May 27, 2021 • 57 mins
It's my chick in a box!
This week, we bring you the final episode of season 2. As if that really means anything.
The Girl in the Chest - The Story of the Third Sister Who was Brave and Good
from The Laughing Prince by Parker Fillmore published 1921
Love u.
Learn more about your ad choices. Visit megaphone.fm/adchoices
This week, we bring you the final episode of season 2. As if that really means anything.
The Girl in the Chest - The Story of the Third Sister Who was Brave and Good
from The Laughing Prince by Parker Fillmore published 1921
Love u.
Learn more about your ad choices. Visit megaphone.fm/adchoices
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
Straw Hut Media.
Speaker 2 (00:05):
I have been feeding pigeons, thousands of them for years.
But there was one, a beautiful bird, pure white with
light gray tips on its wings. That one was different.
It was a female. I had only to wish and
call her and she would come flying to me. I
loved that pigeon as a man loves a woman, and
(00:26):
she loved me. As long as I had her. There
was purpose to my life. Nikola Tesla, Oh Glorica, Hi,
and welcome to Folklorica, the podcast about folk tales from
around the world. I am your host, Maggie.
Speaker 3 (00:46):
Bowles, and I am your other host, Clayton Stecker.
Speaker 2 (00:50):
I thought you were gonna say David Attenborough.
Speaker 3 (00:52):
It was I was on the fence, but I didn't
want to mislead anybody because then I'd have to stay
in that the whole.
Speaker 2 (00:57):
Time, and that would be a that'd be a different
kind of show.
Speaker 3 (01:01):
Remember, it would probably be a better one if sir David.
Speaker 2 (01:03):
Was When we started doing Folklore cut and we played
with the idea of having a like a pseudo expert
on the show to talk about the story and place.
And you tried to do that Russian accent, but it
ended up being like a weird like Spanish makes. I
don't even know what the accent you did was, but
(01:24):
it was. It was really bizarre. Do you rever that?
Speaker 3 (01:27):
Yeah, it only haunts me every day of my waking life.
Speaker 2 (01:30):
I bet I still have it on like a hard drive,
and I would like to listen to it and just see,
you know how that just just relive it, you know,
just come back to it for a minute.
Speaker 3 (01:44):
Yeah, I know. I think I thought about that recently, actually,
that we we toyed with that idea and then that
that train wreck happened, and it was like, okay, maybe not,
maybe not. Maybe maybe I'm not as good at the
accents as I thought I was.
Speaker 2 (01:59):
Maybe we'll just talk about the story, you know, maybe
we'll just keep it see.
Speaker 3 (02:04):
Themple, I won't try so hard.
Speaker 2 (02:07):
A good times, great times.
Speaker 3 (02:09):
Good times. So what's new in the world of Maggie.
What's get us up to speed since our from since
our last episode?
Speaker 2 (02:17):
You know, let's see, momum.
Speaker 3 (02:22):
How's the bird watching going? Are you still doing that?
Speaker 2 (02:25):
Man? So yesterday I was sitting on my couch doing
who knows what, and I heard this little chirping noise
and I get up and look outside, and I see
this little fledgling lesser goldfinch, which obviously I didn't know
off the top of my head, but then I looked up,
(02:47):
you know, yellow breasted birds in Los Angeles and figured
out what it was. This little lesser goldfinch fledgling hopping
around the patio, and his mom was coming in and
you know, fluts in with him because he's learning how
to fly basically, so his nest must have been nearby,
but he was he was big enough that so I
googled it. He was big enough that he was like
(03:08):
kind of flapping around and hopping, and then I watched
the mom come over and feed him barf into his
mouth and then fly away and let him figure it out.
And I took a picture. Actually I'll maybe I'll post
it on the folklore cut Instagram. Who knows, Yeah, people
want to see that.
Speaker 3 (03:27):
That's cool. So she fed him. He's just he's not
like in a nest or anything. He's just kind of
sitting there, popping around.
Speaker 2 (03:32):
Popping around, flying a little, you know, but clearly not
very good at flying. It clearly very new to flying.
And so I googled it, like thinking like do I
need to do do I need to step in, Do
I need to help? You know? So I was like,
found a baby bird googled. That turns out that so
there's two different like age stages for birds. There's the
(03:53):
nest ling, which is when they're really ugly little dudes.
They can barely walk, they can't really jump or flit
or anything. And then there's fledglings, who are in the
process of learning how to fly. And so it's really
normal for the fledglings to make their way out of
the nest and kind of just bump around for a
while trying to figure out how to fly, and the
(04:15):
parent will usually be nearby checking in making sure they're okay.
And so those are the birds you're supposed to leave
alone and don't mess with because by like picking them
up or something, you could screw up everything basically. So
I didn't touch him, although I was very tempted because
he was very cute.
Speaker 3 (04:32):
Instead, I just all we want to do is just
cut them. We just want to cup them so bad.
Speaker 2 (04:37):
I looked at him, I took his picture, and then
I went back inside and I kept gim and squish away,
you know, so.
Speaker 3 (04:44):
That they didn't like were they making the little chittering noise.
Speaker 2 (04:48):
No, they didn't see him, but I do love the
chittering noise.
Speaker 3 (04:56):
So funny.
Speaker 2 (04:58):
Apparently cats only make that sound when they see prey,
like through a window or something like pray that's out
of reach.
Speaker 3 (05:07):
Weird.
Speaker 2 (05:07):
I was just looking up cat sounds the other day
because gim is one of the most noisy kittens that's
ever lived, super tough, she just talks NonStop. She's just
like all the time, always making bird noises. So that's
my big news. How are you clean?
Speaker 3 (05:24):
Yeah, I'm uh, I'm good. I'm doing doing great. Finally
I feel like life is getting get back to normal.
We're doing a bit of traveling. Next month, we're gonna
go see family in Idaho, gonna go to Utah. The
next month. We're gonna be in Palm Springs in October.
Speaker 2 (05:46):
Wow.
Speaker 3 (05:46):
Fun Yeah, So already like getting vaccinated. We're like, let's
get this party going, let's go get us out of
the house now. So what's the story we're doing this week?
So or this episode?
Speaker 2 (06:00):
This episode, we've got a Yugoslavian story. So I was
actually my mom had sent me this thing where there
was like an Indian story about a girl whose like
soul was stuck in a locket, and I was trying
to find the text for that story when I happened
(06:22):
upon this other story, which is this yugoslavin story, and
I read it and I really liked it, and so
I decided to, you know, go with the flow, if
you will. And it's from a book published in nineteen,
I think nineteen twenty one, and it's Yugoslav Folk and
fairy Tales, The Laughing Prince, Yugoslav Folk and fairy tales.
(06:47):
But it's actually, you know, Slavic people in the region,
So Yugoslavia apparently means just South Slavic. So in in
his uh introduction, I think he says something about how
he is taking Yugoslavia as like a literal translation and
(07:08):
not necessarily just the area of Yugoslavia, but South Slavic
countries and that. So that includes like Belarus, Bosnia, Bulgaria, Herzegovina, Croatia,
the Czech Republic, Macedonia, Montenegro, Poland, Russia, Serbia, Slovakia, Slovenia,
and the Ukraine. So really a bunch of a bunch
(07:32):
of different areas in the in that in that place.
But it's this guy, this guy Parker Fillmore, Sorry, go ahead.
Speaker 3 (07:40):
Oh no, I was just going to on that looking
into like you said. He how he addresses that, it's because, obviously,
like you said, the book came out in twenty one. Yeah,
and that was interesting once I started doing a little
research on former Yugoslavia that even at that time, it
wasn't considered Yugoslavia.
Speaker 2 (07:57):
Was it not. It came out I feel like nineteen.
Speaker 3 (07:59):
Two Kingdom of the Serbs or something, but that was
only briefly and before that, Yeah, I guess you're.
Speaker 2 (08:06):
Right, it was not named the Kingdom of Yugoslavia until
nineteen twenty nine, so eight years after this book came out.
Speaker 3 (08:13):
So yeah, so yeah, it's a history on it's interesting.
And then for him to address obviously, like you said
in the preface, he explains, well, Yugoslavia is actually just,
I mean, a pretty diverse collective coalition of countries. So
this story is kind of a it just kind of
flows through that area, I guess more than it is
specifically one country story. And then he's also it seems
(08:37):
that he this guy Parker Hoisted Fillmore, Parker Oisted Fillmore,
doing a little research on him. Notice that he does
take a bit of liberty in his writing, and he
tries to make it easier or more what are they
called it digestible? No, that's not the right word, but
(08:59):
something like like that for the English reader.
Speaker 2 (09:03):
Yeah. I actually I grabbed a quote from his introduction
because he talks about this actually in the introduction to
most I think of his books for fairy tales. But
this is what he wrote in the introduction of this book. Specifically,
he said, the renderings in every case are my own
and are not in any sense translations. I have taken
(09:24):
the old stories and re told them in a new language.
To do them justice. In this new language, I have
found it necessary to present them with a new selection
of detail, and with an occasional shifting of emphasis. I
do not mean by this that I have invented detail
in any unwarranted fashion. I haven't had to for any
folk tale. However, Bald contains all sorts of things by implication.
(09:48):
The true storyteller, it seems to me, is he who
is able to grasp these implications and turn them to
his own use. So he's basically saying, like, the story
is a story, you know, and I'm going to tell
it the way that makes the most sense to me.
And I'm not doing direct translations because a direct translation
wouldn't wouldn't do it justice.
Speaker 3 (10:09):
You know, what do you think? How is he using
the word bald? I feel like I saw him use
that when he was talking, because I read an excerpt
from his But basically I think the same thing about
his Finish stories. He said, finish is bald, and the
language itself is kind of bald, And I'm just so curious.
What do you think he means when he says bald.
Speaker 2 (10:27):
I assume he means something like lacking detail and like ornamentation,
you know, like bald, like plain.
Speaker 3 (10:36):
Yeah, okay, that's my guess. That makes sense.
Speaker 2 (10:39):
Interesting, But yeah, I think he said that in the
intro to the Finish because he also had a book
of Finnish stories. I think he said something like these
stories wouldn't be interesting to English speaking people or something
like that. He's like, I had to change them a
little bit because Finnish people tell Finish people talk differently
than we do, and so like, you wouldn't want to
hear a Finnish story directly translated. And actually the way
(11:03):
he got into the folk stories was through Czechoslovakian stories
when he was living in New York City between during
World War One, he was living in New York City
and he lived in a neighborhood with a bunch of
immigrants from Czechoslovakia, and his neighbors introduced him to some
folk tales and he ended up writing some of them
(11:26):
down and that kind of launched his interest in folk tales.
But before that, he had actually written a textbook, English
textbook for specifically for kids in the Philippines to learn English,
because he had ended up going there after college to
teach English to kids of the Philippines, and when he
got there, there was no textbook for him, so he
(11:48):
ended up having to just kind of like improvise, and
he made up stories to teach English to the kids
and ended up being very successful and the kids learned
really well with him, and when he came home, reached
out to him and said, would you make us a textbook? Wow,
he did, and that was the beginning of his writing career.
And that was, you know, the early nineteen hundred. So
(12:11):
he was born in eighteen seventy eight died in nineteen
forty four, So this is all during early twentieth century,
mostly late nineteenth We.
Speaker 3 (12:19):
Well, because so he was he and he was a
teacher in the Philippines. Did he do any sort of
writing do you know before that? Or was it really
like almost like he uncovered this thing about himself by
creating his own textbook. He's like, oh my gosh, I
actually really love writing.
Speaker 2 (12:36):
Yeah, I don't know. You know, there isn't a whole
lot about him on the internet. I think a lot
of what I learned was from like Kids Encyclopedia Britannica,
because he wrote so many folk tales. He's in like
a lot of the kids stuff. But it definitely seemed,
you know, I didn't I couldn't find what he studied
in college. He's from Cincinnati, Ohio. He went to college
(12:56):
in Cincinnati, Ohio and graduated and ended up going to
the Philippines. And you know, this is like around the
same time as that other story we did from the Philippines,
a couple episodes back, same time period where the Philippines
is really new in the American consciousness, because before you
(13:16):
know this, the Philippines would have been introduced to America,
like during his early adulthood. You know, so I imagine for
people like I imagine that for some people it was
a very exciting new frontier of a place to you know,
go and study and learn and be acquainted with and.
