Fi̱ng nggwoneam a̱gwagwa
|
Á̱ lyuut ati̱kut wuni di̱n Tyap Maba̱ta̱do ja (Maba̱ta̱do) |
| Tafa | imaginary character |
|---|---|
| Yet kap | Irish mythology, Norse mythology, Japanese mythology, mythology of Oceania |
| Kap | transformation: swan to person, transformation: human to swan |
| Catalog code | D361.1. |
| Depicts | la̱tong, shapeshifting |
"Fi̱ng nggwoneam A̱sa̱khwot wu" (Schwanjungfrau) yet tashikum ja ma̱nang a̱tyan nang ATU 400, "Á̱nap a̱sa̱khwot ba" ku "A̱tyok wu a̱shyia̱ di lyi̱ri̱m da̱nian A̱byii̱k nggu a̱ bwuk a̱ni", di̱ si̱sak atyok nkwak a̱lyiat da̱ nhu, ku a̱ka̱nyeang, a̱byii̱k a̱ yet a̱tyushyit nang á̱ ku tat jen jhyang a̱ si̱ nsaan. A̱byii̱k wu ni shai kwa nvam nggu hu di̱ yet a̱tyubishi nat li a̱man di nyia̱ ta̱m ma̱ng nfeap na The wife shapeshifts (ku ma̱ jen jhyang gu bwak tyia̱ kyang da̱ a̱pyia̱ ncen da̱ kup kwa khyang a̱yet). Nkhang na ma̱ jen jhyang ku byia̱ gak a̱ yet kyang vwuot fwuo mi̱ si̱ a̱byii̱k wu ya ngyet a̱nap a̱sa̱kheot wa a̱ni, jujuut, ku shimba ntangka̱i a̱man a̱ghyang, nang Enzyklopädie des Märchens.
Kyang hu yet a̱byin shai ka a̱ni yet kwa a̱sa̱khwot hwa, ku a̱ta̱shwak gu byia̱ nfeap a̱sa̱khwot mun ndung.[1][2]
Mi̱ a̱tsatsai nkhang wu, a̱nap (nin swuo) mi̱ ngak a̱sa̱khwot njhyang, a̱ tyok ni nyin-nyinyin, a̱nyiat, ku gu wum a̱ta̱shwak nfeap nka na (motif K 1335, D 361.1), a̱ fwun nka di̱ fi̱p a̱ nkat (ku wak a̱ nkat, etc.), tei nka ma̱ cet ka yet a̱byii̱k nggu. Tangka̱i II si̱ tangka̱i tat, mi̱ A. T. Hatto (1961). Mi̱n jen ka̱ ku yet a̱tyunyiung ma̱ng a̱ka̱neam ma̱di̱di̱t di̱ yong hu (ma̱ng jen jhyang jhya̱ nkyang tswazwa hwa), a̱wot ma̱ jen jhyang a̱cwuang wu wa á̱ nin ya̱baat. A̱byii̱k a̱man wu da̱ a̱ka̱hyia̱ si̱ doot a̱tyok wuni a̱wot mi̱ nyan ma̱di̱di̱t.
A̱khwukhwop ntangka̱i nkhang ki̱dee wuni yet si̱ canit ja, á̱ ku kwok mi̱ Sou shen ji ("di̱ zwop nkyang nyiwai yet a̱tai a̱ni", centuri 4th), etc.
Á̱ byia̱ analogues ma̱di̱di̱t a̱kai swanta hu, á̱ lyen Völundarkviða wu ma̱ng nkhyang a̱ta̱nyeang Grimms KHM 193 "Maat hu". Á̱ bu mbyia̱ nkyang ntai ma̱di̱di̱t na yet mat hu swak á̱nap a̱sa̱khwot a̱ni bah.
Hyia̱ byia̱ fa
[jhyuk | jhyuk a̱tyin ka]"Fi̱ng nggwoneam A̱gwagwa" hu a̱ji a̱si be mun á̱ ngyei nyia̱ "nggwoneam- A̱man",[3] ma̱nang byin nggu hu si mi̱n ngyet si̱ a̱gwagwa hwa a̱ni, jujuut ku (za̱ngeak, ma̱nang hu ni ngyei ma̱ kyang nyiung a̱ni [4] ku a̱gwagwa ku zwak a̱gwu (ma̱nang mi̱ ki̱dee a̱tak Amerika),[5] ku a̱yaabwa,[6] ku a̱gulu, a̱kaguk ku tangka̱i a̱ka̱man na̱ sang a̱ka̱vwuo nswat a̱ni.[7][8] A̱wot neet tangka̱i nkhyang ATU 400 nshyia̱ "A̱tyok di̱ ya fwang da̱nian A̱byii̱k nggu a̱ bwuk a̱ni," hu ku mi̱n a̱ mun a̱ cong ma̱ng á̱dwundwung tswa á̱ wai nwuan a̱ni: also as stars, nymph tswaza,Ta̱mpi̱let:Refund ku kyang fée ma̱ng cen hu. Ma̱nang mi̱ ki̱dee ji si̱ nkhyang Occitan ma̱ng lilyem ma̱di̱di̱t.[9]
Ya̱fang
[jhyuk | jhyuk a̱tyin ka]- ↑ Beaumont, C. W. (1952). The Ballet called Swan Lake. London: Beaumont. p. 36.
- ↑ Stuart-Glennie, John S. (1968). "Incidents of Swan-Maiden Marriage". In Richard M. Dorson (ed.). Peasant Customs and Savage Myths. Vol. II. The University of Chicago Press. p. 523.
[In "The Swan-Maiden Marriage"] the maiden is represented as of a higher race than, or at least different race from, her suitor, and particularly as wearing clothes, and often, though not generally, a feather dress.
- ↑ Hatto (1961), p. 343.
- ↑ Hatto (1961), p. 328.
- ↑ Berezkin (2010), p. 33.
- ↑ Berezkin (2010), p. 35.
- ↑ Berezkin (2010), p. 34, (2013) apud d'Huy (2023).
- ↑ Yearsley, Macleod (1924). The Folklore of Fairy-tale. London: Watts & Co. p. 168.
The general idea of these [Swan Maiden] stories is that the hero observes some birds — swans, geese, ducks, doves, pigeons, etc. — who fly to a lake and, removing their feather dresses, become maidens of surpassing beauty. By taking possession of one of them, the hero forces her to become his wife; but after some time, she recovers her dress and flies away, usually never to return, but sometimes to be recovered by her husband.
- ↑ Ghyuap di̱n tyan: Invalid
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