Tell

The popular tale

Definition

The tale belongs to the big family of the oral Littérature, in which one finds the epopee, the Saga, the Mythe, the Devinette, the Cas, the Légende, the Proverbe, the Comptine, the Mémorat, the Fable, etc the tale is a narrative kind, contrary to the riddle, the proverb or the counting rhyme, and it is deliberately fictitious, contrary to the legend, the saga and the mémorat, which are presented in the form of veracious. Contrary to the myth, the oral tale, otherwise called popular tale, has for principal narrative framework the world of the men, even if this one, in particular in the case of the marvellous tales, is often in contact with the other world of deaths, the spirits, the Petit people or the gods.

In a more contemporary way, the tale can be brought closer as an art of the word related to the performing arts, of the Spoken Word, the Chant, the Palabre and the Boniment.

Transmission of the tales

The oral character of the transmission, which is made word of mount and thus crosses the centuries via the memory of the men, rather than by that of the books, has as a consequence which a tale differs from the times and country to country. The same history has a big number of alternatives thus. One manages to distinguish the unit from a history, behind the multiplicity of his alternatives, via the ethnographic concept of Tale-type, which defines a narrative screen compared to its contents and with its structure.

This narrative screen is then subjected to the risks of the history of its transmission, which passes by the memory and the imagination of the storytellers. The latter can privilege certain episodes, to transform others, to add of them descriptive details according to the public, of the hour and the place. Often, the repertory is known audience, and its reactions exert an influence on the course of the account. The knowledge of the intrigue does not harm nevertheless the fascination exerted by the account. The tale is above all the meeting of a storyteller, an audience, a history, a place and one moment. One could thus almost say that there are as many versions of the same tale-type of meetings of tales. In this, the tale can be included/understood like a kind of Performance, of single event which could not renew same manner twice.

Inherited the oral tradition, a tale is not transmitted in an immutable way, and is often prone to many modifications, allowing the birth of new tales, but also causing the disappearance of old accounts which fall into the lapse of memory. A tale disappears when the storytellers moved away too much from the common narrative screen, and that this one is forgotten. Contrary, if a storyteller modifies a history as well as it becomes unrecognizable about it, one can then say that a new tale was born. Its life is sometimes of short duration, the interest taken for the account being conditioned by the reactions of the audience, and the " mauvaises" stories being quickly forgotten. With the wire of the centuries, the memory of the men thus operates a long decantation of the common repertory, which explains why one often finds the same accounts, regarded as the best by the community which conveys them.

Nowadays, the tale is resulting from an oral transmission than of a written tradition. It is thus more often the fruit of an individual creation than of a collective tradition.

History of the tales

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History of the texts

The history of the oral tales can be heard several different manners: it can be a question of the history of the various versions of the oral tales through the centuries. This history is made possible by the hard copies that the oral tradition in the literary sphere leaves, in particular through the first collections of tales starting from the Rebirth, the chapbooks (in France the Blue Bibliothèque), but also traces of reasons for oral tales in the erudite literature (the Lais of Marie de France, Gargantua of François Rabelais, etc). This history, which Catherine Velay-Vallantin tries to carry out in particular, is only with its stammerings, and has in general as an aim to make the history of a tale in particular (Bore-Blue, the Little Red Riding Hood, etc) through its multiple written occurrences, its semantic evolutions according to the general history (famines, migrations of population, evolution of the costume, manners, etc).

History of the collections

Another manner of approaching the history of the tales would be to consider that of their collection, i.e. the fact of fixing them on a support, whatever it is, in order to save them lapse of memory or of studying them.

Certain oral versions are the subject very early of a written collecting. Maybe that authors chose of the " réécrire" , that is to say that folklorists operated faithful retranscriptions. The oldest hard copy of oral account known to date is the Épopée of Gilgamesh, written in Babylonia of the S front J. - C. For the first time, an orally transmitted account is seen fixed in a written form, thus signing the birth certificate of the literature. Nevertheless, the history of Gilgamesh is just as Iliade and the Odyssey of Homère a epopee, and not a tale.