Speaker 3 (13:35):
To teach apparently. I mean that's got to be pretty exciting.
Speaker 2 (13:38):
Yeah, seemed like a nice guy.
Speaker 3 (13:40):
But yeah, it's interesting to see how little there is
on him outside of the kids Britannica, Like that was
really the only thing I could find that had any
sort of biography on him. Everything else was facts, you know,
born on, died on, and that was it. So he
definitely wasn't in it for the fame.
Speaker 2 (13:56):
No, he wasn't, or if he was, he failed failed.
Speaker 3 (14:07):
But I mean, hey, here we are talking about him.
So are Parker poisted Fillmore? Yea, his name is a
sentence Parker Parker poisted over the fence.
Speaker 2 (14:18):
Yeah. And also Parker and Fillmore on their own are
kind of words, you know, like Parker and then phil More,
you know, just just just spitballing.
Speaker 3 (14:32):
Just riffing. Baby. Eighteen seventies were a wild time for now. Yeah,
so what did you I was because I was pretty
unfamiliar with the former Yugoslavia in all of its history. Yeah,
you know, one hundred years, I mean less than one
hundred years of history. But going into it, I found
(14:53):
that not only was the hope for Yugoslavia as a
coalition to be formed part of why World War One
even started, but that it existed. It's for such a
short amount of time because it's so so diverse and
something like it was like in the nineteen eighties when
nationalism really started to rise up. There's some sort of
(15:14):
like economic collapse and that's what ultimately led to the
breakup of Yugoslavia. Again from what it was.
Speaker 2 (15:20):
Yeah, I mean like there's as I was looking into it,
I was realizing how much information there was about it,
and how I was like not even going to begin
to scratch the surface of the complex socio political currents
of the last one hundred years. Even in that area
(15:41):
I did, I don't know, I mean, I what do
you use?
Speaker 3 (15:45):
Where to begin?
Speaker 2 (15:45):
Where to begin?
Speaker 3 (15:46):
Where to begin to give you some interesting facts. It's interesting.
Speaker 2 (15:49):
It's interesting that it only started as a country after
World War One in nineteen eighteen, because you know, I
guess it. The whole like saga of Yugoslavia is a
really good reminder that countries are made up in general,
you know, and that you know, you think about the
(16:13):
dividing lines between areas as meaning something outside of the
context of just whims, and yet so much of it
is just random lines drawn for political gain, you know,
and that you know, Yugoslavia, the Kingdom of Yugoslavia, you know,
it was eleven years after they first created the area
(16:36):
that would become Yugoslavia. They named Yugoslavia, you know, like
eleven years after that, and even that as a country,
as a as a monarch only lasted you know, less
than twenty, like less than fifteen years, and they only
you know, they had the poor king. Did you look
at poor King Peter the Second at all? Who was
(16:58):
the last king of Yugoslavia. No, he he was succeeded
or he was. He took the throne when he was
like eleven years old, when his father was I think assassinated,
and he had a you know, a regent who cared
for the who did all the actual political stuff for
most of it. And when the when the monarchy was exiled,
(17:23):
he was like eighteen years old, so he barely got
to be king for like, you know, a couple of years,
and nobody took him seriously because he'd always been a kid,
and they set up a government in exile, but nobody
really took it, took it seriously. It ended up becoming
a communist nation and you know, renamed the Democratic Federal
(17:43):
Yugoslavia first in nineteen forty three, and then renamed again
to the Federal People's Republic of Yugoslavia nineteen forty six.
But so he was he was in exile basically as
soon as the Axis invaded Yugoslavia in nineteen forty one,
he was exiled. He ended up settling in the United
States and was basically just like a king without a
(18:07):
kingdom for a long time. And he tried to kind
of make it as like a TV personality. He went
on like TV shows, and he gave like speeches about
Yugoslavian you know, because because it was a communist government
that kind of took over. He had he could have
had a platform, you know, because of the anti communist
(18:27):
you know, sentiment in the US, except that he was
just like not super charismatic, and they described him as
quote a sad eyed youth or who was a quote
flop as a TV personality because he was nervous uh
in front of camp. He ended up drinking himself to death.
(18:48):
And I don't know, I just I don't know. That's
the that's the last king of Yugoslavia. I feel like
there's something there.
Speaker 3 (18:56):
Who was Tito? Did you read anything on TV Joseph
Bras Tito?
Speaker 2 (19:02):
I did read about Tito. Who was he? That's a
good question.
Speaker 3 (19:06):
I forget he was like the From what I had seen,
it seemed like he was the person really keeping Yugoslavia
as a whole. And it was really after his death,
I think in nineteen eighty that it seems like nationalism
started to rise up. He'd been you know, quelling as
much as he could any sort of like separation, always
promoting you know, unity and brotherhood. I guess.
Speaker 2 (19:29):
Yeah, so Tito. Tito was with the People's Liberation movement,
so he was part of the part of the body
that overthrew the monarchy basically. So he was indirect opposition
to to the flop to the sad eyed youth. Yeah,
(19:49):
so he was really the he was really, I guess,
the leader of Yugoslavia for most of the most of
the time, unlike Little Peter two.
Speaker 3 (19:57):
Peter too Peter two.
Speaker 2 (20:00):
It's just such a sad name.
Speaker 3 (20:02):
But it was interesting to read the connection between what
would become Yugoslavia and the assassination of the Archduke or
the air of Franz Ferdinand, which is one of the
big things that really kicked off World War One. Yeah,
I believe that the six assassins who had worked together,
(20:23):
I mean only I think three of them didn't pull through.
It's a whole the whole story of how Franz Ferdnan
got assassin. It is pretty crazy, like it's such a
it's such a failed thing, and then they got a
second chance because of just like I mean, honestly reading it,
it felt like just general stupidity, like they didn't try
to protect Franz Ferdinand or his wife after they'd someone
like threw a bomb at their car and it exploded,
(20:45):
like bounced off the car and exploded, and they just
went to their next like speech that they had to
make in town.
Speaker 2 (20:49):
Yeah, well, and didn't they take a wrong turn. They
took a wrong turn down a city street. And the
one of the guys who was in the what was
it like the black Hand something, I forget what the
what their group was called but he was in a
cafe eating a sandwich when the Archduke's carriage pulled up
right outside the window, and he was like, oh, okay,
(21:11):
I guess this is my moment. He got up and
shot him. Then they all thought that they had lost
the opportunity. Everybody was like, we bongled it. We couldn't
kill the arch duke. And then there he was right
outside that little cafe and you put down a sandle,
walked outside and shot him dead and killed his wife. Yeah. Uh,
there's a was that Revisionist History. I think Welcome Gladwell
(21:35):
does a really long and extensive description of of that
on Revisionist History.
Speaker 3 (21:41):
I'll have to check that out.
Speaker 2 (21:42):
It's like a five hour long episode about World War One,
and the first hour or so talks about that, which
is as far as I got.
Speaker 3 (21:51):
That's all you need to know.
Speaker 2 (21:53):
I don't know what happens after that.
Speaker 3 (21:54):
But so the history of what was former Yugoslavia and
is now six or seven countries is pretty tough, pretty hardcore.
Speaker 2 (22:05):
Yeah, lot a lot to unpack there, and I still
feel like I don't know, Like I feel like I
still know like one percent of the information that is
there I'm sure that there's a lot of a lot
of complexity. I guess listeners, if you have any insights
into the socio political history of the former Yugoslavia region,
(22:30):
you know, you know, send us a message. Let us do.
Speaker 3 (22:35):
That. You're like you, guys, there's so much. There are
books and books.
Speaker 4 (22:39):
I mean.
Speaker 2 (22:39):
The good news is that in order to enjoy the
story that we have today, I don't think you really
need any too much, at least historical context to understand
what's going on. There is one there is a word
(23:00):
in this story that is questionable, no problematic in many ways.
The word is blackamore, and it means basically a black
person in a role of servitude. So that'll come up
in the story. We're not changing the words of the story.
This was written in nineteen twenty one, so you know
(23:24):
that is that was part of the part of the
lexicon I guess back then. But I don't think it's
a I don't think it's a terribly important part of
the story. I'm going to leave it in there for
the sake of verity, but it's not a Yeah, it's
not a.
Speaker 3 (23:40):
Just a fair a fair preface, fair preface. This exists
in this it does exists in the story.
Speaker 2 (23:46):
Yeah. With that, do we feel like we're ready to
dive in?
Speaker 3 (23:51):
Yeah? I feel I feel good and I'm ready for
this story. How are you feeling?
Speaker 2 (23:55):
I feel ready. Let's do it.
Speaker 3 (23:56):
Let's do it. Let's take a quick break, and when
we come back, Maggie's going.
Speaker 2 (24:01):
To read The Girl in the Chest, The Story of
the Third Sister who was Brave and good.
Speaker 3 (24:08):
Will we come back.
Speaker 2 (24:16):
The Girl in the Chest, The Story of the Third
Sister who was Brave and Good. There was once a
horrible vampire who took the form of a handsome young
man and went to the house of an old woman
who had three daughters, and pretended he wanted to marry
the oldest. I live far from here, the vampire said,
(24:37):
I own my own farm and am well to do,
and in marrying me, your daughter would get a desirable husband. Indeed,
I am so well off that I don't have to
ask any dowry.
Speaker 4 (24:49):
Now.
Speaker 2 (24:49):
The old woman was so poor that she couldn't have
given a penny of dowry. That was the only reason
why all three of her daughters hadn't long ago been
married to youths of their own village. When the stranger
said he would require no dowry, the old woman whispered
to her oldest daughter, he seems to be all right,
Perhaps you'd better take him. The poor girl accepted her
(25:11):
mother's advice, and that afternoon started off with the vampire,
who said he would lead her home and marry her.
They walked a great distance, and as evening came on,
they reached a wild, ghostly spot which frightened the girl
half to death. This way, my dear, the vampire said,
pushing her into an opening in the earth. We take
(25:31):
this underground passage, and soon we'll be home. The passage
led to a sort of cave, which was really the
vampire's home. What an awful place, the poor girl cried
in terror. Let me out, Let you out. Indeed, the
vampire sneered, taking his own horrible shape and laughing cruelly.
Here you are, and here you stay. And if you
(25:54):
don't do everything I tell you, I'll soon finish you. Here. Now,
drink this. He offered the poor girl a picture, and
when she saw what was in it, she nearly fainted
with horror. No, she cried, I won't, I won't if
you don't drink this. The vampire said darkly, then I'll
drink you, and with that he killed her with no
(26:17):
more feeling than if she were a fly.
Speaker 3 (26:21):
That line of his, if you don't drink this, then
I'll drink you. It reminds me of like a Yakov
Smirnoff joke in Communist Russia. Car drive you. Yeah, in vampire,
then I drink you. Do you think he has furniture?
Speaker 2 (26:41):
That's a great question. I actually imagine this as the
you know, the place where Spike lives in Buffy the
Vampire Slayer. I imagine it as his little like underground place lair.
Speaker 3 (26:57):
Yeah, yeah, I mean, how can you not that's exactly
as well.
Speaker 2 (27:02):
Yeah. Then in a short time he went back to
the old woman and said, dear mother, my poor wife
is ill, and she begs that you send her your
second daughter to nurse her. She asks for her sister
night and day, and I fear she will die unless
she sees her. When the poor old mother heard this,
(27:23):
she begged the second daughter to go at once with
the young man and nurse her sick sister. Well, the
same thing happened to the second sister, and in no
time at all, the vampire had killed her. Too, to
satisfy his awful thirst. Then he returned again to the
old mother, and this time he pretended that both sisters
were sick and were trying for the third sister to
(27:45):
come and nurse them. So the poor old woman sent
her youngest daughter away with the vampire. The youngest daughter,
when she found out the truth about the horrid vampire,
didn't sit down and weep helplessly as the others had
done and wait for the vampire to kill her, but
she prayed God's help and then tried to find some
(28:05):
way of escape. There were doors in the cave, which
the vampire told her were doors to closets she must
not enter. When the vampire was out. She opened these
doors and found that they all led into long underground passages.
This is my one chance to get back to Earth,
the girl thought, and commending her undertaking to God, she
(28:28):
fled down one of the passages. You may be sure.
