July 2, 2020 • 58 mins
From Italy! Lizard fairies and ungrateful goats.
Goat-Face from Tale of Tales/Entertainment for Little Ones, aka Stories from Pentamerone by Giambattista Basile in 1634 (1st Volume) and 1636 (2nd Volume).
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Goat-Face from Tale of Tales/Entertainment for Little Ones, aka Stories from Pentamerone by Giambattista Basile in 1634 (1st Volume) and 1636 (2nd Volume).
Follow us for sporadic posting on Instagram and Twitter. Email us your secrets at folklorica@strawhutmedia.com.
Learn more about your ad choices. Visit megaphone.fm/adchoices
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
Straw Hut Media.
Speaker 2 (00:09):
Imagine the emergence of a new meticulture. Imagine all kinds
of people everywhere getting committed to human excellence, getting committed
to closing the gap between the human condition and the
human potential. And imagine all of us hooked up with
a common high tech communications system. That's a vision that
(00:29):
brings tears to the eyes. Human excellence is an ideal
that we can embed into every formal human structure on
our planet. And that's really why we're going to do this,
and that's also why the Meta Network is a creation
we can love. That is from the men who stare
at goats or John Ronson.
Speaker 1 (00:59):
Hello, and welcome to Folklorica.
Speaker 2 (01:01):
The podcast about folk tales from around the world. I'm
your host, Clayton Stecker, and i am.
Speaker 1 (01:07):
Your other host, Maggie Bowles.
Speaker 2 (01:10):
How you doing, Maggie, I'm good.
Speaker 1 (01:14):
That was a very solid, solid intro. It sounded very natural,
It flowed very peacefully into our next section. It was
very good. We're really getting the hang of this thing,
I think so.
Speaker 2 (01:26):
I think by season five we'll really have it down. Yeah.
Speaker 1 (01:30):
Yeah, yeah, I'm doing well. That's about all I can say.
But well, I mean, like barely holding on.
Speaker 2 (01:37):
I see, I see. What are you doing to stay afloat?
Speaker 1 (01:41):
Honestly, I don't know. I don't know.
Speaker 2 (01:44):
The days are just blurring together for you.
Speaker 1 (01:47):
They kind of are. Yeah, I feel like the feeling
I have is I want to go home, except the
opposite of it, Like it's the vibe if I want
to go home, except that I don't want to be home.
Speaker 2 (01:58):
Mm hm. I totally get at that.
Speaker 1 (02:01):
Like if I can, where would you hibernation? If I
could go into hibernation, I would.
Speaker 2 (02:06):
I would do that just like wake me up when
this is over.
Speaker 1 (02:10):
Mm hmm exactly, like cryogenically freeze me for the next
like six months or so.
Speaker 2 (02:16):
That's cool. Just be like that movie Forever Young with
Mel Gibson, you'd be mel Gibson.
Speaker 1 (02:20):
I have a young Hi. I never want to be
mel Gibson. If I have a choice, I'm always going
to choose not to be mel Gibson, unless it's Mel
Gibson in Brave Heart, in which case I would.
Speaker 2 (02:35):
Would you rather be Tom Cruise or Mel Gibson. I
think I can have to be either one of them.
Speaker 1 (02:42):
I think I'd rather be cryogenically frozen.
Speaker 2 (02:44):
Cryogenically frozen Gibson.
Speaker 1 (02:51):
Yeah, I don't want to be Do you have a
preference Tom Cruise?
Speaker 2 (02:55):
Why?
Speaker 1 (02:56):
Uh? An anti semi?
Speaker 2 (02:58):
That's a big part of it. That's a really big
part of it. He is a scientologist though, Yeah, I know, well,
once I become him, that's gonna change. That's the first
thing to go.
Speaker 1 (03:09):
Tom Cruise aged better than mel Gibson. Like, what do
you think Mel Gibson is doing right now?
Speaker 2 (03:14):
He's probably smoking a cigar and yelling at his kids.
Kids he's got. I think he's got like ten kids. No, yeah,
I think he's got like a lot of kids. And
I think he's adopted kids too.
Speaker 1 (03:26):
I'm going to google this right now, mel Gibson kids,
let's do it. Wow, there are a lot.
Speaker 2 (03:33):
How many eleven? Eleven? I was so close?
Speaker 1 (03:37):
Sixth No, he's the sixth of eleven. Oh, let me
see how many kids?
Speaker 2 (03:42):
Wow? Really, I didn't know that one.
Speaker 1 (03:44):
He has nine?
Speaker 2 (03:45):
There you go, he has nine kids.
Speaker 1 (03:47):
It's a thing. It's obviously a thing.
Speaker 2 (03:49):
Mel Gibson's sons should be a show.
Speaker 1 (03:52):
Yeah, it's weird. On his Wikipedia page, next to children,
it says nine including Milo. Like, why do they have
to specify that Milo.
Speaker 2 (04:03):
Is in Milo might be adopted.
Speaker 1 (04:05):
The son of actor doesn't say he's adopted.
Speaker 2 (04:09):
Hmm, that's weird. They just mentioned him that, like, including
Milo Gibson. It's weird, right, Yeah, maybe Milo's recognizable or
has some sort of like public status.
Speaker 1 (04:19):
Here we go. This is a This is an article
from Dipley that says, here's what all of mel Gibson's
kids look like. All right, let's talk about this.
Speaker 2 (04:31):
Let's yeah, let's get back on Clayton.
Speaker 1 (04:36):
You chose Maggie, you chose an Italian story?
Speaker 2 (04:41):
Yeah, yeah, yeah, what I went straight to Italy. I
had read somewhere before ever doing any real research that
Italy has some of the oldest known recordings of some
of our favorite stories, Like for whatever reason, they just
got like the earliest documentation for a lot of the
stories that we are were. So that was my starting thread.
(05:02):
And I know nothing about Italian folklore, so coming into
this was was I came in kind of blind, but
very quickly I found that the one of the more
popular collections of folk stories from Italy is a book
called Looi o lomento de pecai, which is it was
(05:28):
longer than I even anticipated. I mean, it just really
flows out of you. But that's Italian obviously, or actually
it's Neopolitan for the tale of tales or entertainment for
the little ones. Later on the story. The book would
eventually be uh renamed Il Pentameron or Stories from Pentameron
(05:50):
by a man named John Battista Basile. And and what's yeah,
what's fascinating about this book? I've never seen a collection
of folk stories that was put together this way. But
it's basically Stories from Panameron are structured around a frame story.
So it consists of fifty folk tales. But the way
(06:11):
that it's set up is there's actually an overarching story
and then all the folk tales exist as like a
story in a story. So you think like it's like
a literary technique that serves as a companion piece to
a story within a story. So think like Princess Bride,
like the relationship between the grandfather and the grandson. That's
a story, and so they're reading from a book and
we get to basically watch what goes on in the
(06:32):
book that so the grandfather and grandson that's the frame story,
and stories from Panamarone have a similar thing. There is
a story that takes place between this woman and this
like I guess she's like a Moorish slave who tricks
her and takes her prince and demands that a bunch
of people tell her stories. And that's where all of
the stories that we're going to be talking about today
(06:54):
come from. Is this like frame story within a story.
It's very complicated, but it's very fascinating as a narrative
to Yeah, I was.
Speaker 1 (07:00):
Reading a little bit about that, and it looks like
that was pretty popular way to tell stories and at
the time, and like they called this the pen tamarone
or whatever which is, and it was after the Day Cameron,
which was Pikaco's The Human Comedy in the twelfth or
in the middle of thirteen hundreds, And so that's called
(07:24):
the day Cameron because there are ten and the pen
Tameron is because there are five.
Speaker 2 (07:30):
Yeah, well it's five days, ten stories a day.
Speaker 1 (07:32):
Right, but five days, whereas because day Cameron means like
ten days and pen Tameron. Oh, I see what you're saying,
five days, So same thing. And apparently that was also
they also used it in like Arabian Nights, you know,
that's where the Aladdin the same thing.
Speaker 2 (07:51):
Also, someone's telling a story about the Arabian Nights.
Speaker 1 (07:55):
Yeah, Yeah, there's people gathered, they're telling stories, so it
would be fun todo a story from Arrabian Nights too,
that would be or from yeah, or it's called one
thousand and one Nights, I guess.
Speaker 2 (08:07):
And then there's one night's name was Milo, Yeah, including Milo,
including one thousand and one nights including Milo Gibson.
Speaker 1 (08:17):
Including Milo. There's also a guy, Giovanni Francesco's to Rappolo Straparola.
Great name. He did it once. When I see their
happy faces smiling back and me Straparola. That was the
(08:39):
seventh heaventh theme. FYI if you didn't recognize that.
Speaker 2 (08:45):
I didn't know where it was coming from, but I
loved it.
Speaker 1 (08:48):
Yeah.
Speaker 2 (08:49):
Music just makes everything more fun, it does.
Speaker 1 (08:51):
I agree. The Pleasant Nights, which was this Straparola guys
thing that was in fifteen fifty one, and that's actually
the first time they saw fairy tales printed. But it
wasn't a book of fairy tales. It was a book
of short stories, both collected and written, and that's where
some really early early fairy tales appeared. And they say
(09:13):
the first rags to riches, you know, magical rags to
Riches story where someone's poor and then some magic happens
and then they become like royal.
Speaker 2 (09:23):
Or that's like the first time we see that trope.
Speaker 1 (09:27):
I guess, yes, exactly. And apparently his name is Straparola,
which is first of all, just a great name, but
secondly it.
Speaker 2 (09:36):
Fits into so many songs.
Speaker 1 (09:37):
Yeah. Secondly, it wasn't even his name. It just means like,
talks too much.
Speaker 2 (09:47):
Oh wow. Do you think he picked it for himself?
Speaker 1 (09:52):
I do, actually probably, Or.
Speaker 2 (09:54):
Did he he tried to use his name to publish
something and they were like, nah, Straparola, you're Straparola. So
it is like no, no, no, no, my name is Derek,
and I'm trying to put this out. I no, no, no, Straparola,
here's Straparola. You talk too much? That's cool. Yeah, yeah,
it's fascinating. Yeah, I'm like going through this. I don't
(10:16):
know if because you said so, some of the stories
that you found in like the Dick Cameron, is that
what it's called, or even older versions of classic fairy
tales that we've heard before.
Speaker 1 (10:25):
I don't know. No, not in the Dick Cameron, because
the de Cameron is a basic it's a bunch of
stories about like the plague and it's like a bunch
of staple trying to escape the Black Plague. I've never
read it.
Speaker 2 (10:38):
I love it as like it almost sounds like Samuel
Beckett play or something like people just sitting around at
campfire while the plague's going on, and they're trying to
entertain themselves the whole time until the plague ends.
Speaker 1 (10:49):
Yeah, until everybody drops like like monkeys jumping in the bed.
Speaker 2 (10:53):
Mm hmmmmm. Straparola fell off and broke.
Speaker 1 (10:56):
His head exactly.
Speaker 2 (10:58):
Yeah. In the So, then in the stories Pentameron, which
was published in sixteen thirty four, or the first volume
of the two volumes sixteen thirty four and sixteen thirty six,
actually contains one of the oldest known versions of Puss
in Boots, Rapunzel, Sleeping Beauty, Hansel and Gretel, and Cinderella.
(11:19):
But actually I just thought, right before we started recording,
I read that actually the original or the oldest known
version of Cinderella is actually Chinese and comes from like
eight hundred eighty really, so that is definitely something worth
considering for a future episode.
Speaker 1 (11:35):
So then that would that would nullify what I just
said about Straparola's first magical rags to riches story.
Speaker 2 (11:42):
Yeah, well, I mean Cinderella was technically rich, she was
just treated poorly, I feel like, but I mean, who knows.
Speaker 1 (11:49):
I feel like that's a magical rags to riches story,
you know what. All these all of these like firsts,
they're all very like Western centric, you know. They're like,
this was the first time this happened, and you're like, actually,
don't have an eight hundred years ago. It was just
on the East. Is in the East, so they don't
count it. Yeah, the first white person to do it
is what they really mean, you know.
Speaker 2 (12:08):
Yeah, it didn't start to really exist until Walt Disney
made it a cartoon exactly. Yeah. Yeah, but yeah, so
it's got a lot of these like cool old stories
in it, original versions of things as far as we
as far as we know other than Cinderella. But the
story we're going to do today is actually one that
(12:29):
doesn't have any adaptations as far as I could see.
Speaker 1 (12:34):
Which is odd because it sounds like a great story.
Speaker 2 (12:36):
Yeah. Yeah, like you they're definitely I don't know, we'll
see once we get into it. We'll see if there's
some tropes that pop up in other stories, if you
see some some themes you've you've heard or seen before.
But today's story is goat face.
Speaker 1 (12:52):
It's great. It's a great it's a great title.
Speaker 2 (12:54):
Yeah, And just before we started recording as well, I
watched I don't know if you've found that, but the
movie Tale of Tales that just came out in twenty
fifteen starring Salma Hayek and John c Riley, is based Yeah,
it's based on It's like loosely based on the Pentameron.
(13:14):
So they use three stories from the Pentameron, and I
mean they're like kind of they some of it. It's
like they stay true to the story, to the stories
that they use, but they take some liberties. But it's
actually I was surprised. I went into it pretty open minded,
Like I was like, I bet this could be bad
because I had never heard of it. I'm like, how
(13:35):
did I miss this thing? But it actually was all right.
I enjoyed it.
Speaker 1 (13:38):
Should I watch it?
Speaker 2 (13:39):
Yeah? I was like, if you're a folklore person, if
you're someone who enjoys folk stories, you'll I think you'll
appreciate it more than most people because of the rhythm
of it, the general vibe, the little things that happened that.
