What do you think?
Rate this book
Basque Legends
Book
"The origins of both the story and the legend started with the man's desire to explain phenomena and actions that take place in the world around him. The Basque mind was rich with imagination when it came to creating different legends in response to the questions that came from observing nature and immediate surroundings. Ancient legends about spirits and pagans, monsters and subterranean animals, and especially the human or semi-human figure known by the names of Mari, Lamia, Lady, or Dame-names that are always used to identify witches in Basque legends." (Quote from dametzdesign.com)
Table of
Publisher’s Preface; Introduction.; Legends Of The Tartaro; Introduction; The Tartaro.; M. D'abbadie's Version.; Variations Of 'the Tartaro'; Errua, The Madman.; Variations Of Errua.; The Three Brothers, The Cruel Master, And The Tartaro.; The Tartaro And Petit Perroquet.; The Heren-suge.--the Seven-headed Serpent.; Introduction; The Grateful Tartaro And The Heren-suge.; Variation Of 'the Grateful Tartaro And The Heren-suge'; The Seven-headed Serpent.; The Serpent In The Wood.; Animal Tales; Introduction; Acheria, The Fox.; The Ass And The Wolf.; Basa-jaun, Basa-andre, And LamiÑak.; Introduction; Basa-jauna, The Wild Man.; The Servant At The Fairy's.; The Fairy In The House.; The Pretty But Idle Girl. ; The Devil's Age.; The Fairy-queen Godmother ; Witchcraft And Sorcery.; Introduction; The Witches At The Sabbat. ; The Witches And The Idiots.; The Witch And The New-born Infant.; The Changeling.; Contes Des FÉes, (a) Tales Like The Keltic; Introduction; Malbrouk. ; The Fisherman And His Sons.; Tabakiera, The Snuff-box. ; Mahistruba, The Master Mariner.; Dragon.; Ezkabi-fidel.; Variation Of 'ezkabi-fidel'; The Lady Pigeon And Her Comb. ; Suggested Explanation Of The Above Tale (the Lady-pigeon And Her Comb).; Laur-cantons. ; The Young Schoolboy.; The Son Who Heard Voices.; The Mother And Her (idiot) Son; Or, The Clever Thief. ; Juan Dekos, The Blockhead (tontua).; Variation Of The Above. Juan De Kalais. ; The Duped Priest. ; Contes Des FÉ (b) Derived Directly From The French; Introduction; Ass'-skin. ; Variations On 'ass’-skin'; The Step-mother And The Step-daughter.; Beauty And The Beast. ; Variation Of 'beauty And The Beast'; The Cobbler And His Three Daughters (blue Beard).; Variation On 'blue Beard'; The Singing Tree, The Bird Which Tells The Truth, And The Water That Makes Young.; Variation On 'the Singing Tree, The Bird Which Tells The Truth, And The Water That Makes Young'; The White Blackbird.; The Sister And Her Seven Brothers.; Variations Of Other French Fairy-tales.; List Of Publications Of Foreign Legends In France; Religious Tales; Introduction; Fourteen. ; Jesus Christ And The Old Soldier.; The Poor Soldier And The Rich Man.; The Widow And Her Son. ; The Story Of The Hair-cloth Shirt (la Cilice).; The Saintly Orphan Girl.; The Slandered And Despised Young Girl.; An Essay On The Basque Language,; Basque Poetry.; I.--pastorales.; ii.; Endnotes
About the
Forgotten Books is a publisher of historical writings, such Philosophy, Classics, Science, Religion, Esoteric and Mythology. www.forgottenbooks.org
Forgotten Books is about sharing information, not about making money. All books are priced at wholesale prices. We are also the only publisher we know of to print in large sans-serif font, which is proven to make the text easier to read and put less strain on your eyes.
"The origins of both the story and the legend started with the man's desire to explain phenomena and actions that take place in the world around him. The Basque mind was rich with imagination when it came to creating different legends in response to the questions that came from observing nature and immediate surroundings. Ancient legends about spirits and pagans, monsters and subterranean animals, and especially the human or semi-human figure known by the names of Mari, Lamia, Lady, or Dame-names that are always used to identify witches in Basque legends." (Quote from dametzdesign.com)
Table of
Publisher’s Preface; Introduction.; Legends Of The Tartaro; Introduction; The Tartaro.; M. D'abbadie's Version.; Variations Of 'the Tartaro'; Errua, The Madman.; Variations Of Errua.; The Three Brothers, The Cruel Master, And The Tartaro.; The Tartaro And Petit Perroquet.; The Heren-suge.--the Seven-headed Serpent.; Introduction; The Grateful Tartaro And The Heren-suge.; Variation Of 'the Grateful Tartaro And The Heren-suge'; The Seven-headed Serpent.; The Serpent In The Wood.; Animal Tales; Introduction; Acheria, The Fox.; The Ass And The Wolf.; Basa-jaun, Basa-andre, And LamiÑak.; Introduction; Basa-jauna, The Wild Man.; The Servant At The Fairy's.; The Fairy In The House.; The Pretty But Idle Girl. ; The Devil's Age.; The Fairy-queen Godmother ; Witchcraft And Sorcery.; Introduction; The Witches At The Sabbat. ; The Witches And The Idiots.; The Witch And The New-born Infant.; The Changeling.; Contes Des FÉes, (a) Tales Like The Keltic; Introduction; Malbrouk. ; The Fisherman And His Sons.; Tabakiera, The Snuff-box. ; Mahistruba, The Master Mariner.; Dragon.; Ezkabi-fidel.; Variation Of 'ezkabi-fidel'; The Lady Pigeon And Her Comb. ; Suggested Explanation Of The Above Tale (the Lady-pigeon And Her Comb).; Laur-cantons. ; The Young Schoolboy.; The Son Who Heard Voices.; The Mother And Her (idiot) Son; Or, The Clever Thief. ; Juan Dekos, The Blockhead (tontua).; Variation Of The Above. Juan De Kalais. ; The Duped Priest. ; Contes Des FÉ (b) Derived Directly From The French; Introduction; Ass'-skin. ; Variations On 'ass’-skin'; The Step-mother And The Step-daughter.; Beauty And The Beast. ; Variation Of 'beauty And The Beast'; The Cobbler And His Three Daughters (blue Beard).; Variation On 'blue Beard'; The Singing Tree, The Bird Which Tells The Truth, And The Water That Makes Young.; Variation On 'the Singing Tree, The Bird Which Tells The Truth, And The Water That Makes Young'; The White Blackbird.; The Sister And Her Seven Brothers.; Variations Of Other French Fairy-tales.; List Of Publications Of Foreign Legends In France; Religious Tales; Introduction; Fourteen. ; Jesus Christ And The Old Soldier.; The Poor Soldier And The Rich Man.; The Widow And Her Son. ; The Story Of The Hair-cloth Shirt (la Cilice).; The Saintly Orphan Girl.; The Slandered And Despised Young Girl.; An Essay On The Basque Language,; Basque Poetry.; I.--pastorales.; ii.; Endnotes
About the
Forgotten Books is a publisher of historical writings, such Philosophy, Classics, Science, Religion, Esoteric and Mythology. www.forgottenbooks.org
Forgotten Books is about sharing information, not about making money. All books are priced at wholesale prices. We are also the only publisher we know of to print in large sans-serif font, which is proven to make the text easier to read and put less strain on your eyes.
- GenresFolk TalesCultural
417 pages, Paperback
First published March 1, 2002
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
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