The vampire, when he came back and found her gone,
fell into a great rage. He went running wildly up
and down the various passages, and lost so much time
searching the wrong passages that the girl was able to
make good her escape and reach the upper world. In safety.
(28:49):
She came out in a wood with no sign of
human habitation anywhere in sight. What shall I do now,
she thought, If I stay here alone and unpretik, some
wild beast or evil creature may get me. So she
knelt down and prayed God to give her a chest
that she could lock from the inside with one of
(29:09):
her own golden hairs, so securely that no one could
force it open. God heard her prayer, and presently, behind
some bushes she found just such a chest. When it
grew dark and she was ready to go to bed,
she crept into the chest, locked it with a hair,
and slept peacefully, knowing that nothing could harm her. The
(29:33):
weirdest thing about that part to me is that she
prays for a chest to sleep inside of and God
gives her a chest. When it feels like if God's
just going to give you what you pray for, like
you might as well pray to like get home safe.
Speaker 3 (29:47):
You know, you think, yeah, the logical thing would be
to take me out of the situation, not put me
in a box in the situation.
Speaker 2 (29:54):
It's such a weird, but such a weird thing to
pray for and then receive, You.
Speaker 3 (29:58):
Know, well that maybe it's like, you know, you have
to you have to be reasonable with your request to God.
They're not just going to be willy nilly with what
you get if you pray for it. You got to
go very minimal and be like my feet hurt. I
would like one shoe to help get me home that
I cannot two shoes. That's too much. I'm not into
the whole excess thing. One shoe will do.
Speaker 2 (30:21):
One shoe that I can tie with my own hair
from my own head. So she lived in the woods sometime,
eating berries and fruits, and sleeping safely in the chest.
Now it so happened that the king's son one morning
went hunting in this very wood and caught a glimpse
of the girl as she was gathering berries. He thought
(30:43):
he had never seen such a beautiful creature, and instantly
he fell in love with her. But when he reached
the clump of bushes where he had seen her, she
was gone. He called his huntsbend together and told them
to search everywhere. They hunted for hours, and all they
could find was a chest. They tried to open the
chest to see what was in it, but couldn't waste
(31:05):
no more time over it. Prince said, at last, carry
it home to the palace as it is, and have
it placed in my chamber. The huntsman did this, and
a few hours later, when the girl peeped out of
her chest, she found herself alone in the Prince's chamber.
His supper was standing on a table in readiness for
his coming. The girl ate the supper and was safely
(31:27):
back in her chest before he arrived. When he did come,
the prince was amazed to see empty plates and called
the servants to know who had eaten the supper. The
servants were as much surprised as the prince, and declared
that no one had entered the chamber. The same thing
happened the next day, and the following day, the Prince
(31:47):
had one of his servants hide behind the curtains and
watch to find out, if possible, how the food disappeared.
The story the servant had to tell of what he
saw was so thrilling that the Prince could scarcely wait
for the next day, when he himself hid behind the
curtains and watched the serving people put the food on
(32:08):
the table and retired. And presently the lid of the
chest opened, and the prince saw the beautiful maiden of
the wood step out. When she sat down at the table,
the Prince slipped up behind her and caught her in
his arms. You lovely creature, he said, I'm not going
to let you escape me again. At first, the girl
(32:28):
was greatly frightened, but the prince reassured her, telling her
that he loved her dearly and only wanted to make
her his wife. He led her at once to the King,
his father, and the girl was so modest and lovely
that the King soon agreed to the marriage. Everybody in
court was delighted, everybody, that is, but the chamberlain, who
(32:50):
had hopes of marrying his own daughter to the prince.
His daughter was an ugly, ill tempered girl, and the
Prince had never even looked at her. Chamberlain was sure, however,
that with a little more time, he could arrange the
match to his liking. So the appearance of this beautiful
girl who came from heaven knows where threw him into
a fearful rage, and he decided to do away with
(33:13):
her at any cost. Now he had in his employ
a great burly blackamore. He called this fellow to him,
and he told him that he must kidnap the girl
at once and kill her. The Blackamore, who was accustomed
to do such deeds for the chamberlain, nodded and said
he would so. When the palace was quiet that night,
(33:35):
he stole to the bedchamber where the girl was lying asleep,
threw a great robe over her head to stifle her cries,
and carried her off. She fainted away from fright, and
the Blackmore, thinking her dead, tossed her into a field
of nettles in the outskirts of town. Now, as you
can imagine, in the morning, there was a great uproar
(33:56):
in the palace when it was discovered that the prince's
beautiful bride to be had disappeared. The prince was utterly
grief stricken and refused to eat. The King and all
the ladies of the court tried their best to comfort him,
but he turned away from them, declaring he would die
if his bride were not restored to him. The rascally
chamberlain put his handkerchief to his eyes and pretended to weep.
(34:19):
He was so affected by the sight of the Prince's grief.
My dear boy, he said, I would that I could
find this maiden for you. It breaks my heart to
see you so sad and unhappy. But I am sorry
to tell you that I hear she was a villa
and not a human maiden at all. You know how
(34:39):
mysteriously she came, and now she's gone just as mysteriously.
So put the thought of her out of your mind,
and I am sure you'll soon find a human maiden
who was worthy of your love. Come here, my daughter,
and tell the Prince how sorry you are. That he
is in grief. But the sight of the Chamberlain's ugly
daughter only made the Prince long the more for the
(35:00):
beautiful girl who was gone.
Speaker 3 (35:07):
This one one, the girl are the youngest sister of
the three, has had a terrible go Yeah. She was
just an absolutely and now.
Speaker 2 (35:18):
This Chamberlain is like he wasn't She wasn't even a
real woman. She was a villa, which is a fairy,
I guess, like a woodland fairy who I was just
I was just reading about. It's a They're described as beautiful,
eternally young, dressed in white, with eyes flashing like thunders,
and provided with wings, and they live in the clouds,
in mountain woods or in the waters. They're well disposed
(35:41):
towards men, and they're able to turn themselves into horses, wolves, snakes,
falcons and swans.
Speaker 3 (35:47):
Wow, apparently, I mean he the Chamberlain pitched it like
a like a villa was not someone to trust. But
it sounds like I would love to have a villa
for a bride. Yeah, I mean, but she's my cord
at least.
Speaker 2 (35:59):
You know. He says, he's like, maybe maybe you can,
we can find you a human lady, you know, like
my daughter. And then I imagine his poor, ugly daughter
walks up, she's like hi, and he's like, oh god.
Speaker 3 (36:10):
You know, bear with me, your highness, what if we
lower our standards just a little bit? And then he
brings his daughter over and he's like, oh, godo, what's
wrong with her?
Speaker 2 (36:31):
She, meantime, had found a refuge in the hut of
an old woman who had heard her groan in the
early dawn when she lay among the nettles, and had
taken compassion on her. You may stay with me until
you're well, the old woman said. The girl was young
and healthy, and in a day or two had recovered
the ill treatment she had suffered at the hands of
(36:51):
the Blackmore. Won't you let me live with you a while, Granny.
She said to the old woman, I'll cook and scrub
and work, and you won't have to regret the little
I eat. Can you cook, because if you can, perhaps
you know a dish that would tempt the appetite of
our poor young prince. The old woman said, you know,
(37:11):
the poor boy has had a terrible disappointment in love,
and he refuses to eat. The heralds were out this morning,
proclaiming that the king would richly reward anyone who could
prepare a dish that would tempt the prince's appetite. Granny,
the girl said, I know a wonderful way to prepare beans.
Let me cook a dish of beans, and do you
(37:34):
carry them to the palace. So the girl cooked the
beans and placed them prettily in a dish, and on
one side of the dish she put a tiny little
ringlet of her own golden hair. If he sees the hair,
she thought to herself, he'll know the beans are from me.
(37:57):
I don't know why, but like the romance of the
beans is just really special to me.
Speaker 3 (38:05):
Yeah, what do you think the bean dishes?
Speaker 2 (38:08):
I would love to know, Like, first of all, which
kind of bean. You know, are we talking pinto, are
we talking kidney? Are we talking black? What do you think?
Speaker 3 (38:18):
Yeah? Refried refried refried beans. No one can say no
to a refried bean.
Speaker 2 (38:24):
It's true. I love a good refried bean.
Speaker 3 (38:26):
And you know they would never have seen that in
that in that region, that it.
Speaker 2 (38:31):
Would have been really new.
Speaker 3 (38:35):
This is actual, especially refried beans with a hair in it.
Speaker 2 (38:38):
This is actually an origin story for refried beans. It's
not even.
Speaker 3 (38:44):
They're so good.
Speaker 2 (38:48):
And that's exactly what happened. To please his father, the
prince had consented to look at every dish as it came.
He had already looked at hundreds of them before the
old woman arrived, and turned away from the mall. Then
the old woman came. As she passed before the prince,
she lifted the cover on the dish, held it towards
(39:10):
him and curtsied. The Prince was just about to turn
away when he saw the tiny ringlet of hair.
Speaker 1 (39:16):
Oh, he said, wait a minute, those beans look good
to the King's delight, he took the dish out of
the old woman's hand, examined it carefully, and when no
one was looking, slipped the ringlet into his pocket. Then
he ate the beans, every last one of them.
Speaker 2 (39:37):
The king gave the old woman some golden ducats and
begged her to prepare another dish for the prince on
the morrow. So the next day the girl again sent
a tiny ringlet of her hair on the side of
the plate, and again the Prince, after scorning all the
other food offered him, took the old woman's dish and
ate it clean. On the third day, the prince engaged
(39:58):
the old woman in conversation. Where do you live, Grannie.
I live in a tumbledown house beside the nettles, She
told him. Do you live alone? Just now, the old
woman said, I have a dear girl living with me.
I found her one morning lying in the nettles where
some ruffians had left her for dead. She's a good girl,
(40:19):
and she scrubs and bakes and cooks for me and
lets me rest my poor old bones. Now the prince
knew what he wanted to know, Grannie. He said, tomorrow's Sunday.
Now I want you to stay home in the afternoon
because I'm coming to see you. In great excitement, the
old woman hurried home and told the girl that the
(40:39):
prince was coming to see them on Sunday afternoon. He
mustn't see me. The girl said, I'll hide in the
bread trough under a cloth, and if he goes looking
for me, you tell him that I've gone out. Foolish child,
The old woman said, why should you hide from a
handsome young man like the prince. But the girl insisted,
(41:01):
and at last, when Sunday afternoon came, the old woman
was forced to let her lie down in the bread
trough and cover her with a cloth. The prince arrived,
and when he found the old woman there alone, he
was mightily disappointed. Where's that girl who lives with you,
he asked, she's gone out. The old woman said, then
I think I'll wait till she comes back. This made
(41:23):
the old woman feel nervous. But my Prince, I don't
know when she's coming back. Just then, the Prince thought
he saw something move in the bread trough. What's that
lumpy thing in the bread trough, Grannie? That? Oh, that's
just dough that's rising. My Prince, I'm baking today. Then
(41:44):
make me a loaf, Grannie. I'll wait for it until
it rises, and until you bake it. Then i'll eat
it hot out of the oven. What was the old
woman to say to that. She fussed and fidgeted, and
thought again what a foolish young girl that was to
be hiding in the bread trough when there was a
handsome young prince in the room. I don't know why
that dough doesn't rise, she remarked at last, Perhaps there's
(42:09):
something the matter with it. The Prince said, before the
old woman could stop him, he jumped up, tossed the
cloth aside, and there was his lovely bride. Why are
you hiding from me, he asked, as he lifted her
up and kissed her tenderly. Because I knew if you
really loved me, you would find me, she said. Now
(42:30):
that I have found you, the Prince declared, I shall
never let you leave again. Then the girl told the
Prince about the wicked chamberlain and the blackamore, and it
was all she and the old woman could do to
keep the Prince from drawing his sword and rushing out
instantly to kill both of them. The old woman begged
the prince to take the girl secretly to the king
and have the King hear her story, and then let
(42:53):
him pass judgment on the chamberlain. According to the laws
of the land. At last, the prince agreed to do this,
so they covered the girl's head with a veil and
took her to the king. When the king heard her story,
he called the court together at once and told them
the outrage that had been committed against his son's promised bride.
