Keywords: classical literature/Baishui Sunv/voyeurism/voyeurism
The Postscript of Searching for God is an excellent work (note: The Postscript of Searching for God used to be titled Gold and Works, but later generations have many doubts. Today, people may say that this work was originally written by Dow, but this edition of "The Postscript of Searching for God" is not the original work, and later generations have gained something. Li See's Strange Tales of Liaozhai before the Tang Dynasty (Nankai University Press, 1984), pp. 346-343. )。 This kind of snail girl story was first seen in Shu Xi (? -300 years later) The Book of Confusion; Later, it appeared in Ren Liang's F m 4 ng @ ① (460-508) Narrative of Differences in the Southern Dynasties; In the original story of Huangfu family in Tang Dynasty, it developed into a tang legends-style treasure-Wukan. Since then, such stories have been anonymous in the Yuan Dynasty, Zhou Qingyuan in the Ming Dynasty, the Second Episode of West Lake, Cheng Zhixiang in the Qing Dynasty, and Talking about Loubin's Drinking (Note: For the shape and evolution of the snail girl story, see Liu Jiaoshou's On the Historical Development of the China snail girl story and Professor Liu Shouhua's China. )。 Today, such stories are circulated in the oral literature of many regions and ethnic groups, and their forms are constantly enriched and developed (Note: The "Snail Female Type" is listed in the Folk Tales of China written by Mr. Zhong Jingwen in the 1930s). The China Folk Story Type Index compiled by Professor Ding Naitong, an American Chinese, in the 1970s classified Snail Girl as 400C, and collected more than 30 cases with different texts from ancient times to modern times. Professor Liu Shouhua studied the contemporary oral form of the story, and pointed out that the main plot of the snail girl story in the 20th century still revolved around two main plots: the departure or return of the snail girl and the struggle between the hero and heroine and evil forces. However, it is mixed with other types of love and marriage stories, such as "Hundred Birds Dress", "Dragon Girl" and "Divorce of Two Brothers" and some legends, and has evolved into a complex and interesting story that widely touches the secular marriage and family life. )。
There must be some mystery in a work that has been handed down for thousands of years. Here, this paper attempts to explore the prototype of Motome and the deep structure of the novel from the psychological and cultural roots of the motif of voyeurism in the novel.
First, the motif of voyeurism and voyeurism
The original text of "Baishui Sunv" in "Sou Shen Postscript" is as follows:
Jin' an people, who died as officials, were brought up by their neighbors. When I am seventeen or eighteen, I will be respectful and self-controlled and not illegal. I didn't have a wife when I just left home, but my neighbor thought about it, and the rule was to marry a woman, but I didn't get it. Lie down and get up early at night, and try not to give up day and night.
Then I got a big snail at the gate, such as a three-liter pot. Think of foreign bodies, take them back and store them in the urn. Livestock for more than ten days, every morning when they return to the wild, they find that there are vegetables and soup at home, if there is a person. Others said that neighbors benefited from it. A few days later, I thanked my neighbor. The neighbor said, "I didn't do anything right at first, so I can't thank you." Finally, he said that neighbors didn't mean what he meant, but he forgot. Later, he asked more truly. The neighbor smiled and said, "Your wife has taken care of herself and cooked in her room. I am cooking for her." In the end, I silently doubt, I don't know why.
After the cock crowed, he slipped back early, peeked at his house outside the fence and saw a girl coming out of the urn and making a fire under the stove. At the door, I saw the snail in the urn, but I saw the shell. I even asked him under the stove, "Where does the bride come from to cook for each other?" Confused, she wanted to put it back in the urn, but she couldn't go. She replied, "I am in Hanzhong and Baishui Sunv. The Emperor of Heaven mourned your loneliness, was respectful and cautious, so he gave me the job of cooking for the temple. In ten years, I made Qing rich and got married. I should go there. And Qing secretly peep at each other for no reason. I have seen my shape, so I shouldn't stay. I'll go with you. Although, since then, I am not so bad, I am diligent in farming and make a living by fishing. Leave this shell to store rice grains. " Please stay, but you won't. When it was raining and windy, he suddenly died.
In the end, it is to set up a shrine, sacrifice in the season, settle down and settle down, and not be rich. So the neighbors treat their wives as wives. After the official as a long cloud.
Motome Temple is also here.
