Italian Fairy Tale Preface Overview of Folktales This book was edited for publication.To compile a collection of Italian fairy tales so that it can take its rightful place in the world's magnificent treasure house of folk literature, the question is what should be selected. Are there any Italian fairy tales comparable to those of the Brothers Grimm? It is generally believed that Italian folk tales were orally transmitted and recorded in literary form long before any other country.In Venice, as early as the middle of the sixteenth century, Straperous[1] collected in his "Happy Evening" book.These stories add to the mystery of the book--half Gothic, half-Oriental, reminiscent of a Capaccio painting.In Naples in the seventeenth century, Giambettista Basel[3] wrote Baroque[4] myths in the Neapolitan dialect, giving us the Pentacle (which was published in this century Translated into Italian by the Italian philosopher Benedito Croce[5]).Basel's works embody strange, Mediterranean-flavored Shakespearean dreams;In his far-fetched, absurd and grotesque metaphors, the solemn and sublime often go hand in hand with the vulgar and filthy.In the eighteenth century, still in Venice, in order to counteract the middle-class comedies of Goldoni[6], the surly and conventional Carlo Gauzzi[7] combined the nymphs and sorcerers of folk tales with those of comedy. Harlequin and Pantaloon[8] of Harlequin moved onto the stage together.He believed that the public could only appreciate this kind of art.

However, it is well known: in France since the seventeenth century, fairy tales have flourished at the court of Louis XVI at Versailles.There, Charles Bello[9] created a new literary style and embarked on an elaborate collection of popular stories that had hitherto been passed down orally.This literary style has become fashionable, but it has lost its simple and natural qualities.Ladies and arty ladies indulge in adapted and invented fairy tales one after another.After being adapted and polished in this way, the folktale came out in the form of 41 volumes of "Fairy Tale Collection", which experienced ups and downs in the history of French literature.At the same time, Cartesian rationalism counteracted people's penchant for fantasies.

Thanks to the efforts of the Brothers Grimm, folk tales, still vulgar and flat at the beginning of the nineteenth century, were revived in German Romantic literature.This time, it takes the form of an anonymous creation by a folk artist whose roots go back to the long Middle Ages.At that time, advocating popular poetry out of patriotic zeal was very popular among European literati: Tommaso[10] and other scholars collected Italian folk poetry, but folk tales still had to be discovered by Italian Romantic writers. develop. Thanks to the assiduous efforts of a generation of positivist folklorists, people began to record the oral legends of older women.These researchers, such as Max Müller [11], see India as the origin of all stories and myths (if humanity itself did not originate there).The sun god religion is very complicated, so people invented the character of Cinderella to explain the dawn, and the image of Snow White to explain spring.But at the same time, with the example set by the Germans[12] (such as Weidt and Wolf in Venice, Hermanastre in Livorno, the Austrian Schneller in Trantino, Law La Gonzamba in Sicily), people began to collect "stories": Angelo de Gebornatis in Siena, Vittorio Abriani in Florence, Campa Nea and Lombardy, Domenico Camparetti in Pisa, Josep Petri in Sicily.Some have only sketched sketches, while others have painstakingly and effectively preserved and disseminated the original color of the original story.This passion has deeply infected many local researchers who collect local customs and strange things, and made them become contributors to academic journals studying folk literature.

In this way, especially in the last three decades of the nineteenth century, a large number of folk tales were recorded orally in dialects.This is the result of the persistent efforts of some "citizen psychologists," as Josep Petrie called them, but their work has not attracted enough attention in society.The ancestral treasures they unearthed are also destined to be locked up in a special library, without the opportunity to spread among the people. The "Grem in Italy" has not yet come to the fore, although as early as 1875 Camparetti attempted to compile a collection of folk tales from various regions, and in the "Italian People" edited with Dancana The Poems and Legends series published a volume of "Italian Folk Tales", and they wanted to publish two more volumes of sequels, but their hopes were dashed.

Folktales, as a literary style, were limited in Italy to provide sources for academic research, and never became popular among writers and poets, while in other parts of Europe, folklore was generally appreciated from Tick[13] to Pushkin. .In Italy, folklore is used by children's literature writers, whose representative is Carlo Corotti[14].Before he wrote it, he had translated some French fairy tales from the seventeenth century.Occasionally, famous writers, such as Liugi Gapuna, the leading novelist of the Sicilian school of naturalism[15], have also written a collection of fairy tales for children based on fantasy and popular taste.

However, in any case, there has not been a masterpiece of Italian folk tales that people love to hear and see that has been widely circulated.Today, is it possible to edit such a masterpiece?I decided to take on the job. Personally, I know that trying to accomplish a job that has not been done for 150 years is like looking for a needle in a haystack.The predecessors did not engage in this work to search for novelties, but because they firmly believed that in the vast ocean of folk literature, there are some basic factors that are closely related to the survival of races hidden and must be excavated.Of course, doing so also has to risk being submerged in the sea, just like the koala fish in the legendary city of Sicily and Naples.For the Brothers Grimm, rescuing the folk tale meant bringing to light that part of the ancient religion preserved among the common people, which had been dormant until the glorious day of Napoleon's defeat, and which at last awakened the German National consciousness.According to scholars who study India, the fables created by the ancestors of the Aryans to explain the mysteries of the sun and moon laid the foundation for the development of religion and civilization.To anthropologists, this symbolizes the gruesome and bloody rites of the tribe's youth; a rite that has remained the same throughout the ages, from stone age hunters to primitive tribes today.The believers of the Finnish School [16] used a method similar to the beetle classification method to trace the ethnic migration in the Buddhist country, Ireland and the Sahara Desert. and to express.What Freud [17] psychoanalysis has accumulated is the vague dream that everyone has, and rescued this dream from the brink of forgetting when waking up, and recorded it in the form of articles to express people's most basic dreams. desire.Yet for scholars of local customs here and there, folklore embodies the worship of a familiar local god (whose name they do not know) who has the peasant as his spokesman.

But even in the case of lack of enthusiasm for research on the original material, I was unprepared and exposed myself to this vast sea.I was caught in a difficult situation, helpless before a mass of dull and uncontrollable oral traditions. ("You're not even a Southerner!" an orthodox ethnologist friend told me.) I can't get over the mystery of the material I'm dealing with.I am both amused and bewildered as I consider all the competing theories in this field.I had to be careful not to let logical reasoning spoil the beauty I had acquired while reading the material, but also to be careful not to be carried away prematurely by the intricacies and elusiveness of the material.One might ask, since I have no necessary connection with folk tales, why should I undertake this work?I will explain this in due course.

