2. IN M E M O R I A M
Alan Dundes (1934â2005), Helena Gentil Vaz da Silva (1939â2002)
3.
4. Contents
Acknowledgments.......................................................................................ix
Introduction....................................................................................................1
I. Physiology
1. Sexual Horns..............................................................................................7
2. Metaphors of Conception......................................................................33
3. Feminine Primacy ...................................................................................51
II. Metaphysics
4. Lunar Births .............................................................................................63
5. Cosmic Cycles..........................................................................................89
III. Transpositions
6. The Madonna and the Cuckoo...........................................................111
7. Jesus Christ in Light of Folklore ........................................................135
Epilogue ......................................................................................................163
Works Cited................................................................................................171
Index ............................................................................................................185
8. Introduction
arcel Proust liked to recall that the numbing tyranny of habit
prevents us from fully perceiving our surroundings. It takes his
namesake, Marcel, an unaccustomed night ride on a night train toâ
rendered temporarily free from habitâsee the sunrise on the face of a
peasant maiden with the marveled eyes of one making a precious dis-
covery. For the rest of us, too, a break in routine may propitiate per-
ceiving matters afresh, and then, there is no telling the number of fa-
miliar things the mindâs eye could see under the colors of unexpected
dawns.1
Say that one fine day you wonder whether the notion that the dead
are supposed to leave this world with feet first relates to the fact that
babies are normally born headfirst, and what the implications of such
axial reversal might be. Or suppose that, finding yourself in the deli-
cate position of having to explain to a child where babies come from,
you ask yourself whyâwhy, after allâstorks should purportedly
bring newborns from some watery place. Or yet, having decided to
take Shakespeare for summer reading, you notice that the recurrent
theme of cuckoldry brings embedded the cuckoo, somehow related to
the theme of horns. While at it, you might wonder why cheated hus-
bands should happen to be called after the he-goat (cabrĂłn), and
whether this relates to the longstanding trend of calling children
âkids.â
Or imagine that you go to an art museum and notice how the Vir-
gin Mary has dressed in red and blue for centuries, before she devel-
oped a taste for white. While wondering about this predilection for
red (that for celestial blue seems easier to understand), you might re-
late it to the recurrent association of the Virgin with rosaries, roses,
and other flowers in enclosed gardens. This would make sense once
you recalled that the popular expression âdeflorationâ supposes that
virgins possess flowers; you might even recollect that Marcel Proust
refers to young ladies as âmaidens in flowers,â jeunes filles en fleurs.
Elated, you would summon to mind the longstanding link between
women and flowers. But by then, having stopped in wonder before a
crucifix where blooming roses figure the wounds of Christ, you
would have to ask yourself how this fits with your previous deduc-
tions. And you might foresee a long road to travel in exhuming an-
cient meanings now enshrouded in forgetfulness.
M
9. 2 Archeology of Intangible Heritage
This handful of examples will do to illustrate one basic point of
this book. At every turn in our daily lives (provided that the numbing
grip of habit on perception is not too tight), tiny faults in the smooth
skin of the conceptual order of things suggest the possibility of insight
into aspects of worldview fallen into oblivion. The very resilience of
those traces of traditional thought (as when our children are âkids,â
or the first sexual experience entails âdeflorationâ) intimates that we
often make use of imagery we do not necessarily understandâas
though we came to be out of touch with a conceptual heritage that
still influences our perception, albeit in unconscious ways. This book
proposes an archeology of such intangible heritage.
The phrase âarcheology of intangible heritageâ looks, of course,
like a contradiction in terms. Archeology is not about insubstantial
things; intangible heritage must thrive in the present if one is to per-
ceive it at all. But my usage of âintangible heritageâ does not refer to
oral traditions per se; neither does it designate the immediacy of, say,
cultural life in a marketplace. Rather, it refers to the conceptual di-
mension of concrete data. This work rests on the assumption that ac-
tual customs and so-called beliefs, traditional narratives and art, and
folklore data in general are signifiersâpointers to a conceptual fabric
that confers sense. Hence, discussions to follow draw on ancient
sources, as well as on modern ethnography and folklore, in order to
examine the tacit coherence of underlying representations. It is in this
sense that I maintain that exploration of inconsistencies in the smooth
skin of ârealityâ restitutes to awareness dimensions of worldview
fallen into oblivionâif not into nonexistence. By and large, then, one
could say this book aims to dispel the fog of modern oblivion con-
cerning ideational patterns that still matter but have slipped out of
consciousness.