In this story, the plot of "voyeurism" is eye-catching, which is at the core of the story development and the hub of the story climax and turning point. Because this plot often appears in other stories of snail girl, and it is often combined with other stories (such as Swan Fairy, etc.). ), this article is called "motif" according to the international terminology (Note: According to the definition of American folk literature writer Stith Thompson, the so-called motif is something that is "the smallest, capable" and has "unusual and moving power" in folk stories. See Thompson's Taxonomy of World Folktales (translated by Zheng Hai, Shanghai Literature and Art Publishing House, 199 1), p. 499. )。
Love and marriage stories often contain human sexual psychology. The motif of "voyeurism" is interesting because of the opposite sex voyeurism in the collective unconscious of human beings. According to the research of biologists, people's desire for the opposite sex first comes from visual stimulation. In the famous book Psychology of Sex written by British Elizabeth, the different roles of touch, smell, hearing and vision in human sexual selection are compared, and the conclusion is: "In the process of human evolution, vision gradually replaced other official senses and eventually became the first channel for us to accept foreign impressions. ... from the standpoint of sexual selection, vision is a supreme official significance. " (Note: Alice: Sexual Psychology, translated by Pan Guangdan, Joint Publishing Company, July 1987, p. 64. Among primitive people, the primary sexual characteristics are often enviable objects. In ancient rock paintings and murals, women's huge hips and breasts and male reproductive organs were deliberately exaggerated. In primitive dance, it is common to show off your body (especially your sex organs). Early people's clothes were exposed, and they often deliberately emphasized the primary sexual characteristics, such as putting a gourd on the male genitals and hanging a straw rope on the female buttocks. These are all natural choices based on the fact that vision can stimulate lust to increase the chances of reproduction.
With the evolution of civilization, human beings began to intentionally hide their bodies (especially sexual organs) with clothes. Alice thinks this is because of witchcraft, and people think that sexual organs are indecent (Note: Alice: Sexual Psychology, translated by Pan Guangdan, Joint Publishing Company, July 1987, p. 74. ), the reason seems to be insufficient. The author thinks that the change of human beings from overt characteristics to covert characteristics occurs at a certain stage of social development, that is, after the sexual object becomes personal property, in order to repel its sexual temptation to the other sex. This rejection of visual temptation reached its acme in feudal society. Especially women, not to mention ordinary people, girls have asked for "closing the door and closing the second door" since childhood. Some people are very cultured, even if they are sick, doctors can only "feel the pulse". In the well-known legend of Meng Jiangnv, just because Fan Xiliang accidentally saw Meng Jiangnv's body, she proposed to him on the grounds that "a woman's body can't see her husband again".
While forming the folk tradition of "men don't show their navel and women don't show their skin", people are educated not to peek at the opposite sex from an early age. However, as psychoanalysts have revealed, the prohibition of desire does not mean disappearing, but being suppressed into the unconscious and looking for a way out more and more. The stricter the taboo of "voyeurism", the stronger the desire of voyeurism. If it develops to the extreme, it will even form obsessive-compulsive mental illness. Regarding this secret voyeuristic desire of human beings, Elizabeth once commented: "There is a phenomenon called' (scoptophilia or mixoscopia'), that is, people like to spy on sexual scenes and get sexual excitement, or just spy on the sex organs of the opposite sex and get the same reaction. Within a certain limit, this is not abnormal; People who have this kind of behavior can't help snooping around, not necessarily because this person is mentally abnormal, but because social habits are too humble and usually too secretive about sexual life and nudity; The more strictly forbidden things are, the more we have to find out. This is a common psychology. There are many well-behaved men who have been to women's bedrooms when they are young, and so have women; But no one wants to confess this behavior. It is not surprising that this behavior has almost become a habit, especially for the hostess and maid of Ruo Inn. People who specialize in peeping and cultivating this so-called sex are called' peepers' in the west; Such people often like to stay in public toilets and get caught by the police. " (Note: Alice: Sexual Psychology, translated by Pan Guangdan, Joint Publishing Company, July 1987, p. 74. )
This universal human voyeurism can be satisfied in other ways, such as dreaming, appreciating body art, watching movies and novels, etc. Storytelling is one of them.
