4. The discussion of this text will benefitfrom comparison with the fairy-tale model devised by V. Propp5, consistingof seven narrative roles performing 31 narrative functions (= actions).

N a r r a t i v e r o l e s : Of Propp 's seven narrative roles, only those ofdonor and, very conditionally, hero are filled (fish and wife respectively); allthe other roles are absent.

:· Dieser Aufsatz war als Beitrag für die Festgabe an Max Lüthi (Fabula 20) vor-gesehen, konnte aber aus drucktechnischen Gründen erst in diesem Bande ersdieinen.(Anm. der Herausgeber)

1 Lüthi, M.: Von dem Fisdier un syner Fru. In: Volksmärdien und Volkssage. Bern/München 21966, 57—61.

! The texts are taken from the Israel Folktale Ardiives (IFA): num. IFA 894,narrated by a Jew who had immigrated to Israel from Iraq; and num. IFA 7282,narrated by a Jewess who had immigrated to Israel from Spanish Morocco. Mythanks are due to D. Noy, long Director of the Ardiives, and to Miss Edna Cheidiiland O. Sdmitzler of the staff, for their ever-ready helpfulness.

J See, for instance, Lüthi, M.: Gattungsstile. In: (above, not. 1) 49—56.4 For definitions, see Jason, H.: Ethnopoetics: A Multilingual Terminology. Jerusa-

lem 1975, chapter 4, and H. Jason, Ethnopoetry: Form, Content, Function. Bonn1977, chapter 4.2.

J Propp, V. Ja.: Morfologija skazki, Leningrad. English translation: Morphology ofthe Folktale. Austin 21968.

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2 Heda Jason

N a r r a t i v e f u n c t i o n s : Of Propp's 31 functions, only num. 12—14are present:

12: donor tests hero (fish asks to be freed);13: hero answers donor's test (husband frees fish);14: donor rewards hero (fish fulfills the husband's/wife's request).

All other functions of the fairy-tale — whidi narrate the winning of a mar-velous royal spouse and/or wealth — are absent.

C h a r a c t e r s : The attributes of the characters8 (contentual terms) ful-filling the narrative roles do not correspond to the attributes demanded by thefairy-tale model. Only the donor — the fish — is modeled after the fairy-taledonor; he belongs to a marvelous world (i.e. a fabulous world Standing out-side the framework of the society's belief Systems) and desires de-marvelization;he has the marvelous ability of reasoning and speech and of accomplishingmarvelous deeds (transposing the wife into a different social role, and bringinginto being objects [palace] and persons [servants]). The other two characters— the husband and wife — bear no semblance to fairy-tale characters, noteven to the characters of the reward-and-punishment fairy-tale7, parallel inage and sex but symmetrically opposed in actions performed. The husband'sfear of the talking fish points away from the fairy-tale, in which humancharacters regard äs matter-of-fact the marvelous qualities of the beings theyencounter8.

T e m p o r a l f r a m e w o r k 9 : The story is set in an undefined timeperiod: "Once [...]"· True, that is the temporal framework of the fairy-tale,but other genres partake of it, too: certain legends, novelle, and all the sym-bolic genres10. To this latter belong the formula tales, to which we shall seekto link our texts.

S p a t i a l f r a m e w o r k 1 1 : What was said of the temporal frameworkis valid for the overall spatial framework, äs well. The story appears to be setin the world of the fairy-tale, where talking fishes swim the sea; yet the for-mula-tale world is situated like an "island", in the same general, vague spacewhere the "island" of the fairy-tale is found (the "in-between-space" betwixt"this" and the "after"-world). Therefore, the temporal and spatial frameworkscannot aid in defining the genre of the text.

The organization of time and space within the confines of our story, how-ever, points very clearly away from the fairy-tale: in the fairy-tale, the hero(or heroine) Starts out äs relatively young (often äs yet unmarried), or at the

6 For description, see Jason (above, not. 4) diapters 15—18.7 See modei in Drory, R.: Ali Baba and the Forty Thieves: An Attempt at a Model

for the Narrative Structure of the Reward-and-Punishment Fairy Tale. In: Patternsin Oral Literature, edd. H. Jason and D. Segal. The Hague 1977, 31—48.

8 For a discussion of the relation of human to non-human beings, see Lüthi, M.:Märchen und Sage. In (above, not. 1) 25—28.