I mean, basically, that movie is taking seriously what you
and I find so bizarre and so funny about folk stories.
Speaker 1 (13:59):
Really, yeah, it sounds great, So.
Speaker 2 (14:01):
Yeah, I would. I would recommend it just because it
is a it's a it's a good like adaptation of
folk tales.
Speaker 1 (14:09):
Is goat face in there.
Speaker 2 (14:10):
No so the stories they use from Pentameron are. I
think it's like the Old Flayed Woman, the Enchanted Doe
and the Flea. And the Flea is another great story
that I highly recommend. But we're not going to do
the Flea. We're going to do face.
Speaker 1 (14:26):
I was about to say, isn't the flea a superhero?
But that's the tick I think, and.
Speaker 2 (14:32):
I think his sidekicks the flea. Maybe the little the
guy in white I think is the moth.
Speaker 1 (14:39):
I did read. I did see that there are Even
though this isn't like a famous story anymore, there were similar,
like similar stories in a couple of other places, like
Andrew Lang's Gray Fairy book.
Speaker 2 (14:53):
He has a.
Speaker 1 (14:54):
Faced girl story. The Grim Brothers had a one called
Mary's Child which was similar, and then some Norwegian book
of folk tales had one called the Lassie and her
Godmother which was also a similar tale. But I was
glancing over the Mary's child and last Sie her godmother,
and they didn't appear to be goat faced. I didn't
(15:16):
read the whole story. I just was looking for goat
and I didn't think so. I think maybe it's like
the plot is the same, except that there's no goat face.
Speaker 2 (15:24):
Maybe it's a different curse or something.
Speaker 1 (15:27):
It feels important.
Speaker 2 (15:29):
Yeah, I mean, it's pretty vital to this story, but
who knows. I mean, every story becomes its own thing
just by They could be like snail Face, and then
you would never even catch it as being an adaptation
of goat face.
Speaker 1 (15:43):
It's true.
Speaker 2 (15:44):
So I was reading stories from pentameroneh and they have
a story in there called Penta of the Chopped off Hands,
which is a variant of our very first story, The
Girl Without Hands.
Speaker 1 (15:58):
That's really special.
Speaker 2 (15:59):
I expect a bigger reaction, but that's all right.
Speaker 1 (16:03):
I did see it in the notes, so I couldn't.
I could.
Speaker 2 (16:07):
I couldn't care more than I did.
Speaker 1 (16:09):
I was already I already knew.
Speaker 2 (16:12):
Yeah.
Speaker 1 (16:13):
I do think that's very exciting, though, because it's a
weird story. That one's a great one. Listeners, if you
ever heard that one go back, Season one, episode one,
fantastic story.
Speaker 2 (16:23):
Yeah, And so I won't dig in too deep into
what Penta of the chop Top Hands is all about.
I mean, it's it's similar in a lot of ways,
but it's also it's totally its own story in a
lot of other ways. And I just held onto this
little snippet of the synopsis because it talked about general
folklore tropes and things like that. The motif of the
father or brother chopping off the hands of a daughter
(16:47):
or sister who refused an incestuous marriage is a common
fairytale motif, but is usually presented without explanation of why
the hands are targeted. The brothers particular they're speaking about,
specifically Penta of the Chopped Off Hands. The brother's particular
fascination with her hands appears to be a development of
(17:08):
Basillo's Basile's own to account for it. So he was
a hands guy, you know how Tarantino's like a foot guy. Yeah,
butsil is a hands guy, So now we know that. Yeah.
Speaker 1 (17:21):
I wonder why they would chop her hands off, Probably
just because it makes her useless.
Speaker 2 (17:26):
You know. Yeah, Well, in this case, in Penta of
the chopped off hands. She has someone chop them off
so she doesn't have to get married to her brother.
Speaker 1 (17:35):
Got it, got it? Got it? When I was when
I was googling goat face, I can't the story about
a mutant goat from India. Did you come across those?
M M? So it's kind of sad, honestly, because I
saw the pictures in it, and it's kind of sad.
(17:56):
But there's a mutant goat that was born in India.
There's a story about it from twenty seventeen and then
another one from January twenty twenty. So I don't know
if it's two different goats or the same goat. But
it was like a goat with a mutated face that
looked very human, like ugh, really weird and human, and
they apparently were worshiping him as a god in some
(18:20):
small village in India.
Speaker 2 (18:22):
And it has like a person's face.
Speaker 1 (18:24):
Yeah, more or less. I mean, like it's it's not
a very attractive face, let's put it that way. But
it is much more human than a normal goats face,
let's put it.
Speaker 2 (18:34):
You know, did it look like any celebrity if you
had to give it, like just for our listeners, we're
going audio. It's got a jay Leno face.
Speaker 1 (18:43):
Yeah, kind of yeah. I would say that's the closest.
Speaker 2 (18:47):
That's the closest is a jay Leno goat face.
Speaker 1 (18:49):
Yeah.
Speaker 2 (18:49):
Well, it's a crazy world we live in. But what else?
Speaker 1 (18:54):
What else do we want to talk about before we
dive into the story.
Speaker 2 (18:57):
I'd say, let's let's talk a little bit about jump
Attista Basili a little bit. Let's run through his life.
Who is we sprint through him? Born in and I'm
gonna try again Giugliano. Oh there you are, born in Giugliano,
somewhere between fifteen sixty six fifty seventy five. Apparently there
are difference of opinions and when exactly he was born.
(19:19):
He was a courtier and a soldier to several Italian princes,
including the Doge. Is that how you say that?
Speaker 1 (19:26):
Thanks, That's how I pronounced the meme, I say, Doge?
Speaker 2 (19:31):
Or is it Doggie the Doggie of Venice? Maybe Doggie
in Venice. He started writing poetry, and his first literary
production in sixteen oh four. He was published in the
form of a preface to a book of poems and
stories by his friend, the writer Giulio Cesare Cortes.
Speaker 1 (19:49):
I was going to be Cesare in Italian.
Speaker 2 (19:52):
Cesare okay, cool cool cool cool cool coock cool. Besides
year after thank You, the year after Basiles villain Ella,
which is I guess some sort of like secular piece
of music, like very specific to that time in Italy.
Speaker 1 (20:10):
Villainel is as a form of poem with repeating lines.
Speaker 2 (20:17):
Write and is there is there music attached?
Speaker 1 (20:19):
I mean there are a lot of musical villain ls.
Speaker 2 (20:22):
Oh, okay, so you could it could just be poems,
or it could also have music. I think so okay.
But he wrote one called Smortza crude del amore, which
is dull cruel love, and it was set to music,
and in sixteen o eight he published his first poem,
Planto de la Virgine, which is the Cry of the Virgin.
(20:42):
I'm also doing the Italian Italian chef thing with my hand.
Every time I say these things.
Speaker 1 (20:47):
It's like, yes, I have it. I wish we had
a little video to accompany this for our listeners to
see you attempt to pronounce Italian things with your hand
in the air like a cartoon character.
Speaker 2 (20:59):
Yeah, it's it's so frustrating. I can't do Italian accents
without doing this. It's impulsive. But after returning to Naples,
Basile served as the courtier under Don Marino. I'm trying
to keep my hand in my lap Don Marino il Caracciolo,
who was the Prince of Avellino, to whom Basile dedicated
(21:19):
his idol, which is an extremely happy, peaceful or picturesque scene.
And by the time of Basili's death in sixteen thirty two,
he had reached the rank of count, which is pretty cool.
Count Basile like Count Shocula.
Speaker 1 (21:34):
Yeah, I was just thinking of the Count from Sesame Street.
Speaker 2 (21:38):
Oh yeah, the Count. Does he have another name or
is he just the Count?
Speaker 1 (21:41):
He's just the Count, I.
Speaker 2 (21:42):
Believe one woo three.
Speaker 1 (21:47):
Honestly, it's so brilliant to have a character called the
Count on the children's show that looks like a vampire
in Count like I It's it's so good. It's probably
their most genius character.
Speaker 2 (22:02):
It's pretty good. And I love because the Count. It
just seems like he has ocd we turned the light
on one two three check delack one two three. Yeah,
but he seems happy, he loves it.
Speaker 1 (22:18):
He's like so that my so that the world does
not end tomorrow.
Speaker 2 (22:25):
So that my mother doesn't die. So I continue to breathe.
Speaker 1 (22:32):
I can't tell if my account accent is like Italian
or Transylvanian, or like maybe Israeli. Like it's hard to tell.
Speaker 2 (22:42):
I know, they never specify what the Count's dealers. You
assume he's Transylvanian, but he's also purple.
Speaker 1 (22:46):
He is purple.
Speaker 2 (22:47):
So back to Basile in sixteen thirty four, I'm sorry.
So he died in sixteen thirty two, and in sixteen
thirty four his sister Adriana published what he'd been working
on in two volume, which would later become Stories of
the Pentameron, which didn't get very much recognition or praise
at all for a long time until our boys Wilhelm
(23:11):
and Yakub the Grim Brothers praised it as the first
national collection of fairy tales. So for almost two hundred years,
people didn't really, you know, pay much attention to the
Stories of Pentameron or anything that John Bautista had done.
I mean, he did pretty well during his time, but
after he died, it was like nobody talked about him
(23:31):
until the brothers Grim brought him up again.
Speaker 1 (23:33):
Wow.
Speaker 2 (23:34):
So yeah, the bros and this is I think one
of the first times we're seeing the brothers Grim be
influenced rather than the other way around.
Speaker 1 (23:43):
M M.
Speaker 2 (23:45):
But yeah, so good for John Bautista and uh and
thank you again, Brothers Grim for all that you do.
Thank you dude, Thank you dudes, Thank you Billy.
Speaker 1 (23:55):
What do you say you think we're ready to Uh?
You think you're ready to read?
Speaker 2 (24:00):
Yeah? Yeah, I think we should. Let's take a little
break and when we come back, we'll read goat Face.
Goat Face From Stories from Pantamron by jam Battista Vassili.
(24:27):
All the ill deeds that a man commits have some
color of excuse, either contempt, which provokes need, which compels
love which blinds, or anger which breaks the neck. But
ingratitude is a thing that has no excuse, true or false,
upon which it can fix, and it is therefore the
worst of vices, since it dries up the fountain of compassion,
(24:50):
extinguishes the fire of love, closes the road to benefits,
and causes vexation and repentance to spring up in the
hearts of being grateful. As you will see in the
story which I am about to relate.
Speaker 1 (25:05):
It's great.
Speaker 2 (25:06):
So I just wanted to point out that every story
has that sort of intro to it where it almost
feels like a Twilight Zone episode where Rod Serling's like
giving you the imagine, if you will, all the ill
deeds that a man commits have some color of excuse.
Speaker 1 (25:23):
Right, which is like the Twilight Zone uses the same thing.
It's like a person telling the story a story where
a person tells you a story.
Speaker 2 (25:29):
Right, exactly right. So there's I mean, it really feels
like you could take stories from pentemerone and turn it
into a series and do an intro like that, like
you're Rod Serling.
Speaker 1 (25:41):
Yeah. Also, I feel like this is doing some legwork
for us because they're basically telling us the point of
the story right off the bat.
Speaker 2 (25:49):
You are absolutely correct. They do a lot of the
as far as yeah, telling us what the moral is.
It's we have our work cut out for us here.
But we can also disagree with it as well. Okay,
a peasant had twelve daughters, not one of whom was a.
Speaker 1 (26:05):
Head taller than the Do you think it was, Mel Gibson.
Speaker 2 (26:12):
He's one kid, shy. A peasant had twelve daughters, not
one of whom was a head taller than the next.
For every year, their mother presented him with a little girl,
so that the poor man to support his family decently.
Went early every morning as a day laborer and dug
hard the whole day long. With what his labor produced,
(26:33):
he just kept his little ones from dying of hunger.
He happened one day to be digging at the foot
of a mountain, the spy of other mountains that thrust
its head above the clouds to see what they were
doing up in the sky, and close to a cavern
so deep and dark that the sun was afraid to
enter it. Out of this cavern there came a green
(26:55):
lizard as big as a crocodile, and the poor man
was so terrified that he had not the power to away,
expecting every moment the end of his days from a
gulp of that ugly animal. But the lizard, approaching him, said,
be not afraid, my good man, for I am not
come here to do you any harm, but to do
(27:17):
you good.
Speaker 1 (27:19):
Very excited to introduce a lizard to the story, I'm
always a fan of lizard content.
Speaker 2 (27:25):
Want to I want to we can name this lizard
bean just for fun. Okay, So, being the lizard just
to approached.
Speaker 1 (27:32):
Him, which listeners. In case you don't know, I have
a lizard named Bean, and he is a precious little dude.
Speaker 2 (27:41):
When Masaniello, for that was the name of the laborer,
heard this, he fell on his knees and said, mistress,
what's your name? I am holy in your power. Act
then worthily and have compassion on this port trunk that
has twelve branches to support it is on this very account,
said the lizard, being that I am disposed to serve you,
(28:04):
So bring me tomorrow morning the youngest of your daughters,
for I will rear her up like my own child
and love her as my life. At this the poor
father was more confounded than a thief when the stolen
goods are found on his back. For hearing the lizard
ask him for one of his daughters, and that too,
the tenderest of them, he concluded that the cloak was
(28:27):
not without wool on it, and that she wanted the
child as a titmit to stay her appetite. Then he
said to himself, if I give her my daughter, I
give her my soul. If I refuse her, she will
take this body of mine. If I yield her, I
am robbed of my heart. But if I deny her,
she will suck out my blood. If I consent, she
(28:48):
takes away part of myself. If I refuse, she takes
the whole. What shall I resolve on? What course shall
I take? What expedient shall I adopt? Oh? What an
ill day work have I made of it? What a
misfortune has rang down from heaven upon me? While he
was speaking thus, traumatic the Lizard said, resolve quickly and
(29:11):
do what I tell you, or we will leave only
your rags here for so I will have it, and
so it will be. I like that. He's having this
existential crisis out loud, and like part of me thought
he'd left, he'd gone back home and is having this
on the way home. No, he's still right there, having
all these thoughts right in front of being the lizard.