The motif of voyeurism in Baishui Sunv may be inspired by real dreams. Imagine: a poor young farmer who can't get married has a strong physique of "staying up late and getting up early, working day and night, never leaving" and is usually "respectful and disobedient". How does his normal sexual desire vent? According to the survey, almost all adolescent men have had dreams about * * *, and the essence of dreams is "the realization of wishes" (Freudian language). Xie Duan wanted to marry but didn't. His repressed sexual desire should be realized through dreams. It is mentioned in the story that "the cock crows early", and it is a time when people love to dream from the cock crows until dawn. He "peeked at his home outside the fence and saw a girl coming out of the urn and making a fire under the stove", just like a scene in a dream.
Because the taboo and desire of voyeurism are common in human culture, voyeurism has become a common motif in literature. For example, there are 86 "taboo" motifs in the Index of Folk Literature Motifs, which is popular in international folk literature and art circles. Baishui Sunv's "voyeurism" motif belongs to "taboo: meeting a supernatural wife on a specific occasion" (C3 1. 1.2) (note: Stith Thompson, index of folk literature motif, Helsinki, 1932, Vol.65438+).
The lust for voyeurism and the dream of * * * inspire the story creator, but also awaken and indirectly satisfy the lust for voyeurism in the subconscious of the receiver, which is also one of the fascinating mysteries of the motif of voyeurism in Baishui Sunv.
Second, the prototype of "Motome" and the rite of coming of age.
There is a strange logic in Baishui Sunv: Motome was sent by the Emperor of Heaven to help Xie Duan, but he could not meet Xie Duan; Once she is peeped by Xie, she is "unfit to stay"; Although Xie Duan has a cornucopia-like snail shell, "there is always a shortage of rice", but in the end he is still "not rich". Where does the logic of this story come from? Why is it acceptable? To solve these problems, we must trace back to the original thinking. When Mr. Zhong Jingwen talked about the original ideological source of the snail girl story in 1930, he pointed out the most important two points: one is deformation, and the other is the marriage between people and different kinds (Note: The Origin of China Folk Tales (Chapter 2), published in Zhong Jingwen Folk Literature, Shanghai Literature and Art Publishing House, 1985, p. 232. )。 However, judging from the central motif "voyeurism" in Baishui Sunv, it seems that its original thought has another source-voyeurism taboo in bar mitzvah.
Everyone has some major turning points in life. With the arrival of these stages, people around him (her) will hold some kind of ceremony to make him (her) turn smoothly and make his (her) new identity accepted by the society. This ceremony is called "Life Ceremony". There are four most important ceremonies in life: birth ceremony, adult ceremony, wedding and funeral. According to the classic research of Arnold vanGennep, a French scholar of Dutch origin, life etiquette is an irreversible process, and its structure is generally divided into three stages: separation, transition and integration. Separation is the stage of breaking away from the original social relations; Transition is an intermediate stage from one state to another; Integration is the stage of integration with new social relations. He believes that the process of moving from one territory to another is often dangerous, so some rituals are needed to avoid dangerous and safe transfer. He also pointed out that different life rituals are outstanding at different stages. Funeral emphasizes separation ceremony, wedding emphasizes integration ceremony, and adult ceremony puts transition ceremony in a prominent position (note: LesRites de Passage, the representative work of Genknapp, has not been translated into Chinese. For the introduction of related theories, see Guo Yuhua's "Death Puzzlement and Life Persistence —— China Folk Funeral Ceremony and Traditional View of Life and Death" (Renmin University of China Press, 6544).
