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From the Fireside and Hearth to the Stars

Jason Harris

Overall, some of the content and motifs of folk narrative that impact the development of fantasy, horror, and science fiction are the features of the sustained secondary world of the folk fairy tale, the disruptive intrusion of the preternatural hosts of often chthonic and dangerous entities in a folk legend, the energetic inventiveness of the arsenal of magical objects that can accompany the protagonist in their quest to contend with an antagonist, the abrogation of normal time and space in liminal space like that of fairyland (where like some lightspeed traveler, the fairy world sojourner may pass but one day but be gone one thousand years in the everyday world), and the overall spirit of bold adventure that drives many a SFF protagonist into dangerous unknown lands to pursue often indistinct goals until they more clearly emerge after the guidance of a helper. It’s not always fairyland. Sometimes it’s the moon. Or hell.[1]

Whether across the stars, through the woods, or into the underworld, SFF and folklore narratives tend to test their protagonists by extreme tech or magic; they engage with helpers and get betrayed or attacked by often one-dimensional protagonists. They pursue their own desires and fears with inevitable obsessiveness, and any prohibition is destined to be transgressed by at least one character. These are tropes so familiar they hardly appear to belong to one genre or another or be the special domain of written or oral storytelling. Nevertheless, exploring the dynamics of folk beliefs, structural motifs, and tale-types, and gaining a sense of the variations of how authors have enlisted folkloric precedents to harness compelling vehicles for their own agendas helps readers become better informed about the patterns connecting the storytelling impulse and what to expect when contemporary writers borrow, invert, reverse, or otherwise play with tradition.

Sample Prompts:

Pick one of the following prompts (1, 2, 3, 4) and write 3-5 pages in response. Use a thesis statement and cite your sources, including the specific texts provided here. Also include 2-3 sources you’ve located via research and format according to MLA 9th edition style manual

Prompt #1

In John Gregorson Campbell’s “Ready Wit Repulses the Fairies” what features suggest the two narratives in this section are folk legends rather than folk fairy tales? What is similar or different from literary and film treatments of the fairies? The term for the interaction between “mother” and “Fairy woman” is a “wit battle”–traditional contest of wits with sometimes high stakes outcome rather than merely competitive linguistic and rhetorical prowess:

“Ready Wit Repulses the Fairies”[2]

A Fairy woman came to take away a child, and said to its mother, “Grey is your child.”
“Grey is the grass, and it grows,” was the ready answer.
“Heavy is your child,” said the Banshi.
“Heavy is each fruitful thing,” the mother replied.
“Light is your child,” said the Banshi.
“Light is each happy worldly one,” said the mother, bursting into singing and saying—
“Grey is the foliage, grey the flowers,
And grey the axe that has a handle,
And nought comes through the earth,
But has some greyness in its nature.”29
On finding herself outwitted the Banshi left.

A boy, a mere child, was left alone for a few minutes, in the islet of Soa, near Tiree. The mother was making kelp there at the time, and in her absence the Fairies came and gave the child’s legs such a twist that it was lame (liùgach) ever after.

Prompt #2

In John Gregorson Campbell’s collected tal “Iona Banshi” what are some of the challenges the protagonist faces and in what ways does the role of traditional knowledge feature prominently in the outcome of the narrative? And–is this a legend of fairy tale, why or why not?

“Iona Banshi”

A man in Iona, thinking daylight was come, rose and went to a rock to fish. After catching some fish, he observed he had been misled by the clearness of the moonlight, and set off home. On the way, as the night was so fine, he sat down to rest himself on a hillock.

He fell asleep, and was awakened by the pulling of the fishing rod, which he had in his hand. He found the rod was being pulled in one direction and the fish in another. He secured both, and was making off, when he heard sounds behind him as of a woman weeping.

On his turning round to her, she said, “Ask news, and you will get news.”

He answered, “I put God between us.”

When he said this, she caught him and thrashed him soundly. Every night after he was compelled to meet her, and on her repeating the same words and his giving the same answer, was similarly drubbed.

To escape from her persecutions he went to the Lowlands.

When engaged there cutting drains, he saw a raven on the bank above him. This proved to be his tormentor, and he was compelled to meet her again at night, and, as usual, she thrashed him.

He resolved to go to America.

On the eve of his departure, his Fairy mistress met him and said, “You are going away to escape from me. If you see a hooded crow when you land, I am that crow.”