He commanded that the murderous Blackmore be executed the next day,
(43:16):
and he decreed that the chamberlain and his wicked daughter
be stripped of their lands and riches and sent into exile.
Let us hope that exile taught them the evil of
their ways and made them repent. As for the girl,
she married the prince and they lived together in great happiness.
And she deserved to be happy too, for she was
a brave girl and a good girl. And God loves
(43:39):
people who are brave and good and blesses them the end.
So initial reactions, how do you feel about it?
Speaker 3 (44:03):
My head is spinning. Why did she hide in the bread?
Speaker 2 (44:08):
I mean, she says, because she knew that if he
loved her, he would find her.
Speaker 3 (44:12):
He came all the way to the old lady's house,
she left him clues, and then she hid in the
in the room. I imagine her little feet were like sticking
out a little bit or something.
Speaker 2 (44:21):
She does seem to me she's taken the games too far,
you know, like it's like, girl, come on, you escaped
a vampire, you avoided murder, you're living with an old lady,
and now you're gonna go hiding a bread trough. Just like,
just be grateful that he found you. You know.
Speaker 3 (44:37):
She's like, he's gotta want it.
Speaker 2 (44:43):
If you don't love me at my worst, you don't
deserve me. She is actually the epitome of that.
Speaker 3 (44:51):
Of that quote for sure. It's like, no matter what
crazy shit has happened to her in this experience, she's
still like he's got to earn it. He needs to
earn me and the old ladies, Like, uh, she left,
she's not here.
Speaker 2 (45:10):
I'm just the bread over there. It is just rising.
She's just squirming underneath a blanket in the bread trot.
Speaker 3 (45:16):
I'm giggling.
Speaker 2 (45:17):
Just weird. It's so weird.
Speaker 3 (45:19):
Yeah, we never saw the vampire again. No, he that
dude's still out there.
Speaker 2 (45:23):
He played his role. He lost us. He's going to
go victimize another family.
Speaker 3 (45:28):
You know, that's just like an unsolved murder mystery. I
know that was like a subplot.
Speaker 2 (45:33):
It's interesting that the the vampire never gets justice, but
the Chamberlain and his you know, henchmen do. And it's
also interesting the kind of justice they meet out to
those guys. So like the the quote unquote Blackamore, who's
this hit, you know, this evil henchman kind of muscle guy.
(45:54):
He's executed instantly, right, But the Chamberlain and his daughter,
they're just exiled and stripped of all their money. So
it's interesting to see the different levels of you know,
so called justice that's given out to the perpetrators of wrongdoings.
Like the vampire is a is this mythical creature? So
(46:15):
there is no it's this isn't a story about like
Baba Yaga or something. You know, this is the vampire
is just there as like a plot device, not as
a true not as a true villain. You know, the
true villain in this story is the is the greedy chamberlain.
But you know, maybe so what.
Speaker 3 (46:33):
Do you think he may be altered?
Speaker 2 (46:35):
Well, so I was, you know, I mean, it's it's
also possible he combined two stories to get this, because
it does kind of feel like two separate stories. You know,
you've got the story of the girl escaping the vampire,
and then you've also got the story of the girl
finding her prints, you know. Yeah, but also you know,
both stories are incomplete on their own. Both halves of
(46:57):
the story are incomplete on their own, because she needs
a she needs a true I guess, I don't know.
Feels like it feels like it could have been two
stories that got combined into one. I mean, I think
that there must be there could be something too. You know.
The subtitle of the story is the story of the
(47:18):
third Sister, who was brave and good, and so I wonder,
you know, if having the vampire as the first part
of the story is that they have to throw like
a number of crappy things at her in order for
her to prove her goodness and her bravery and her
modesty or whatever. Because if it had just been one thing,
(47:39):
it could be like, you know, she's brave once, not
a big deal, but she's brave and good you know
a handful of times. Now she's really someone to root for.
Speaker 3 (47:49):
Yeah, And it really comes back to what we were
talking about in the beginning. The only reason the vampire
spared her was because she wasn't acting helpless.
Speaker 2 (47:57):
She didn't cry and wait and wine don't kill me.
I don't want to kile or whatever.
Speaker 3 (48:08):
I don't want to drink that.
Speaker 2 (48:11):
Yeah.
Speaker 3 (48:12):
Yeah, So yeah, she's basically no, she's really given a
she'll do stuff, but it really seems like she's this
is she's given trials.
Speaker 2 (48:29):
Yeah, she does seem and God.
Speaker 3 (48:31):
Helps her along the way.
Speaker 2 (48:32):
Yeah, she's pious, She's tested and she passes her tests
and you know in the end she gets a happy ending.
Speaker 3 (48:44):
Yeah. So okay, So it feels like the moral of
the story is really given to us a bit, be brave,
Like you said, be pious, be good. Do you think
that there's something else in there to take away?
Speaker 2 (49:00):
Do you think that this that moral of be good,
be brave? Do you think it's aimed at girls exclusively
or do you think that this story has a takeaway
for both boys and girls? Or is it or are
the problems so specifically female? Yeah?
Speaker 3 (49:19):
No, I really feel like it's again it's fixated on
women or girls specifically, because I don't think that you
would have had to experience like the story with the
three sisters in the Vampire if they had been boys.
I don't think that that would have happened, because you
wouldn't be offering a boy to a woman that way.
(49:42):
You know, women wouldn't show up and be like, I'm
here to marry your finest son or whatever. Like, it
wouldn't play out that way. There wouldn't be that, it
would be the vampire comes and lives with them if
it was a man.
Speaker 2 (49:54):
Yeah, but even like the other even like the male
characters in the story as they are. You know, you've
got the king briefly, you've got the Prince, You've got
the vampire, the chamberlain, and the blackmore. Those are all
the male characters, right, So the male characters who are bad,
they definitely get there. Well, not the vampire, right, we
(50:17):
talked about that, but he's not humans, so he doesn't
really I think fall into he's above the law yeah
or below. Yeah, there we go. So, but there's punishment
for bad deeds, right, and in.
Speaker 3 (50:30):
Different levels too. I mean so that like you said,
the hitman he's killed, but the chamberlain exiled his daughter along.
Speaker 2 (50:40):
With him, right, that sucks for her.
Speaker 3 (50:43):
Yeah, she's also I mean just ugly and yeah, just
a person.
Speaker 2 (50:47):
We're not supposed to like her. I wonder if she's
as bad as I wonder if she's as bad as
he makes her sound, or if she's just like got
a shitty dad.
Speaker 3 (50:55):
Yeah, that could just be it. Maybe she's just like
an average person, or maybe for the times she wasn't attractive.
Speaker 2 (51:02):
What do you think it is that made her unattractive?
Speaker 3 (51:04):
She had this really radiant blue beard. There it is,
It's correct, just really sets people off. Yeah.
Speaker 2 (51:14):
So to bring it back to the story, the moral,
it seems pretty simple.
Speaker 3 (51:20):
Like be good, be brave, be good, be brave. I
mean yeah, we can say regardless of gender, be good,
be brave.
Speaker 2 (51:27):
Well, no, I think specifically for women, be good, be brave.
In the story, I think for men, I think the
moral is more so, don't be bad, don't be conniving,
you know.
Speaker 3 (51:39):
H unless you're the king.
Speaker 2 (51:41):
Well, the king isn't isn't bad? Is he?
Speaker 3 (51:43):
We don't know.
Speaker 2 (51:50):
Mysterious character?
Speaker 3 (51:51):
Yeah, sure, we don't know. Ye, I don't know. I
didn't see enough of him. I saw more of the
vampire than I did the king.
Speaker 2 (51:57):
And that is true. You did we all?
Speaker 3 (52:01):
Yeah, be good, be brave, be kind rewindu well.
Speaker 2 (52:06):
Listener is if you have any thoughts about the store,
you want to share please let us know. If you
have information about the socio political history details of the
former Yugoslavia and you want to share that, you can
let us know. If you've ever met a vampire. Oh yeah,
(52:27):
I would also be curious. I'd love to hear about that.
Speaker 3 (52:30):
If you've met any mythological creatures, yeah, or a villa
or a villa. Yeah, if anyone knows a villa, hit
us up. Let us know what's going on with the
villa or a vampire.
Speaker 2 (52:40):
Yeah, let us know.
Speaker 3 (52:42):
You know.
Speaker 2 (52:42):
We're on We're on Instagram at Folklorga dot pod. We're
on Twitter at Folklorga Pod. You can also email us.
The email is Folklorica at straw hutmedia dot com.
Speaker 3 (52:56):
So thanks for listening, Thanks for listening. Don't forget to like,
don't forget to subscribe.
Speaker 2 (53:04):
Yeah, please do subscribe.
Speaker 3 (53:06):
Share, share with your friends, leave a.
Speaker 2 (53:08):
Comment, rate, and review if you enjoy the show, or
if you enjoyed this show specifically one I did actually
read through reviews not too long ago, and I saw
that someone thought that we interrupted the stories too much.
So I'm curious if that was you, if you're still listening,
(53:28):
or if we lost you. I don't know, Like, listeners,
do you think we interrupt too much? I think it's
kind of the point.
Speaker 3 (53:33):
Yeah, yeah, we're trying to go for like a mystery
science theater thing, you know.
Speaker 2 (53:39):
Yeah, but like if everybody hates it, like that's something
to know. So if you hate it too, yeah, i'd
like to hear. I would be curious to know, like,
do you like the interruptions? Do not like the interruptions.
I can't promise we'll do anything. If you tell us
if you like it or not like it, we might
just continue doing it.
Speaker 3 (53:54):
I don't We're very stubborn people and we're both very
set in our ways. So the show just is, I
mean really just as it lives.
Speaker 2 (54:01):
But yeah, let us know, and thanks for thanks for
tuning in once again. This is episode ten. Is this
the end of season two? Are we gonna are we
gonna call this?
Speaker 3 (54:11):
Then? I think this is officially our season two finale?
Speaker 2 (54:15):
Season two finale? Okay, so maybe we'll move.
Speaker 3 (54:19):
You know, I don't know, season three on its way.
Speaker 2 (54:23):
Let us know what you want to hear about in
season three.
Speaker 3 (54:25):
Maybe we've got a few countries lined up that I
know that we're going to hit next season. But if
there's anything that you feel like you want to hear about,
definitely reach out to us. If there's a particular story
even that you'd like us to read or talk about,
send it our way. And uh, everyone, thank you for
sticking out season two with us. It's been a wild ride.
Season two took started I think in the pandemic right, yeah.
Speaker 2 (54:51):
Or before. Honestly, it's all a blur. I know that
we've been, you know, relatively inconsistent in the in the
release of episodes, been you know here and there. You know,
we've taken some.
Speaker 3 (55:02):
Long, long breaks, a lot of mental health stuff.
Speaker 2 (55:06):
Yeah, a lot of mental health days.
Speaker 3 (55:09):
Most of its mental health days, just you know, keeping
ourselves afloat and all this. But we're happy that if
you've made it this far, you stuck with us, and
we really really appreciate it.
Speaker 2 (55:20):
Yeah, we do.
Speaker 3 (55:21):
We do, And we hope that you're all doing well
as well.
Speaker 2 (55:25):
I do. I do hope that, I sincerely do hope
that you're doing well. Listener proverbial listener.
Speaker 3 (55:30):
Yeah, perverted listener. We hope that you're doing well.
Speaker 2 (55:36):
All right, we'll see soon.
Speaker 4 (55:42):
Literally the least true thing I could have said, but
so much Gusto.
Speaker 3 (55:57):
I love the Gusto right all right, He's like, get
that person out of here, get her out of here.
It's like you too. Thank you so much guys, and
we will see you soon.
Speaker 5 (56:16):
I just said, all right, bye bye, Glorica, and now
for your moment of Tony Braxtzen.
Speaker 3 (56:37):
Breaking say love me on this walked down the door
and walked down my life.
Speaker 2 (56:54):
Riss cross. So man, oh, perf, I think we nailed it.
We're like a first times in team now
Speaker 3 (57:16):
Yeah, exactly, We've got it's in sync.
Straw Hut Media.
Speaker 2 (00:05):
I have been feeding pigeons, thousands of them for years.
But there was one, a beautiful bird, pure white with
light gray tips on its wings. That one was different.