As I set out to compile folktales from the sources at hand, I gradually developed a mania for acquiring more and more versions of various folktales.The verification, classification and comparison of materials have almost become my hobby, and I feel that I am dominated by the peculiar passion similar to entomologists.I think this is also the unique enthusiasm of the scholars of the Helsinki Association of Folklorists.This passion quickly turned into a mania, and the result was that, in exchange for a new version of the story of The Golden Donkey, I would give away all the novels written by Proust.I should be disappointed if I read a story about a groom who loses his memory while kissing his mother instead of an anecdote about an ugly Moslem woman.My eyes, sharpened like those of a maniac, can at a glance distinguish the "Prezemlina" type from the most indistinguishable Apulian or Friulian versions. The characters are still "Belinda" type characters [19].

I could never have imagined that I would be entangled in this cobweb of research, troubled not by its external form but by its internal character: endless variations and endless repetitions.At the same time my still sober mind, excited by the growing ecstasy, found Italian folk tales rich, lucid, inconspicuous, and mingled with truth and falsehood, surpassing even Germanic, Norse, and Slavic tales in these respects. The most famous folk tales of the nations.This is not only because of the talent of the storytellers (often women) or the fine traditions of the place where the stories are born, but more importantly because Italian folktales are fundamentally colorful, interesting and original. of.Its structure and ability to synthesize things are unparalleled.The longer I immerse myself in the material, the less reserved I have been.I'm really excited about this kind of exploration.At the same time, my original fanatical and lonely feelings for classification and compilation were gradually replaced by another desire.That is, I want to describe all the unexpected situations I read.This concludes my overview of folktales.The book is also finished.As I write this preface, I feel a sense of isolation.Can I still return to reality?For two years I lived in the woods and in the enchanted castle, torn between thought and action: on the one hand, I longed to catch a glimpse of the face of the mythical beauty who sleeps every night beside the knight; On the one hand, I have to choose between an invisibility suit, claws, or feathers that can turn me into an animal.For two years, everything around me has gradually turned into a fairyland; everything that happens there is a spell or magical abnormal thing; the people there, in my mind, are either driven by predestined love or enchanted ; There are sudden disappearances and earth-shaking changes; there is a clear distinction between right and wrong, happiness is guarded by giant dragons, and the road is full of thorns and obstacles.In the same way, it seems that the life of various countries and peoples is now at a standstill, when in fact anything can happen: the snake hole is opened and becomes a river of milk; The enchanted kingdom suddenly revived.I had the impression that the long-lost laws that governed everything in folk tales were springing out of the magic box I had opened.

After finishing the book, I know that my above impression is not a hallucination, nor is it an occupational disease, but it just confirms my previous thinking: the folk tales are true. Generally speaking, folk stories provide footnotes for life in people's gradually mature simple consciousness through repeated verification of the ups and downs in the world.These folk tales are records of potential destinies of men and women, especially those stages of life that are about to determine their fate: such as the birth of a young man (which itself often foretells future fate), leaving home, and finally passing through various human trials. , grow up and become a member of the human race.This sketch is simple, but it includes everything in the world: the arbitrary division of essentially equal human beings into emperors and paupers; the persecution and subsequent revenge of innocent people that are common in life; What has just sprouted is lost; the common destiny of ordinary people governed by spells, or the existence of individuals controlled by unknown forces.These complex factors permeate the whole life, forcing people to fight to free themselves and control their own destiny; at the same time, we can only free ourselves by freeing others, because this is the necessary condition for our own liberation.It requires loyalty to the cause, and purity of heart, which are fundamental to liberation and victory.In addition, there must be beauty, which can always be clothed in humbleness and ugliness, but the most important factor in the story is the endless variety and unity of all things: this includes human beings, animals and plants, and inorganic organisms.