9 Jason (above, not. 4) chapter 20.10 Jason (above, not. 4) diapters 5 and 21.11 Jason (above, not. 4) chapter 19.

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The Fisherman and His Wife. A Case Study of a Hybrid Folktale 3

birth of the hero from hitherto harren parents; the story continues at leastunti l his marriage, i.e. completes an entire life cycle, from family of orientationto family of procreation12. In our story, the time-span covers but a few scenesof a middle-aged married couple's life.

The movements in space in the fairy-tale lead from the hero's home —"our" human world — to the realm of the fairy-tale, and sometimes badeagaüi, when the hero returns to his parents with his bride (a heroine, äs a rule,stays with her marvelous, royal husband in his marvelous realm). In our text,the characters are almost immobile: the fish stays in the sea, the wife at home;the home itself changes from tent to palace; the husband goes to and frobetween the two, like a pendulum, activated by an outside force. The homeof the couple symbolizes the human world; the sea symbolizes the "other" world.

Thus, although the text has some qualities of the fairy-tale, it cannot beregarded äs one.

Let us now consider text IFA 894 (see Table, col. 7—10). Immediately wenotice that the fabulous force working in this text is firmly embedded in thesociety's belief System: the donor is Almighty God and the intermediary isMoshe, Our Teacher — biblical Moses — somewhat modified by medieval folktradition: he is now eternal, presenting the affairs of his people before theAlmighty. It is in this capacity that he acts in our story. The theodicialcharacter of our story is evident: God lets the story run its course in Order tojustify His acts and decisions before Moshe, here representative of humanityäs a whole. Thus, the story corresponds to the definition of the sacred legend18:in the sacred legend, man confronts the miraculous, sacred power of theofficial religion of his society; and this sacred power resolves the conflict ofthe tale. In our case, the problem is one of the justice of God's reigning overthe world; He has to justify His ways, äs indeed He does, and thus resolvesthe conflict of the tale14.

P l o t s t r u c t u r e : There is no surface model for the sacred legend, ästhere exists for the heroic fairy-tale15. A preliminary sketch of narrative rolesreveals three roles16:(a)Hero: positive or negative.(b)Opponent: the opposite of the hero (if hero is negative, Opponent is posi-

tive, and vice versa),(c) Resolver of conflict, who rewards and punishes (a) and (b).In our text, the Poor Man is the hero if we set aside the problem of theodicy;

12 See Murdock, G. P.: Social Structure. New York 1949, 13, 33, 94.13 Jason (above, not. 4) chapter 4.1.2.1.14 For a discussion of the problems resolved in the sacred legends, see Tason, H.:

Conflict and Resolution in the Sacred Legend. In: Studies in Jewish Etnnopoetry.Taipei 1975, 63—175.

15 Propp (above, not. 5).11 See description in Jason, H.: Der Zinsgroschen. Analyse der Erzählstruktur. In:

Linguistica Biblica 7/2 (1977) 49—87.



4 Heda Jason

on this latter level, God is the hero and Moshe the donor, according to thedeep-layer model of plot structure17, whereas the Poor Man is merely an In-strument. On a second level, the Poor Man seems to be a negative hero andreceives punishment; Moshe might be considered the Opponent, and God äs theresolver of the conflict (on this level: man against God). Moshe is an inter-mediary which could be eliminated: if the Poor Man were simply to pray toGod directly, his level of the tale would be resolved equally äs well.

C h a r a c t e r s : All the characters have attributes typical of the sacredlegend.

T e m p o r a l and s p a t i a l f r a m e w o r k : Either framework of thetale is typically undefined, äs in the case of Jewish theodicial legends18. ThePoor Man's whereabouts are definitively in „this worid" (the world of theliving); God's abode is in the "after"-world; Moshe permanently remainsamongst the living, meeting God on the border between the two worlds (seesegment 9 in Table 1).

Thus, our text is firmly established äs belonging to the genre of sacredlegend, with one reservation; we still have to account for the organization ofthe Poor Man's level of the story into links.