It was a female. I had only to wish and
call her and she would come flying to me. I
loved that pigeon as a man loves a woman, and
(00:26):
she loved me. As long as I had her. There
was purpose to my life. Nikola Tesla, Oh Glorica, Hi,
and welcome to Folklorica, the podcast about folk tales from
around the world. I am your host, Maggie.
Speaker 3 (00:46):
Bowles, and I am your other host, Clayton Stecker.
Speaker 2 (00:50):
I thought you were gonna say David Attenborough.
Speaker 3 (00:52):
It was I was on the fence, but I didn't
want to mislead anybody because then I'd have to stay
in that the whole.
Speaker 2 (00:57):
Time, and that would be a that'd be a different
kind of show.
Speaker 3 (01:01):
Remember, it would probably be a better one if sir David.
Speaker 2 (01:03):
Was When we started doing Folklore cut and we played
with the idea of having a like a pseudo expert
on the show to talk about the story and place.
And you tried to do that Russian accent, but it
ended up being like a weird like Spanish makes. I
don't even know what the accent you did was, but
(01:24):
it was. It was really bizarre. Do you rever that?
Speaker 3 (01:27):
Yeah, it only haunts me every day of my waking life.
Speaker 2 (01:30):
I bet I still have it on like a hard drive,
and I would like to listen to it and just see,
you know how that just just relive it, you know,
just come back to it for a minute.
Speaker 3 (01:44):
Yeah, I know. I think I thought about that recently, actually,
that we we toyed with that idea and then that
that train wreck happened, and it was like, okay, maybe not,
maybe not. Maybe maybe I'm not as good at the
accents as I thought I was.
Speaker 2 (01:59):
Maybe we'll just talk about the story, you know, maybe
we'll just keep it see.
Speaker 3 (02:04):
Themple, I won't try so hard.
Speaker 2 (02:07):
A good times, great times.
Speaker 3 (02:09):
Good times. So what's new in the world of Maggie.
What's get us up to speed since our from since
our last episode?
Speaker 2 (02:17):
You know, let's see, momum.
Speaker 3 (02:22):
How's the bird watching going? Are you still doing that?
Speaker 2 (02:25):
Man? So yesterday I was sitting on my couch doing
who knows what, and I heard this little chirping noise
and I get up and look outside, and I see
this little fledgling lesser goldfinch, which obviously I didn't know
off the top of my head, but then I looked up,
(02:47):
you know, yellow breasted birds in Los Angeles and figured
out what it was. This little lesser goldfinch fledgling hopping
around the patio, and his mom was coming in and
you know, fluts in with him because he's learning how
to fly basically, so his nest must have been nearby,
but he was he was big enough that so I
googled it. He was big enough that he was like
(03:08):
kind of flapping around and hopping, and then I watched
the mom come over and feed him barf into his
mouth and then fly away and let him figure it out.
And I took a picture. Actually I'll maybe I'll post
it on the folklore cut Instagram. Who knows, Yeah, people
want to see that.
Speaker 3 (03:27):
That's cool. So she fed him. He's just he's not
like in a nest or anything. He's just kind of
sitting there, popping around.
Speaker 2 (03:32):
Popping around, flying a little, you know, but clearly not
very good at flying. It clearly very new to flying.
And so I googled it, like thinking like do I
need to do do I need to step in, Do
I need to help? You know? So I was like,
found a baby bird googled. That turns out that so
there's two different like age stages for birds. There's the
(03:53):
nest ling, which is when they're really ugly little dudes.
They can barely walk, they can't really jump or flit
or anything. And then there's fledglings, who are in the
process of learning how to fly. And so it's really
normal for the fledglings to make their way out of
the nest and kind of just bump around for a
while trying to figure out how to fly, and the
(04:15):
parent will usually be nearby checking in making sure they're okay.
And so those are the birds you're supposed to leave
alone and don't mess with because by like picking them
up or something, you could screw up everything basically. So
I didn't touch him, although I was very tempted because
he was very cute.
Speaker 3 (04:32):
Instead, I just all we want to do is just
cut them. We just want to cup them so bad.
Speaker 2 (04:37):
I looked at him, I took his picture, and then
I went back inside and I kept gim and squish away,
you know, so.
Speaker 3 (04:44):
That they didn't like were they making the little chittering noise.
Speaker 2 (04:48):
No, they didn't see him, but I do love the
chittering noise.
Speaker 3 (04:56):
So funny.
Speaker 2 (04:58):
Apparently cats only make that sound when they see prey,
like through a window or something like pray that's out
of reach.
Speaker 3 (05:07):
Weird.
Speaker 2 (05:07):
I was just looking up cat sounds the other day
because gim is one of the most noisy kittens that's
ever lived, super tough, she just talks NonStop. She's just
like all the time, always making bird noises. So that's
my big news. How are you clean?
Speaker 3 (05:24):
Yeah, I'm uh, I'm good. I'm doing doing great. Finally
I feel like life is getting get back to normal.
We're doing a bit of traveling. Next month, we're gonna
go see family in Idaho, gonna go to Utah. The
next month. We're gonna be in Palm Springs in October.
Speaker 2 (05:46):
Wow.
Speaker 3 (05:46):
Fun Yeah, So already like getting vaccinated. We're like, let's
get this party going, let's go get us out of
the house now. So what's the story we're doing this week?
So or this episode?
Speaker 2 (06:00):
This episode, we've got a Yugoslavian story. So I was
actually my mom had sent me this thing where there
was like an Indian story about a girl whose like
soul was stuck in a locket, and I was trying
to find the text for that story when I happened
(06:22):
upon this other story, which is this yugoslavin story, and
I read it and I really liked it, and so
I decided to, you know, go with the flow, if
you will. And it's from a book published in nineteen,
I think nineteen twenty one, and it's Yugoslav Folk and
fairy Tales, The Laughing Prince, Yugoslav Folk and fairy tales.
(06:47):
But it's actually, you know, Slavic people in the region,
So Yugoslavia apparently means just South Slavic. So in in
his uh introduction, I think he says something about how
he is taking Yugoslavia as like a literal translation and
(07:08):
not necessarily just the area of Yugoslavia, but South Slavic
countries and that. So that includes like Belarus, Bosnia, Bulgaria, Herzegovina, Croatia,
the Czech Republic, Macedonia, Montenegro, Poland, Russia, Serbia, Slovakia, Slovenia,
and the Ukraine. So really a bunch of a bunch
(07:32):
of different areas in the in that in that place.
But it's this guy, this guy Parker Fillmore, Sorry, go ahead.
Speaker 3 (07:40):
Oh no, I was just going to on that looking
into like you said. He how he addresses that, it's because, obviously,
like you said, the book came out in twenty one. Yeah,
and that was interesting once I started doing a little
research on former Yugoslavia that even at that time, it
wasn't considered Yugoslavia.
Speaker 2 (07:57):
Was it not. It came out I feel like nineteen.
Speaker 3 (07:59):
Two Kingdom of the Serbs or something, but that was
only briefly and before that, Yeah, I guess you're.
Speaker 2 (08:06):
Right, it was not named the Kingdom of Yugoslavia until
nineteen twenty nine, so eight years after this book came out.
Speaker 3 (08:13):
So yeah, so yeah, it's a history on it's interesting.
And then for him to address obviously, like you said
in the preface, he explains, well, Yugoslavia is actually just,
I mean, a pretty diverse collective coalition of countries. So
this story is kind of a it just kind of
flows through that area, I guess more than it is
specifically one country story. And then he's also it seems
(08:37):
that he this guy Parker Hoisted Fillmore, Parker Oisted Fillmore,
doing a little research on him. Notice that he does
take a bit of liberty in his writing, and he
tries to make it easier or more what are they
called it digestible? No, that's not the right word, but
(08:59):
something like like that for the English reader.
Speaker 2 (09:03):
Yeah. I actually I grabbed a quote from his introduction
because he talks about this actually in the introduction to
most I think of his books for fairy tales. But
this is what he wrote in the introduction of this book. Specifically,
he said, the renderings in every case are my own
and are not in any sense translations. I have taken
(09:24):
the old stories and re told them in a new language.
To do them justice. In this new language, I have
found it necessary to present them with a new selection
of detail, and with an occasional shifting of emphasis. I
do not mean by this that I have invented detail
in any unwarranted fashion. I haven't had to for any
folk tale. However, Bald contains all sorts of things by implication.
(09:48):
The true storyteller, it seems to me, is he who
is able to grasp these implications and turn them to
his own use. So he's basically saying, like, the story
is a story, you know, and I'm going to tell
it the way that makes the most sense to me.
And I'm not doing direct translations because a direct translation
wouldn't wouldn't do it justice.
Speaker 3 (10:09):
You know, what do you think? How is he using
the word bald? I feel like I saw him use
that when he was talking, because I read an excerpt
from his But basically I think the same thing about
his Finish stories. He said, finish is bald, and the
language itself is kind of bald, And I'm just so curious.
What do you think he means when he says bald.
Speaker 2 (10:27):
I assume he means something like lacking detail and like ornamentation,
you know, like bald, like plain.
Speaker 3 (10:36):
Yeah, okay, that's my guess. That makes sense.
Speaker 2 (10:39):
Interesting, But yeah, I think he said that in the
intro to the Finish because he also had a book
of Finnish stories. I think he said something like these
stories wouldn't be interesting to English speaking people or something
like that. He's like, I had to change them a
little bit because Finnish people tell Finish people talk differently
than we do, and so like, you wouldn't want to
hear a Finnish story directly translated. And actually the way
(11:03):
he got into the folk stories was through Czechoslovakian stories
when he was living in New York City between during
World War One, he was living in New York City
and he lived in a neighborhood with a bunch of
immigrants from Czechoslovakia, and his neighbors introduced him to some
folk tales and he ended up writing some of them
(11:26):
down and that kind of launched his interest in folk tales.
But before that, he had actually written a textbook, English
textbook for specifically for kids in the Philippines to learn English,
because he had ended up going there after college to
teach English to kids of the Philippines, and when he
got there, there was no textbook for him, so he
(11:48):
ended up having to just kind of like improvise, and
he made up stories to teach English to the kids
and ended up being very successful and the kids learned
really well with him, and when he came home, reached
out to him and said, would you make us a textbook? Wow,
he did, and that was the beginning of his writing career.
And that was, you know, the early nineteen hundred. So
(12:11):
he was born in eighteen seventy eight died in nineteen
forty four, So this is all during early twentieth century,
mostly late nineteenth We.
Speaker 3 (12:19):
Well, because so he was he and he was a
teacher in the Philippines. Did he do any sort of
writing do you know before that? Or was it really
like almost like he uncovered this thing about himself by
creating his own textbook. He's like, oh my gosh, I
actually really love writing.
Speaker 2 (12:36):
Yeah, I don't know. You know, there isn't a whole
lot about him on the internet. I think a lot
of what I learned was from like Kids Encyclopedia Britannica,
because he wrote so many folk tales. He's in like
a lot of the kids stuff. But it definitely seemed,
you know, I didn't I couldn't find what he studied
in college. He's from Cincinnati, Ohio. He went to college
(12:56):
in Cincinnati, Ohio and graduated and ended up going to
the Philippines. And you know, this is like around the
same time as that other story we did from the Philippines,
a couple episodes back, same time period where the Philippines
is really new in the American consciousness, because before you
(13:16):
know this, the Philippines would have been introduced to America,
like during his early adulthood. You know, so I imagine for
people like I imagine that for some people it was
a very exciting new frontier of a place to you know,
go and study and learn and be acquainted with and.
Speaker 3 (13:35):
To teach apparently. I mean that's got to be pretty exciting.
Speaker 2 (13:38):
Yeah, seemed like a nice guy.
Speaker 3 (13:40):
But yeah, it's interesting to see how little there is
on him outside of the kids Britannica, Like that was
really the only thing I could find that had any
sort of biography on him. Everything else was facts, you know,
born on, died on, and that was it. So he
definitely wasn't in it for the fame.
Speaker 2 (13:56):
No, he wasn't, or if he was, he failed failed.
Speaker 3 (14:07):
But I mean, hey, here we are talking about him.
So are Parker poisted Fillmore? Yea, his name is a
sentence Parker Parker poisted over the fence.