Criteria for selecting manuscripts for this book The method of recording folk tales "from the mouth of the people" began with the Brothers Grimm, and gradually developed in the second half of the century into a set of "scientific" principles that were strictly faithful to the dialect used by the narrator.The method adopted by the Brothers Grimm cannot be called "science" in today's view, and can only be called semi-"science" at best.A study of their original manuscripts confirms the connoisseur's strong impression on reading the German Folk Tales[20] that the Brothers Grimm (especially Wilhelm Grimm) added their own personal color.They not only translated and published the summary of the story according to the German dialect, but also unified the various versions of the story.They cut out the vulgar parts of the story, polished the expression and imagery of the story, and strived for consistency in style. The hybrid nature of my collection is described above, and in the compilation process I also approach my work with a semi-"scientific" method, or three-quarters a "scientific" method, with the other quarter adding my personal judge.The scientific part of the collection is actually the work of others, that is, the materials that have been patiently recorded by folklore researchers for nearly a hundred years.The work I did was similar to the second part of the work of the Brothers Grimm: I selected the rarest and most beautiful archetypes from a large number of oral sources (totaling about fifty basic types) and translated them from the vernacular into Italian. language.If the only surviving version has been translated from the dialect into Italian, but fails to capture its style, I simply rewrite the story and try to restore it to its original form.I strive to flesh out the substance of the story, but never alter its character and integrity.At the same time, I strive to enrich the plot so that it has greater plasticity.I have added as carefully as I could the omissions and overly sketchy parts of the story.I also tried my best to keep the language of the story fresh and simple while not being slangy, and tried to avoid using too elegant words and phrases.This Italian is flexible enough that it absorbs the most expressive and rarest expressions of the dialect. As I make clear in the notes at the end of the book, I have used material from published books and professional journals, and unpublished manuscripts from library and museum collections.I did not go to the little old woman's tales myself, not because I could not find such an opportunity, but because the collection of folk tales in the nineteenth century was sufficient for my use.I do not think that collecting material from scratch again will necessarily greatly improve the quality of my collection. I have compiled this collection for two purposes: to present the various types of folktales recorded in the Italian dialect; and to present the folklore of the various regions of Italy. For the so-called "true fairy tales" in the collection, that is, the strange stories about the king of the fictional kingdom, I have selected one or several of the most distinctive, unconventional and full of local flavors from its various genres. (below I will expand on the concept of "local color"). The book also includes various religious stories and local legends, as well as short stories, bestiaries, jokes and anecdotes - in short, that is what I have learned in A variety of popular stories, some beautiful and some uniquely representative of the region, were encountered in the collection. I seldom choose local legends that have to do with the origins, customs, or history of the region, since this is a field entirely different from folktales; language, but just a romantic nostalgia for these regions.In short, this material is of no use to me. The so-called Italian dialects in the collection refer to all the dialects in the Italian language area, not just the dialects of Italy.I have therefore included folk tales from the French port of Nice, where the dialect is closer to the Ligurian and Provençal than to the former.