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Basque Legends, Vol. 4: Collected, Chiefly in the Labourd
Excerpt from Basque Legends, Vol. 4: Collected, Chiefly in the Labourd
The study of the recent science of Comparative Mythology is one of the most popular and attractive of minor scientific pursuits. It deals with a subject-matter which has interested most of us at one period of our lives, and turns the delight of our childhood into a charm and recreation for maturer age. Nor is it without more useful lessons. In it we see more clearly than perhaps elsewhere the reciprocal influence, which none can wholly escape, of words and language upon thought, and again of thought and fancy upon words and language; how mere words and syllables may modify both conception and belief; how the metaphor, which at first presented an object more clearly and vividly to the mind than any more direct form of speech could do, soon confuses and at last wholly distorts the original idea, and buries its meaning under a new and foreign superstructure.
About the Publisher
Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com
This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
The study of the recent science of Comparative Mythology is one of the most popular and attractive of minor scientific pursuits. It deals with a subject-matter which has interested most of us at one period of our lives, and turns the delight of our childhood into a charm and recreation for maturer age. Nor is it without more useful lessons. In it we see more clearly than perhaps elsewhere the reciprocal influence, which none can wholly escape, of words and language upon thought, and again of thought and fancy upon words and language; how mere words and syllables may modify both conception and belief; how the metaphor, which at first presented an object more clearly and vividly to the mind than any more direct form of speech could do, soon confuses and at last wholly distorts the original idea, and buries its meaning under a new and foreign superstructure.
About the Publisher
Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com
This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
298 pages, Paperback
First published March 1, 2002
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Displaying 1 - 3 of 3 reviews
July 16, 2020
"For it is one of the charms of the Basque land that the houses are scattered all over the face of the country, instead of being collected into crowded villages; and it is, perhaps, to this fact chiefly that we owe the preservation of so much old-world lore, and of primitive ideas, among this people."
Written by author Wentworth Webster in 1879, Basque Legends introduces the reader to the many facets of, not only the uniqueness of the Basque language and their story telling traditions, but of a proud people; an autonomous community having no formal recognition as an independent country. This collection of “Legends” are in fact no more than summaries in their most skeletal narrative form. This is partially due to the rigors of providing precise translations of one of histories most difficult languages, but more importantly, because of its special nature requiring a cultural oral presentation; where gifted narrators are able to evolve, enhance, embellish, and enrich each telling, making it relevant to current religious and social circumstances, but also in the passing it on to that next generation.
The most notable fact with the Basque language is that this dialect possesses no written or printed record older than 2 centuries, and no alphabet (yet discovered at the time of this writing). Subsequently, it has no literature. But from oral pass downs, over those many generations, the songs and ballads have been preserved with great delicacy and beauty, as demonstrated with this popular, and poetic song, “The Hermitage of St. Joseph”, translated from the dialect of "Labourd". It wonderfully exemplifies the uniqueness of this ancient language:
Of the many unique aspects to these generational tales, most include their signature beginning. We're all familiar with the traditional story opening of "Once upon a time there was a ..." or in another cases its slight variation "There was once upon a time a ..."
Yet, with a few exceptions, the most common opening to the stories of these Basque Legends translates to: "Like many others in the world, there was ...". Again, with the limitations of the Basque language, perhaps this was the best interpretation among the many cultural adaptations from which these stories evolve, and while most stick with this common opening, other variations also include:
—"There were, like many others in the world, a ..."
—"Like many of us who are, have been, and shall be in the world, there was ..."
—"As there are many in the world, and as we are many of us, there was ..."
Finally a combining of the two:
—"Once upon a time, like many others in the world, there was a ..."
However, at the other end, all the tales also conclude with a common signature; replacing "... lived happily ever after" with "and if they had lived well, they would have died well too." (This ending recalls a Latin inscription Memento tua novissima, Et non peccabis in æternum, which still can occasionally be seen on many Basque homes.) I suppose in its way, it retains the same optimism for all its heroes and protagonists, as opposed to an alternative denouement for many of its less fortunate characters, who are often either eaten, burned, or otherwise killed.
These stories also retain a deliberate sense of repetition in their individual plot links, often sharing similar characters (Kings, Princes, Princesses, Witches, Animals that talk, and poor Peasants), variations on the same events and episodes, and most of all, a blatant faithfulness to the number three (3 sons, 3 daughters, three items, three occurrences, three journeys, three choices, etc.), yet there seems to be no obvious reason nor metaphoric explanation. When asked about this of the story teller, they simply rationalize that, in that typical Basque fatalistic acceptance, that it was simply part of the tale and that was enough. If there was a meaning, it was never passed on in the original telling. And while the tales themselves are less than remarkable in their simple, broad, narrative fabric, one soon sees and appreciates how these legends have evolved over the years for others to adapt and retell into the many stories more familiar today; those of talking animals, the Cyclops, or Beauty and the Beast ...
This book concludes with, first, an essay on the Basque language by M. Julien Vinson, a contemporary French linguist who specialized in languages. It is probably a work of linguistic genius in its analysis of the finer aspects of the Basque dialect, however it is not "light reading" and contrasts dynamically with the more simple prose that consumes the book before it.