Speaker 2 (14:18):
Yeah. And also Parker and Fillmore on their own are
kind of words, you know, like Parker and then phil More,
you know, just just just spitballing.
Speaker 3 (14:32):
Just riffing. Baby. Eighteen seventies were a wild time for now. Yeah,
so what did you I was because I was pretty
unfamiliar with the former Yugoslavia in all of its history. Yeah,
you know, one hundred years, I mean less than one
hundred years of history. But going into it, I found
(14:53):
that not only was the hope for Yugoslavia as a
coalition to be formed part of why World War One
even started, but that it existed. It's for such a
short amount of time because it's so so diverse and
something like it was like in the nineteen eighties when
nationalism really started to rise up. There's some sort of
(15:14):
like economic collapse and that's what ultimately led to the
breakup of Yugoslavia. Again from what it was.
Speaker 2 (15:20):
Yeah, I mean like there's as I was looking into it,
I was realizing how much information there was about it,
and how I was like not even going to begin
to scratch the surface of the complex socio political currents
of the last one hundred years. Even in that area
(15:41):
I did, I don't know, I mean, I what do
you use?
Speaker 3 (15:45):
Where to begin?
Speaker 2 (15:45):
Where to begin?
Speaker 3 (15:46):
Where to begin to give you some interesting facts. It's interesting.
Speaker 2 (15:49):
It's interesting that it only started as a country after
World War One in nineteen eighteen, because you know, I
guess it. The whole like saga of Yugoslavia is a
really good reminder that countries are made up in general,
you know, and that you know, you think about the
(16:13):
dividing lines between areas as meaning something outside of the
context of just whims, and yet so much of it
is just random lines drawn for political gain, you know,
and that you know, Yugoslavia, the Kingdom of Yugoslavia, you know,
it was eleven years after they first created the area
(16:36):
that would become Yugoslavia. They named Yugoslavia, you know, like
eleven years after that, and even that as a country,
as a as a monarch only lasted you know, less
than twenty, like less than fifteen years, and they only
you know, they had the poor king. Did you look
at poor King Peter the Second at all? Who was
(16:58):
the last king of Yugoslavia. No, he he was succeeded
or he was. He took the throne when he was
like eleven years old, when his father was I think assassinated,
and he had a you know, a regent who cared
for the who did all the actual political stuff for
most of it. And when the when the monarchy was exiled,
(17:23):
he was like eighteen years old, so he barely got
to be king for like, you know, a couple of years,
and nobody took him seriously because he'd always been a kid,
and they set up a government in exile, but nobody
really took it, took it seriously. It ended up becoming
a communist nation and you know, renamed the Democratic Federal
(17:43):
Yugoslavia first in nineteen forty three, and then renamed again
to the Federal People's Republic of Yugoslavia nineteen forty six.
But so he was he was in exile basically as
soon as the Axis invaded Yugoslavia in nineteen forty one,
he was exiled. He ended up settling in the United
States and was basically just like a king without a
(18:07):
kingdom for a long time. And he tried to kind
of make it as like a TV personality. He went
on like TV shows, and he gave like speeches about
Yugoslavian you know, because because it was a communist government
that kind of took over. He had he could have
had a platform, you know, because of the anti communist
(18:27):
you know, sentiment in the US, except that he was
just like not super charismatic, and they described him as
quote a sad eyed youth or who was a quote
flop as a TV personality because he was nervous uh
in front of camp. He ended up drinking himself to death.
(18:48):
And I don't know, I just I don't know. That's
the that's the last king of Yugoslavia. I feel like
there's something there.
Speaker 3 (18:56):
Who was Tito? Did you read anything on TV Joseph
Bras Tito?
Speaker 2 (19:02):
I did read about Tito. Who was he? That's a
good question.
Speaker 3 (19:06):
I forget he was like the From what I had seen,
it seemed like he was the person really keeping Yugoslavia
as a whole. And it was really after his death,
I think in nineteen eighty that it seems like nationalism
started to rise up. He'd been you know, quelling as
much as he could any sort of like separation, always
promoting you know, unity and brotherhood. I guess.
Speaker 2 (19:29):
Yeah, so Tito. Tito was with the People's Liberation movement,
so he was part of the part of the body
that overthrew the monarchy basically. So he was indirect opposition
to to the flop to the sad eyed youth. Yeah,
(19:49):
so he was really the he was really, I guess,
the leader of Yugoslavia for most of the most of
the time, unlike Little Peter two.
Speaker 3 (19:57):
Peter too Peter two.
Speaker 2 (20:00):
It's just such a sad name.
Speaker 3 (20:02):
But it was interesting to read the connection between what
would become Yugoslavia and the assassination of the Archduke or
the air of Franz Ferdinand, which is one of the
big things that really kicked off World War One. Yeah,
I believe that the six assassins who had worked together,
(20:23):
I mean only I think three of them didn't pull through.
It's a whole the whole story of how Franz Ferdnan
got assassin. It is pretty crazy, like it's such a
it's such a failed thing, and then they got a
second chance because of just like I mean, honestly reading it,
it felt like just general stupidity, like they didn't try
to protect Franz Ferdinand or his wife after they'd someone
like threw a bomb at their car and it exploded,
(20:45):
like bounced off the car and exploded, and they just
went to their next like speech that they had to
make in town.
Speaker 2 (20:49):
Yeah, well, and didn't they take a wrong turn. They
took a wrong turn down a city street. And the
one of the guys who was in the what was
it like the black Hand something, I forget what the
what their group was called but he was in a
cafe eating a sandwich when the Archduke's carriage pulled up
right outside the window, and he was like, oh, okay,
(21:11):
I guess this is my moment. He got up and
shot him. Then they all thought that they had lost
the opportunity. Everybody was like, we bongled it. We couldn't
kill the arch duke. And then there he was right
outside that little cafe and you put down a sandle,
walked outside and shot him dead and killed his wife. Yeah. Uh,
there's a was that Revisionist History. I think Welcome Gladwell
(21:35):
does a really long and extensive description of of that
on Revisionist History.
Speaker 3 (21:41):
I'll have to check that out.
Speaker 2 (21:42):
It's like a five hour long episode about World War One,
and the first hour or so talks about that, which
is as far as I got.
Speaker 3 (21:51):
That's all you need to know.
Speaker 2 (21:53):
I don't know what happens after that.
Speaker 3 (21:54):
But so the history of what was former Yugoslavia and
is now six or seven countries is pretty tough, pretty hardcore.
Speaker 2 (22:05):
Yeah, lot a lot to unpack there, and I still
feel like I don't know, Like I feel like I
still know like one percent of the information that is
there I'm sure that there's a lot of a lot
of complexity. I guess listeners, if you have any insights
into the socio political history of the former Yugoslavia region,
(22:30):
you know, you know, send us a message. Let us do.
Speaker 3 (22:35):
That. You're like you, guys, there's so much. There are
books and books.
Speaker 4 (22:39):
I mean.
Speaker 2 (22:39):
The good news is that in order to enjoy the
story that we have today, I don't think you really
need any too much, at least historical context to understand
what's going on. There is one there is a word
(23:00):
in this story that is questionable, no problematic in many ways.
The word is blackamore, and it means basically a black
person in a role of servitude. So that'll come up
in the story. We're not changing the words of the story.
This was written in nineteen twenty one, so you know
(23:24):
that is that was part of the part of the
lexicon I guess back then. But I don't think it's
a I don't think it's a terribly important part of
the story. I'm going to leave it in there for
the sake of verity, but it's not a Yeah, it's
not a.
Speaker 3 (23:40):
Just a fair a fair preface, fair preface. This exists
in this it does exists in the story.
Speaker 2 (23:46):
Yeah. With that, do we feel like we're ready to
dive in?
Speaker 3 (23:51):
Yeah? I feel I feel good and I'm ready for
this story. How are you feeling?
Speaker 2 (23:55):
I feel ready. Let's do it.
Speaker 3 (23:56):
Let's do it. Let's take a quick break, and when
we come back, Maggie's going.
Speaker 2 (24:01):
To read The Girl in the Chest, The Story of
the Third Sister who was Brave and good.
Speaker 3 (24:08):
Will we come back.
Speaker 2 (24:16):
The Girl in the Chest, The Story of the Third
Sister who was Brave and Good. There was once a
horrible vampire who took the form of a handsome young
man and went to the house of an old woman
who had three daughters, and pretended he wanted to marry
the oldest. I live far from here, the vampire said,
(24:37):
I own my own farm and am well to do,
and in marrying me, your daughter would get a desirable husband. Indeed,
I am so well off that I don't have to
ask any dowry.
Speaker 4 (24:49):
Now.
Speaker 2 (24:49):
The old woman was so poor that she couldn't have
given a penny of dowry. That was the only reason
why all three of her daughters hadn't long ago been
married to youths of their own village. When the stranger
said he would require no dowry, the old woman whispered
to her oldest daughter, he seems to be all right,
Perhaps you'd better take him. The poor girl accepted her
(25:11):
mother's advice, and that afternoon started off with the vampire,
who said he would lead her home and marry her.
They walked a great distance, and as evening came on,
they reached a wild, ghostly spot which frightened the girl
half to death. This way, my dear, the vampire said,
pushing her into an opening in the earth. We take
(25:31):
this underground passage, and soon we'll be home. The passage
led to a sort of cave, which was really the
vampire's home. What an awful place, the poor girl cried
in terror. Let me out, Let you out. Indeed, the
vampire sneered, taking his own horrible shape and laughing cruelly.
Here you are, and here you stay. And if you
(25:54):
don't do everything I tell you, I'll soon finish you. Here. Now,
drink this. He offered the poor girl a picture, and
when she saw what was in it, she nearly fainted
with horror. No, she cried, I won't, I won't if
you don't drink this. The vampire said darkly, then I'll
drink you, and with that he killed her with no
(26:17):
more feeling than if she were a fly.
Speaker 3 (26:21):
That line of his, if you don't drink this, then
I'll drink you. It reminds me of like a Yakov
Smirnoff joke in Communist Russia. Car drive you. Yeah, in vampire,
then I drink you. Do you think he has furniture?
Speaker 2 (26:41):
That's a great question. I actually imagine this as the
you know, the place where Spike lives in Buffy the
Vampire Slayer. I imagine it as his little like underground place lair.
Speaker 3 (26:57):
Yeah, yeah, I mean, how can you not that's exactly
as well.
Speaker 2 (27:02):
Yeah. Then in a short time he went back to
the old woman and said, dear mother, my poor wife
is ill, and she begs that you send her your
second daughter to nurse her. She asks for her sister
night and day, and I fear she will die unless
she sees her. When the poor old mother heard this,
(27:23):
she begged the second daughter to go at once with
the young man and nurse her sick sister. Well, the
same thing happened to the second sister, and in no
time at all, the vampire had killed her. Too, to
satisfy his awful thirst. Then he returned again to the
old mother, and this time he pretended that both sisters
were sick and were trying for the third sister to
(27:45):
come and nurse them. So the poor old woman sent
her youngest daughter away with the vampire. The youngest daughter,
when she found out the truth about the horrid vampire,
didn't sit down and weep helplessly as the others had
done and wait for the vampire to kill her, but
she prayed God's help and then tried to find some
(28:05):
way of escape. There were doors in the cave, which
the vampire told her were doors to closets she must
not enter. When the vampire was out. She opened these
doors and found that they all led into long underground passages.
This is my one chance to get back to Earth,
the girl thought, and commending her undertaking to God, she
(28:28):
fled down one of the passages. You may be sure.
The vampire, when he came back and found her gone,
fell into a great rage. He went running wildly up
and down the various passages, and lost so much time
searching the wrong passages that the girl was able to
make good her escape and reach the upper world. In safety.
(28:49):
She came out in a wood with no sign of
human habitation anywhere in sight. What shall I do now,
she thought, If I stay here alone and unpretik, some
wild beast or evil creature may get me. So she
knelt down and prayed God to give her a chest
that she could lock from the inside with one of
(29:09):
her own golden hairs, so securely that no one could
force it open. God heard her prayer, and presently, behind
some bushes she found just such a chest. When it
grew dark and she was ready to go to bed,
she crept into the chest, locked it with a hair,
and slept peacefully, knowing that nothing could harm her. The
(29:33):
weirdest thing about that part to me is that she
prays for a chest to sleep inside of and God
gives her a chest. When it feels like if God's
just going to give you what you pray for, like
you might as well pray to like get home safe.