[21]I also did not include folktales from the Aosta Valley in Italy, because the Italians there speak a French dialect.I have included stories told in the Venetian dialect in Yugoslav Dalmatia, but have omitted stories told in German in South Tyrol, Italy.I have also included, as an exception, two folktales from the Greek-speaking villages around Calabria, because the folktales of these villages form part of the folklore of the whole Calabrian region.In any case, it is a pleasure for me to include them in this book, and it is a worthwhile thing to do. Each folktale included in this book has a place or area name in parentheses at the end, but it does not indicate that the folktale originated in this particular area.Folktales are circulated all over the world, and it is meaningless to say "where did they originate".Scholars of the "Finnish school" or the school of historical geography, who have attempted to determine the region of origin of various folktales, can therefore only draw rather vague conclusions, referring to the origin of the stories as somewhere between Europe and Asia.But folk tales, popular all over the world, do not exclude their own diversity; according to an Italian scholar, this diversity is manifested in "the choice or exclusion of certain subjects, the preference for certain types of plots, The shaping of specific characters, the atmosphere and style of the story reflect a specific cultural form".Therefore, the so-called "Italian folk tales" refer to the stories told by the Italians, which are passed down orally.However, we still divide it into Venetian, Tuscan and Sicilian folktales, because folktales, wherever they originate, are often imbued with the characteristics of the region in which they are transmitted, such as the scenery, customs, morals, etc. of the region in which they are transmitted. Concept, at least with a local accent or flavor.Therefore, the folk tales of Venice, Tuscany or Sicily are more or less characteristic of those regions, and this is the basis for our selection. Notes at the end of the volume indicate where each folktale was collected and also list other Italian dialect versions I have read.Thus, words like "Monferrato", "Marche" or "Otranto" do not refer to the story itself originating in Monferrato, Marche or Otranto, but to the Which of these regions did the version that had the greatest impact on me come from.I have various versions at hand to choose from, so I choose not only the most beautiful, richest or best told stories, but ones representative of the Monferrato, Marche or Otranto regions.They are rooted in these spreading areas and draw a lot of nutrients from them. It is worth noting that the motivation of many first-rate folklore researchers to collect and publish folktales was often limited by the upsurge of comparativeism at the time.They emphasize the similarities of the stories rather than the diversity, and the pervasiveness of a theme rather than the differences of regions, eras and narrators.Some of the place-names listed in my collection (such as the fabled place-names of Sicily) are indisputable, others are arbitrary and based only on the references listed in the notes. In writing this book, I have always followed the Tuscan saying dear to Nirossi: "If a story is to move, it must add color." In other words, the value of folktales often depends on New things added by later generations.I see myself as a link in an endless chain of folk tales passed down from generation to generation; this chain is not a passive medium, but the true "author" of the story; at this point, the above That proverb fits perfectly with Croce's theory. compilation of folk tales In the past hundred years, folklore researchers have collected Italian folktales, but the contribution of each region is uneven.In some areas, rich treasure troves of material have been found, while in others there is next to nothing.Two regions are particularly rich in folklore: Tuscany and Sicily. An important source of material for me in compiling Sicilian tales was the Sicilian Fairy and Folk Tales edited by Josep Petrie (1875 edition).This is a painstakingly scholarly work, with rich compilation notes and notes on comparative vocabulary. Josep Petrie (1841-1916) was a physician who devoted himself to the study of folklore.He has a large group of assistants who collect information for him. The charm of Petrie's book is that it gets rid of the empty concept of "narrator", but directly puts readers in contact with narrators with distinctive personalities, and introduces the names, ages and occupations of these narrators.In this way, readers can see a personal world full of imagination through the old, unclear storyline and rough and old expressions.The world expresses its inner melody, passion and hope through the mouth of the narrator. Petrie's collection was published in 1875, and Verga[22] wrote The House by the Hawthorn Tree in 1881.The Sicilians of two ages (one novelist, the other scholar) listened to the gossip of the fishermen for different purposes, in order to record what they had to say.We might as well compare the collection of folk literature about public opinion, folk proverbs and folk customs that these two people worked hard to complete.The novelist's collection is filled with the author's inner lyricism and idyllic melody, while the scholar makes his collection like