Let us now consider the texts on the basis of Table l (p. 9 sqq.), äs formula tales.The tales are divisible into links, IFA 7282 into five links and IFA 894 into

four. Despite the different content units, and the general affinity of the twotexts to two different genres (äs is evident from Table), the links of both textsare built identically. The first link of IFA 7282 is introductory and fairy-talelike, yet even it is built on the same pattern. The final segment of the tale,which again resembles a fairy-tale, does not fit the formula-tale pattern, anddoes not appear in other versions of the AaTh 555 tale (the fish changes into aprince; see AaTh 531 IV C: horse-helper changes into a prince).

As in any regulär formula tale, in our texts the links are identical, exceptfor a single element, which changes from one link to the next and thus createsthe illusion of narrative. The stable elements are the narrative roles and theiractions; these are indentical in both texts, the roles differing in their contentmatter (the attributes of the characters of the two texts differ). Variable fromlink to link are the hero's wishes; here again, the content of the element issimilar in all versions of the AaTh 555 tale:Stability in narrative roles, variability in content of the two versions.

IFA 7282

IFA 894

Hero

wife

Poor Man

Intermediary

husband

Moshe

Donor

fish

God

17 For a description of this model, see Jason, H.: A Model for the Narrative Structurein Oral Literature. In (above, not. 7) 99—139.

18 See Jason, H.: Concerning the "Historical" and the "Local" Legends and theirRelatives. In: (above, not. 14) 37—50.



The Fishcrman and His Wife. A Case Study of a Hybrid Folktale

Stability in both narrative actions and content:(l)The hero demands something from the intermediary;(2) The intermediary asks the donor for a boon for the hero;(3) The donor grants the boon to the hero.

Variability of content of the wish from link to link:

First wish

Second wish

Third wish

Fourth wish

Content

property

queen/minister

empress/king

God-like/God's act

Interpretation

reasonable

two degrees of powerover other people

insolence = sin

Thus, the following distribution emerges:

Variables

Invariables

Syntax

differ from link to link

identical throughout

Semantics

identical in the two texts

different in the two texts

The variables (wishes) are graded, and the chain of the formula tale ends atits starting point: both the wife and the Poor Man return to their initial state:

IFA 7282 IFA 894

Both texts use the element of delay, which serves semantic purposes19: thehusband (= intermediary) at first refuses to ask the fish (= donor) for theboon, in links l and 5 (col. 2 and 6, segment 15), and thereby characterizesthe wishes of his wife (= hero) äs negative. In the other text, God (= donor)at first refuses to answer the prayer of Moshe (= intermediary), and therebycensors the wishes of the Poor Man (= hero) (segment 13). Although in eachtext the act of refusal is made by a different narrative role, the act is structur-dly equivalent, and could actually fit into the same segment within the patternof the link.

The endings of both texts lie outside the formula-tale pattern. In IFA 7282in is the killing of the wife and the transfiguration of the fish (both exceptionalto the AaTh 555 tale); in IFA 894 it is the final speech of Moshe, which ex-

l& Sdiklovski, V.: O teorii prozy, Moscow 1925, gives another Interpretation of"Delay" in literary works: they serve to heighten interest in the narration.



6 Heda Jason

ceeds the formula-tale pattern. These give a narrative quality to the otherwisequasi-narrative formula tale. Careful examination reveals that no genuinenarration, with complication and solution, is present. Each link in itself isequivalent to every other one. The link begins with an initial Situation ofdissatisfaction (segment 2), with a change in state following, yet this changeis not a resolution of the initial dissatisfaction — it does not lead anywhere,äs the last link shows.

The non-narrative character of the story is underscored by considerableportions being rendered äs informative connectives20. We do not hear howthe wife received her home or palace, became queen, etc., but rather are toldthat the husband returns and "sees" the house or palace (segment 22), i.e. hereceives the Information by sight, and we learn of it through his eyes. Thesame is the case in the last link of IFA 894: the Poor Man wakes up and"sees" himself in the state of poverty. Further, he asks what has happened and"hears" it from Moshe (segment 22).

The texts are built according to formula number patterns21, the basicnumber being "3". There are three equivalent links which begin and endsimilarly (col. 3,4, 5; and 7,8,9); IFA 894 adds a final link which differs fromthe rest, thereby creating the formula 3 + 1. IFA 7282 adds two links at eachend of the chain, thus creating the formula 1+3 + 1. Three narrative rolescome into play in the tale: the link is divided into three basic episodes — theconversation between the hero and the intermediary; the conversation betweenthe intermediary and the donor; and the acting of the donor on behalf of thehero. The hero has 3 + 1 whishes; in the spatial dimension there are two pointsand a path between them (2 + 1=3).