On landing in America he saw a crow sitting on a tree, and knew it to be his old enemy. In the end the Fairy dame killed him.

Figure 1.7. Henry Meynell Rheam (1859–1920) La Belle Dame Sans Merci, 1897 – 1901

[3]

Prompt #3

In the collection edited by Joseph Jacobs English Fairy Tales the following tale “Molly Whuppie” appears with notes as well, indicating the source and some correspondences with other tales. Your task is to compare and contrast “Molly Whuppie” with other giant-killing tales and perhaps other folk narratives you recall or have read as well. What genre of folk narratives are we dealing with here and what are the indications? How is the protagonist similar or different? What is the role of gender? How do certain prohibitions and transgressions figure within the plot and outcome?

“Molly Whuppie”[4]

​​Once upon a time there was a man and a wife had too many children, and they could not get meat for them, so they took the three youngest and left them in a wood. They travelled and travelled and could see never a house. It began to be dark, and they were hungry. At last they saw a light and made for it; it turned out to be a house.

They knocked at the door, and a woman came to it, who said: “What do you want?”

They said: “Please let us in and give us something to eat.”

The woman said: “I can’t do that, as my man is a giant, and he would kill you if he comes home.”

They begged hard. “Let us stop for a little while,” said they, “and we will go away before he comes.” So she took them in, and set them down before the fire, and gave them milk and bread; but just as they had begun to eat a great knock came to the door, and a dreadful voice said:

“Fee, fie, fo, fum, I smell the blood of some earthly one. Who have you there wife?”

“Eh,” said the wife, “it’s three poor lassies cold and hungry, and they will go away. Ye won’t touch ’em, man.”

He said nothing, but ate up a big supper, and ordered them to stay all night. Now he had three lassies of his own, and they were to sleep in the same bed with the three strangers.

The youngest of the three strange lassies was called Molly Whuppie, and she was very clever. She noticed that before they went to bed the giant put straw ropes round her neck and her sisters’, and round his own lassies’ necks he put gold chains. So Molly took care and did not fall asleep, but waited till she was sure every one was sleeping sound.

Then she slipped out of the bed, and took the straw ropes off her own and her sisters’ necks, and took the gold chains off the giant’s lassies. She then put the straw ropes on the giant’s lassies and the gold on herself and her sisters, and lay down.

And in the middle of the night up rose the giant, armed with a great club, and felt for the necks with the straw. It was dark. He took his own lassies out of bed on to the floor, and battered them until they were dead, and then lay down again, thinking he had managed fine.

Molly thought it time she and her sisters were out of that, so she wakened them and told them to be quiet, and they slipped out of the house. They all got out safe, and they ran and ran, and never stopped until morning, when they saw a grand house before them.

It turned out to be a king’s house: so Molly went in, and told her story to the king. He said: “Well, Molly, you are a clever girl, and you have managed well; but, if you would manage better, and go back, and steal the giant’s sword that hangs on the back of his bed, I would give your eldest sister my eldest son to marry.” Molly said she would try.

So she went back, and managed to slip into the giant’s house, and crept in below the bed. The giant came home, and ate up a great supper, and went to bed. Molly waited until he was snoring, and she crept out, and reached over the giant and got down the sword; but just as she got it out over the bed it gave a rattle, and up jumped the giant, and Molly ran out at the door and the sword with her; and she ran, and he ran, till they came to the “Bridge of one hair”; and she got over, but he couldn’t, and he says, “Woe worth ye, Molly Whuppie! never ye come again.”

And she says “Twice yet, carle,” quoth she, “I’ll come to Spain.” So Molly took the sword to the king, and her sister was married to his son.

Well, the king he says: “Ye’ve managed well, Molly; but if ye would manage better, and steal the purse that lies below the giant’s pillow, I would marry your second sister to my second son.” And Molly said she would try. So she set out for the giant’s house, and slipped in, and hid again below the bed, and waited till the giant had eaten his supper, and was snoring sound asleep.

She slipped out, and slipped her hand below the pillow, and got out the purse; but just as she was going out the giant wakened, and ran after her; and she ran, and he ran, till they came to the “Bridge of one hair,” and she got over, but he couldn’t, and he said, “Woe worth ye, Molly Whuppie! never you come again.”

“Once yet, carle,” quoth she, “I’ll come to Spain.” So Molly took the purse to the king, and her second sister was married to the king’s second son.