a classified museum.Petrie's twenty-five-volume magnum opus Sicilian Folk Tales (1871-1913), his notes written over twenty-four years in the Folklore Research Archives (1882-1906) and sixteen-volume Anecdote of Folklore , and even his collection of folk artefacts in the Petrie Museum in Palermo is a testament to his work.Petrie's work in the field of folklore studies is as famous as Verga's work in the field of literature.Petrie's contribution was that he noted not only the traditional themes and language of the stories but also their inherent poetry; in this respect Petrie was the first student of folklore. With Petrie, folktale studies began to look for poetic creativity in existing traditional stories.Folktales are different from folk songs, which are limited by lines and rhymes, and are repeated in choruses, with little opportunity for singers to recreate them.And folktales are recreated every time they are told.The core of the narrative is the narrator of the story, they are all important figures in the village, with their own unique style and appeal.It is through these narrators that age-old folktales are connected to the real world and history of the listeners. Most of Petrie's folktales come from the mouth of an illiterate old woman.Her name was Agadoza Mercia, she was a servant of the Petrie family, she worked as a quilter in Bogo (a district of Palermo), and she lived at number 8, Via Celso Nero.She is the teller of some of the best stories in Petrie's collection, of which I have chosen at random (see Nos. 148-158 of this book).Petrie describes his storytellers in his preface to the collection: She has no beauty at all, but she is very eloquent, and she can tell beautiful stories, and people admire her superior memory and talent.Mercia is in her seventies and is a mother, grandmother and great-grandmother.As a child, she loved listening to her grandmother's stories, which she had heard from her own mother, who in turn had heard countless stories from her grandfather.Mercia has a good memory and can never forget.Some women have heard thousands of stories, but they forget them all.Although some people can remember, they lack the ability to tell stories. In Bogo, her friends all think that she is a natural storyteller. The more she tells, the more people love to listen. Mercia has never read a book, but she knows many things that others don't, and she talks about these things so well that no one can but admire her.I ask readers to pay more attention to her vivid language.If the story is set against a ship ready to sail, she has no trouble using nautical jargon and sailors' lingo.If the heroine of the story appeared penniless and sad in a bakery, Mercia would have portrayed everything so vividly that one really thought they had seen dough being kneaded and baked—and this kind of life In Palermo only professional bakers do it.As for the description of domestic chores, there is no need to repeat them, because this is Mercia's specialty.Like every neighbor, as a woman, it is her bounden duty and obligation to have children. Mercia watched me as I was born, and often held me in her arms. This gave me the opportunity to hear many wonderful stories from her, all of which had her own characteristics.Thirty years later, she repeated the story she once told to a child to the grown-up youth, and the story is still so subtle, smooth and beautiful. Mercia is like a typical Sicilian storyteller, telling stories vividly and vividly.She also speaks magic and divinity, but it is always based on reality and the lives of ordinary people.Likewise, the imaginative language she uses is grounded in common sense and common sense.She always wants to reproduce the image of a woman who is full of energy, courage and courage.This is in stark contrast to the traditional perception of Sicilian women (shy, withdrawn).Maybe Mercia did it on purpose, I thought.Her story completely ignores what I have called the main element of most Sicilian folk tales: the quest for love and the predilection for love themes, such as the loss of a husband or loss of a wife.This kind of theme is not uncommon in the Mediterranean region, and its written materials can be traced back to "Little Cupid and Psuk" written by Apuleius[23] in the second century AD; The story keeps repeating: joys and sorrows, the mysterious groom from hell, the invisible bride, the horse king or snake king who turns into a handsome young man at night.In addition, there is a literary form that is neither a myth, a short story, nor a ballad, and its representative work is "The Earl's Sister" with the theme of sadness and sex[24]. Sicilian folk tales tend to unfold within a limited range of subject matter, often showing a real scene at the beginning (countless starving people go out of the city to find plants for soup!); Kanna