Speaker 1 (29:33):
Yeah, and she's like, oh, come on, She's.
Speaker 2 (29:36):
Like, don't it doesn't matter, Like, yeah, exactly. She's like,
what I said is how it's gonna be, So don't toil,
Just do what I say.
Speaker 1 (29:43):
Yeah.
Speaker 2 (29:44):
Moss on a yellow, hearing this decree and having no
one to whom he could appeal, returned home quite melancholy,
as yellow in the face, as if he'd had jaundice,
and his wife, seeing him hanging his head like a
sick bird, and his shoulders like one that is wounded,
said to him, what has happened to you? Husband? Have
you had a quarrel with anyone? Is there a warrant
(30:05):
out against you? Or is the ass dead? Nothing of
that sort, said Masaniello. But a horned lizard has put
me into a fright, for she has threatened that if
I do not bring her our youngest daughter, she will
make me suffer for it. My head is turning like
a reel. I know not what fish to take. On
(30:25):
one side, love constrains me. On the other, the burden
of my family. I love Rinzola dearly. I love my
own life dearly. If I do not give the lizard
this portion of my heart, she will take the whole
compass of my unfortunate body. So now, dear wife, advise me,
or I am ruined. When his wife heard this, she said,
(30:46):
who knows, husband, but this may be a lizard with
two tales that will make our fortune. Who knows, but
this lizard may put an end to all our miseries.
How often, when we should have an eagle's sight to
discern the good luck that is running to meet us.
We have a cloth before our eyes, and the cramp
in our hands when we should lay hold on it.
So go take her away from my heart. Tells me
(31:08):
that some good fortune awaits the poor little thing. These
words comforted Masaniello, and the next morning, as soon as
the sun, with the brush of his rays, whitewashed the
sky which the shades of night had blackened, he took
the little girl by the hand and led her to
the cave. Then the lizard came out, and, taking the child,
(31:30):
gave the father a bag full of crowns, saying, go
now be happy, for Renzola has found both father and mother. Masaniello, overjoyed,
thanked the lizard, and went home to his wife. There
was money enough for portions to all the other daughters
when they married, and even then the old folks had
(31:50):
sauce remaining for themselves to enable them to swallow with
relish the toils of life. Then the lizard made a
most beautiful palace for Rinzoa, and brought her up in
such state and magnificence as would have dazzled the eyes
of any queen. She wanted for nothing. Her food was
fit for account her clothing. For a princess, she had
(32:14):
a hundred maidens to wait upon her, and with such
good treatment, she grew as sturdy as an oak tree.
Do you think that means that she's she's a she's
a thick lady.
Speaker 1 (32:25):
I was just thinking, like, what do we mean by sturdy,
Like is that a good thing? Or like, is that
a metaphorical sturdy? Like she's just like she's solid, like
she has no like issues, she's like pretty well adjusted.
She's like, you know, healthy, athletic. Or does it mean
she's like a thick bitch?
Speaker 2 (32:45):
You know, maybe she's like my guess would be because
I imagine she's just for her benefit being riginal that like,
and for the purpose of the story. I'd imagine she's
probably very attractive because, as you know, anytime there's a woman, princess, whatever,
they're the most beautiful woman that anyone's ever seen.
Speaker 1 (33:06):
Just somehow interesting that we haven't heard anything about it yet.
Speaker 2 (33:10):
You know how she looks, Yeah, exactly, so I think
in this case, i'm such as sturdy, I think in
this case means that she's like very confident, would be
my guess. But we'll we'll find out. I think what sure?
What the truth is?
Speaker 1 (33:27):
What do you think that was like as a small.
Speaker 2 (33:28):
Child being handed over to a lizard?
Speaker 1 (33:32):
Yeah? Do you think it was a baby? Was it
a baby or was it like a four year old?
Speaker 2 (33:36):
You know, they definitely said it was their youngest and
it was little, so I would say, yeah, probably like
an infant or not an infant, A toddler would be
my guess. So Foroe feels right.
Speaker 1 (33:48):
So the kid walks and then the lizard comes and like,
how does she says? The lizard came out and he
took the child? So like, how does a lizard? Is
this lizard on all fours? Or is this a bipedal lizard?
What would you say?
Speaker 2 (34:02):
Oh? You know what I'm picturing is uh, what's his name?
From Monsters, inc? The like bad purple lizard chameleon thing.
Speaker 1 (34:12):
I'm not I'm not seeing an image in my head.
Let me google this man. Oh, Randall Bogs, Randall Bogs.
Speaker 2 (34:22):
Yeah, that's what I'm picturing. I'm picturing Randall Boggs. God,
what a great name, Randall.
Speaker 1 (34:28):
I wasn't picturing this because I was really picturing Bean
as like a little human. But yeah, I do think
you're I do think you're pretty right. Although this thing
has eight legs, so it's actually on four legs and
standing up at the same time.
Speaker 2 (34:46):
Oh man, I don't remember that. That's crazy.
Speaker 1 (34:48):
Yeah, but I do think you're right. And I think
this is what she looks like.
Speaker 2 (34:51):
Yeah, because he's also pretty menacing. But I mean, thankfully
the one in our story is very nice.
Speaker 1 (34:58):
Yeah, she seems cool.
Speaker 2 (34:59):
Weird, It's like, what's her motive here? Why did she
want to take the youngest daughter and buy it? Basically
from a.
Speaker 1 (35:06):
Family I hope going to find out.
Speaker 2 (35:09):
Yeah, church, urch or church or true. It happened as
the king was out hunting in those parts that night.
Overtook him, and as he stood looking around, not knowing
where to lay his head, he saw a candle shining
in the palace, so he sent one of his servants
to ask the owner to give him shelter. When the
(35:30):
servant came to the palace, the lizard appeared before him
in the shape of a beautiful lady, who, after hearing
his message, said that his master should be a thousand
times welcome, and that neither bread nor knife should there
be wanting. The king, on hearing this reply, went to
(35:50):
the palace and was received like a cavalier. One hundred
pages went out to meet him, so that it looked
like the funeral of a rich man. One hundred other
pages brought the dishes to the table. A hundred others
made a brave noise with musical instruments. What do you
think that brave noise sounded like? That's pretty good, that's
(36:20):
very brave.
Speaker 1 (36:21):
Sounds brave.
Speaker 2 (36:22):
We'll just taking a chance.
Speaker 1 (36:23):
Yeah.
Speaker 2 (36:26):
But above all, Renzola served the king and handed him
drink with such grace that he drank more love than wine.
So either time has severely passed since the transfer of
goods or money for the daughter, or she was already
like a teenager at least.
Speaker 1 (36:47):
No, I think a lot of time has passed, because
in that earlier since he says, you know, he goes home,
and then it says there's money enough for portions to
all the daughters when they married, and even then the
old folks had sauce remaining for themselves to enable them
to swallow with real I think that's like saying like
they went on to spend the money and be happy,
(37:09):
although as I read it again, it seemed like they
could have just been portioning them out. But no, I think,
oh yeah, and then says, such good treatment. She grew
with sturdy as an oak tree.
Speaker 2 (37:19):
Oh, you're totally right, totally right. So yeah, time is past,
time is past. Yeah, okay, cool. Cool. When he had
thus been so royally entertained, he failed. He could not
live without Renzola, so calling the fairy, he asked her
for his wife. Where upon the fairy, who wished for
nothing but Renzola's good, not only freely consented but gave
(37:41):
her a dowry of seven millions of gold?
Speaker 1 (37:45):
Is the fairy the lizard?
Speaker 2 (37:48):
That's what I'm thinking, where we're not being informed of
a change of character.
Speaker 1 (37:52):
Title, Yeah, did fairy come from?
Speaker 2 (37:55):
Yeah? I think it's just it must just be there
referring to her now as a fairy since she in
human form, So maybe she's just like a magical creature.
Speaker 1 (38:05):
Yeah. Also, I like a dowry of seven millions of gold? Like,
is just that just like a poor translation or a
or like a missing word seven millions of gold? It
sounds like a fake thing. I'll give you five millions of.
Speaker 2 (38:22):
Money, thing of shell, I'll give you five millions of dollars.
Speaker 1 (38:30):
That kind of works.
Speaker 2 (38:31):
Though the king, overjoyed at this piece of good fortune,
departed with Ronzola, who ill mannered and ungrateful for all
the fairy had done for her, went off with her
husband without uttering one single word of.
Speaker 1 (38:45):
Thanks, Ohronzola, and now we do have confirmation that the
fairy and the lizard are one and the same.
Speaker 2 (38:53):
M h. Then the fairy, beholding such ingratitude, cursed her
and wished that her face should become like that of
a she goat. And hardly had she uttered the words,
when Renzola's mouth stretched out with a beard span long
on it, her jaws shrunk, her skin hard, and her
(39:13):
cheeks grew hairy, and her plated tresses turned to pointed horns.
When the poor king saw this, he was thunderstruck, not
knowing what had happened that so great a beauty should
be thus transformed. And with sighs and tears, he exclaimed,
where are the locks that bound me? Where are the
(39:33):
eyes that trensfixed me? Must I then be the husband
of a she goat? No? No, no, my heart shall
not break for such a goat face, so saying, as
soon as they reached his palace, he put Renzola into
a kitchen along with the chambermaid, and gave to each
of them ten bundles of flax to spin, commanding them
(39:54):
to have the thread ready at the end of a week.
The maid, in obedience to the king, set a out
carding the flax, preparing and putting it on the distaff,
twirling her spindle, reeling it, and working away without ceasing,
so that on Saturday evening her thread was all done.
But Renzola, thinking she was still the same as in
(40:14):
the fairy's house, not having looked at herself in the glass,
threw the flax out of the window, saying, a pretty thing. Indeed,
of the king to set me such work to do.
If he wants shirts, let him buy them, and not
fancy that he picked me up out of the gutter,
but let him remember that I brought him home seven
millions of gold, and that I am his wife and
(40:37):
not his servant. Methinks too, that he is somewhat of
a donkey to treat me this way.
Speaker 1 (40:45):
So she is unaware that she has turned into a
goat face.
Speaker 2 (40:50):
Yeah, she has no idea, so I'm surprised the chambermaid
hasn't reacted either, or maybe the chambermaid's just like so
beat down, her life just already suck. She's like whatever.
She's like, Oh, I'm in the kitchen making T shirts
with this goat goat lady.
Speaker 1 (41:03):
Yeah whatever, man, Oh, I think Renzola's about to get
an awakening.
Speaker 2 (41:09):
Nevertheless, when Saturday morning came, seeing that the maid had
spun all her share of the flax, Renzola was greatly afraid.
So away she went to the palace of the fairy
and told her misfortune. Then the fairy embraced her with
great affection and gave her a bag full of spun
thread to present to the king and show him what
(41:30):
a notable and industrious housewife she was. Renzola took the
bag and without saying one word of thanks, went to
the royal palace. So again, the fairy was quite angered
at the conduct of the graceless girl. When the king
had taken the thread, he gave two little dogs, one
(41:51):
to Renzola and one to the maid, telling them to
feed and rear them. The maid reared hers on breadcrumbs
and treated it like a child, but Renzola grumbled, saying,
a pretty thing truly, as my grandfather used to say,
are we living under the turks? Am I indeed to
comb and wait upon dogs? As she flung the dog
(42:11):
out of the window.
Speaker 1 (42:13):
Oh my god, Renzola, she's a monster. She is a monster.
She's like she's like from the EMPTV show. I remember that,
like my super sweet sixteen or whatever.
Speaker 2 (42:25):
Yeah, that's her.
Speaker 1 (42:26):
I feel like that's her. She's like Paris.
Speaker 2 (42:29):
I wanted a range rover. I didn't want a jeep.
Speaker 1 (42:34):
Yeah exactly.
Speaker 2 (42:36):
But I think, for my own sanity, I'm just going
to assume that when she threw the dog out the window,
they were also on the first floor of the castle,
and the dog just landed in the grass and then
he got up.
Speaker 1 (42:50):
And ran away and lived a really nice and happy life.
Speaker 2 (42:53):
Yeah, away from this monster goat woman.
Speaker 1 (42:56):
Yeah, he found a nice fox to wed and they
had beautif Oh oh, pops kit.
Speaker 2 (43:02):
Yeah, like the Fox and the Hound, but sexier. Yeah,
that's what I thought. When I watched Fox in the Hound,
I was like, you know what, this movie isn't sexy enough.
It's really not. It's definitely not a first date movie,
that's for sure.
Speaker 1 (43:17):
No.