Speaker 3 (29:47):
You know, you think, yeah, the logical thing would be
to take me out of the situation, not put me
in a box in the situation.
Speaker 2 (29:54):
It's such a weird, but such a weird thing to
pray for and then receive, You.
Speaker 3 (29:58):
Know, well that maybe it's like, you know, you have
to you have to be reasonable with your request to God.
They're not just going to be willy nilly with what
you get if you pray for it. You got to
go very minimal and be like my feet hurt. I
would like one shoe to help get me home that
I cannot two shoes. That's too much. I'm not into
the whole excess thing. One shoe will do.
Speaker 2 (30:21):
One shoe that I can tie with my own hair
from my own head. So she lived in the woods sometime,
eating berries and fruits, and sleeping safely in the chest.
Now it so happened that the king's son one morning
went hunting in this very wood and caught a glimpse
of the girl as she was gathering berries. He thought
(30:43):
he had never seen such a beautiful creature, and instantly
he fell in love with her. But when he reached
the clump of bushes where he had seen her, she
was gone. He called his huntsbend together and told them
to search everywhere. They hunted for hours, and all they
could find was a chest. They tried to open the
chest to see what was in it, but couldn't waste
(31:05):
no more time over it. Prince said, at last, carry
it home to the palace as it is, and have
it placed in my chamber. The huntsman did this, and
a few hours later, when the girl peeped out of
her chest, she found herself alone in the Prince's chamber.
His supper was standing on a table in readiness for
his coming. The girl ate the supper and was safely
(31:27):
back in her chest before he arrived. When he did come,
the prince was amazed to see empty plates and called
the servants to know who had eaten the supper. The
servants were as much surprised as the prince, and declared
that no one had entered the chamber. The same thing
happened the next day, and the following day, the Prince
(31:47):
had one of his servants hide behind the curtains and
watch to find out, if possible, how the food disappeared.
The story the servant had to tell of what he
saw was so thrilling that the Prince could scarcely wait
for the next day, when he himself hid behind the
curtains and watched the serving people put the food on
(32:08):
the table and retired. And presently the lid of the
chest opened, and the prince saw the beautiful maiden of
the wood step out. When she sat down at the table,
the Prince slipped up behind her and caught her in
his arms. You lovely creature, he said, I'm not going
to let you escape me again. At first, the girl
(32:28):
was greatly frightened, but the prince reassured her, telling her
that he loved her dearly and only wanted to make
her his wife. He led her at once to the King,
his father, and the girl was so modest and lovely
that the King soon agreed to the marriage. Everybody in
court was delighted, everybody, that is, but the chamberlain, who
(32:50):
had hopes of marrying his own daughter to the prince.
His daughter was an ugly, ill tempered girl, and the
Prince had never even looked at her. Chamberlain was sure, however,
that with a little more time, he could arrange the
match to his liking. So the appearance of this beautiful
girl who came from heaven knows where threw him into
a fearful rage, and he decided to do away with
(33:13):
her at any cost. Now he had in his employ
a great burly blackamore. He called this fellow to him,
and he told him that he must kidnap the girl
at once and kill her. The Blackamore, who was accustomed
to do such deeds for the chamberlain, nodded and said
he would so. When the palace was quiet that night,
(33:35):
he stole to the bedchamber where the girl was lying asleep,
threw a great robe over her head to stifle her cries,
and carried her off. She fainted away from fright, and
the Blackmore, thinking her dead, tossed her into a field
of nettles in the outskirts of town. Now, as you
can imagine, in the morning, there was a great uproar
(33:56):
in the palace when it was discovered that the prince's
beautiful bride to be had disappeared. The prince was utterly
grief stricken and refused to eat. The King and all
the ladies of the court tried their best to comfort him,
but he turned away from them, declaring he would die
if his bride were not restored to him. The rascally
chamberlain put his handkerchief to his eyes and pretended to weep.
(34:19):
He was so affected by the sight of the Prince's grief.
My dear boy, he said, I would that I could
find this maiden for you. It breaks my heart to
see you so sad and unhappy. But I am sorry
to tell you that I hear she was a villa
and not a human maiden at all. You know how
(34:39):
mysteriously she came, and now she's gone just as mysteriously.
So put the thought of her out of your mind,
and I am sure you'll soon find a human maiden
who was worthy of your love. Come here, my daughter,
and tell the Prince how sorry you are. That he
is in grief. But the sight of the Chamberlain's ugly
daughter only made the Prince long the more for the
(35:00):
beautiful girl who was gone.
Speaker 3 (35:07):
This one one, the girl are the youngest sister of
the three, has had a terrible go Yeah. She was
just an absolutely and now.
Speaker 2 (35:18):
This Chamberlain is like he wasn't She wasn't even a
real woman. She was a villa, which is a fairy,
I guess, like a woodland fairy who I was just
I was just reading about. It's a They're described as beautiful,
eternally young, dressed in white, with eyes flashing like thunders,
and provided with wings, and they live in the clouds,
in mountain woods or in the waters. They're well disposed
(35:41):
towards men, and they're able to turn themselves into horses, wolves, snakes,
falcons and swans.
Speaker 3 (35:47):
Wow, apparently, I mean he the Chamberlain pitched it like
a like a villa was not someone to trust. But
it sounds like I would love to have a villa
for a bride. Yeah, I mean, but she's my cord
at least.
Speaker 2 (35:59):
You know. He says, he's like, maybe maybe you can,
we can find you a human lady, you know, like
my daughter. And then I imagine his poor, ugly daughter
walks up, she's like hi, and he's like, oh god.
Speaker 3 (36:10):
You know, bear with me, your highness, what if we
lower our standards just a little bit? And then he
brings his daughter over and he's like, oh, godo, what's
wrong with her?
Speaker 2 (36:31):
She, meantime, had found a refuge in the hut of
an old woman who had heard her groan in the
early dawn when she lay among the nettles, and had
taken compassion on her. You may stay with me until
you're well, the old woman said. The girl was young
and healthy, and in a day or two had recovered
the ill treatment she had suffered at the hands of
(36:51):
the Blackmore. Won't you let me live with you a while, Granny.
She said to the old woman, I'll cook and scrub
and work, and you won't have to regret the little
I eat. Can you cook, because if you can, perhaps
you know a dish that would tempt the appetite of
our poor young prince. The old woman said, you know,
(37:11):
the poor boy has had a terrible disappointment in love,
and he refuses to eat. The heralds were out this morning,
proclaiming that the king would richly reward anyone who could
prepare a dish that would tempt the prince's appetite. Granny,
the girl said, I know a wonderful way to prepare beans.
Let me cook a dish of beans, and do you
(37:34):
carry them to the palace. So the girl cooked the
beans and placed them prettily in a dish, and on
one side of the dish she put a tiny little
ringlet of her own golden hair. If he sees the hair,
she thought to herself, he'll know the beans are from me.
(37:57):
I don't know why, but like the romance of the
beans is just really special to me.
Speaker 3 (38:05):
Yeah, what do you think the bean dishes?
Speaker 2 (38:08):
I would love to know, Like, first of all, which
kind of bean. You know, are we talking pinto, are
we talking kidney? Are we talking black? What do you think?
Speaker 3 (38:18):
Yeah? Refried refried refried beans. No one can say no
to a refried bean.
Speaker 2 (38:24):
It's true. I love a good refried bean.
Speaker 3 (38:26):
And you know they would never have seen that in
that in that region, that it.
Speaker 2 (38:31):
Would have been really new.
Speaker 3 (38:35):
This is actual, especially refried beans with a hair in it.
Speaker 2 (38:38):
This is actually an origin story for refried beans. It's
not even.
Speaker 3 (38:44):
They're so good.
Speaker 2 (38:48):
And that's exactly what happened. To please his father, the
prince had consented to look at every dish as it came.
He had already looked at hundreds of them before the
old woman arrived, and turned away from the mall. Then
the old woman came. As she passed before the prince,
she lifted the cover on the dish, held it towards
(39:10):
him and curtsied. The Prince was just about to turn
away when he saw the tiny ringlet of hair.
Speaker 1 (39:16):
Oh, he said, wait a minute, those beans look good
to the King's delight, he took the dish out of
the old woman's hand, examined it carefully, and when no
one was looking, slipped the ringlet into his pocket. Then
he ate the beans, every last one of them.
Speaker 2 (39:37):
The king gave the old woman some golden ducats and
begged her to prepare another dish for the prince on
the morrow. So the next day the girl again sent
a tiny ringlet of her hair on the side of
the plate, and again the Prince, after scorning all the
other food offered him, took the old woman's dish and
ate it clean. On the third day, the prince engaged
(39:58):
the old woman in conversation. Where do you live, Grannie.
I live in a tumbledown house beside the nettles, She
told him. Do you live alone? Just now, the old
woman said, I have a dear girl living with me.
I found her one morning lying in the nettles where
some ruffians had left her for dead. She's a good girl,
(40:19):
and she scrubs and bakes and cooks for me and
lets me rest my poor old bones. Now the prince
knew what he wanted to know, Grannie. He said, tomorrow's Sunday.
Now I want you to stay home in the afternoon
because I'm coming to see you. In great excitement, the
old woman hurried home and told the girl that the
(40:39):
prince was coming to see them on Sunday afternoon. He
mustn't see me. The girl said, I'll hide in the
bread trough under a cloth, and if he goes looking
for me, you tell him that I've gone out. Foolish child,
The old woman said, why should you hide from a
handsome young man like the prince. But the girl insisted,
(41:01):
and at last, when Sunday afternoon came, the old woman
was forced to let her lie down in the bread
trough and cover her with a cloth. The prince arrived,
and when he found the old woman there alone, he
was mightily disappointed. Where's that girl who lives with you,
he asked, she's gone out. The old woman said, then
I think I'll wait till she comes back. This made
(41:23):
the old woman feel nervous. But my Prince, I don't
know when she's coming back. Just then, the Prince thought
he saw something move in the bread trough. What's that
lumpy thing in the bread trough, Grannie? That? Oh, that's
just dough that's rising. My Prince, I'm baking today. Then
(41:44):
make me a loaf, Grannie. I'll wait for it until
it rises, and until you bake it. Then i'll eat
it hot out of the oven. What was the old
woman to say to that. She fussed and fidgeted, and
thought again what a foolish young girl that was to
be hiding in the bread trough when there was a
handsome young prince in the room. I don't know why
that dough doesn't rise, she remarked at last, Perhaps there's
(42:09):
something the matter with it. The Prince said, before the
old woman could stop him, he jumped up, tossed the
cloth aside, and there was his lovely bride. Why are
you hiding from me, he asked, as he lifted her
up and kissed her tenderly. Because I knew if you
really loved me, you would find me, she said. Now
(42:30):
that I have found you, the Prince declared, I shall
never let you leave again. Then the girl told the
Prince about the wicked chamberlain and the blackamore, and it
was all she and the old woman could do to
keep the Prince from drawing his sword and rushing out
instantly to kill both of them. The old woman begged
the prince to take the girl secretly to the king
and have the King hear her story, and then let
(42:53):
him pass judgment on the chamberlain. According to the laws
of the land. At last, the prince agreed to do this,
so they covered the girl's head with a veil and
took her to the king. When the king heard her story,
he called the court together at once and told them
the outrage that had been committed against his son's promised bride.
He commanded that the murderous Blackmore be executed the next day,
(43:16):
and he decreed that the chamberlain and his wicked daughter
be stripped of their lands and riches and sent into exile.
Let us hope that exile taught them the evil of
their ways and made them repent. As for the girl,
she married the prince and they lived together in great happiness.
And she deserved to be happy too, for she was
a brave girl and a good girl. And God loves
(43:39):
people who are brave and good and blesses them the end.
So initial reactions, how do you feel about it?
Speaker 3 (44:03):
My head is spinning. Why did she hide in the bread?
Speaker 2 (44:08):
I mean, she says, because she knew that if he
loved her, he would find her.
Speaker 3 (44:12):
He came all the way to the old lady's house,
she left him clues, and then she hid in the
in the room. I imagine her little feet were like sticking
out a little bit or something.