folktales are influenced by many cultures.My favorite Tuscan folktale comes from the Sixty Folk Tales of Montal (1880; Montal is a village near Pistoia).The book is written in a peculiar Tuscan dialect.Among them, a farmer named Pitru Canastrino dictated a story very similar to Ariosto's style in "The Sleeping Queen"[25].This story is a product of the epic poem of the sixteenth century, but the relationship between the two lies not in the plot, but also in the way of narrative [this sentence is suspected to have an OCR error], that is, the charm produced by the extensive description of gardens and palaces (the original text compares The present abridged version is far more complete and literary, and I have abridged the story considerably so as not to be out of tune with the general tone of the book).In the original description of the queen's palace, many ancient beauties were even involved, and their statues were introduced one by one: "these statues represent many ladies of famous families, who are similarly dressed but have different appearances. Among them are Lucretia of Rome, Isabella of Lara, Elisabeth and Leonor of Mantura, Valesila Verones of extraordinary beauty and style, the sixth is Regeno Mores and Day of Treluba Anna[27], famous for her beauty in Spain, France, Italy, England, and Austria, she has the purest royal blood..." and so on. "Sixty Folktales of Montal" was published in 1880.At the time, many important collections of Italian folktales were published, but the lawyer Grado Nirossi (1828-1906, older than most of the folktales of the "scientific" generation) had published them as early as 1868. Started collecting folk tales.Many of Montal's sixty stories have been published in collections published by his colleagues, and the collection of folktales edited by Abriani and Camparetti contains some of the most beautiful stories. Collected by Nirossi.Nirossi is not interested in comparative school storytelling methods (his interest in folktales is more linguistic research), but Mental's stories are clearly literary.To be sure, the village is also home to obscure prehistoric legends, such as the ethnocentric Buffalo Head.That is.Others, like A Little Monkey's Tale, are incredibly "modern" and "fictional."But the vast majority of stories have folk poetry (dating from the fourteenth to sixteenth centuries) and similar themes and plots; Night Tales" French translation.In addition to making some changes to the original work in order to cater to Western fashion, this translation also rejects the ancient Eastern influence passed down orally.To be sure, these stories are based on literary and artistic works, and it is still a recent thing to turn them into folk tales.So when the widow Luisa Ginaini[29] retells Boccaccio's story of Andruccio Perugia from beginning to end, I believe it is not from the folklore from which Boccaccio's story comes, but its The source is the most vagabond story written in dialect in China. In this way, following the clue of Boccaccio, we gradually grasped the essence of the stories told by the villagers in Pistoia.It seems that in this area, the connection between fairy tales and short stories has been established (or Nirossi has felt this connection); Turned into short adventure stories or novels, and tear-jerking accounts of teenage girls' harrowing experiences.Let us take the obscure old story "The Son of the Merchant of Milan" as an example: A young man narrates his stereotyped experience (the dog ate poisoned food, the crow ate the poisoned dog, the robber ate the poisoned dog) poisoned crow meat, etc.) made up a wildly invented riddle.He dedicated the riddle to a princess who was good at guessing riddles, and beat her so much that the princess had to marry him.In the Mental story, the hero is not always born, he is often a young man who is capable, ready to risk everything, and knows how to consolidate victories and learn lessons.The evidence for this is (very rare for a fairy-tale hero) that he does not take the princess as his wife, but breaks the princess's vow to him in exchange for a financial advantage.This happened more than once, but twice in a row: the first time it was exchanged for a magic weapon (more precisely, it was just the right to get the treasure, but not actually obtained); More affordable, that is, in exchange for a fixed income.Menichino's [30] success was due to the help of supernatural powers, but his success was overshadowed by his desire to make the most of magic and claim all his possessions for himself.However, the most important feature of Menichino is sincerity and the ability to gain the trust of others, which is the mark of a businessman. Nirossi liked best to hear the stories of the widow Luisa Ginani.Of all the Mental storytellers, she knows the most stories (a third of the stories in this collection come from her mouth).She has a rich imagination, but her expressive ability is not much different from others.Nirossi used a lot of fresh vocabulary in his retelling, the purpose of which is to show the special local color of the Italians spoken by the Montals), a rough, fierce and difficult to understand Tuscan dialect.