The first part of the book, Physiology, lays out the groundwork. It
starts with a tentative examination of the obscure (if enduring) notion
of transmissible sexual horns, which yields a first approach to a per-
vasive folk model of sexual exchanges and fertility (chap. 1). Explora-
tion of this model in the light of a metaphor of procreation first men-
tioned by Aristotle further elucidates a physiology of fungible fluids
rife with gender implications, the cosmic underpinnings of which are
briefly examined (chap. 2). Then a tacit principle of feminine pri-
macyâphysiologically enacted, and yet metaphysically motivatedâ
comes under scrutiny (chap. 3). Altogether, these opening chapters
introduce the reader to aspects of a pervasive cyclic mindset hinging
on the tenet that all life comes out of death.
10. Introduction 3
The second part of the book, Metaphysics, explores this other-
world-oriented postulate and also clarifies the cosmological frame-
work of physiological notions examined in the first section. First,
scrutiny of the lunar symbolism of birth as well as of Platoâs famous
myth of alternating time (in Statesman 268â74) elucidates representa-
tions of the beyond as a regenerating locus of reversed time (chap. 4).
Then this trend of intertextual readings of ancient sources and mod-
ern folklore is extended towards mapping perennial ideas on the fate
of the dead (chap. 5).
The third part of the book, Transpositions, explores renditions of
previously examined themes in the idioms of Christendom and thus
gauges the resilience of the intangible heritage appraised. In order to
evoke the mental landscapes that Christian thought consolidated
throughout centuries of relentless symbolic elaboration, the two final
chapters unfold through folklore and ethnography, the Christian
scriptures, apocryphal traditions, and Renaissance art.
Taken as a whole, this book argues that to grasp the tacit logic of
much that we see and hear in daily life involves probing hidden
realms of meaning. Its intent, in a nutshell, is to impart to readers the
sort of break in intellectual routine that might propitiate looking anew
at familiar things.
Notes
1. Marcel Proust, Ă la recherche du temps perdu (Paris: Quarto/Gallimard, 1999), 521â
22.
14. 1. Sexual Horns
his chapter explores cultural assumptions implied in the long-
standing idea that a wronged husband somehow gets to be
horned. Here is how John Brand, the famous English 19th-century
antiquarian, defines the scope of this problem:
The consideration of the vulgar saying, that a husband wears horns, or is a cor-
nute, when his wife proves false to him; as also that of the meaning of the
term cuckold, which has for many years been the popular indication of the
same kind of infamy, which also it has been usual slyly to hint at by throw-
ing out the little and forefinger when we point at those whom we tacitly call
cuckolds.1
It is amazing how widespread this imagery is, considering its opacity.
Think of it: why should horns and cuckoos be the attributes of the
unhappy husband?
A Shakespearean Theme
Brand rightly records his perplexity that the word cuckold, âgen-
erally derived from cuculus, a cuckoo, has happened to be given to the
injured husband, for it seems more properly to belong to the adul-
terer, the cuckoo being well known to be a bird that deposits its eggs
in other birdsâ nests.â He notes that the same applies to the saying
that the cheated husband wears horns, for
It is well known that the word horn in the Sacred Writings denotes fortitude
and vigour of mind; and that in the classics, personal courageâŠis intimated
by horns. Whence then are we to deduce a very ancient customâŠof saying
that the unhappy husbands of false women wear horns, or are cornutes?2
In the same vein, Julian Pitt-Rivers, working in the context of con-
temporary Spanish culture, acknowledges the âcurious inversionâ
through which the âword cabrĂłn (a he-goat), the symbol of male sexu-
ality in many contexts,â refers ânot to him whose manifestation of
that quality is the cause of the trouble but to him whose implied lack
of manliness had allowed the other to replace him.â To answer this
question, Pitt-Rivers proposes that received horns represent the ritual
defilement, or âstate of desecration,â of the husband unable to defend
the âsanctityâ of his wifeâs virtue. In this perspective, the cheated
husbandâs horns are both the devilâs symbol, rife with anti-social con-
T
19. 4. Lunar Births
he quest for the cultural logic underlying apparently fortuitous
data often recalls puzzle solving insofar as one has to patiently fit
pieces together, then figure out whether and how the emerging con-
figuration accommodates further stray pieces, and so on. For exam-
ple, one might note that the axiom that the dead are to leave this
world with feet first mirrors the fact that newborns normally come
headfirst. Then, in light of such symmetry between newborns and
corpses, one could recall the resilient custom of bathing babies as they
reach this world and of washing the dead as they leave it. And this
inverted parallelism summons to mind the pervasive notion that
newborns resemble old people, whom, in turn, supposedly revert to
infancyâas Shakespeare puts it, âold fools are babes againâ (King
Lear 1.3.20).