Speaker 2 (44:21):
She does seem to me she's taken the games too far,
you know, like it's like, girl, come on, you escaped
a vampire, you avoided murder, you're living with an old lady,
and now you're gonna go hiding a bread trough. Just like,
just be grateful that he found you. You know.
Speaker 3 (44:37):
She's like, he's gotta want it.
Speaker 2 (44:43):
If you don't love me at my worst, you don't
deserve me. She is actually the epitome of that.
Speaker 3 (44:51):
Of that quote for sure. It's like, no matter what
crazy shit has happened to her in this experience, she's
still like he's got to earn it. He needs to
earn me and the old ladies, Like, uh, she left,
she's not here.
Speaker 2 (45:10):
I'm just the bread over there. It is just rising.
She's just squirming underneath a blanket in the bread trot.
Speaker 3 (45:16):
I'm giggling.
Speaker 2 (45:17):
Just weird. It's so weird.
Speaker 3 (45:19):
Yeah, we never saw the vampire again. No, he that
dude's still out there.
Speaker 2 (45:23):
He played his role. He lost us. He's going to
go victimize another family.
Speaker 3 (45:28):
You know, that's just like an unsolved murder mystery. I
know that was like a subplot.
Speaker 2 (45:33):
It's interesting that the the vampire never gets justice, but
the Chamberlain and his you know, henchmen do. And it's
also interesting the kind of justice they meet out to
those guys. So like the the quote unquote Blackamore, who's
this hit, you know, this evil henchman kind of muscle guy.
(45:54):
He's executed instantly, right, But the Chamberlain and his daughter,
they're just exiled and stripped of all their money. So
it's interesting to see the different levels of you know,
so called justice that's given out to the perpetrators of wrongdoings.
Like the vampire is a is this mythical creature? So
(46:15):
there is no it's this isn't a story about like
Baba Yaga or something. You know, this is the vampire
is just there as like a plot device, not as
a true not as a true villain. You know, the
true villain in this story is the is the greedy chamberlain.
But you know, maybe so what.
Speaker 3 (46:33):
Do you think he may be altered?
Speaker 2 (46:35):
Well, so I was, you know, I mean, it's it's
also possible he combined two stories to get this, because
it does kind of feel like two separate stories. You know,
you've got the story of the girl escaping the vampire,
and then you've also got the story of the girl
finding her prints, you know. Yeah, but also you know,
both stories are incomplete on their own. Both halves of
(46:57):
the story are incomplete on their own, because she needs
a she needs a true I guess, I don't know.
Feels like it feels like it could have been two
stories that got combined into one. I mean, I think
that there must be there could be something too. You know.
The subtitle of the story is the story of the
(47:18):
third Sister, who was brave and good, and so I wonder,
you know, if having the vampire as the first part
of the story is that they have to throw like
a number of crappy things at her in order for
her to prove her goodness and her bravery and her
modesty or whatever. Because if it had just been one thing,
(47:39):
it could be like, you know, she's brave once, not
a big deal, but she's brave and good you know
a handful of times. Now she's really someone to root for.
Speaker 3 (47:49):
Yeah, And it really comes back to what we were
talking about in the beginning. The only reason the vampire
spared her was because she wasn't acting helpless.
Speaker 2 (47:57):
She didn't cry and wait and wine don't kill me.
I don't want to kile or whatever.
Speaker 3 (48:08):
I don't want to drink that.
Speaker 2 (48:11):
Yeah.
Speaker 3 (48:12):
Yeah, So yeah, she's basically no, she's really given a
she'll do stuff, but it really seems like she's this
is she's given trials.
Speaker 2 (48:29):
Yeah, she does seem and God.
Speaker 3 (48:31):
Helps her along the way.
Speaker 2 (48:32):
Yeah, she's pious, She's tested and she passes her tests
and you know in the end she gets a happy ending.
Speaker 3 (48:44):
Yeah. So okay, So it feels like the moral of
the story is really given to us a bit, be brave,
Like you said, be pious, be good. Do you think
that there's something else in there to take away?
Speaker 2 (49:00):
Do you think that this that moral of be good,
be brave? Do you think it's aimed at girls exclusively
or do you think that this story has a takeaway
for both boys and girls? Or is it or are
the problems so specifically female? Yeah?
Speaker 3 (49:19):
No, I really feel like it's again it's fixated on
women or girls specifically, because I don't think that you
would have had to experience like the story with the
three sisters in the Vampire if they had been boys.
I don't think that that would have happened, because you
wouldn't be offering a boy to a woman that way.
(49:42):
You know, women wouldn't show up and be like, I'm
here to marry your finest son or whatever. Like, it
wouldn't play out that way. There wouldn't be that, it
would be the vampire comes and lives with them if
it was a man.
Speaker 2 (49:54):
Yeah, but even like the other even like the male
characters in the story as they are. You know, you've
got the king briefly, you've got the Prince, You've got
the vampire, the chamberlain, and the blackmore. Those are all
the male characters, right, So the male characters who are bad,
they definitely get there. Well, not the vampire, right, we
(50:17):
talked about that, but he's not humans, so he doesn't
really I think fall into he's above the law yeah
or below. Yeah, there we go. So, but there's punishment
for bad deeds, right, and in.
Speaker 3 (50:30):
Different levels too. I mean so that like you said,
the hitman he's killed, but the chamberlain exiled his daughter along.
Speaker 2 (50:40):
With him, right, that sucks for her.
Speaker 3 (50:43):
Yeah, she's also I mean just ugly and yeah, just
a person.
Speaker 2 (50:47):
We're not supposed to like her. I wonder if she's
as bad as I wonder if she's as bad as
he makes her sound, or if she's just like got
a shitty dad.
Speaker 3 (50:55):
Yeah, that could just be it. Maybe she's just like
an average person, or maybe for the times she wasn't attractive.
Speaker 2 (51:02):
What do you think it is that made her unattractive?
Speaker 3 (51:04):
She had this really radiant blue beard. There it is,
It's correct, just really sets people off. Yeah.
Speaker 2 (51:14):
So to bring it back to the story, the moral,
it seems pretty simple.
Speaker 3 (51:20):
Like be good, be brave, be good, be brave. I
mean yeah, we can say regardless of gender, be good,
be brave.
Speaker 2 (51:27):
Well, no, I think specifically for women, be good, be brave.
In the story, I think for men, I think the
moral is more so, don't be bad, don't be conniving,
you know.
Speaker 3 (51:39):
H unless you're the king.
Speaker 2 (51:41):
Well, the king isn't isn't bad? Is he?
Speaker 3 (51:43):
We don't know.
Speaker 2 (51:50):
Mysterious character?
Speaker 3 (51:51):
Yeah, sure, we don't know. Ye, I don't know. I
didn't see enough of him. I saw more of the
vampire than I did the king.
Speaker 2 (51:57):
And that is true. You did we all?
Speaker 3 (52:01):
Yeah, be good, be brave, be kind rewindu well.
Speaker 2 (52:06):
Listener is if you have any thoughts about the store,
you want to share please let us know. If you
have information about the socio political history details of the
former Yugoslavia and you want to share that, you can
let us know. If you've ever met a vampire. Oh yeah,
(52:27):
I would also be curious. I'd love to hear about that.
Speaker 3 (52:30):
If you've met any mythological creatures, yeah, or a villa
or a villa. Yeah, if anyone knows a villa, hit
us up. Let us know what's going on with the
villa or a vampire.
Speaker 2 (52:40):
Yeah, let us know.
Speaker 3 (52:42):
You know.
Speaker 2 (52:42):
We're on We're on Instagram at Folklorga dot pod. We're
on Twitter at Folklorga Pod. You can also email us.
The email is Folklorica at straw hutmedia dot com.
Speaker 3 (52:56):
So thanks for listening, Thanks for listening. Don't forget to like,
don't forget to subscribe.
Speaker 2 (53:04):
Yeah, please do subscribe.
Speaker 3 (53:06):
Share, share with your friends, leave a.
Speaker 2 (53:08):
Comment, rate, and review if you enjoy the show, or
if you enjoyed this show specifically one I did actually
read through reviews not too long ago, and I saw
that someone thought that we interrupted the stories too much.
So I'm curious if that was you, if you're still listening,
(53:28):
or if we lost you. I don't know, Like, listeners,
do you think we interrupt too much? I think it's
kind of the point.
Speaker 3 (53:33):
Yeah, yeah, we're trying to go for like a mystery
science theater thing, you know.
Speaker 2 (53:39):
Yeah, but like if everybody hates it, like that's something
to know. So if you hate it too, yeah, i'd
like to hear. I would be curious to know, like,
do you like the interruptions? Do not like the interruptions.
I can't promise we'll do anything. If you tell us
if you like it or not like it, we might
just continue doing it.
Speaker 3 (53:54):
I don't We're very stubborn people and we're both very
set in our ways. So the show just is, I
mean really just as it lives.
Speaker 2 (54:01):
But yeah, let us know, and thanks for thanks for
tuning in once again. This is episode ten. Is this
the end of season two? Are we gonna are we
gonna call this?
Speaker 3 (54:11):
Then? I think this is officially our season two finale?
Speaker 2 (54:15):
Season two finale? Okay, so maybe we'll move.
Speaker 3 (54:19):
You know, I don't know, season three on its way.
Speaker 2 (54:23):
Let us know what you want to hear about in
season three.
Speaker 3 (54:25):
Maybe we've got a few countries lined up that I
know that we're going to hit next season. But if
there's anything that you feel like you want to hear about,
definitely reach out to us. If there's a particular story
even that you'd like us to read or talk about,
send it our way. And uh, everyone, thank you for
sticking out season two with us. It's been a wild ride.
Season two took started I think in the pandemic right, yeah.
Speaker 2 (54:51):
Or before. Honestly, it's all a blur. I know that
we've been, you know, relatively inconsistent in the in the
release of episodes, been you know here and there. You know,
we've taken some.
Speaker 3 (55:02):
Long, long breaks, a lot of mental health stuff.
Speaker 2 (55:06):
Yeah, a lot of mental health days.
Speaker 3 (55:09):
Most of its mental health days, just you know, keeping
ourselves afloat and all this. But we're happy that if
you've made it this far, you stuck with us, and
we really really appreciate it.
Speaker 2 (55:20):
Yeah, we do.
Speaker 3 (55:21):
We do, And we hope that you're all doing well
as well.
Speaker 2 (55:25):
I do. I do hope that, I sincerely do hope
that you're doing well. Listener proverbial listener.
Speaker 3 (55:30):
Yeah, perverted listener. We hope that you're doing well.
Speaker 2 (55:36):
All right, we'll see soon.
Speaker 4 (55:42):
Literally the least true thing I could have said, but
so much Gusto.
Speaker 3 (55:57):
I love the Gusto right all right, He's like, get
that person out of here, get her out of here.
It's like you too. Thank you so much guys, and
we will see you soon.
Speaker 5 (56:16):
I just said, all right, bye bye, Glorica, and now
for your moment of Tony Braxtzen.
Speaker 3 (56:37):
Breaking say love me on this walked down the door
and walked down my life.
Speaker 2 (56:54):
Riss cross. So man, oh, perf, I think we nailed it.
We're like a first times in team now
Speaker 3 (57:16):
Yeah, exactly, We've got it's in sync.
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Charlie is America's hardest working grassroots activist who has your inside scoop on the biggest news of the day and what's really going on behind the headlines. The founder of Turning Point USA and one of social media's most engaged personalities, Charlie is on the front lines of America’s culture war, mobilizing hundreds of thousands of students on over 3,500 college and high school campuses across the country, bringing you your daily dose of clarity in a sea of chaos all from his signature no-holds-barred, unapologetically conservative, freedom-loving point of view. You can also watch Charlie Kirk on Salem News Channel
24/7 News: The Latest
The latest news in 4 minutes updated every hour, every day.
The Clay Travis and Buck Sexton Show
The Clay Travis and Buck Sexton Show. Clay Travis and Buck Sexton tackle the biggest stories in news, politics and current events with intelligence and humor. From the border crisis, to the madness of cancel culture and far-left missteps, Clay and Buck guide listeners through the latest headlines and hot topics with fun and entertaining conversations and opinions.