Speaker 2 (43:20):
Some months afterwards, the king asked for the dogs. We're
at Renzola losing heart, ran off again to the fairy,
and at the gate stood the old man, who was
the porter. Who are you? Said he? And whom do
you want? Renzola, hearing herself addressed in this offhand way, replied,
(43:41):
don't you know me, you old goat beard? Why do
you miscall me? Said the porter, this is the thief
accusing the constable. I a goat beard. Indeed you are
a goat beard and a half, and you merit it,
and worse for your presumption. Zing wait awhile, you impudent woman,
(44:03):
I'll enlighten you, and you will see to what your
airs and impertinence have brought you so saying, he ran
into his room, and, taking a looking glass, set it
before Renzola, who, when she saw her ugly, hairy visage,
was like to have died with terror. Her dismay at
seeing her face so altered that she did not know
(44:23):
herself cannot be told. Whereupon the old man said to her,
you ought to recollect Renzola, that you are a daughter
of a peasant, and that it was the fairy that
raised you to be a queen. But you rude, unmannerly
and thankless as you are, having little gratitude, for such
high favors have kept her waiting outside your heart without
(44:45):
showing the slightest mark of affection. You have brought the
quarrel on yourself. See what a face you have got
by it. See to what you are brought by your ingratitude,
For through the fairy's spell you have not only changed
face but condition. But if you will do as this
white beard advises, go and look for the fairy, throw
(45:08):
yourself at her feet, tear your beard, beat your breast,
and ask pardon for the ill treatment you have shown her.
She is tender hearted, and she will be moved to
pity by your misfortune.
Speaker 1 (45:20):
Mike drop, he really likes boom. He laid it Honor.
Speaker 2 (45:26):
Renzola, who was touched to the quick and felt that
he had hit the nail on the head, followed the
old man's advice. Then the fairy embraced and kissed her,
and restoring her to her former appearance, she clad her
in a robe that was quite heavy with gold, and
placing her in a magnificent coach, accompanied with a crowd
(45:46):
of servants, she brought her to the king. When the
king beheld her so beautiful and splendidly attired, he loved
her as his own life, blaming himself for all the
misery he had made her endure, but excusing himself on
account of that odious goat face which had been the
cause of it. Thus Renzola lived happy, loving her husband,
(46:08):
honoring the fairy, and showing herself grateful to the old man,
having learned to her cost that it is always good
to be mannerly the end.
Speaker 1 (46:40):
All right, So wow, I feel like the work has
been done for us, like an seen we know exactly
what the point of the story is. Yes, don't be
a dick, right, be great?
Speaker 2 (46:51):
Yeah? Yeah, yeah, especially, I mean, be grateful, especially if
you've had such an easy life like she's had.
Speaker 1 (47:00):
You call it an easy life if you're I mean,
I'm sure it's hard a lizard for a bag of crowns.
Speaker 2 (47:04):
If that lizard built me a castle and made me servants.
Speaker 1 (47:08):
Yes, yeah. Do you think she stayed a lizard for
the whole of the girl's life.
Speaker 2 (47:15):
I think up to the point her lizard friend, that
would be my guess. Like, because she doesn't get referred
to as fairy until after she turns into a human
because a king arrives, and then after that she never
goes back to lizard, right, Yeah.
Speaker 1 (47:29):
I don't think so.
Speaker 2 (47:30):
Yeah, she's just a fai, Yeah, which is strange. It's like,
just be a fairy. People will trust you. If you
wanted a kid and you were, you know, appeared as
a fairy, it'd be a lot easier to get one.
Speaker 1 (47:41):
Yeah, why the heck is she a lizard in the
beginning of the story.
Speaker 2 (47:44):
Yeah, there must be some sort of like like wherever
John Batista gathered this story, like there maybe culturally there's
something to do with lizards. Maybe they pop up in
folk tales more often around that time that or oral
stories rather around that time. But yeah, I could I
couldn't imagine why you would want to be something that's
so menacing but trying to actually do good.
Speaker 1 (48:05):
Yeah, Like, and she's also like pretty threatening, you know.
Speaker 2 (48:09):
Mm hmm.
Speaker 1 (48:10):
Like if she had just gone as a fairy, she
probably just could have been like, hey, give me your daughter,
I want to raise the princess, and he'd be like, cool,
I'm like barely feeding my kids. That's great. But instead
she has to be like I'm a lizard, give me
and like all creepy about it.
Speaker 2 (48:24):
Mm hm, and everybody thinks that he's just that the
lizard's just going to eat the kid.
Speaker 1 (48:29):
Except for the wife, who's like, seems like if a
lizard's asking for a baby, probably something okay is going
to happen. She's like very quick to trust the lizard.
Speaker 2 (48:38):
Yeah. That or the mom was just sick of having
all these kids because like, obviously that's the husband who's
going out and doing all this heavy lifting or whatever.
His job is digging, So she's stuck at home with
twelve kids and she's just like, please get rid of
one of them.
Speaker 1 (48:51):
Yeah, get get rid of the most useless one, which
would be the youngest. You know, that's just another mouth
to feed.
Speaker 2 (48:57):
Yeah, exactly. So she was just like, take it, give
it to the lizard, lady. So do you feel like,
I mean, it's pretty cut and dry. It's this one's
pretty heavy handed, and it's in its point. And then
also obviously it says it always it's always good to
be mannerly.
Speaker 1 (49:12):
M m.
Speaker 2 (49:13):
It also not much dissection there are there.
Speaker 1 (49:16):
Do all the stories end with like a little quote
at the end? Uh?
Speaker 2 (49:21):
Ye? I think almost all of them do.
Speaker 1 (49:24):
It looks like they all do. All the ones I'm looking.
Speaker 2 (49:26):
At do the next one does. Oh no, it does,
it's just in a different font. Unhappy as you. Yeah,
they all do.
Speaker 1 (49:32):
So that's the the format.
Speaker 2 (49:34):
Here, Rod Serling intro and then Rod Serling outro of
like you should have been thinking about others before yourself.
Speaker 1 (49:43):
And that's why you always leave a note.
Speaker 2 (49:48):
You will goat face.
Speaker 1 (49:50):
Because he also, like he says in the beginning, ingratitude
is a thing that has no excuse, true or false,
upon which you can fix. So he says in the beginning,
he does in the begin ingratitude is the problem here.
And then at the end he says, it's always good
to be mannerly. So there's a little sandwich, a little
moral sandwich, you know, mm hmm.
Speaker 2 (50:08):
It seems like, yeah, this is a collection of fifty
moral sandwiches. Yeah, in this book, which is cool. I mean,
I'm a little confused by because there's so many different
variations on the title. Obviously, Tale of Tales is pretty popular,
but then it's also referred to as entertainment for little ones.
So are these children's stories?
Speaker 1 (50:28):
I think they are. I mean, in the fact that
they're all moral, moralistic, it would make sense that they're
all for kids. You know, to teach lessons because they
adults don't want to read lessons, right, you don't need
this for an adult, those for kids.
Speaker 2 (50:43):
Yeah, So yeah, that's interesting. It's amazing how different children's
stories are now than they were then.
Speaker 1 (50:50):
How are they now?
Speaker 2 (50:51):
Well now I feel like they're a little bit more innocent.
There's a lot less like selling a child involved in
children's and modern day children's stories.
Speaker 1 (50:59):
Yeah, chopping off of hands. Yeah, there's a lot less windows.
Speaker 2 (51:05):
Yeah. Now I feel like a dog got locked out
and had to find a new home, is like what
a modern story would be, rather than like a dog
getting thrown out of a second story window or something.
Speaker 1 (51:16):
Yeah, Like you remember in that Wes Anderson movie Grim
Budapest when Will Dafoe throws the cat out the window.
Oh yeah, that's too much for me. I was like,
what the heck, that's Wes, I know you've gotten too dark.
Speaker 2 (51:30):
They've done a I can't remember what it was, but
it's like some sort of study in film where there
are two things you cannot do in film because no
one wants to see it, and it's violence against dogs
and violence against babies. So like I think I was.
I listened to this because we were it was like
a discussion on raising Arizona. Have you ever seen that
(51:53):
the old Coen Brothers movie with Nicholas Cage.
Speaker 1 (51:55):
I've never seen it, but I know I know the
premise of it.
Speaker 2 (51:58):
But there's a scene in that where they've forgotten a
baby in a car seat on top of a car
and they drive away, like forgetting to put the baby
in the car or in the car seat in the car.
So they drive away, then they realize what's happened. But
when they go back, the baby's just sitting on the street,
totally fine in the car seat, like the car seat
(52:18):
just moved to the street. And they were having trouble
filming that just because they didn't want to show like
the baby falling off the car, just because it was
too much for people to see. M So it's the
same thing with like you and the cat. It's like
there are some things that no one wants to watch.
Speaker 1 (52:32):
I don't want to watch a cat get thrown. No
one know, it's sad.
Speaker 2 (52:35):
Yeah, yeah, I know. And then you see it in
the bag.
Speaker 1 (52:37):
Yeah exactly. I don't like watching animals get yeah.
Speaker 2 (52:40):
I do, Like, I totally agree, but I do love
the next scene when the lady at the or the
counter or whatever like hands him the bag like, oh,
here's your stuff to Jeff Goldblum's character and he has
to like take his bag of dead cat.
Speaker 1 (52:55):
Yeah, that's sad. I don't like that part either.
Speaker 2 (52:58):
And then he gets on the thing and realizes, well
befoes following him, and then throws and it gets off
the museum and puts the trash bag of cat in
a trash Yeah. Yeah, it's a whole sequence of brutality.
Speaker 1 (53:10):
Yeah. I thought that that was my biggest problem with
Grand Budapest was it was a little too dark for
Wes Anderson. Like it wasn't quite a little too physically dark,
you know, like usually he's got dark storylines, but they're
not that physically they're not that like visually dark.
Speaker 2 (53:23):
Mm hmmm.
Speaker 1 (53:24):
It was too much for me.
Speaker 2 (53:26):
Well how are you feeling? I mean, I feel like, yeah,
like they did most of the work for us there.
Do you have any thoughts on the story on the
anything that you thought was interesting or or anything you
noticed that might feel similar to like another folk tale
that you've read, or some sort of trope that you've
picked up on.
Speaker 1 (53:42):
I'm trying to think of, Like, well, I mean, I
guess a little bit like Willy Wonka. You know, he
totally he screws with all those spoiled kids. But I
don't think they ever come back. I think they all
just die, right.
Speaker 2 (53:55):
Yeah, yeah, every single one of them is like supposedly dead.
Speaker 1 (53:59):
Yeah, kills a bunch of children, which is pretty dark. Yeah,
here's a question. Is Renzola a name?
Speaker 2 (54:07):
Yeah, let's look that up.
Speaker 1 (54:08):
Have you ever known anybody named Renzola?
Speaker 2 (54:11):
My Renzola?
Speaker 1 (54:16):
Oh, look at these, I'm right now, I'm looking at
a drawing of the lizard.
Speaker 2 (54:22):
Oh wow, and Renzola in the Goat Face Girl. Seems
like the Gray Fairy Book's goat Face story is actually
more celebrated. It's I didn't know, so that's funny. That
didn't pop up for me that there's actually Andrew Lang's
is another iteration? Or did you? Is that something you mentioned?
Speaker 1 (54:38):
I mentioned it in the beginning. Yeah, I wonder.
Speaker 2 (54:41):
Oh yeah, look at that. We have a picture there.
Oh yeah, there's totally. There's a picture in the Gray
Fairy Book from Andrew Lang's Gray Fairy Book of the
Goat Faced Girl being shown her reflection by the porter
m it.
Speaker 1 (54:54):
Doesn't look like Grinsola comes up anywhere in the world
sides this story like Renzola, Like it's not even like
Gorinzola on LinkedIn, you know, like that's just a well
same Well look at this. There is another another story
(55:14):
from the Pentameron with a character named Renzola.
Speaker 2 (55:20):
Oh, I think they are reoccurring characters. I think the
stories are all in the same universe right right right here,
because they're all being told by ten women, five stories each. Yeah,
so a lot of the stories are like they're crossovers,
which is again very cool, very cool. Is a narrative
structure there.
Speaker 1 (55:38):
Yeah, I like that. So did we miss anything? What
do you think? No?
Speaker 2 (55:42):
I feel good. I think that I feel like we
covered it. And yeah, thank you Joon Batista Vasili for
doing the work for us on the morality thing.
Speaker 1 (55:50):
Yeah, thanks for that. May be really easy for us listeners.
If you have any thoughts, I would love to hear them.
You can shout us out at at folk pod on
Twitter or on Instagram at folklore dot pod, or you
could even send us an email at Folklore at straw
media dot com. Or you could even write us a letter,
(56:10):
but you'd have to dm us for the address, because
I'm not going to see that on the air. It
would be weird.
Speaker 2 (56:14):
Yeah, slide into our dms and ask for our personal addresses,
and then you'll send us whatever you want.
Speaker 1 (56:19):
Yeah, anything.
Speaker 2 (56:21):
Maybe you've got a goat head just lying around that
you want to send us someone you don't know. That's
we're here for you.
Speaker 1 (56:26):
It's not like a real, like bloody gout head, right
like you mean, like the little birds that get stuck
in your songs.
Speaker 2 (56:32):
No, I'm open to either.
Speaker 1 (56:33):
Don't send me a real go.
Speaker 2 (56:34):
Ahead, don't throw cats out windows, and don't throw and
don't send Maggie a real go ahead.
Speaker 1 (56:41):
Yeah, deal lesson learned.
Speaker 2 (56:43):
Cool, achieve less and learn unlocked. Well, well, thanks for
listening everybody, And yeah, feel free to like and subscribe
and stay stay tuned for next week's episode when we
go someplace else and tell a different story.
Speaker 1 (56:57):
Don't feel free to do it right now, Mike, subscribe,
leave a review, five stars, send it to your friends,
tell people about it, all that stuff. Just like enjoy
and and I wonder what we'll reading next week. We
(57:17):
don't know yet.
Speaker 2 (57:18):
I can't wait. Yeah, it's a surprise for us. Just
as it is for you. This has been Clayton Stucker
signing off.