In primitive culture, bar mitzvah is an extremely important thing, which determines whether a person is qualified to participate in tribal affairs, whether he has had sexual life and the right to marry and have children. In order to ensure the success of the rite of passage, various means to ward off evil spirits should be adopted in the transitional ceremony, among which isolation is the most common. During the period of isolation, it is strictly forbidden to be peeked. Many anthropological investigation reports have made detailed reports on the rite of passage of primitive peoples around the world. Here are some examples related to adolescent bar mitzvah:
"On the island of Mabuyag in the Torres Strait, when the little girl came of age and the first sign of menstrual cramps appeared, her family made a circle with firewood in a dark corner, and asked her to wear shoulder straps, armbands, anklets and collars, shell ornaments on her ears, chest and back, and squatted in the firewood fork, only to see her head. These three months of isolation ... during the isolation, no man, even his father, was allowed to enter the house where she lived. If her father sees her in the meantime, it will be bad luck. If he goes fishing in the sea, he will get nothing, and even the fishing boat will hit the rocks or be shattered by the wind and waves. " (Noe: Fraser: The Golden Branch, Volume II, translated by Xu Yuxin, China Folk Literature and Art Publishing House, 1987, p. 849. )
"California Indians believe that girls have extraordinary supernatural powers when they first come to menstruation, and not all of them are defiled and harmful. However, they still think it is evil, so they not only isolate her from her family and society, but also try to isolate her from the world. One of her commandments is not to look at her. She must keep her head down and stay away from the outside world and sunshine. Some tribes simply covered her with blankets. " (Noe: Fraser: The Golden Branch, Volume II, translated by Xu Yuxin, China Folk Literature and Art Publishing House, 1987, p. 850. )
"Slinkite in Alaska or Indian girls in Collosi show signs of puberty. They will be locked in a very narrow cabin or cage, leaving only one vent. The girl had to live in this dark and dirty place for a whole year ... during the isolation, the girl had to wear a wide-brimmed hat to protect her eyes from the sun. People think she is not suitable for sunshine. Wherever she looks, she can ruin the luck of hunters, fishermen and gamblers, turn things into stones and cause other harm. " (Noe: Fraser: The Golden Branch, Volume II, translated by Xu Yuxin, China Folk Literature and Art Publishing House, 1987, p. 852. )
China also had rite of passage in ancient times. Men call it a "crown ceremony" and women call it a "gift". "Book of Rites" says: "When a man is crowned at the age of twenty, he can learn etiquette. They can wear silk, dance in summer, be filial to their younger brothers, be knowledgeable and not teach, and stay inside "; The woman "married after ten years and five years, and married at the age of twenty." Interestingly, China's ancient "gifts" also had a certain period of isolation. "The woman promised to marry, but she was embarrassed to praise; The ancestral temple was not destroyed, and it was taught in the palace, March. If the ancestral temple has been destroyed, it will be taught to the imperial clan. " ("the first ceremony") that is, within three months of a woman's adult ceremony, she must receive pre-marital education in the ancestral temple; Those ancestral temples that were destroyed were all taught by the imperial clan.
The symbol of adolescence is menarche, which is usually used as the period of rite of passage. It is generally believed that the confinement of young girls at the bar mitzvah ceremony stems from primitive people's extreme fear of blood. "It can be said that the purpose of women being isolated when the moon comes is to eliminate its dangerous influence. The reason why the girl with the first menstrual source is particularly careful and strictly isolated is because people think it is extremely dangerous. " (Noe: Fraser: The Golden Branch, Volume II, translated by Xu Yuxin, China Folk Literature and Art Publishing House, 1987, pp. 856-860. Primitive people observed the relationship between blood and life from hunting animals and people who died of injuries, and were bound to be afraid of the magic of this mysterious liquid, thus giving certain taboos to things related to blood. Although it seems ridiculous today, primitive people's taboos on girls' menarche and women's menstrual blood are necessary self-protection measures taken by our ancestors to survive.
Primitive thinking follows the law of symbol and mutual infiltration, and primitive people grasp the characteristics and relations of things with the help of concrete images. Out of fear of blood, they banned menstrual blood and other related things, including hymen bleeding during women's first sexual life. Japanese scholar Nikai Toshihiro's book "The Right of the First Night" introduces in detail the customs of the right of the first night around the world and the explanations of scholars from all over the world. He concluded: "What was the reason for the first night? Yes: Primitive people were amazed and afraid of half-blood in the initial handover. Because primitive people got married very early, they didn't have sex until menstruation began. So hymen bleeding is the first bleeding in their sexual life. Moreover, it can be inferred that the hymen of primitive women is more complete and stronger than that of modern women, so this kind of bleeding is more inevitable in primitive times than in modern times. This bloody shock and fear has become a melon-breaking operation with the significance of becoming a woman, and it has also become the origin of the custom of' first night right'. (Note: Second-order Tang Zhaojiu: First Night Right, translated by Wang Fuquan, Shanghai Beixin Bookstore 1929 Edition, photocopied by Shanghai Literature and Art Publishing House 1989, p. 65439. )。
The ceremony of the bride covering her head in the wedding of the Han nationality can be regarded as a legacy of the original taboo about the fear of hymen bleeding on the first night of marriage. At least since the Eastern Han Dynasty, there has been a custom of the bride covering her head at Han weddings. There are two representative theories about the origin of this custom: one is to hide shame, and the other is to ward off evil spirits (Note: See Ma Zhisi @ ② China's Marriage Custom, Yuelu Bookstore, 1988, 12, p. 90. )。 Now it seems that the theory of "avoiding evil spirits" may be more realistic, because not only "the marriage of women in primitive society is a great crisis, but also there are all kinds of monsters around, trying to invade the bride while taking advantage of the gap, and the most difficult thing to guard against is the witch's evil eyes." As long as she looks at it, it will ruin the happiness of the bride's life and even kill her "(note: see Ma Si @ ②), and they are also afraid of the hymen bleeding that the bride will face.