However, the concluding section does wonderfully address the Basque affinity for song, rhyme, and poetry. Perhaps it may be the most poignant aspect of the book, since in explores through both example and comparison, true Basque culture and customs, their eclectic influences, and their very long history; one being the yearly village fêtes, or another, the great matches of Jeu de Paume au Rebot (an early forerunner of tennis), or most of all, the improvisational dramas: the Pastorale or Tragedy, and the Charivari or Mascarade. These were unfettered performances and gave way to the freedom of invention of the actors. It is during these dramas we find many wonderful examples of Basque lyricism, often spontaneous and improvised, that prove insightful into their culture, and their ability to absorb and become such eclectic masters of story telling.
One concludes this study with a clear appreciation of the Basque cultural contribution to these legends and fabled myths, and a recognition of their place in history, despite their being denied, even to this day, a political recognition.
For now, time for a glass of Izarra and a long, long tale and an animated telling ...
“Perhaps there is no people among whom versification is so common, and among whom really high-class poetry is so rare, as among the Basques.”
Written by author Wentworth Webster in 1879, Basque Legends introduces the reader to the many facets of, not only the uniqueness of the Basque language and their story telling traditions, but of a proud people; an autonomous community having no formal recognition as an independent country. This collection of “Legends” are in fact no more than summaries in their most skeletal narrative form. This is partially due to the rigors of providing precise translations of one of histories most difficult languages, but more importantly, because of its special nature requiring a cultural oral presentation; where gifted narrators are able to evolve, enhance, embellish, and enrich each telling, making it relevant to current religious and social circumstances, but also in the passing it on to that next generation.
The most notable fact with the Basque language is that this dialect possesses no written or printed record older than 2 centuries, and no alphabet (yet discovered at the time of this writing). Subsequently, it has no literature. But from oral pass downs, over those many generations, the songs and ballads have been preserved with great delicacy and beauty, as demonstrated with this popular, and poetic song, “The Hermitage of St. Joseph”, translated from the dialect of "Labourd". It wonderfully exemplifies the uniqueness of this ancient language:
Of the many unique aspects to these generational tales, most include their signature beginning. We're all familiar with the traditional story opening of "Once upon a time there was a ..." or in another cases its slight variation "There was once upon a time a ..."
Yet, with a few exceptions, the most common opening to the stories of these Basque Legends translates to: "Like many others in the world, there was ...". Again, with the limitations of the Basque language, perhaps this was the best interpretation among the many cultural adaptations from which these stories evolve, and while most stick with this common opening, other variations also include:
—"There were, like many others in the world, a ..."
—"Like many of us who are, have been, and shall be in the world, there was ..."
—"As there are many in the world, and as we are many of us, there was ..."
Finally a combining of the two:
—"Once upon a time, like many others in the world, there was a ..."
However, at the other end, all the tales also conclude with a common signature; replacing "... lived happily ever after" with "and if they had lived well, they would have died well too." (This ending recalls a Latin inscription Memento tua novissima, Et non peccabis in æternum, which still can occasionally be seen on many Basque homes.) I suppose in its way, it retains the same optimism for all its heroes and protagonists, as opposed to an alternative denouement for many of its less fortunate characters, who are often either eaten, burned, or otherwise killed.
These stories also retain a deliberate sense of repetition in their individual plot links, often sharing similar characters (Kings, Princes, Princesses, Witches, Animals that talk, and poor Peasants), variations on the same events and episodes, and most of all, a blatant faithfulness to the number three (3 sons, 3 daughters, three items, three occurrences, three journeys, three choices, etc.), yet there seems to be no obvious reason nor metaphoric explanation. When asked about this of the story teller, they simply rationalize that, in that typical Basque fatalistic acceptance, that it was simply part of the tale and that was enough. If there was a meaning, it was never passed on in the original telling. And while the tales themselves are less than remarkable in their simple, broad, narrative fabric, one soon sees and appreciates how these legends have evolved over the years for others to adapt and retell into the many stories more familiar today; those of talking animals, the Cyclops, or Beauty and the Beast ...
This book concludes with, first, an essay on the Basque language by M. Julien Vinson, a contemporary French linguist who specialized in languages. It is probably a work of linguistic genius in its analysis of the finer aspects of the Basque dialect, however it is not "light reading" and contrasts dynamically with the more simple prose that consumes the book before it.
However, the concluding section does wonderfully address the Basque affinity for song, rhyme, and poetry. Perhaps it may be the most poignant aspect of the book, since in explores through both example and comparison, true Basque culture and customs, their eclectic influences, and their very long history; one being the yearly village fêtes, or another, the great matches of Jeu de Paume au Rebot (an early forerunner of tennis), or most of all, the improvisational dramas: the Pastorale or Tragedy, and the Charivari or Mascarade. These were unfettered performances and gave way to the freedom of invention of the actors. It is during these dramas we find many wonderful examples of Basque lyricism, often spontaneous and improvised, that prove insightful into their culture, and their ability to absorb and become such eclectic masters of story telling.
One concludes this study with a clear appreciation of the Basque cultural contribution to these legends and fabled myths, and a recognition of their place in history, despite their being denied, even to this day, a political recognition.
For now, time for a glass of Izarra and a long, long tale and an animated telling ...
“Perhaps there is no people among whom versification is so common, and among whom really high-class poetry is so rare, as among the Basques.”
February 1, 2025
The good standard on the subject in English.
August 2, 2019
Read Beauty and the Beast. This was a legend coming out of the Basque area (Spain and France.)
Displaying 1 - 3 of 3 reviews