Speaker 1 (57:26):
This has been Maggie Bulls also signing off simultaneously.
Speaker 2 (57:31):
Here we are, thanks guys, Glorica and now for your
moment of Alanis Morison. Thank you and THEA Thank you Terror,
(57:54):
Thank you Soon Man, thank you, FREYD thank you, Consequence,
thank you, thank you Sis, thank you
Straw Hut Media.
Speaker 2 (00:09):
Imagine the emergence of a new meticulture. Imagine all kinds
of people everywhere getting committed to human excellence, getting committed
to closing the gap between the human condition and the
human potential. And imagine all of us hooked up with
a common high tech communications system. That's a vision that
(00:29):
brings tears to the eyes. Human excellence is an ideal
that we can embed into every formal human structure on
our planet. And that's really why we're going to do this,
and that's also why the Meta Network is a creation
we can love. That is from the men who stare
at goats or John Ronson.
Speaker 1 (00:59):
Hello, and welcome to Folklorica.
Speaker 2 (01:01):
The podcast about folk tales from around the world. I'm
your host, Clayton Stecker, and i am.
Speaker 1 (01:07):
Your other host, Maggie Bowles.
Speaker 2 (01:10):
How you doing, Maggie, I'm good.
Speaker 1 (01:14):
That was a very solid, solid intro. It sounded very natural,
It flowed very peacefully into our next section. It was
very good. We're really getting the hang of this thing,
I think so.
Speaker 2 (01:26):
I think by season five we'll really have it down. Yeah.
Speaker 1 (01:30):
Yeah, yeah, I'm doing well. That's about all I can say.
But well, I mean, like barely holding on.
Speaker 2 (01:37):
I see, I see. What are you doing to stay afloat?
Speaker 1 (01:41):
Honestly, I don't know. I don't know.
Speaker 2 (01:44):
The days are just blurring together for you.
Speaker 1 (01:47):
They kind of are. Yeah, I feel like the feeling
I have is I want to go home, except the
opposite of it, Like it's the vibe if I want
to go home, except that I don't want to be home.
Speaker 2 (01:58):
Mm hm. I totally get at that.
Speaker 1 (02:01):
Like if I can, where would you hibernation? If I
could go into hibernation, I would.
Speaker 2 (02:06):
I would do that just like wake me up when
this is over.
Speaker 1 (02:10):
Mm hmm exactly, like cryogenically freeze me for the next
like six months or so.
Speaker 2 (02:16):
That's cool. Just be like that movie Forever Young with
Mel Gibson, you'd be mel Gibson.
Speaker 1 (02:20):
I have a young Hi. I never want to be
mel Gibson. If I have a choice, I'm always going
to choose not to be mel Gibson, unless it's Mel
Gibson in Brave Heart, in which case I would.
Speaker 2 (02:35):
Would you rather be Tom Cruise or Mel Gibson. I
think I can have to be either one of them.
Speaker 1 (02:42):
I think I'd rather be cryogenically frozen.
Speaker 2 (02:44):
Cryogenically frozen Gibson.
Speaker 1 (02:51):
Yeah, I don't want to be Do you have a
preference Tom Cruise?
Speaker 2 (02:55):
Why?
Speaker 1 (02:56):
Uh? An anti semi?
Speaker 2 (02:58):
That's a big part of it. That's a really big
part of it. He is a scientologist though, Yeah, I know, well,
once I become him, that's gonna change. That's the first
thing to go.
Speaker 1 (03:09):
Tom Cruise aged better than mel Gibson. Like, what do
you think Mel Gibson is doing right now?
Speaker 2 (03:14):
He's probably smoking a cigar and yelling at his kids.
Kids he's got. I think he's got like ten kids. No, yeah,
I think he's got like a lot of kids. And
I think he's adopted kids too.
Speaker 1 (03:26):
I'm going to google this right now, mel Gibson kids,
let's do it. Wow, there are a lot.
Speaker 2 (03:33):
How many eleven? Eleven? I was so close?
Speaker 1 (03:37):
Sixth No, he's the sixth of eleven. Oh, let me
see how many kids?
Speaker 2 (03:42):
Wow? Really, I didn't know that one.
Speaker 1 (03:44):
He has nine?
Speaker 2 (03:45):
There you go, he has nine kids.
Speaker 1 (03:47):
It's a thing. It's obviously a thing.
Speaker 2 (03:49):
Mel Gibson's sons should be a show.
Speaker 1 (03:52):
Yeah, it's weird. On his Wikipedia page, next to children,
it says nine including Milo. Like, why do they have
to specify that Milo.
Speaker 2 (04:03):
Is in Milo might be adopted.
Speaker 1 (04:05):
The son of actor doesn't say he's adopted.
Speaker 2 (04:09):
Hmm, that's weird. They just mentioned him that, like, including
Milo Gibson. It's weird, right, Yeah, maybe Milo's recognizable or
has some sort of like public status.
Speaker 1 (04:19):
Here we go. This is a This is an article
from Dipley that says, here's what all of mel Gibson's
kids look like. All right, let's talk about this.
Speaker 2 (04:31):
Let's yeah, let's get back on Clayton.
Speaker 1 (04:36):
You chose Maggie, you chose an Italian story?
Speaker 2 (04:41):
Yeah, yeah, yeah, what I went straight to Italy. I
had read somewhere before ever doing any real research that
Italy has some of the oldest known recordings of some
of our favorite stories, Like for whatever reason, they just
got like the earliest documentation for a lot of the
stories that we are were. So that was my starting thread.
(05:02):
And I know nothing about Italian folklore, so coming into
this was was I came in kind of blind, but
very quickly I found that the one of the more
popular collections of folk stories from Italy is a book
called Looi o lomento de pecai, which is it was
(05:28):
longer than I even anticipated. I mean, it just really
flows out of you. But that's Italian obviously, or actually
it's Neopolitan for the tale of tales or entertainment for
the little ones. Later on the story. The book would
eventually be uh renamed Il Pentameron or Stories from Pentameron
(05:50):
by a man named John Battista Basile. And and what's yeah,
what's fascinating about this book? I've never seen a collection
of folk stories that was put together this way. But
it's basically Stories from Panameron are structured around a frame story.
So it consists of fifty folk tales. But the way
(06:11):
that it's set up is there's actually an overarching story
and then all the folk tales exist as like a
story in a story. So you think like it's like
a literary technique that serves as a companion piece to
a story within a story. So think like Princess Bride,
like the relationship between the grandfather and the grandson. That's
a story, and so they're reading from a book and
we get to basically watch what goes on in the
(06:32):
book that so the grandfather and grandson that's the frame story,
and stories from Panamarone have a similar thing. There is
a story that takes place between this woman and this
like I guess she's like a Moorish slave who tricks
her and takes her prince and demands that a bunch
of people tell her stories. And that's where all of
the stories that we're going to be talking about today
(06:54):
come from. Is this like frame story within a story.
It's very complicated, but it's very fascinating as a narrative
to Yeah, I was.
Speaker 1 (07:00):
Reading a little bit about that, and it looks like
that was pretty popular way to tell stories and at
the time, and like they called this the pen tamarone
or whatever which is, and it was after the Day Cameron,
which was Pikaco's The Human Comedy in the twelfth or
in the middle of thirteen hundreds, And so that's called
(07:24):
the day Cameron because there are ten and the pen
Tameron is because there are five.
Speaker 2 (07:30):
Yeah, well it's five days, ten stories a day.
Speaker 1 (07:32):
Right, but five days, whereas because day Cameron means like
ten days and pen Tameron. Oh, I see what you're saying,
five days, So same thing. And apparently that was also
they also used it in like Arabian Nights, you know,
that's where the Aladdin the same thing.
Speaker 2 (07:51):
Also, someone's telling a story about the Arabian Nights.
Speaker 1 (07:55):
Yeah, Yeah, there's people gathered, they're telling stories, so it
would be fun todo a story from Arrabian Nights too,
that would be or from yeah, or it's called one
thousand and one Nights, I guess.
Speaker 2 (08:07):
And then there's one night's name was Milo, Yeah, including Milo,
including one thousand and one nights including Milo Gibson.
Speaker 1 (08:17):
Including Milo. There's also a guy, Giovanni Francesco's to Rappolo Straparola.
Great name. He did it once. When I see their
happy faces smiling back and me Straparola. That was the
(08:39):
seventh heaventh theme. FYI if you didn't recognize that.
Speaker 2 (08:45):
I didn't know where it was coming from, but I
loved it.
Speaker 1 (08:48):
Yeah.
Speaker 2 (08:49):
Music just makes everything more fun, it does.
Speaker 1 (08:51):
I agree. The Pleasant Nights, which was this Straparola guys
thing that was in fifteen fifty one, and that's actually
the first time they saw fairy tales printed. But it
wasn't a book of fairy tales. It was a book
of short stories, both collected and written, and that's where
some really early early fairy tales appeared. And they say
(09:13):
the first rags to riches, you know, magical rags to
Riches story where someone's poor and then some magic happens
and then they become like royal.
Speaker 2 (09:23):
Or that's like the first time we see that trope.
Speaker 1 (09:27):
I guess, yes, exactly. And apparently his name is Straparola,
which is first of all, just a great name, but
secondly it.
Speaker 2 (09:36):
Fits into so many songs.
Speaker 1 (09:37):
Yeah. Secondly, it wasn't even his name. It just means like,
talks too much.
Speaker 2 (09:47):
Oh wow. Do you think he picked it for himself?
Speaker 1 (09:52):
I do, actually probably, Or.
Speaker 2 (09:54):
Did he he tried to use his name to publish
something and they were like, nah, Straparola, you're Straparola. So
it is like no, no, no, no, my name is Derek,
and I'm trying to put this out. I no, no, no, Straparola,
here's Straparola. You talk too much? That's cool. Yeah, yeah,
it's fascinating. Yeah, I'm like going through this. I don't
(10:16):
know if because you said so, some of the stories
that you found in like the Dick Cameron, is that
what it's called, or even older versions of classic fairy
tales that we've heard before.
Speaker 1 (10:25):
I don't know. No, not in the Dick Cameron, because
the de Cameron is a basic it's a bunch of
stories about like the plague and it's like a bunch
of staple trying to escape the Black Plague. I've never
read it.
Speaker 2 (10:38):
I love it as like it almost sounds like Samuel
Beckett play or something like people just sitting around at
campfire while the plague's going on, and they're trying to
entertain themselves the whole time until the plague ends.
Speaker 1 (10:49):
Yeah, until everybody drops like like monkeys jumping in the bed.
Speaker 2 (10:53):
Mm hmmmmm. Straparola fell off and broke.
Speaker 1 (10:56):
His head exactly.
Speaker 2 (10:58):
Yeah. In the So, then in the stories Pentameron, which
was published in sixteen thirty four, or the first volume
of the two volumes sixteen thirty four and sixteen thirty six,
actually contains one of the oldest known versions of Puss
in Boots, Rapunzel, Sleeping Beauty, Hansel and Gretel, and Cinderella.
(11:19):
But actually I just thought, right before we started recording,
I read that actually the original or the oldest known
version of Cinderella is actually Chinese and comes from like
eight hundred eighty really, so that is definitely something worth
considering for a future episode.
Speaker 1 (11:35):
So then that would that would nullify what I just
said about Straparola's first magical rags to riches story.
Speaker 2 (11:42):
Yeah, well, I mean Cinderella was technically rich, she was
just treated poorly, I feel like, but I mean, who knows.
Speaker 1 (11:49):
I feel like that's a magical rags to riches story,
you know what. All these all of these like firsts,
they're all very like Western centric, you know. They're like,
this was the first time this happened, and you're like, actually,
don't have an eight hundred years ago. It was just
on the East. Is in the East, so they don't
count it. Yeah, the first white person to do it
is what they really mean, you know.
Speaker 2 (12:08):
Yeah, it didn't start to really exist until Walt Disney
made it a cartoon exactly. Yeah. Yeah, but yeah, so
it's got a lot of these like cool old stories
in it, original versions of things as far as we
as far as we know other than Cinderella. But the
story we're going to do today is actually one that
(12:29):
doesn't have any adaptations as far as I could see.
Speaker 1 (12:34):
Which is odd because it sounds like a great story.
Speaker 2 (12:36):
Yeah. Yeah, like you they're definitely I don't know, we'll
see once we get into it. We'll see if there's
some tropes that pop up in other stories, if you
see some some themes you've you've heard or seen before.
But today's story is goat face.
Speaker 1 (12:52):
It's great. It's a great it's a great title.
Speaker 2 (12:54):
Yeah, And just before we started recording as well, I
watched I don't know if you've found that, but the
movie Tale of Tales that just came out in twenty
fifteen starring Salma Hayek and John c Riley, is based Yeah,
it's based on It's like loosely based on the Pentameron.
(13:14):
So they use three stories from the Pentameron, and I
mean they're like kind of they some of it. It's
like they stay true to the story, to the stories
that they use, but they take some liberties. But it's
actually I was surprised. I went into it pretty open minded,
Like I was like, I bet this could be bad
because I had never heard of it. I'm like, how
(13:35):
did I miss this thing? But it actually was all right.
I enjoyed it.
Speaker 1 (13:38):
Should I watch it?
Speaker 2 (13:39):
Yeah? I was like, if you're a folklore person, if
you're someone who enjoys folk stories, you'll I think you'll
appreciate it more than most people because of the rhythm
of it, the general vibe, the little things that happened that.
I mean, basically, that movie is taking seriously what you
and I find so bizarre and so funny about folk stories.
Speaker 1 (13:59):
Really, yeah, it sounds great, So.
Speaker 2 (14:01):
Yeah, I would. I would recommend it just because it
is a it's a it's a good like adaptation of
folk tales.