对于大多数其他的故事，我的任务是多少给予增添一些文采，而在改写尼西西的故事时，我却不得不冲淡些地方色彩，其结果是故事不可避免地受到了影响。 对我来说，用与现代意大利语相类似的方言来重述托斯卡纳民间故事，是一项艰巨的工作。我遇到很多困难，其中最难处理的是约十五则从尼罗西的集子中选出来的故事，因为这些故事很美，而且有奇特的风格。然而，在改写皮特里所收集的西西里民间故事时，故事越优美，我的任务就越轻松；翻译时，我按行文需要，有时直译，有时意译。 正如我所指出的那样，托斯卡纳和西西里民间故事，无论在数量或质量上，都是第一流的。仅次于这两者的是威尼斯民间故事，或者说，是用威尼斯方言写成的所有民间故事，这些故事充满了对梦幻世界的独特见解。这儿特别值得提一下的是多曼尼柯·乔赛普·伯诺尼，他在1873、1875和1893年出版的几个威尼斯民间故事小册子，以清晰和富有诗意著称；虽然故事是大家所熟知的，但它们总使人联想起威尼斯的天空、阳光，以及大海、运河、航运、船只和地中海的风光，读者从中体验到浓郁的水乡气息。伯诺尼没有提及故事讲述人的名字，我们也无从得知他对原故事的忠实程度。但是，在那优美柔和的方言里有一种和谐的旋律，它成了各篇民间故事的基调。我从他的集子里选了七篇故事（即本书从第二十九篇《三个干瘪老太婆》至第三十五篇《看不见的爷爷》），希望原文的风格能在我的译文中反映出来。 在同一时期，卡略里纳·科洛奈迪-伯蒂于1874年编了一部第一流的波洛尼亚民间故事集。这本用方言写成的集子妙趣横生，故事构思周密，叙述完整，幻景与现实风光交相映辉。尽管故事讲述人的名字在书中没有提及，但读者仍感到一个女性的存在，她时而多愁善感，时而意气风发。 在吉杰·扎纳佐1907年出版的罗马地区民间故事集中，讲故事成了展示词藻的借口，它的语言俏皮并富有联想，读起来耐人寻味。 阿布鲁齐地区的人以两部精美的民间故事集而自豪：其中一部是金纳鲁·芬尼莫尔（1836-1923）所收集的两卷民间故事。芬尼莫尔是位教师兼医生，他从各地收集用方言讲述的故事，并以精确的语言记录下来，其中偶尔流露出一丝忧郁的诗意。另一部阿布鲁齐地区的民间故事集是由邓南遮[31]的朋友、考古学家安东尼奥·迪尼诺（1836-1907）编选的。他用意大利语将它们改写成短故事，并辅之以短小的方言民谣迭句，形式幽默，活泼生动。但这种方法的价值从科学角度来看是值得怀疑的，我本人也有这种感觉。然而，书中有不少带讽刺性和幽默感的稀奇故事，尽管其中有些来自（见本书第一一四篇《驼背、歪脖、跛脚的人》）。 在皮特罗·佩里扎瑞编选的《玛格利地区的童话与民歌》（1881）一书里，我读到八篇最好的故事，它们均以阿普利亚方言写成。故事内容虽落俗套，但措辞巧妙，以风格生动活泼、奇异别致取胜。这些故事给人的印象是：这种风格是当地方言的自然产物。在这方面，这些故事与佳作《五个淘气鬼》类似，后者的每一个细节都可以在巴塞尔的《五日谈》中找到。 在卡拉布里亚（主要在帕尔米村），博学的历史作家莱特里奥·迪弗郎查编选了一部《卡拉布里亚童话和短篇故事集》，此书于1929年和1931年出版，其中附有意大利有史以来最完整和最精确的注释。作者提到了一些杰出的故事讲述人，其中一位名叫安南扎塔·帕勒莫。卡拉布里亚民间故事里显示了绚丽多彩和丰富复杂的想象，但其情节的逻辑性却往往难以驾驭，读后使人疑窦丛生。 意大利民间故事的特点 有谁能谈论意大利民间故事呢？难道民间故事的研究就非得从遥远的时代，非得从史前、从古地质时代的角度来考察不成吗？ 我认为，这门研究民间故事和原始社会习俗之间关系的学科，已取得了惊人的进展，普罗坡的《俄国童话溯源》（1946）就是一例。民间故事的渊源往往能在这些社会习俗中找到，但在这一结论以外，仍有不少问题无从解答。民间故事的产生和发展，真如多源说的支持者们所说的那样，是一种世界范围的相似现象吗？考虑到某些类型故事的复杂性，那种解释似乎过于简单。民族学能解释世界上每个故事的主题和叙述结构吗？显然不能。因此，除了民间故事的起源问题外，每个民间故事在某个历史时期内的生存问题，也是一个重要研究课题。讲故事是种娱乐，它们意味着将故事由一个人传向另一个人，从一个国家传到另一个国家，其传播途径常采用书面形式，直至在整个区域广为流传，至今盛行不衰。 从十四世纪到十六世纪，大多数类型的民间故事已通过模仿民间传说主题的民谣和民间诗，在托斯卡纳产生和传播。民谣自身有着与民间故事不同的历史，但两者却也有共同的地方：民谣从民间故事中吸取主题，又进而改造了故事，使其主题符合自己的需要。 我们必须小心谨慎，以免把民间故事搞得过份“中世纪化”。民族学认为必须将故事情节与产生它的浪漫背景区分开来。它使我们习惯于把城堡看成举行狩猎仪式的小屋，把公主看作奉献给龙的祭品以求得风调雨顺，将术士看作部族的男巫。此外，只要浏览一下任何忠实于口头传说的民间故事集，我们就能理解人们（即生活在十九世纪的人们，这些既不熟悉儿童读物的插图，也没听说过迪斯尼[32]的《白雪公主》）为何不能象在我们看来很自然的形象那样来看待民间故事。在这些故事中，描写往往过于简单，所用的词汇很一般化。意大利民间故事讲述的背景往往是宫殿，而不是城堡。它很少用王子或公主这样的词，而是把他们称作国王的儿子、女儿。超自然的怪物的名字，例如恶魔或女巫，则来自来地区古老的异教传说。它们的名字之所以无严格区分，不仅在于方言的多样性——例如，在皮埃蒙特，masca（女巫）一词在西西里成了mamma-draga（母龙）；在罗马尼阿，om salbadgb（野人）一词在波格利亚方言里则成了nanni-orcu（妖魔）——而且还有某种方言内部固有的混乱；例如在托斯卡纳方言中，mago（术士）和draga（龙）常常混淆，并可互换使用。 然而，在流行故事里总充盈着强烈而持久的中世纪气息。它们不是讲述为赢得公主青睐而举行的比武，就是描述骑士的丰功伟绩或魔鬼以及被歪曲的宗教故事。因此，我们必须将民间故事和骑士史诗之间的渗透期，作为民间传说发展史中一个主要现象来研究，其中骑士史诗可能起源于哥特人的法兰西，它的影响通过民间史诗传入意大利。这种在阿普列尤斯时代受到古希腊神话熏陶的意大利多神文化，最终受到了中世纪封建和骑士制度和伦理和信仰的影响。 在某个时候，这种混合又强烈地受到东方文化的种意象和变化的影响，这种影响是从意大利南部开始的。那时，意大利与回教徒和土耳其人的接触和争斗达到了高潮。在我收集的无数航海故事中，读者会看到把世界区分为基督教和穆斯林两大部分的观点，在当时取代了以往民间故事出现的那种模糊的地理观念。民间故事表现主题常以不同性质的社会为外衣。在西方，封建意识占主导地位（尽管某些南方故事也带上了一些十九世纪英国勋爵的色彩），而在东方，阿拉丁或阿里巴巴[33]之类以命运为主题的中产阶级民间故事则占有绝对优势。 在一些不多见的故事里，有这么一则故事（根据司蒂斯·汤普逊[34]的独特见解，它可能产生于意大利），它在高齐的童话[35]里，讲的是三只桔子的爱情；它在巴塞尔的故事里[36]，讲的是三只柠檬的爱情；而在我收集的传说中，它讲的却是三只石榴的爱情[37]。这篇故事充满了巴罗克（或波斯式？）的形变，真可与巴塞尔式的创造力或幻想家的想象力相媲美。它用一系列比拟串成一个故事——鸽子和血，水果和姑娘；讲有个观看井中倒影的穆斯林妇女，这位趴在树中的姑娘，变成了鸽子，鸽子的血滴到土地上，便长出了一棵大树并结出了果实，姑娘最后从果实中脱颖而出，完成了循环。我原想把这故事写得更生动一些，但查阅了无数流传的版本，却找不到它的原型。在这部书里，我收入了两个文本，一个（本书第一○七篇《三只石榴的爱情》）选自阿布鲁齐地区的民间故事集，它代表了这类故事的经典形式；另一个（本书第八篇《小羊倌》）是这类故事的奇特变种，选自利古里亚地区的民间故事集。但我必须在这里声明，巴塞尔是无与伦比的，我极力向读者推荐他的那篇故事，即《五日谈》的最后一篇。 在这则描述形变的神奇故事中，由于故事很有节奏，条理清楚，我自己体会到了意大利民间故事的特点之一：千锤百炼。在另两则优美的姊妹篇中，即选自佛罗伦斯地区的《苹果姑娘》（第八十五篇）和选自巴勒莫地区的《迷迭香姑娘》（第一六一篇）中，通过姑娘和水果、姑娘和植物之间的关系和比拟，我们领略了一种纯真的美感。这些故事成功的秘诀在于比拟关系：苹果喻姑娘或梨子喻姑娘，都给人以新鲜的美感（后一比拟见本书第十一篇《和梨子一起卖掉的小女孩》）。 以往民间故事中惯常的残忍情节，已为今天和谐的原则所代替。中那种以不断流血为特点的野蛮故事，已不再见到。意大利民间故事中很少出现难以容忍的暴行。虽然残酷总与近似非人道的不公正行为一起作为故事的素材存在着，虽然森林中常回响着女郎或被抛弃的新娘绝望的哭泣声，血迹斑斑的暴行却从未逃脱过法网的惩处。故事并不在受害者遭受折磨的情节上徘徊，甚至也不从怜悯的角度加以赘述，而是立即转入合理的结局，其中包括迅速和毫不留情地惩处罪犯（通常是女罪犯），她们被浇上松脂油，然后按照惩处巫婆的残酷习惯在柴堆上烧死。在西西里，这种人则被从窗口扔出，然后烧死。 爱情是意大利民间故事的不朽主题。在谈到西西里地区的民间故事时，我曾提到，丘比特和普赛克[38]类型的故事不仅流传于西西里，而且流传于托斯卡纳，其影响波及意大利全国各地。故事讲的是来自天国的新郎，在某个人间寓所与新娘相会，但他的生名和秘密绝不能泄露，否则他就会突然失踪。情人通过魔法变作鸟儿，从一盆牛奶中飞出来，妒忌的敌手为了伤害鸟儿，便把玻璃屑放入盒子里，或在鸟儿停留的窗台上钉上了钉子。蛇或猪王子在夜间变成美貌少年和新娘欢度良宵，却被好奇的新娘点燃的蜡烛照出了原形。在《贝林达与妖怪的故事》[39]中，情人之间发展了一种奇怪的感情关系。在男子汉遭难这一类故事中，着魔的新娘在夜里悄悄地来到废弃的宫殿与他相会。这是莱昂布鲁诺[40]式的童话爱情，主人公永远是个谜，那鸽子变成的少女又会插翅飞翔。这些情节不同的故事，都涉及一种把幻想世界与现实世界糅和在一起的危险爱情，这是一种经受了离别考验的爱情，故事中那些无名的情侣，其欢聚之日便是愁离之时。 在我们熟知的爱情故事中，男女双方往往一见钟情，而后克服种种阻力美满结合。但童话故事却极少袭用这类简单的主线。这一主题偶尔在气氛忧郁的撒丁岛民间故事中出现；在那地方，少女们常在窗口接爱男子的求爱。无数以征服公主或搭救公主为题材的故事，总要涉及某个不出面的人物，某个通过考验或经过一场决定命运的生死搏斗才能获得解救的受害者。故事里的男青年会恋上一张画像或一个芳名，他会从一滴血中看到情人的倩影。这些是充满巫术和符咒象征的浪漫之爱。然而，民间故事里最有益、最动人的却并非这些，而是那些描写情人先是着了魔而后才取得胜利的故事。 普罗坡在其《俄国童话溯源》一书中，对丘比特和普赛克类型的故事作了富有启发性的解释。