INTRODUCTION to APPENDIX
by Unknown · from Popular Tales from the Norse
Adapted Version
Hello, little readers! Do you like stories? Today, we learn old, special tales.
People lived on islands long ago. They came from a far land. They brought their stories. These stories were about Ananzi. They were very old tales. Old ones told them to children. Children loved to hear them. These stories are good.
People told these stories at night. Men told them to all. They told them for many nights. But times changed later. Some people stopped telling them. They thought stories were not good. They did not tell them much. So the stories almost went away. It was a sad thing.
A man liked these stories very much. He was The Story Saver. He was a small boy once. His nurse told him many stories. She came from a far land. He heard parts of them. He knew them a little bit. He loved those old tales.
The Story Saver grew up. He wanted to save the stories. He met The Teller. She lived in his sister's house. She knew many old tales. She told them very well. The Story Saver wrote down her words well. He saved the stories for us all.
Good stories are like friends. They are found all around. People in many lands tell them. These Ananzi stories are special. They teach good things. They help us learn. They make us happy. Many stories are alike. They have good lessons for all.
Ananzi is the main star. He is a spider. He is very clever. He likes to play tricks on others. He is not very big. But he is very smart. He is a special spider. He is the hero of these tales. He is a bit like a master trickster.
People in the islands know Ananzi well. They know him as a spider. He can change his shape. He can look like other things. He does this because he is so clever. He tricks people well. He is very good at it. He uses his smart mind.
Ananzi is not strong. The Lion is very strong. But Ananzi is clever. He uses his mind. He tricks the strong ones. He tricks The Lion many times. He always wins with his smart ideas. Clever is better than strong.
Now you know Ananzi's clever ways. Get ready to read his fun stories!
Original Story
INTRODUCTION TO APPENDIX
ANANZI STORIES
The Negroes in the West Indies still retain the tales and traditions which their fathers and grandfathers brought with them from Africa. Some thirty years back these “Ananzi Stories”, as they are called, were invariably told at the Negro wakes, which lasted for nine successive nights. The reciters were always men. In those days when the slaves were still half heathen, and when the awful Obeah was universally believed in, such of the Negroes as attended church or chapel kept their children away from these funeral gatherings. The wakes are now, it is believed, almost entirely discontinued, and with them have gone the stories. The Negroes are very shy of telling them, and both the clergyman of the Church of England, and the Dissenting Minister set their faces against them, and call them foolishness. The translator, whose early childhood was passed in those islands, remembers to have heard such stories from his nurse, who was an African born; but beyond a stray fragment here and there, the rich store which she possessed has altogether escaped his memory. The following stories have been taken down from the mouth of a West Indian nurse in his sister’s house, who, born and bred in it, is rather regarded as a member of the family than as a servant. They are printed just as she told them, and both their genuineness and their affinity with the stories of other races will be self-evident. Thus we have the “Wishing Tree” of the Hindoos, the Kalpa Vriksha of Somadeva, and of the German Fairy Tales in the “Pumpkin Tree”, which throws down as many pumpkins as the poor widow wishes. In one story we have “Boots” to the life, while the man whom he outwits is own brother to the Norse Trolls. In another we find a “speaking beast”, which reminds us at once of the Egyptian story of Anessou and Satou, as well as of the “Machandelboom”, and “the Milk-white Doo”. We find here the woman who washes the dirty head rewarded, and the man who refuses to wash it punished, in the very words used in “The Bushy Bride”. We find, too, in “Nancy Fairy”, the same story, both in groundwork and incident, as we have in “the Lassie and her Godmother”; and most surprising of all, in the story of “Ananzi and Quanqua”, we find the very trait about a trick played with the tail of an ox, which is met with in a variation to “Boots who ate a match with the Troll”. Here is the variation: “Whilst he was with the Troll, the lad was to go out to watch the swine, so he drove them home to his father’s house, but first he cut their tails off, and stuck them into the ground. Then he went home to the Troll, and begged him to come and see how his swine were going down to Hell. But when the Troll saw the swine’s tails sticking out of the ground he wanted to pull them back again, so he caught hold of them and gave a great tug, and then down he fell with his heels up in the air, and the tails in his fist.”
They are called “Ananzi Stories”, because so many of them turn on the feats of Ananzi, whose character is a mixture of “the Master-thief”, and of “Boots”; but the most curious thing about him, is that he illustrates the Beast Epic in a remarkable way. In all the West Indian Islands, “Ananzi” is the name of spiders[1] in general, and of a very beautiful spider with yellow stripes in particular. The Negroes think that this spider is the “Ananzi” of their stories, but that his superior cunning enables him to take any shape he pleases. In fact, he is the example which the African tribes from which these stories came, have chosen to take as pointing out the superiority of wit over brute strength. In this way they have matched the cleverness and dexterity of the Spider, against the bone and muscle of the Lion, invariably to the disadvantage of the latter.
[1] Compare Crowther’s Yoruba Glossary, where Alansasa is given as the Yoruban for spider. The change of n into l is not uncommon, even supposing the West Indian word to be uncorrupt.
After this introduction, we let the Tales speak for themselves, only premising that the “Jack-Spaniard” in the first story is a very pretty fly of the wasp kind, and, like his European brother, very small in the waist; that the “Cush-cush”, is a little red yam which imparts a strong red dye to everything with which it is boiled; and that the “Doukana” is a forest tree which bears a fruit, though of what kind it is hard to say.
Story DNA
Moral
Wit and intelligence can overcome brute strength and size.