Speaker 1 (14:09):
Is goat face in there.
Speaker 2 (14:10):
No so the stories they use from Pentameron are. I
think it's like the Old Flayed Woman, the Enchanted Doe
and the Flea. And the Flea is another great story
that I highly recommend. But we're not going to do
the Flea. We're going to do face.
Speaker 1 (14:26):
I was about to say, isn't the flea a superhero?
But that's the tick I think, and.
Speaker 2 (14:32):
I think his sidekicks the flea. Maybe the little the
guy in white I think is the moth.
Speaker 1 (14:39):
I did read. I did see that there are Even
though this isn't like a famous story anymore, there were similar,
like similar stories in a couple of other places, like
Andrew Lang's Gray Fairy book.
Speaker 2 (14:53):
He has a.
Speaker 1 (14:54):
Faced girl story. The Grim Brothers had a one called
Mary's Child which was similar, and then some Norwegian book
of folk tales had one called the Lassie and her
Godmother which was also a similar tale. But I was
glancing over the Mary's child and last Sie her godmother,
and they didn't appear to be goat faced. I didn't
(15:16):
read the whole story. I just was looking for goat
and I didn't think so. I think maybe it's like
the plot is the same, except that there's no goat face.
Speaker 2 (15:24):
Maybe it's a different curse or something.
Speaker 1 (15:27):
It feels important.
Speaker 2 (15:29):
Yeah, I mean, it's pretty vital to this story, but
who knows. I mean, every story becomes its own thing
just by They could be like snail Face, and then
you would never even catch it as being an adaptation
of goat face.
Speaker 1 (15:43):
It's true.
Speaker 2 (15:44):
So I was reading stories from pentameroneh and they have
a story in there called Penta of the Chopped off Hands,
which is a variant of our very first story, The
Girl Without Hands.
Speaker 1 (15:58):
That's really special.
Speaker 2 (15:59):
I expect a bigger reaction, but that's all right.
Speaker 1 (16:03):
I did see it in the notes, so I couldn't.
I could.
Speaker 2 (16:07):
I couldn't care more than I did.
Speaker 1 (16:09):
I was already I already knew.
Speaker 2 (16:12):
Yeah.
Speaker 1 (16:13):
I do think that's very exciting, though, because it's a
weird story. That one's a great one. Listeners, if you
ever heard that one go back, Season one, episode one,
fantastic story.
Speaker 2 (16:23):
Yeah, And so I won't dig in too deep into
what Penta of the chop Top Hands is all about.
I mean, it's it's similar in a lot of ways,
but it's also it's totally its own story in a
lot of other ways. And I just held onto this
little snippet of the synopsis because it talked about general
folklore tropes and things like that. The motif of the
father or brother chopping off the hands of a daughter
(16:47):
or sister who refused an incestuous marriage is a common
fairytale motif, but is usually presented without explanation of why
the hands are targeted. The brothers particular they're speaking about,
specifically Penta of the Chopped Off Hands. The brother's particular
fascination with her hands appears to be a development of
(17:08):
Basillo's Basile's own to account for it. So he was
a hands guy, you know how Tarantino's like a foot guy. Yeah,
butsil is a hands guy, So now we know that. Yeah.
Speaker 1 (17:21):
I wonder why they would chop her hands off, Probably
just because it makes her useless.
Speaker 2 (17:26):
You know. Yeah, Well, in this case, in Penta of
the chopped off hands. She has someone chop them off
so she doesn't have to get married to her brother.
Speaker 1 (17:35):
Got it, got it? Got it? When I was when
I was googling goat face, I can't the story about
a mutant goat from India. Did you come across those?
M M? So it's kind of sad, honestly, because I
saw the pictures in it, and it's kind of sad.
(17:56):
But there's a mutant goat that was born in India.
There's a story about it from twenty seventeen and then
another one from January twenty twenty. So I don't know
if it's two different goats or the same goat. But
it was like a goat with a mutated face that
looked very human, like ugh, really weird and human, and
they apparently were worshiping him as a god in some
(18:20):
small village in India.
Speaker 2 (18:22):
And it has like a person's face.
Speaker 1 (18:24):
Yeah, more or less. I mean, like it's it's not
a very attractive face, let's put it that way. But
it is much more human than a normal goats face,
let's put it.
Speaker 2 (18:34):
You know, did it look like any celebrity if you
had to give it, like just for our listeners, we're
going audio. It's got a jay Leno face.
Speaker 1 (18:43):
Yeah, kind of yeah. I would say that's the closest.
Speaker 2 (18:47):
That's the closest is a jay Leno goat face.
Speaker 1 (18:49):
Yeah.
Speaker 2 (18:49):
Well, it's a crazy world we live in. But what else?
Speaker 1 (18:54):
What else do we want to talk about before we
dive into the story.
Speaker 2 (18:57):
I'd say, let's let's talk a little bit about jump
Attista Basili a little bit. Let's run through his life.
Who is we sprint through him? Born in and I'm
gonna try again Giugliano. Oh there you are, born in Giugliano,
somewhere between fifteen sixty six fifty seventy five. Apparently there
are difference of opinions and when exactly he was born.
(19:19):
He was a courtier and a soldier to several Italian princes,
including the Doge. Is that how you say that?
Speaker 1 (19:26):
Thanks, That's how I pronounced the meme, I say, Doge?
Speaker 2 (19:31):
Or is it Doggie the Doggie of Venice? Maybe Doggie
in Venice. He started writing poetry, and his first literary
production in sixteen oh four. He was published in the
form of a preface to a book of poems and
stories by his friend, the writer Giulio Cesare Cortes.
Speaker 1 (19:49):
I was going to be Cesare in Italian.
Speaker 2 (19:52):
Cesare okay, cool cool cool cool cool coock cool. Besides
year after thank You, the year after Basiles villain Ella,
which is I guess some sort of like secular piece
of music, like very specific to that time in Italy.
Speaker 1 (20:10):
Villainel is as a form of poem with repeating lines.
Speaker 2 (20:17):
Write and is there is there music attached?
Speaker 1 (20:19):
I mean there are a lot of musical villain ls.
Speaker 2 (20:22):
Oh, okay, so you could it could just be poems,
or it could also have music. I think so okay.
But he wrote one called Smortza crude del amore, which
is dull cruel love, and it was set to music,
and in sixteen o eight he published his first poem,
Planto de la Virgine, which is the Cry of the Virgin.
(20:42):
I'm also doing the Italian Italian chef thing with my hand.
Every time I say these things.
Speaker 1 (20:47):
It's like, yes, I have it. I wish we had
a little video to accompany this for our listeners to
see you attempt to pronounce Italian things with your hand
in the air like a cartoon character.
Speaker 2 (20:59):
Yeah, it's it's so frustrating. I can't do Italian accents
without doing this. It's impulsive. But after returning to Naples,
Basile served as the courtier under Don Marino. I'm trying
to keep my hand in my lap Don Marino il Caracciolo,
who was the Prince of Avellino, to whom Basile dedicated
(21:19):
his idol, which is an extremely happy, peaceful or picturesque scene.
And by the time of Basili's death in sixteen thirty two,
he had reached the rank of count, which is pretty cool.
Count Basile like Count Shocula.
Speaker 1 (21:34):
Yeah, I was just thinking of the Count from Sesame Street.
Speaker 2 (21:38):
Oh yeah, the Count. Does he have another name or
is he just the Count?
Speaker 1 (21:41):
He's just the Count, I.
Speaker 2 (21:42):
Believe one woo three.
Speaker 1 (21:47):
Honestly, it's so brilliant to have a character called the
Count on the children's show that looks like a vampire
in Count like I It's it's so good. It's probably
their most genius character.
Speaker 2 (22:02):
It's pretty good. And I love because the Count. It
just seems like he has ocd we turned the light
on one two three check delack one two three. Yeah,
but he seems happy, he loves it.
Speaker 1 (22:18):
He's like so that my so that the world does
not end tomorrow.
Speaker 2 (22:25):
So that my mother doesn't die. So I continue to breathe.
Speaker 1 (22:32):
I can't tell if my account accent is like Italian
or Transylvanian, or like maybe Israeli. Like it's hard to tell.
Speaker 2 (22:42):
I know, they never specify what the Count's dealers. You
assume he's Transylvanian, but he's also purple.
Speaker 1 (22:46):
He is purple.
Speaker 2 (22:47):
So back to Basile in sixteen thirty four, I'm sorry.
So he died in sixteen thirty two, and in sixteen
thirty four his sister Adriana published what he'd been working
on in two volume, which would later become Stories of
the Pentameron, which didn't get very much recognition or praise
at all for a long time until our boys Wilhelm
(23:11):
and Yakub the Grim Brothers praised it as the first
national collection of fairy tales. So for almost two hundred years,
people didn't really, you know, pay much attention to the
Stories of Pentameron or anything that John Bautista had done.
I mean, he did pretty well during his time, but
after he died, it was like nobody talked about him
(23:31):
until the brothers Grim brought him up again.
Speaker 1 (23:33):
Wow.
Speaker 2 (23:34):
So yeah, the bros and this is I think one
of the first times we're seeing the brothers Grim be
influenced rather than the other way around.
Speaker 1 (23:43):
M M.
Speaker 2 (23:45):
But yeah, so good for John Bautista and uh and
thank you again, Brothers Grim for all that you do.
Thank you dude, Thank you dudes, Thank you Billy.
Speaker 1 (23:55):
What do you say you think we're ready to Uh?
You think you're ready to read?
Speaker 2 (24:00):
Yeah? Yeah, I think we should. Let's take a little
break and when we come back, we'll read goat Face.
Goat Face From Stories from Pantamron by jam Battista Vassili.
(24:27):
All the ill deeds that a man commits have some
color of excuse, either contempt, which provokes need, which compels
love which blinds, or anger which breaks the neck. But
ingratitude is a thing that has no excuse, true or false,
upon which it can fix, and it is therefore the
worst of vices, since it dries up the fountain of compassion,
(24:50):
extinguishes the fire of love, closes the road to benefits,
and causes vexation and repentance to spring up in the
hearts of being grateful. As you will see in the
story which I am about to relate.
Speaker 1 (25:05):
It's great.
Speaker 2 (25:06):
So I just wanted to point out that every story
has that sort of intro to it where it almost
feels like a Twilight Zone episode where Rod Serling's like
giving you the imagine, if you will, all the ill
deeds that a man commits have some color of excuse.
Speaker 1 (25:23):
Right, which is like the Twilight Zone uses the same thing.
It's like a person telling the story a story where
a person tells you a story.
Speaker 2 (25:29):
Right, exactly right. So there's I mean, it really feels
like you could take stories from pentemerone and turn it
into a series and do an intro like that, like
you're Rod Serling.
Speaker 1 (25:41):
Yeah. Also, I feel like this is doing some legwork
for us because they're basically telling us the point of
the story right off the bat.
Speaker 2 (25:49):
You are absolutely correct. They do a lot of the
as far as yeah, telling us what the moral is.
It's we have our work cut out for us here.
But we can also disagree with it as well. Okay,
a peasant had twelve daughters, not one of whom was a.
Speaker 1 (26:05):
Head taller than the Do you think it was, Mel Gibson.
Speaker 2 (26:12):
He's one kid, shy. A peasant had twelve daughters, not
one of whom was a head taller than the next.
For every year, their mother presented him with a little girl,
so that the poor man to support his family decently.
Went early every morning as a day laborer and dug
hard the whole day long. With what his labor produced,
(26:33):
he just kept his little ones from dying of hunger.
He happened one day to be digging at the foot
of a mountain, the spy of other mountains that thrust
its head above the clouds to see what they were
doing up in the sky, and close to a cavern
so deep and dark that the sun was afraid to
enter it. Out of this cavern there came a green
(26:55):
lizard as big as a crocodile, and the poor man
was so terrified that he had not the power to away,
expecting every moment the end of his days from a
gulp of that ugly animal. But the lizard, approaching him, said,
be not afraid, my good man, for I am not
come here to do you any harm, but to do
(27:17):
you good.
Speaker 1 (27:19):
Very excited to introduce a lizard to the story, I'm
always a fan of lizard content.
Speaker 2 (27:25):
Want to I want to we can name this lizard
bean just for fun. Okay, So, being the lizard just
to approached.
Speaker 1 (27:32):
Him, which listeners. In case you don't know, I have
a lizard named Bean, and he is a precious little dude.
Speaker 2 (27:41):
When Masaniello, for that was the name of the laborer,
heard this, he fell on his knees and said, mistress,
what's your name? I am holy in your power. Act
then worthily and have compassion on this port trunk that
has twelve branches to support it is on this very account,
said the lizard, being that I am disposed to serve you,
(28:04):
So bring me tomorrow morning the youngest of your daughters,
for I will rear her up like my own child
and love her as my life. At this the poor
father was more confounded than a thief when the stolen
goods are found on his back. For hearing the lizard
ask him for one of his daughters, and that too,
the tenderest of them, he concluded that the cloak was
(28:27):
not without wool on it, and that she wanted the
child as a titmit to stay her appetite. Then he
said to himself, if I give her my daughter, I
give her my soul. If I refuse her, she will
take this body of mine. If I yield her, I
am robbed of my heart. But if I deny her,
she will suck out my blood. If I consent, she
(28:48):
takes away part of myself. If I refuse, she takes
the whole. What shall I resolve on? What course shall
I take? What expedient shall I adopt? Oh? What an
ill day work have I made of it? What a
misfortune has rang down from heaven upon me? While he
was speaking thus, traumatic the Lizard said, resolve quickly and
(29:11):
do what I tell you, or we will leave only
your rags here for so I will have it, and
so it will be. I like that. He's having this
existential crisis out loud, and like part of me thought
he'd left, he'd gone back home and is having this
on the way home. No, he's still right there, having
all these thoughts right in front of being the lizard.