According to Genknapp's syllogism, the bride's veil in the wedding is a ceremony to separate her from the girl's identity; On the wedding night, the husband uncovered the veil, which is a ceremony to integrate her with the identity of women; Covering her head means that she is in a transitional state. The transition state is an unrecognized dangerous state, which is easily disturbed, so it must be isolated with a cover. And the hijab is red, which points out the internal relationship between it and blood sacrifice.
The prototype of "Motome" is related to the rite of passage of girls in primitive culture. The so-called "vegetarian" originally refers to raw silk that has not been dyed, and it is extended to its true color, essence or simplicity. The combination of "plain" and "female" should be the true face of a daughter, that is, a girl, a virgin or an unmarried daughter. "Motome" is also the goddess who is proficient in home art in the myth tradition of China. It is said that the Yellow Emperor once asked her how to transfer men and women. Most of the books in the bookstores of past dynasties were named after Motome. For example, in Sui Shu's classic records, there are Motome's Secret Passage and Motome Square. Motome's contradictory status as a virgin and proficient in sex shows that she has a potential relationship with * * *. "In the minds of primitive people, there is no difference between the impurity of a girl's menstruation (so-called impurity) and the holiness of a man of God, but it is just a different manifestation of the same mysterious force." (Noe: Fraser: The Golden Branch, Volume II, translated by Xu Yuxin, China Folk Literature and Art Publishing House, 1987, p. 86 1 page. Baishui Sunv is a goddess, but according to God's instructions, she must live on the earth for ten years. During this period, she is neither a fairy in the sky nor a woman on the ground, which is similar to the transitional state in the bar mitzvah, so she needs to take snail shells as spacers and cannot be peeped. Literature originates from life, without the fantasy element of "Motome", and its life prototype should be an isolated girl.
Frye, a representative of the myth archetypal school, has a famous conclusion: Ritual is the prototype of narrative procedure (Note: See Symbol: Language and Art in Shanghai People's Publishing House, 1988, p. 180. )。 Although this statement is a bit biased, from the prototype and narrative logic of Motome in Baishui Sunv, we can really see the shadow of the girl's bar mitzvah. In primitive culture, taboo is law. People have great fear of breaking the ban, thinking that once it is broken, it will bring serious consequences, whether intentionally or unintentionally. In this way, Baishui Sunv's seemingly strange story logic can be understood.
Third, the deep structure of Baishui Sunv.
From the perspective of mythological archetypal criticism and structural analysis, there are some deep structural patterns in literary works, which have various appearances. These limited structural patterns come from human primitive life and collective unconsciousness, which secretly affect people's creative and appreciation activities. The research of contemporary international folk literature and art circles also shows that folk stories are dazzling, but there are actually quite fixed patterns, so that many countries and regions have published the Index of Folk Story Types (Note: See Liu Shouhua's Comparative storytelling, Shanghai Literature and Art Publishing House, 1995 edition, The Main Representative of Contemporary Comparative storytelling-Historical Geography School). )。
Baishui Sunv originated from folk creation (Note: I believe that Baishui Sunv originated from folk creation because there are many similar stories about snail girls recorded in the literature before and after Sou Shen Hou Ji, which have been widely circulated among the people so far. ), the life of folk stories follows the law of natural selection. In folk life, people tell all kinds of stories all the time, and most of these stories are at the mercy of others. Only a few stories, both typical and common, were screened out by the collective unconscious of ordinary people and passed down from generation to generation. The story of the snail girl represented by Baishui Sunv has lasted for thousands of years, which shows that it coincides with some universal cultural psychology of human beings.