After that the king says to Molly: “Molly, you are a clever girl, but if you would do better yet, and steal the giant’s ring that he wears on his finger, I will give you my youngest son for yourself.” Molly said she would try.

So back she goes to the giant’s house, and hides herself below the bed. The giant wasn’t long ere he came home, and, after he had eaten a great big supper, he went to his bed, and shortly was snoring loud. Molly crept out and reached over the bed, and got hold of the giant’s hand, and she pulled and she pulled until she got off the ring; but just as she got it off the giant got up, and gripped her by the hand, and he says: “Now I have catcht you, Molly Whuppie, and, if I had done as much ill to you as ye have done to me, what would ye do to me?”

Molly says: “I would put you into a sack, and I’d put the cat inside with you, and the dog aside you, and a needle and thread and a shears, and I’d hang you up upon the wall, and I’d go to the wood, and choose the thickest stick I could get, and I would come home, and take you down, and bang you till you were dead.”

“Well, Molly,” says the giant, “I’ll just do that to you.”

So he gets a sack, and puts Molly into it, and the cat and the dog beside her, and a needle and thread and shears, and hangs her up upon the wall, and goes to the wood to choose a stick.

Molly she sings out: “Oh, if ye saw what I see.”

“Oh,” says the giant’s wife, “what do ye see, Molly?”

But Molly never said a word but, “Oh, if ye saw what I see!”

The giant’s wife begged that Molly would take her up into the sack till she would see what Molly saw. So Molly took the shears and cut a hole in the sack, and took out the needle and thread with her, and jumped down and helped, the giant’s wife up into the sack, and sewed up the hole.

The giant’s wife saw nothing, and began to ask to get down again; but Molly never minded, but hid herself at the back of the door.

Home came the giant, and a great big tree in his hand, and he took down the sack, and began to batter it.

His wife cried, “It’s me, man;” but the dog barked and the cat mewed, and he did not know his wife’s voice.

But Molly came out from the back of the door, and the giant saw her, and he after her; and he ran and she ran, till they came to the “Bridge of one hair,” and she got over but he couldn’t; and he said, “Woe worth you, Molly Whuppie! never you come again.”

“Never more, carle,” quoth she, “will I come again to Spain.”

So Molly took the ring to the king, and she was married to his youngest son, and she never saw the giant again.

Prompt #4

In John Ruskin’s “The King of the Golden River” how does he harness the fairy tale form for an ideological agenda? How is this literary fairy tale similar or different from the folk fairy tales and legends you’ve read? How does it resemble or differ from other literary fairy tales?


  1. https://www.sacred-texts.com/neu/yeats/fip/fip29.htm ; https://sites.pitt.edu/~dash/type1176.html; Regarding the passage of time in Fairlyland see chapter seven of the 1891 publication by Edwin Sidney Hartland The Science of Fairy Tales: An Enquiry into Fairy Mythology https://www.sacred-texts.com/neu/celt/sft/sft08.htm
  2. [Gathered 1861-1891 and published in 1900 https://www.gutenberg.org/files/61730/61730-h/61730-h.htm]
  3. Heny Meynell Rheam public domain https://upload.wikimedia.org/wikipedia/commons/thumb/f/fb/The_Banshee.jpg/512px-The_Banshee.jpg
  4. [Jacob’s notes: Source.—Folk-Lore Journal, ii. p. 68, forwarded by Rev. Walter Gregor. I have modified the dialect and changed “Mally” into “Molly.” Parallels.—The first part is clearly the theme of “Hop o' my Thumb,” which Mr. Lang has studied in his “Perrault,” pp. civ.-cxi. (cf. Köhler, Occident, ii. 301.) The change of night-dresses occurs in Greek myths. The latter part wanders off into “rob giant of three things,” a familiar incident in folk-tales (Cosquin, i. 46-7), and finally winds up with the “out of sack” trick, for which see Cosquin, i. 113; ii. 209; and Köhler on Campbell, in Occident and Orient, ii. 489-506.]
  5. https://www.gutenberg.org/files/701/701-h/701-h.htm

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Marvels and Wonders: Reading, Researching, and Writing about Science Fiction and Fantasy Copyright © by Rich Paul Cooper; James Francis, Jr.; Jason Harris; Claire Carly-Miles; and Jeremy Brett is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License, except where otherwise noted.

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