Speaker 1 (29:33):
Yeah, and she's like, oh, come on, She's.
Speaker 2 (29:36):
Like, don't it doesn't matter, Like, yeah, exactly. She's like,
what I said is how it's gonna be, So don't toil,
Just do what I say.
Speaker 1 (29:43):
Yeah.
Speaker 2 (29:44):
Moss on a yellow, hearing this decree and having no
one to whom he could appeal, returned home quite melancholy,
as yellow in the face, as if he'd had jaundice,
and his wife, seeing him hanging his head like a
sick bird, and his shoulders like one that is wounded,
said to him, what has happened to you? Husband? Have
you had a quarrel with anyone? Is there a warrant
(30:05):
out against you? Or is the ass dead? Nothing of
that sort, said Masaniello. But a horned lizard has put
me into a fright, for she has threatened that if
I do not bring her our youngest daughter, she will
make me suffer for it. My head is turning like
a reel. I know not what fish to take. On
(30:25):
one side, love constrains me. On the other, the burden
of my family. I love Rinzola dearly. I love my
own life dearly. If I do not give the lizard
this portion of my heart, she will take the whole
compass of my unfortunate body. So now, dear wife, advise me,
or I am ruined. When his wife heard this, she said,
(30:46):
who knows, husband, but this may be a lizard with
two tales that will make our fortune. Who knows, but
this lizard may put an end to all our miseries.
How often, when we should have an eagle's sight to
discern the good luck that is running to meet us.
We have a cloth before our eyes, and the cramp
in our hands when we should lay hold on it.
So go take her away from my heart. Tells me
(31:08):
that some good fortune awaits the poor little thing. These
words comforted Masaniello, and the next morning, as soon as
the sun, with the brush of his rays, whitewashed the
sky which the shades of night had blackened, he took
the little girl by the hand and led her to
the cave. Then the lizard came out, and, taking the child,
(31:30):
gave the father a bag full of crowns, saying, go
now be happy, for Renzola has found both father and mother. Masaniello, overjoyed,
thanked the lizard, and went home to his wife. There
was money enough for portions to all the other daughters
when they married, and even then the old folks had
(31:50):
sauce remaining for themselves to enable them to swallow with
relish the toils of life. Then the lizard made a
most beautiful palace for Rinzoa, and brought her up in
such state and magnificence as would have dazzled the eyes
of any queen. She wanted for nothing. Her food was
fit for account her clothing. For a princess, she had
(32:14):
a hundred maidens to wait upon her, and with such
good treatment, she grew as sturdy as an oak tree.
Do you think that means that she's she's a she's
a thick lady.
Speaker 1 (32:25):
I was just thinking, like, what do we mean by sturdy,
Like is that a good thing? Or like, is that
a metaphorical sturdy? Like she's just like she's solid, like
she has no like issues, she's like pretty well adjusted.
She's like, you know, healthy, athletic. Or does it mean
she's like a thick bitch?
Speaker 2 (32:45):
You know, maybe she's like my guess would be because
I imagine she's just for her benefit being riginal that like,
and for the purpose of the story. I'd imagine she's
probably very attractive because, as you know, anytime there's a woman, princess, whatever,
they're the most beautiful woman that anyone's ever seen.
Speaker 1 (33:06):
Just somehow interesting that we haven't heard anything about it yet.
Speaker 2 (33:10):
You know how she looks, Yeah, exactly, so I think
in this case, i'm such as sturdy, I think in
this case means that she's like very confident, would be
my guess. But we'll we'll find out. I think what sure?
What the truth is?
Speaker 1 (33:27):
What do you think that was like as a small.
Speaker 2 (33:28):
Child being handed over to a lizard?
Speaker 1 (33:32):
Yeah? Do you think it was a baby? Was it
a baby or was it like a four year old?
Speaker 2 (33:36):
You know, they definitely said it was their youngest and
it was little, so I would say, yeah, probably like
an infant or not an infant, A toddler would be
my guess. So Foroe feels right.
Speaker 1 (33:48):
So the kid walks and then the lizard comes and like,
how does she says? The lizard came out and he
took the child? So like, how does a lizard? Is
this lizard on all fours? Or is this a bipedal lizard?
What would you say?
Speaker 2 (34:02):
Oh? You know what I'm picturing is uh, what's his name?
From Monsters, inc? The like bad purple lizard chameleon thing.
Speaker 1 (34:12):
I'm not I'm not seeing an image in my head.
Let me google this man. Oh, Randall Bogs, Randall Bogs.
Speaker 2 (34:22):
Yeah, that's what I'm picturing. I'm picturing Randall Boggs. God,
what a great name, Randall.
Speaker 1 (34:28):
I wasn't picturing this because I was really picturing Bean
as like a little human. But yeah, I do think
you're I do think you're pretty right. Although this thing
has eight legs, so it's actually on four legs and
standing up at the same time.
Speaker 2 (34:46):
Oh man, I don't remember that. That's crazy.
Speaker 1 (34:48):
Yeah, but I do think you're right. And I think
this is what she looks like.
Speaker 2 (34:51):
Yeah, because he's also pretty menacing. But I mean, thankfully
the one in our story is very nice.
Speaker 1 (34:58):
Yeah, she seems cool.
Speaker 2 (34:59):
Weird, It's like, what's her motive here? Why did she
want to take the youngest daughter and buy it? Basically
from a.
Speaker 1 (35:06):
Family I hope going to find out.
Speaker 2 (35:09):
Yeah, church, urch or church or true. It happened as
the king was out hunting in those parts that night.
Overtook him, and as he stood looking around, not knowing
where to lay his head, he saw a candle shining
in the palace, so he sent one of his servants
to ask the owner to give him shelter. When the
(35:30):
servant came to the palace, the lizard appeared before him
in the shape of a beautiful lady, who, after hearing
his message, said that his master should be a thousand
times welcome, and that neither bread nor knife should there
be wanting. The king, on hearing this reply, went to
(35:50):
the palace and was received like a cavalier. One hundred
pages went out to meet him, so that it looked
like the funeral of a rich man. One hundred other
pages brought the dishes to the table. A hundred others
made a brave noise with musical instruments. What do you
think that brave noise sounded like? That's pretty good, that's
(36:20):
very brave.
Speaker 1 (36:21):
Sounds brave.
Speaker 2 (36:22):
We'll just taking a chance.
Speaker 1 (36:23):
Yeah.
Speaker 2 (36:26):
But above all, Renzola served the king and handed him
drink with such grace that he drank more love than wine.
So either time has severely passed since the transfer of
goods or money for the daughter, or she was already
like a teenager at least.
Speaker 1 (36:47):
No, I think a lot of time has passed, because
in that earlier since he says, you know, he goes home,
and then it says there's money enough for portions to
all the daughters when they married, and even then the
old folks had sauce remaining for themselves to enable them
to swallow with real I think that's like saying like
they went on to spend the money and be happy,
(37:09):
although as I read it again, it seemed like they
could have just been portioning them out. But no, I think,
oh yeah, and then says, such good treatment. She grew
with sturdy as an oak tree.
Speaker 2 (37:19):
Oh, you're totally right, totally right. So yeah, time is past,
time is past. Yeah, okay, cool. Cool. When he had
thus been so royally entertained, he failed. He could not
live without Renzola, so calling the fairy, he asked her
for his wife. Where upon the fairy, who wished for
nothing but Renzola's good, not only freely consented but gave
(37:41):
her a dowry of seven millions of gold?
Speaker 1 (37:45):
Is the fairy the lizard?
Speaker 2 (37:48):
That's what I'm thinking, where we're not being informed of
a change of character.
Speaker 1 (37:52):
Title, Yeah, did fairy come from?
Speaker 2 (37:55):
Yeah? I think it's just it must just be there
referring to her now as a fairy since she in
human form, So maybe she's just like a magical creature.
Speaker 1 (38:05):
Yeah. Also, I like a dowry of seven millions of gold? Like,
is just that just like a poor translation or a
or like a missing word seven millions of gold? It
sounds like a fake thing. I'll give you five millions of.
Speaker 2 (38:22):
Money, thing of shell, I'll give you five millions of dollars.
Speaker 1 (38:30):
That kind of works.
Speaker 2 (38:31):
Though the king, overjoyed at this piece of good fortune,
departed with Ronzola, who ill mannered and ungrateful for all
the fairy had done for her, went off with her
husband without uttering one single word of.
Speaker 1 (38:45):
Thanks, Ohronzola, and now we do have confirmation that the
fairy and the lizard are one and the same.
Speaker 2 (38:53):
M h. Then the fairy, beholding such ingratitude, cursed her
and wished that her face should become like that of
a she goat. And hardly had she uttered the words,
when Renzola's mouth stretched out with a beard span long
on it, her jaws shrunk, her skin hard, and her
(39:13):
cheeks grew hairy, and her plated tresses turned to pointed horns.
When the poor king saw this, he was thunderstruck, not
knowing what had happened that so great a beauty should
be thus transformed. And with sighs and tears, he exclaimed,
where are the locks that bound me? Where are the
(39:33):
eyes that trensfixed me? Must I then be the husband
of a she goat? No? No, no, my heart shall
not break for such a goat face, so saying, as
soon as they reached his palace, he put Renzola into
a kitchen along with the chambermaid, and gave to each
of them ten bundles of flax to spin, commanding them
(39:54):
to have the thread ready at the end of a week.
The maid, in obedience to the king, set a out
carding the flax, preparing and putting it on the distaff,
twirling her spindle, reeling it, and working away without ceasing,
so that on Saturday evening her thread was all done.
But Renzola, thinking she was still the same as in
(40:14):
the fairy's house, not having looked at herself in the glass,
threw the flax out of the window, saying, a pretty thing. Indeed,
of the king to set me such work to do.
If he wants shirts, let him buy them, and not
fancy that he picked me up out of the gutter,
but let him remember that I brought him home seven
millions of gold, and that I am his wife and
(40:37):
not his servant. Methinks too, that he is somewhat of
a donkey to treat me this way.
Speaker 1 (40:45):
So she is unaware that she has turned into a
goat face.
Speaker 2 (40:50):
Yeah, she has no idea, so I'm surprised the chambermaid
hasn't reacted either, or maybe the chambermaid's just like so
beat down, her life just already suck. She's like whatever.
She's like, Oh, I'm in the kitchen making T shirts
with this goat goat lady.
Speaker 1 (41:03):
Yeah whatever, man, Oh, I think Renzola's about to get
an awakening.
Speaker 2 (41:09):
Nevertheless, when Saturday morning came, seeing that the maid had
spun all her share of the flax, Renzola was greatly afraid.
So away she went to the palace of the fairy
and told her misfortune. Then the fairy embraced her with
great affection and gave her a bag full of spun
thread to present to the king and show him what
(41:30):
a notable and industrious housewife she was. Renzola took the
bag and without saying one word of thanks, went to
the royal palace. So again, the fairy was quite angered
at the conduct of the graceless girl. When the king
had taken the thread, he gave two little dogs, one
(41:51):
to Renzola and one to the maid, telling them to
feed and rear them. The maid reared hers on breadcrumbs
and treated it like a child, but Renzola grumbled, saying,
a pretty thing truly, as my grandfather used to say,
are we living under the turks? Am I indeed to
comb and wait upon dogs? As she flung the dog
(42:11):
out of the window.
Speaker 1 (42:13):
Oh my god, Renzola, she's a monster. She is a monster.
She's like she's like from the EMPTV show. I remember that,
like my super sweet sixteen or whatever.
Speaker 2 (42:25):
Yeah, that's her.
Speaker 1 (42:26):
I feel like that's her. She's like Paris.
Speaker 2 (42:29):
I wanted a range rover. I didn't want a jeep.
Speaker 1 (42:34):
Yeah exactly.
Speaker 2 (42:36):
But I think, for my own sanity, I'm just going
to assume that when she threw the dog out the window,
they were also on the first floor of the castle,
and the dog just landed in the grass and then
he got up.
Speaker 1 (42:50):
And ran away and lived a really nice and happy life.
Speaker 2 (42:53):
Yeah, away from this monster goat woman.
Speaker 1 (42:56):
Yeah, he found a nice fox to wed and they
had beautif Oh oh, pops kit.
Speaker 2 (43:02):
Yeah, like the Fox and the Hound, but sexier. Yeah,
that's what I thought. When I watched Fox in the Hound,
I was like, you know what, this movie isn't sexy enough.
It's really not. It's definitely not a first date movie,
that's for sure.
Speaker 1 (43:17):
No.
Speaker 2 (43:20):
Some months afterwards, the king asked for the dogs. We're
at Renzola losing heart, ran off again to the fairy,
and at the gate stood the old man, who was
the porter. Who are you? Said he? And whom do
you want? Renzola, hearing herself addressed in this offhand way, replied,
(43:41):
don't you know me, you old goat beard? Why do
you miscall me? Said the porter, this is the thief
accusing the constable. I a goat beard. Indeed you are
a goat beard and a half, and you merit it,
and worse for your presumption. Zing wait awhile, you impudent woman,
(44:03):
I'll enlighten you, and you will see to what your
airs and impertinence have brought you so saying, he ran
into his room, and, taking a looking glass, set it
before Renzola, who, when she saw her ugly, hairy visage,
was like to have died with terror. Her dismay at
seeing her face so altered that she did not know
(44:23):
herself cannot be told. Whereupon the old man said to her,
you ought to recollect Renzola, that you are a daughter
of a peasant, and that it was the fairy that
raised you to be a queen. But you rude, unmannerly
and thankless as you are, having little gratitude, for such
high favors have kept her waiting outside your heart without
(44:45):
showing the slightest mark of affection. You have brought the
quarrel on yourself. See what a face you have got
by it. See to what you are brought by your ingratitude,
For through the fairy's spell you have not only changed
face but condition. But if you will do as this
white beard advises, go and look for the fairy, throw
(45:08):
yourself at her feet, tear your beard, beat your breast,
and ask pardon for the ill treatment you have shown her.