Plot Summary
This introduction explains the cultural significance of 'Ananzi Stories' in the West Indies, noting their African origins and their gradual disappearance due to changing social norms. The translator recounts his efforts to collect these tales from a local nurse, highlighting their universal themes by drawing parallels to European fairy tales. The central figure, Ananzi, is described as a cunning spider who embodies the triumph of wit over brute strength. The text concludes by setting the stage for the stories themselves, with brief explanations of local terms.
Themes
Emotional Arc
discovery and preservation
Writing Style
Narrative Elements
Cultural Context
The introduction reflects the post-emancipation era in the West Indies, where traditional African cultural practices like storytelling were being suppressed by Christian missionaries and changing social norms. It highlights the effort to preserve these oral traditions before they were lost.
Plot Beats (10)
- The introduction begins by explaining that West Indian Negroes retain 'Ananzi Stories' from their African heritage.
- These stories were traditionally told at nine-night Negro wakes, primarily by men, but are now largely discontinued due to changing beliefs and religious disapproval.
- The translator recalls hearing fragments of these stories from his African-born nurse during his childhood.
- A collection of these stories was taken down from a West Indian nurse in the translator's sister's house, ensuring their authenticity.
- The introduction highlights the universal nature of these tales by drawing parallels to stories from other cultures, such as 'The Wishing Tree' and 'Boots' from German and Norse traditions.
- Specific examples of shared motifs are given, including a 'speaking beast,' a rewarded cleaner, and a trick involving an ox's tail, directly linking to European fairy tales.
- The character of Ananzi is introduced as a central figure, a mix of 'Master-thief' and 'Boots,' embodying the Beast Epic.
- Ananzi is identified as a spider in West Indian culture, believed to be able to take any shape due to his cunning.
- Ananzi symbolizes the superiority of wit and dexterity over brute strength, consistently outsmarting stronger animals like the Lion.
- The introduction concludes by providing brief definitions for specific West Indian terms ('Jack-Spaniard,' 'Cush-cush,' 'Doukana') that will appear in the forthcoming stories.
Characters
Ananzi
A very beautiful spider, typically with yellow stripes on its body. While inherently a spider, its superior cunning allows it to take any shape it pleases, often appearing in human or other animal forms to enact its tricks.
Attire: As a spider, it wears no clothing. When in other forms, its attire would be whatever is necessary for its disguise, but no specific details are provided in this introduction.
Wants: To outwit stronger creatures, to demonstrate the superiority of wit over brute strength, and to achieve its desires through cleverness.
Flaw: Its overconfidence in its own cleverness can sometimes lead it into trouble, though it usually finds a way out.
The introduction describes Ananzi's established character as a trickster, rather than an arc within this specific text.
Cunning, tricky, intelligent, resourceful, deceptive.
The Lion
A large, powerful, and muscular lion, representing brute strength. Its coat would be a tawny yellow or golden brown, with a thick mane for a male.
Attire: No clothing, as it is an animal.
Wants: To assert its dominance, to use its strength to get what it wants, or simply to exist as the king of beasts.
Flaw: Its lack of cunning and reliance on brute strength makes it vulnerable to tricksters like Ananzi.
The introduction describes the Lion's established role as the foil to Ananzi, rather than an arc within this specific text.
Strong, powerful, often easily outwitted, representing brute force.
The West Indian Nurse (Translator's Sister's House)
A woman of West Indian descent, likely with dark skin, possibly of African heritage given the context of the stories. No specific height or build is given.
Attire: As a nurse in a household, she would wear practical, clean clothing appropriate for the late 19th century West Indies, possibly a simple cotton dress or a uniform-like garment, but no specifics are given.
Wants: To share the traditional Ananzi stories, possibly out of affection for the family she serves or a desire to preserve her heritage.
Flaw: Not applicable; she is a conduit for the stories.
No arc within this introduction; she serves as the source of the stories.
Knowledgeable (of the stories), respected (regarded as a family member), traditional (preserving oral traditions).
The Translator
A European man, likely British, given the context of the West Indies and the mention of clergymen. No specific physical details are provided.
Attire: Not specified, but would be typical European attire for a gentleman of the late 19th century, perhaps a suit or formal wear.
Wants: To preserve and share the Ananzi stories, which he remembers from his childhood and recognizes as culturally significant.
Flaw: His memory failed him regarding the stories he heard in childhood.
No arc within this introduction; he serves as the collector and presenter of the stories.
Curious, appreciative (of the stories), diligent (in recording them), nostalgic (for his childhood memories).
Locations
West Indian Islands
A collection of islands in the Caribbean, characterized by a tropical climate and specific flora and fauna. The text implies a natural setting where local traditions and stories thrive.
Mood: Rich with cultural heritage, mysterious due to Obeah beliefs, and a sense of fading traditions.
The general setting where Ananzi stories originated and were traditionally told, particularly at Negro wakes.
Negro Wakes
Traditional funeral gatherings lasting nine successive nights, where Ananzi stories were invariably told by men. These gatherings are now believed to be almost entirely discontinued.
Mood: Somber, traditional, communal, with an underlying sense of mystery and cultural importance; also a hint of fading tradition.
The primary social context and location for the oral transmission of Ananzi stories.
Translator's Sister's House
A domestic setting in the West Indies where the stories were taken down from a West Indian nurse. The nurse was born and bred in the house and regarded as a member of the family.
Mood: Intimate, familial, domestic, a place of shared history and storytelling.
The specific location where the Ananzi stories were formally recorded for preservation.