他认为普赛克是一位姑娘，在她居住的房子里，即将举行成年仪式的青年男女都得相互隔离，可是她却乔装成动物，在黑夜里与小伙子们秘密相会。这种幽会必须不被别人察觉，这样，她似乎只跟一个不露面的小伙子相爱。成年仪式举行以后，小伙子们都回了家，并且忘掉了隔离期间跟他们同住过的姑娘。他们结了婚，组织了新的家庭。故事就从这一危机展开。它描述了在举行成年仪式期间发生的，并被封建法规扼杀的爱情，反映了妇女反抗宗教法规，为与心上人结成眷属所进行的斗争。尽管这些故事并不突出描述基督教福音的法规，但故事的情节仍反映了这些宗教法规的实质，描写了被法规、习惯势力和门第观念阻挠和禁止的爱情。这就解释了自古至今隐藏在这种爱情故事之中的肉欲成份为何得以保存。这种因素处于经常的变化之中，其表现形式是感情的迸发和夜间的抚爱。 儿童文学里存在性爱描写这个事实证明：口述传说并不反映某个特定时代，它只是为了描绘奇事珍闻，表达处于某个文明时期的人对艺术的需求。 专作儿童读物的民间故事显然存在，但作为一种独立的体裁，它遭受到大多数有进取心的讲述人的冷遇，只得以更为粗俗的形式在民间流传。这类故事往往具有以下特点：恐怖残忍的主题，诲淫猥亵的细节，诗与文相互穿插，这些诗仅是些顺口溜（见第三十七篇《彼得斗女巫》）。这种粗浅、残忍的特点与今天的儿童读物完全格格不入。 在民间故事中，描写奇事珍闻的倾向始终占主导地位，即使那些寓意深刻的故事亦是如此。寓意在民间传说中常以正面人物的美德战胜反面人物旳邪恶含蓄地表现出来，它极少采用格言警句或说教的方式。因此，故事的道德教育作用显然不应从主题里去寻找，它只能体现在故事本身及其传播之中。这个事实亦能被解释为一种审慎和切合实际的说教，例如故事（见本书第十五篇）就似乎引出了这样的启示。这是一则故事的故事，坎帕雷蒂和皮特里在自己故事集的序言中都引用了这则故事。故事里有一只鹦鹉，它通过讲述一个无休无止的故事，保全了一位少女的贞操。这实质上是对口头文学的一种象征性的声辩，以驳斥那些认为口头文学亵渎神灵和宣扬享乐的人们。故事中的悬念扣人心弦，使听故事的姑娘全神贯注，这样她才没有做出越轨之举。但这只是一种起码的、保守的辩护，而本身的叙述结构，却揭示了一个更为深刻的方面——故事讲述人所表现的艺术技巧，有趣的是，这种技巧在这则故事中，表现为讲述者所编的故事“没完没了”。这里面含有真正的寓意：讲述者以其熟练的技巧突破了民间故事的原有框框，打破了一种不成文的法规——这种法规认为人们只能重复故事，而不允许有任何“创造”；或许，讲述者认为自己只是对原故事做了少许改动，但在实际上，他的讲述却完全表达了自己的心声。 改编民间故事时，尊重原故事和自由创新同样都是必要的。民间故事在确立主题以后，还需要有一定的步骤逐步展开故事，最后使矛盾得以解决；这些步骤就是一些可以互换使用的素材：被鹰带上天空的马皮，通向地下世界的水井，洗澡时被偷掉衣服的白鸽仙女，偷来的魔靴和魔氅，必须敲开的三只坚果，以及给人们报信指路的风神所居住的房子等等。讲述者的任务是将这些素材象砌墙一样组织起来，并尽量避免情节的单调。这一切都取决于他的天赋和他对故事内容的润色，就好比将泥浆注入砖墙，他要使故事增添地方色彩，个人苦难和期望的东西。 当当然，人们进入这个幻想世界的难易程度，与其经历和文化素养有关。例如，我们注意到西西里和托斯卡纳民间故事，在描写国王时就采用了不同的方法。一般地说，流行故事中的国王的宫廷，往往表现为抽象的概念，只是权力和财富的模糊象征，但是西西里故事中的国王、宫廷和贵族，却十分清楚、具体，有明显的封建等级、礼仪和道德准则——这是一个完整的世界，有一套完整的宫廷术语。尽管其中大部分是虚构的，但未受过教育的老妇对这一套却了如指掌。“从前有位西班牙国王，他有一个左侍从和一个右侍从。”西西里民间故事的特点，就是故事里的国王从不独自做出重要决定，他总得先征求大臣们的意见：“贤卿，你们有何见解？”有时候他只需简单地喊几声“贤卿们！贤卿们！”他们就会向国王提出建议。 虽然托斯卡纳地区在很多方面都比西西里有更高的文化，但它从未有过真正的国王。“国王”在那里只是个称号，没有任何等级制度的含义。这个称号给人的印象只是富足，讲故事的人说“那位国王”，就象他们说“那位绅士”一样，毫无王室、宫廷和贵族等级概念，甚至也没有真正的国土概念。因此在这些故事里，国王可以隔墙为邻、对窗相望或相互串门，就象两个安分守己的市民。 与国王形成对照的是农民。许多民间故事有“现实主义”基础，常以农民由于极端贫困、饥饿或失业被迫离家作为故事的开端，这在大量的意大利民间传说中颇具代表性。我已经提到过，许多民间故事，特别是南方民间故事的一个重要题材是人们去捡白菜：家里揭不开锅，因此父亲或母亲就带着儿女们，到乡间去寻找可以做汤的蔬菜。他们拔起一棵硕大的白菜，发现了一条进入地下世界的通道，那儿有一位神仙丈夫在等待着什么，或者有一个囚禁少女的女巫，也可能是一个吃人的蓝胡子妖魔。此外，尤其在沿海一带，故事的主人公就不是赤贫的农民，而是不幸的渔夫，一天，他捕到了一条会说话的大鱼。 然而，“现实的”赤贫状态不仅只是民间故事的出发点，它也不是跃入仙境的跳板，或者对王权或神权的陪衬；有些故事从头至尾都讲农民，以一位农业劳动者作为故事的主人公，他身上所具有的魔力，只是人类本身的力量和坚忍不拔精神的补充。这类民间故事，就象是一部以劳动者为主题的未完成的史诗的片断。这类故事也偶尔从骑士传奇中吸取题材，将骑士传奇中为得到公主而进行的争斗情节，换成了用犁和锄搬开一座座土丘。以这类情节为题材的例子，是著名的西西里故事《外出谋生记》，阿布鲁齐故事《约瑟夫·朱福洛》，托斯卡纳故事《北风的礼物》和马尔凯故事《十四郎》；以妇女劳动和苦难为主题的有西西里故事《苦命姑娘》和《两个表姐妹》。 无论是在优秀的诗作或是拙劣的诗作中，要渲染一种幻境而又不回避现实是十分困难的；相比之下，上述那些民间故事表现的自我意识实属难能可贵，它既不与命运的安排相违，又不和闯入幻想的现实冲突。在诗意和寓意方面，民间故事给我们的教益是无与伦比的。 伊泰洛·卡尔维诺 -------------------------------------------------- ------------------------------ [1] 卡拉瓦古·斯特拉佩鲁勒（？-1557） 意大利十六世纪作家，他的著名民间故事集《欢乐的夜晚》于1550年在威尼斯出版。 [2] 斯托尔·卡帕乔（1465-1522） 意大利画家，威尼斯画派的奠基人。 [3] 吉阿姆贝蒂斯塔·巴塞尔（1575-1632） 意大利作家，他模仿薄伽丘的名著，创作了由五十篇故事组成的《五日谈》。 [4] 巴罗克式指建筑、绘画、雕刻的一种怪诞风格，十六世纪末至十七世纪盛行于意大利、西班牙和法国等。 [5] 贝内迪托·克罗齐（1866-1952） 意大利哲学家、批评家、政治家，他曾主编《批评》杂志达四十一年之久，对西方文艺思想有重大影响。本书第一四七篇注释提到他曾写文章论述“尼克鱼”的传说。 [6] 卡洛·哥尔多尼（1707-1793） 意大利启蒙时期的喜剧作家，因受以高齐为首的贵族作家的攻击，迁居法国。他一生写了约二百五十个剧本，主要代表作是《一仆二主》《女店主》等。 [7] 卡洛·高齐（1720-1806） 意大利剧作家。 [8] 哈里昆是意大利民间戏剧中一个快活、滑稽的男仆，是个丑角；潘特卢恩是威尼斯地区喜剧中的瘦老头，也是个丑角。 [9] 查尔斯·贝洛（1628-1703） 法国作家，1697年出版民间童话集《鹅妈妈的故事》，其中有《小红帽》《灰姑娘》等名篇。 [10] 尼科罗·托玛索（1802-1873） 意大利诗人、文艺批评家。 [11] 马克斯·缪勒（1823-1900） 德国语言学家，东方问题研究家。 [12] 这儿指当时一些德国人、奥地利人去意大利收集民间故事。在他们的推动下，一些意大利学者，例如下文提到的艾布里阿尼、坎帕雷蒂、皮特里等，开始搜集意大利民间故事。本书中有许多篇采用了他们所收集的材料。参看本书原注释部分。 [13] 路德魏格·蒂克（1773-1853） 德国作家。 [14] 卡洛·柯罗提（1826-1890） 意大利作家，写过不少儿童读物，最著名的是。 [15] 柳吉·加普纳（1839-1915） 意大利自然主义作家。1880年，他和乔万尼·维尔加共同发表自然主义宣言。他曾写过儿童读物《灵活的腿》和《从前有一次》。 [16] 芬兰学派十九世纪末和二十世纪初形成的研究民间文学的派别，又称“历史—地理学派”；它潜心于探考题材流布的历史—地理范畴，并对民间创作的分类、系统化以及编制流布图的准则进行探讨，其代表人物有尤·克伦和卡·克伦、阿·阿尔内等。 [17] 弗洛伊德（1856-1939） 奥地利医生，精神分析学派的创始人，他的精神分析理论对西方现代派文学有极大影响。 [18] 马塞尔·普鲁斯特（1871-1922） 法国小说家，其代表作有长篇小说《追忆流水年华》，共七部。 [19] 普雷泽姆莉娜是本书八十六篇《普雷泽姆莉娜》中的主人公；贝林达是本书第五十九篇《贝林达与妖怪的故事》的女主人公。 [20] 《德国民间故事集》，即一般所称。 [21] 利古里亚是意大利一地区，普罗旺斯是法国一地名。 [22] 乔万尼·维尔加（1840-1922） 意大利小说家。1880年和意大利作家柳吉·加普纳共同发表自然主义宣言。他的主要作品有《玛拉沃利亚一家》《乡村故事》等，大多以西西里岛渔民和破产农民的悲惨生活为题材。 [23] 鲁齐乌斯·阿普列尤斯（124？-175？） 古罗马作家、哲学家，其主要作品（又名《金驴记》）是罗马文学中最完整的一部小说。书中最著名的插曲《小爱神和普苏克》，描写公主普苏克与小爱神的爱情故事。 [24] 《伯爵的妹妹》即本书所收的第一六七篇故事。 [25] 《睡女王》即本书所收的第六十一篇故事。 [26] 卢多维科·阿里奥斯托（1474-1533） 意大利诗人，主要作品有叙事诗《疯狂的奥兰多》，叙述骑士奥兰多为寻找恋人而走遍天涯，在风格上与《睡女王》有相似之处。 [27] 卢克丽霞、伊莎贝拉、伊丽莎白、莉奥诺、瓦蕾西拉·维罗尼斯、黛安娜，都是古代意大利各地的著名美女。 [28] 安东尼·加兰德（1646-1715） 法国研究东方问题的专家，将《天方夜谭》译为法文。 [29] 露易莎·吉奈尼蒙塔尔故事的主要讲述人之一。参见本书注释部分。 [30] 梅尼奇诺《米兰商人的儿子》的主人公。 [31] 加布里埃尔·邓南遮（1863-1938） 意大利作家。 [32] 沃尔特·迪斯尼（1901-1966） 美国当代著名电影动画片导演，制片人，他制作、导演的动画片《白雪公主》在国际上享有盛誉。 [33] 阿拉丁和阿里巴巴都是中的人物。 [34] 司蒂斯·汤普逊（1885-？）美国教育家，著名的民间文学研究家。他的主要著作有《北美印第安人的故事》、《著名民间故事一百篇》和《民间故事母题索引》。 [35] 见高齐的童话《三只桔子的爱情》（1761）；参见本书第八十七篇《美丽的绿鸟》的注释。 [36] 见吉阿姆贝蒂斯塔·巴塞尔的《五日谈》。 [37] 见本书第一○七篇《三只石榴的爱情》。 [38] 普赛克是希腊神话中人类灵魂的化身，以少女的形象出现。她与爱神厄洛斯（即丘比特）相恋，每晚相会，但爱神不许她窥看他的面容。某夜，她违命持烛偷看，爱神惊醒，从此不见。她到处寻觅，经历种种苦难，终与爱神重聚，结为夫妇。 [39] 见本书第五十九篇《贝林达与妖怪的故事》。 [40] 莱昂布鲁诺是本书第一三四篇《莱昂布鲁诺》的主人公。