According to the above analysis, the motif of voyeurism in Baishui Sunv reflects human voyeurism, and the prototype of Motome is similar to that of a girl in a bar mitzvah isolation period, so the narrative logic of Baishui Sunv is consistent with the thinking logic of taboo-breaking-consequence in the primitive culture. It is worth noting that "taboo-breaking the ban-consequences-trying to escape the consequences" (the last story is dispensable), as a narrative mode, has a long tradition in China classical literature. Just a few examples:
In the story of Shan Hai Jing Hai Nei Jing, it is said that he stole God's land without God's permission and violated the taboo, so he was killed by Zhu Rong sent by God. Legend about Yi Yin in Lu's Spring and Autumn Annals: Yi Yin's mother, Guy Mizunokami, dreamed that God told her during her pregnancy: "Leave the mortar and go east." The next day, I saw mortars coming out of the water, and I hurried to the east for ten miles. Looking back, my city was flooded. Because she violated the taboo, her body became a hollow mulberry tree. Tan Sheng in Biography is forty years old and has no wife. Late one night, a beautiful girl of fifteen or sixteen came to propose to him and said, "I am different from others. Don't shine fire on me." You can take pictures in three years. "I have a son who is two years old. Tan Sheng couldn't help but wonder. In the evening, after she fell asleep, she took a lamp to shine on her and sneaked a peek. She found that her raw meat was like a person above the waist, but her waist was a skeleton. The woman found out and said to him, "You owe me. I was born, why can't I take pictures at the age of one? " No matter how Tan Sheng apologized, the woman left.
The same narrative pattern can be seen in many works, such as Legend of the White Snake, Painted Skin and so on. In folk stories all over the world, the narrative mode of "prohibition+prohibition+consequences+trying to escape consequences" is also widespread. Alan Dundis, a famous American folklorist, pointed out after studying American Indian stories that this pattern of stories is very common (Note: See American scholar alan dundes's Structural Morphology of North American Indian Folklore, and for Chinese translation, see World Folklore, translated by Chen Jianxian and Peng Haibin, Shanghai Literature and Art Publishing House, 1990, 29 1. )。
The primitive thinking mode of revenge for breaking the ban even had an impact on the development of snail girl stories in later generations. Among the subtypes of snail girls who don't leave after being peeped, snail girls who become the wives of heroes are often persecuted by emperors, chiefs, landlords or other powerful men. They ask all kinds of questions and finally have to rely on the magical power of snail girl or her family to survive.
Finally, let's make a simple summary of the train of thought of this article: one of the mysteries of Baishui Sunv's enduring artistic charm for thousands of years lies in its coincidence with the peeping desire in the collective unconscious of human beings; The prototype of "Motome" comes from the isolation ceremony of girls' adult ceremony in primitive culture; The narrative mode of the whole story is based on the primitive thinking of "taboo-breaking taboo-consequences", which has a long tradition in China's classical literature.
It should be noted that the above analysis of Baishui Sunv is only to trace back to its original form and psychological foundation. However, the story of "Baishui Sunv" itself, as well as the stories of snail girls in later generations, are the products of their own times, which saturated people's thoughts and feelings at that time and showed their social life and cultural psychology at that time. Because of this, the expression of the motif of voyeurism is not consistent in different cultural backgrounds and different story types. Comparing the story of snail girl produced in farming culture with the story of swan fairy mainly circulated in fishing and hunting culture, there are great differences between them. After being "peeped", the heroine in the snail girl story becomes the central figure in the second half of the story. She either left or defeated the invaders with her own strength and wisdom, thus defending the happy life of men, peasants and women. After being "peeped", the swan fairy was conquered by the hero. In the later development of the plot, she was just a magic assistant. In different types of national cultures, the motif of voyeurism also has different development. In Japan, voyeurism complex has developed into a particularly strong cultural psychology. In China, North Korea and South Korea, the "voyeurism" complex is relatively weak (Note: See the discussion on "voyeurism culture" in The Mysterious Japanese Cultural Psychology, edited by Wu Jiping, Chongqing Publishing House, 1992). )。 These aspects are worthy of further discussion, but that is beyond the scope of this article.
refer to
[1] Alice: Sexual Psychology, translated by Pan Guangdan, Joint Publishing Company, July, 1987.
[2] Li Jianguo: "Strange History of the Pre-Tang Dynasty", Nankai University Press, 1984.
[3] Fraser: "Golden Branch", translated by Xu Yuxin, China Folk Literature and Art Publishing House, 1987.
[4] alan dundes (alan dundes) The Structural Morphology of North American Indian Folklore, Chinese translation, see World Folklore, translated by Chen Jianxian and Peng Haibin, Shanghai Literature and Art Publishing House, 1990.
Notes about words not stored in fonts:
@ ① Original word Japanese Canadian side
@ ② Original word Masujia