Taken together, such data appear to hint the pervasive notion that
the dead and newborns converge in an endless cycle; that, in other
words, old people revert to being babies insofar as newborns are re-
cycled elders. Once this cyclic frame of mind is acknowledged, one is
bound to notice the fact that it is always women who wash newborns
and corpses. And you might remark that such exclusive feminine
dominion over cyclic passages between this world and the other-
world befits the notion that women themselves cycle along with the
moon. This, in turn, draws attention to the perennial link between la-
dies and flowers, which (as we are to see presently) are constant
metaphors for cyclic bloodâhence, yet another link to lunar revolu-
tions.
The following discussion follows this analogical trail backwards,
as it were, starting with flowers and cyclic blood in order to grasp the
pervasive lunar symbolism linking together newborns and the dead.
Spiny Flowers
The theme of Little Red Riding Hood (ATU 333) depicts a girl, con-
stantly associated with red and flowers, who infamously chances to
be deflowered and devoured by a wolf she joins in bed. The flowery
leitmotiv runs across literary as well as oral versions of this well-
known tale. Thus, Perraultâs Le Petit Chaperon rouge portrays a red-
hooded girl who makes nosegays âout of little flowers she found,â
and an Alpine variant maps the name Chaperon rouge to the idea that
T
24. 6. The Madonna and the Cuckoo
he pretext for this discussion is an intriguing discrepancy I found
in the northern Portuguese sanctuary of Senhora da Abadia, Our
Lady of the Abbey. The main statue of this old Marian sanctuary,
probably dating from the early fourteenth century, is a depiction of
the âMadonna and Childâ theme. The standing Virgin dresses in a red
tunic bearing floral motifs, partly covered by a blue mantle. In her
right hand, the Madonna used to hold a flower stem that has long
since been broken; in her left arm, she holds her baby. The child Jesus,
conspicuously blond, in turn, uses his left hand seemingly to feed a
golden bird resting on his lap.
As if to emphasize the importance of this bird motif, another
statue standing on a lateral altar, dating from the nineteenth century,
offers the corresponding image of St. Joseph holding Jesus in his left
arm, the child in turn holding in his left hand a golden bird that he
feeds on greenery with his other hand. Given the well-known role of
the Holy Spirit, often represented as a dove, in the begetting of Jesus,
the identification of the birds in both statues might seem obvious. But
even though the bird on the main altar might be a dove, the bird on
the lateral statue definitely does not look like one. This discrepancy,
avowedly a subjective impression of strangeness, has provided the
pretext for the following exploration.
Birds
It is important to stress that I have not been able to clear the mys-
tery by asking. So far, all informants who seem to care about the iden-
tity of the birds have told me they must be doves, since âthe scrip-
turesâ mention such a bird. And although not one informant has dis-
agreed with my remark that the feathered biped on the lateral statue
does not look like a dove, some locals have suggested that this must
be the artistâs fault. Given, however, that nothing else in the statue in
question is faulty or undetermined, the consensual fact that the artist
fashioned a bird that does not look like a dove suggests the intention
of depicting something else altogether. While I cannot be sure that my
informants were actually withholding information concerning the
birdsâ identity, I did get this impression after talking to two knowl-
edgeable men at the sanctuary. Could it be, I have then asked myself,
that the mysterious bird has become for some reason unpalatable;
T
25. 7. Jesus Christ in Light of Folklore
he point that the cultural construct one calls ârealityâ is semiotic
in essence, and that even tiny faults in the conceptual order of
things can disclose general aspects of worldview, admits a wide range
of illustrations. Leo Steinbergâs depiction of his fateful visit to an art
museum is among the most revealing examples I might think of:
Many years ago, wandering with a medical friend through the Walters Art
Gallery, Baltimore, I noticed for the first time the Christ Childâs erection in a
Renaissance painting. Half incredulous, I asked my companion: âIs this
childâs penis erect?â The good doctor allowed an indulgent smile and mut-
tered, as he quickly turned his back on the picture, âIt happens.â But why,
asked the pest in me, why is it happening to the Christ Child? I must have
asked it inaudibly, for there came no reply.1
This sudden realization of incongruity is one fine illustration of the
sort of fault in the seamless order of things that could reveal hitherto
ignored mental landscapes. Memorably, the experience has led Stein-
berg to bring out of oblivion the theological meanings attached to the
display of the Christâs genitals in a trend of Renaissance art. Let us
abide with this art historian and learn what sorts of meanings might
have been attached to this surprising trend.