She is tender hearted, and she will be moved to
pity by your misfortune.
Speaker 1 (45:20):
Mike drop, he really likes boom. He laid it Honor.
Speaker 2 (45:26):
Renzola, who was touched to the quick and felt that
he had hit the nail on the head, followed the
old man's advice. Then the fairy embraced and kissed her,
and restoring her to her former appearance, she clad her
in a robe that was quite heavy with gold, and
placing her in a magnificent coach, accompanied with a crowd
(45:46):
of servants, she brought her to the king. When the
king beheld her so beautiful and splendidly attired, he loved
her as his own life, blaming himself for all the
misery he had made her endure, but excusing himself on
account of that odious goat face which had been the
cause of it. Thus Renzola lived happy, loving her husband,
(46:08):
honoring the fairy, and showing herself grateful to the old man,
having learned to her cost that it is always good
to be mannerly the end.
Speaker 1 (46:40):
All right, So wow, I feel like the work has
been done for us, like an seen we know exactly
what the point of the story is. Yes, don't be
a dick, right, be great?
Speaker 2 (46:51):
Yeah? Yeah, yeah, especially, I mean, be grateful, especially if
you've had such an easy life like she's had.
Speaker 1 (47:00):
You call it an easy life if you're I mean,
I'm sure it's hard a lizard for a bag of crowns.
Speaker 2 (47:04):
If that lizard built me a castle and made me servants.
Speaker 1 (47:08):
Yes, yeah. Do you think she stayed a lizard for
the whole of the girl's life.
Speaker 2 (47:15):
I think up to the point her lizard friend, that
would be my guess. Like, because she doesn't get referred
to as fairy until after she turns into a human
because a king arrives, and then after that she never
goes back to lizard, right, Yeah.
Speaker 1 (47:29):
I don't think so.
Speaker 2 (47:30):
Yeah, she's just a fai, Yeah, which is strange. It's like,
just be a fairy. People will trust you. If you
wanted a kid and you were, you know, appeared as
a fairy, it'd be a lot easier to get one.
Speaker 1 (47:41):
Yeah, why the heck is she a lizard in the
beginning of the story.
Speaker 2 (47:44):
Yeah, there must be some sort of like like wherever
John Batista gathered this story, like there maybe culturally there's
something to do with lizards. Maybe they pop up in
folk tales more often around that time that or oral
stories rather around that time. But yeah, I could I
couldn't imagine why you would want to be something that's
so menacing but trying to actually do good.
Speaker 1 (48:05):
Yeah, Like, and she's also like pretty threatening, you know.
Speaker 2 (48:09):
Mm hmm.
Speaker 1 (48:10):
Like if she had just gone as a fairy, she
probably just could have been like, hey, give me your daughter,
I want to raise the princess, and he'd be like, cool,
I'm like barely feeding my kids. That's great. But instead
she has to be like I'm a lizard, give me
and like all creepy about it.
Speaker 2 (48:24):
Mm hm, and everybody thinks that he's just that the
lizard's just going to eat the kid.
Speaker 1 (48:29):
Except for the wife, who's like, seems like if a
lizard's asking for a baby, probably something okay is going
to happen. She's like very quick to trust the lizard.
Speaker 2 (48:38):
Yeah. That or the mom was just sick of having
all these kids because like, obviously that's the husband who's
going out and doing all this heavy lifting or whatever.
His job is digging, So she's stuck at home with
twelve kids and she's just like, please get rid of
one of them.
Speaker 1 (48:51):
Yeah, get get rid of the most useless one, which
would be the youngest. You know, that's just another mouth
to feed.
Speaker 2 (48:57):
Yeah, exactly. So she was just like, take it, give
it to the lizard, lady. So do you feel like,
I mean, it's pretty cut and dry. It's this one's
pretty heavy handed, and it's in its point. And then
also obviously it says it always it's always good to
be mannerly.
Speaker 1 (49:12):
M m.
Speaker 2 (49:13):
It also not much dissection there are there.
Speaker 1 (49:16):
Do all the stories end with like a little quote
at the end? Uh?
Speaker 2 (49:21):
Ye? I think almost all of them do.
Speaker 1 (49:24):
It looks like they all do. All the ones I'm looking.
Speaker 2 (49:26):
At do the next one does. Oh no, it does,
it's just in a different font. Unhappy as you. Yeah,
they all do.
Speaker 1 (49:32):
So that's the the format.
Speaker 2 (49:34):
Here, Rod Serling intro and then Rod Serling outro of
like you should have been thinking about others before yourself.
Speaker 1 (49:43):
And that's why you always leave a note.
Speaker 2 (49:48):
You will goat face.
Speaker 1 (49:50):
Because he also, like he says in the beginning, ingratitude
is a thing that has no excuse, true or false,
upon which you can fix. So he says in the beginning,
he does in the begin ingratitude is the problem here.
And then at the end he says, it's always good
to be mannerly. So there's a little sandwich, a little
moral sandwich, you know, mm hmm.
Speaker 2 (50:08):
It seems like, yeah, this is a collection of fifty
moral sandwiches. Yeah, in this book, which is cool. I mean,
I'm a little confused by because there's so many different
variations on the title. Obviously, Tale of Tales is pretty popular,
but then it's also referred to as entertainment for little ones.
So are these children's stories?
Speaker 1 (50:28):
I think they are. I mean, in the fact that
they're all moral, moralistic, it would make sense that they're
all for kids. You know, to teach lessons because they
adults don't want to read lessons, right, you don't need
this for an adult, those for kids.
Speaker 2 (50:43):
Yeah, So yeah, that's interesting. It's amazing how different children's
stories are now than they were then.
Speaker 1 (50:50):
How are they now?
Speaker 2 (50:51):
Well now I feel like they're a little bit more innocent.
There's a lot less like selling a child involved in
children's and modern day children's stories.
Speaker 1 (50:59):
Yeah, chopping off of hands. Yeah, there's a lot less windows.
Speaker 2 (51:05):
Yeah. Now I feel like a dog got locked out
and had to find a new home, is like what
a modern story would be, rather than like a dog
getting thrown out of a second story window or something.
Speaker 1 (51:16):
Yeah, Like you remember in that Wes Anderson movie Grim
Budapest when Will Dafoe throws the cat out the window.
Oh yeah, that's too much for me. I was like,
what the heck, that's Wes, I know you've gotten too dark.
Speaker 2 (51:30):
They've done a I can't remember what it was, but
it's like some sort of study in film where there
are two things you cannot do in film because no
one wants to see it, and it's violence against dogs
and violence against babies. So like I think I was.
I listened to this because we were it was like
a discussion on raising Arizona. Have you ever seen that
(51:53):
the old Coen Brothers movie with Nicholas Cage.
Speaker 1 (51:55):
I've never seen it, but I know I know the
premise of it.
Speaker 2 (51:58):
But there's a scene in that where they've forgotten a
baby in a car seat on top of a car
and they drive away, like forgetting to put the baby
in the car or in the car seat in the car.
So they drive away, then they realize what's happened. But
when they go back, the baby's just sitting on the street,
totally fine in the car seat, like the car seat
(52:18):
just moved to the street. And they were having trouble
filming that just because they didn't want to show like
the baby falling off the car, just because it was
too much for people to see. M So it's the
same thing with like you and the cat. It's like
there are some things that no one wants to watch.
Speaker 1 (52:32):
I don't want to watch a cat get thrown. No
one know, it's sad.
Speaker 2 (52:35):
Yeah, yeah, I know. And then you see it in
the bag.
Speaker 1 (52:37):
Yeah exactly. I don't like watching animals get yeah.
Speaker 2 (52:40):
I do, Like, I totally agree, but I do love
the next scene when the lady at the or the
counter or whatever like hands him the bag like, oh,
here's your stuff to Jeff Goldblum's character and he has
to like take his bag of dead cat.
Speaker 1 (52:55):
Yeah, that's sad. I don't like that part either.
Speaker 2 (52:58):
And then he gets on the thing and realizes, well
befoes following him, and then throws and it gets off
the museum and puts the trash bag of cat in
a trash Yeah. Yeah, it's a whole sequence of brutality.
Speaker 1 (53:10):
Yeah. I thought that that was my biggest problem with
Grand Budapest was it was a little too dark for
Wes Anderson. Like it wasn't quite a little too physically dark,
you know, like usually he's got dark storylines, but they're
not that physically they're not that like visually dark.
Speaker 2 (53:23):
Mm hmmm.
Speaker 1 (53:24):
It was too much for me.
Speaker 2 (53:26):
Well how are you feeling? I mean, I feel like, yeah,
like they did most of the work for us there.
Do you have any thoughts on the story on the
anything that you thought was interesting or or anything you
noticed that might feel similar to like another folk tale
that you've read, or some sort of trope that you've
picked up on.
Speaker 1 (53:42):
I'm trying to think of, Like, well, I mean, I
guess a little bit like Willy Wonka. You know, he
totally he screws with all those spoiled kids. But I
don't think they ever come back. I think they all
just die, right.
Speaker 2 (53:55):
Yeah, yeah, every single one of them is like supposedly dead.
Speaker 1 (53:59):
Yeah, kills a bunch of children, which is pretty dark. Yeah,
here's a question. Is Renzola a name?
Speaker 2 (54:07):
Yeah, let's look that up.
Speaker 1 (54:08):
Have you ever known anybody named Renzola?
Speaker 2 (54:11):
My Renzola?
Speaker 1 (54:16):
Oh, look at these, I'm right now, I'm looking at
a drawing of the lizard.
Speaker 2 (54:22):
Oh wow, and Renzola in the Goat Face Girl. Seems
like the Gray Fairy Book's goat Face story is actually
more celebrated. It's I didn't know, so that's funny. That
didn't pop up for me that there's actually Andrew Lang's
is another iteration? Or did you? Is that something you mentioned?
Speaker 1 (54:38):
I mentioned it in the beginning. Yeah, I wonder.
Speaker 2 (54:41):
Oh yeah, look at that. We have a picture there.
Oh yeah, there's totally. There's a picture in the Gray
Fairy Book from Andrew Lang's Gray Fairy Book of the
Goat Faced Girl being shown her reflection by the porter
m it.
Speaker 1 (54:54):
Doesn't look like Grinsola comes up anywhere in the world
sides this story like Renzola, Like it's not even like
Gorinzola on LinkedIn, you know, like that's just a well
same Well look at this. There is another another story
(55:14):
from the Pentameron with a character named Renzola.
Speaker 2 (55:20):
Oh, I think they are reoccurring characters. I think the
stories are all in the same universe right right right here,
because they're all being told by ten women, five stories each. Yeah,
so a lot of the stories are like they're crossovers,
which is again very cool, very cool. Is a narrative
structure there.
Speaker 1 (55:38):
Yeah, I like that. So did we miss anything? What
do you think? No?
Speaker 2 (55:42):
I feel good. I think that I feel like we
covered it. And yeah, thank you Joon Batista Vasili for
doing the work for us on the morality thing.
Speaker 1 (55:50):
Yeah, thanks for that. May be really easy for us listeners.
If you have any thoughts, I would love to hear them.
You can shout us out at at folk pod on
Twitter or on Instagram at folklore dot pod, or you
could even send us an email at Folklore at straw
media dot com. Or you could even write us a letter,
(56:10):
but you'd have to dm us for the address, because
I'm not going to see that on the air. It
would be weird.
Speaker 2 (56:14):
Yeah, slide into our dms and ask for our personal addresses,
and then you'll send us whatever you want.
Speaker 1 (56:19):
Yeah, anything.
Speaker 2 (56:21):
Maybe you've got a goat head just lying around that
you want to send us someone you don't know. That's
we're here for you.
Speaker 1 (56:26):
It's not like a real, like bloody gout head, right
like you mean, like the little birds that get stuck
in your songs.
Speaker 2 (56:32):
No, I'm open to either.
Speaker 1 (56:33):
Don't send me a real go.
Speaker 2 (56:34):
Ahead, don't throw cats out windows, and don't throw and
don't send Maggie a real go ahead.
Speaker 1 (56:41):
Yeah, deal lesson learned.
Speaker 2 (56:43):
Cool, achieve less and learn unlocked. Well, well, thanks for
listening everybody, And yeah, feel free to like and subscribe
and stay stay tuned for next week's episode when we
go someplace else and tell a different story.
Speaker 1 (56:57):
Don't feel free to do it right now, Mike, subscribe,
leave a review, five stars, send it to your friends,
tell people about it, all that stuff. Just like enjoy
and and I wonder what we'll reading next week. We
(57:17):
don't know yet.
Speaker 2 (57:18):
I can't wait. Yeah, it's a surprise for us. Just
as it is for you. This has been Clayton Stucker
signing off.
Speaker 1 (57:26):
This has been Maggie Bulls also signing off simultaneously.
Speaker 2 (57:31):
Here we are, thanks guys, Glorica and now for your
moment of Alanis Morison. Thank you and THEA Thank you Terror,
(57:54):
Thank you Soon Man, thank you, FREYD thank you, Consequence,
thank you, thank you Sis, thank you
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