The principal narrative roles are the hero (wife, Poor Man) and donor(fish, God); the third role is auxiliary, a sort of intermediary betwixt heroand donor, and between "this" world and the "other" world (husband, Moshe).The intermediary could actually be dispensed with: the Poor Man, for instance,could pray directly to God without impairing either the syntactic pattern ofthe tale or its message. Yet, that is not the case in any version of AaTh 555which has come to our attention.

The presence of the intermediary creates a distance between "this" and the"other" world on two levels. A gradation is achieved in the attributes of thecharacter, the intermediary's qualities Standing between the "this worldly"hero and the "other worldly" donor; a spatial distance between the two worldsis revealed by the walking to and fro of the intermediary (segments 9, 12, 20).

To be sure, the intermediary is not a mediator22. Although he has, inaddition to his human nature, some attributes of the "other" world (the hus-

20 See Jason (above, not. 17).21 See Jason (above, not. 4) diapter 14.22 See KÖngäs-Maranda, E./Maranda, P.: Structural Models in Folklore. In: Structural

Models in Folklore and Transformational Essays. The Hague/Paris 1971, 16—94.



The Fishcrman and His Wtfc. A Case Study of a Hybrid Folktale 7

band is the only one who succeeds in catching the extraordinary fish, knowsits n.ame and the song by which to call it; Moshe is the only human on recordwho speaks with God "face to face"), he does not reconcile the two worlds (äsdoes the fairy-tale hero)23. He brings the verdict of the "other" world intothe human world, and thus is only a channel through which communicationflows in both directions.

The temporal organization of the two texts is not quite identical. InIFA 7282, time does not really flow; we hear of a general "Once", "In theevening, when they went to sleep" (segment 3), "Tomorrow" (segment 4), "Inthe morning" (segment 8), but there is no indication of the time that actuallydid pass between one conversation with the wife and the next, i.e. from onelink to the next.

In IFA 894, the flow of time is introduced, but only between the links:"After a year", "And only a few months passed" (segment 1). Within thesegments no time is shown to pass: "With the end of his prayer" (segment 11),„And lo!a, „Moshe hardly could utter one more word, when [...]" (seg-ment 18). The expressions: "And after Moshe prayed [...]" (segment 17),"[...] after the people [...]" (segment 22), entirely gloss over any time lapse,äs well äs any actions which would necessarily entail lapse of time. Thus, thenon-existence of the flow of time within a segment is emphasized; this seemsto be one of the qualities of a formula tale.

The spatial organization of both texts is identical. The action takes placeon a stage consisting of two points, with a path between them (segments 9, 12,20). Hero and donor are each fixed in his respective location (the points: thewife's and Poor Man's home; the sea and the Heavens, respectively); theintermediary oscillates between these locations. This leads to an illusion ofmovement where, in reality, there is none in any direction. This would seem,generally, to be the organization of space in formula tales.

0 0 0

To sum up: Our texts are hybrid phenomena24, Standing between thegenres of formula tale and fairy tale, and sacred legend, respectively. Theformula tale functions äs the syntactic level of the text; the two other genresfunction on the semantic level. The syntactic pattern is a formal neutral model;the semantic level carries the message of the tale. It is to this level that Lüthiaddressed himself in his paper25.

a See Jason, H.: Aspects of the Fabulous in Oral Literature. In: Fabula 19 (1978)14—31.

!4 Jason (above, not. 4) diapter 7,!5 Lüthi (above, not. 1).



8 Heda Jason

B. Holbek found a similar relation between the syntax and the semanticsof a formula tale28. While all the examined versions of the tale (AaTh 2027)are built according to the same syntactic formula-tale model, in one versionthe content elements are linked with the annual agricultural labor cycle. Thecat's evergrowing appetite would symbolize the diminishing food supplytoward harvest time and, on a higher level of abstraction, the tale deals withthe human problem of ambition, which had grown out of proportion. Here,Holbek's story and the fisherman's story incidentally deal with the samehuman problem.

M Holbek, B.: The Big-bellied Cat. In: Varia Folklorica. ed. A. Dundes (WorldAnthropology Series). The Hague, forthcoming. I am gratefui to the author forputting the manuscript of the paper at my disposal.



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The Fisherman and His Wife