Gendering Jesus
According to Steinberg, display of the Christâs genitals in Renais-
sance art was an attempt by artists to grapple with contemporary in-
carnational theologyâhinging on the assumption that the supreme
feat of God was thorough humanationâin terms of Renaissance natu-
ralism, which required artists to chart bodies in full. Attempts to de-
pict complete incarnation in accordance with naturalism would have
caused the male member to become âa theological datum, participant
in Godâs anthropophany.â Hence, the revealed penis in Renaissance
art would have symbolized the âmost astonishing of all things,â to
talk like Thomas Aquinas (CG 4.27.1): the notion that âthe true
GodâŠhas become true man.â2
Specifically, Steinberg shows in fascinating detail that symbolic
depictions of the fleshiest part of the Incarnateâs flesh made use of
two running homologies: between mortification of the penis (as in
circumcision) and the Saviorâs passion on the one hand, and between
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26. Epilogue
n looking back after the main task is finished, the benefit of hind-
sight suggests that all chapters in this book (diverse as they are)
deal with mental landscapes hinging on cyclical assumptions. This
realization offers food for thought insofar as cyclical worldview is
more than a topicâit is a frame of mind endowed with specific prop-
erties. Dundes has pointed out that modern Western culture tends to
value facing a theme âsquarely,â by means of âstraightforwardâ ar-
guments (while mistrusting âcircular reasoningâ and âgoing around
in circlesâ), and he noted that emphasis on thinking âlogically, that is,
lineally,â causes ârepeated failureâ in understanding the outlook of
traditional cultures. In the next few pages I venture some tentative
thoughts on why cyclical mindsets prove problematic to the contem-
porary beholder, and why they are pervasive.1
One basic trait of cyclic Weltanschauung is aptly conveyed in the
expression of âlimited good,â which George Foster coined to express
the assumption (ubiquitous in pre-modern societies) that all valued
things in life exist in finite quantity, so that overall âgoodââhealth,
wealth, fertility, and so onâcan only be divided, not augmented.
Crucially (but this Foster failed to realize), such closed systems hinge
on supposed interaction between visible and invisible aspects of real-
ity. Overall limited good implies tradeoff between this world and the
otherworld, which has implications in the way causality itself is de-
fined. Socrates explains this point by means of the notion that âthe
living have come from the dead no less than the dead from the liv-
ing,â which entails imagining a âprocess of generation between the
two sets of opposites, going round in a set of cycle.â This supposes
that there is only so much soul in the universeâa view that entails
acknowledging death is a necessary prerequisite to life, for âif living
things came from other living things, and the living things died, what
possible means could prevent their number from being exhausted by
death?â One corollary of this stance is âa necessary law that every-
thing which has an opposite is generated from that opposite and from
no other sourceâ (Plato, Phaedo 70â72).2
It is plain, then, that cyclic models contravene linear logic and its
law of noncontradiction. Whereas a lineal point of view places new-
borns and old people at the farthest reaches of the life span, a cyclical
perspective brings opposites into one another. Consequently, any
O
49. It is remarkablehow often we considercertainconstructs
in other
peoples'worldviewto be "myths,"while in our own casewe regard
equallyarbitraryassumptions
as inherentto the natureof things.As
everyanthropologistknows,one'smost cherished
culturalassump-
tions tend to remain implicit;in other words, worldview is largely
unconscious.
Thisbook explores
the possibility
of plumbingobscure
aspects
of one'sown culturein orderto assess
what somemight call
(regardingother cultures)the mythic underpinningsof worldview.
Seven
explorations
in folkloreand ethnography
exhumea conceptual
heritagethat still influences
perception,
albeit in unconscious
ways.
Thisarcheology
of intangibleheritageprovides
the sort of breakin
intellectual
routinethat allowsusto look anew at familiarthings.
Francisco Vaz da Silva teachesanthropologyand folklore at Insti-
tuto Superior
dasCiĂȘncias
do Trabalho
e da Empresa
in Lisbon,
where
he alsoreceived
hisPh.D.
Hehaspublished
papers
on symbolic
folklore
and wondertalesin professional
journalsin Europeand America.His
publicationsinclude Metamorphosis:The Dynamicsof Symbolismin
EuropeanFairy Tales(Peter Lang, 2002),and a forthcoming seven-
volumeLibraryof EuropeanFairyTales
(in Portuguese).
www.peterlang.com
ISBN Ă?8--1,-r.tllr-041,8-3
llllllil
8143