Although traces of the oral tradition are detectable in many medieval works (the Lais of Marie de France, Gargantua of François Rabelais, the Decameron of Boccace, the Contes of Canterbury of Geoffrey Chaucer, etc), the first rewritings of oral tales appear in Italy of the Rebirth, with the Facetious Nuits ( Piacevoli notti ) of Giovanni Francesco Straparola (two volumes, 1550 and 1555).

Then, it is with the turn of certain French writers of the end of the 17th century to give their noble letters to the tales, by offering an always invaluable rewriting, often moralisatrice of the popular tales. The most known collection of this golden age of the French fairy tale is that of Charles Perrault, entitled Histoires or Tales of the Time Last (otherwise called Tales of my mother the Goose ), and published in 1697. One owes him of famous written versions of the Little Red Riding Hood , of the Blue Beard , of Cendrillon , Sleeping Beauty , the Cat boot , of Riquet to the bunch , of Tom Thumb and Peau of Ass . But the collections of Madam Marijuana the Heir to Villandon, Madam Gabrielle-Suzanne of Villeneuve, Madam Marie-Catherine d' Aulnoy and later of Madam Jeanne Marie Leprince de Beaumont, will popularize other tales like the Pope Joan , the white she-cat or the Beautiful one and the Animal . At the beginning of the 18th century is propagated the literary fashion of the Fairy tale, which authorizes Antoine Galland, between 1704 and 1717, to translate and publish for the first time in Occident the Thousand and One Nights .

The history of the collection, and either only of the rewriting of the tales, starts truly with the Grimm brothers, who publish their Contes of childhood and the Hearth ( Kinder- und Hausmärchen ) at the beginning of the 19th century (7 editions of 1812 to 1857). Although Wilhelm Grimm rewrites the tales mainly, its concern remains constant of an absence of dressing-up of the popular tale: one sees disappearing the preciosity and the raising the moral standard which equipped the French fairy tales. In addition, the character of the fairy, frequently added in the French rewritings, disappears almost completely from the 211 tales which include/understand the first written version of White-Snow , as well as the version of the Little Red Riding Hood where the hunter intervenes at the end of the account. Lastly, Grimm preserve the structure of the popular tale, and nothing if not the additional descriptions intended add to it to pack and specify the events of the account. Although this is still prone to many debates, the tales of Grimm are connected thus more with an imperfect collection that with a free rewriting of the oral tale.

Their collection inspires in any case by many folklorists of the nineteenth century, who start to gather the stories of the oral tradition: it is Emile Souvestre in France, Alexandre Affanassiev in Russia, Jon Arnason in Iceland, Hylten and Cavallius in Sweden, etc

This first wave of collection of the 19th century, often sullied with many rewritings, leaves room to the 20th century with scientifically more succeeded work. They are the consequence of an anthropological preoccupation with a rigor and fidelity in the collection of the ethnographic documents. In France, this leads inter alia to work of Genevieve Massignon, Paul Delarue and Marie-Louise Ténèze.

Famous French-speaking collectors of tales

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Mali : Tinder Hampâté Bâ
Senegal : Léopold Sédar Senghor

France

Alsace-Lorraine : Erckmann-Chatrian

Auvergne : Henri Pourrat, Marie-Aimee Méraville

Berry : George Sand

Brittany : François-Marie Luzel, Anatole Braz, Emile Souvestre, Paul and Paul-Yves Sébillot, abbot François Cadic, Jean-Marie Déguignet, Yves Diberder, Job Jaffré, Marcel Divanach, Pierre-Jakez Hélias, Jean-Marie Scraigne, Mikael Madeg

Gascogne : Jean-François Bladé, Antonin Perbosc, Léopold Dardy, Felix Arnaudin (Moors)

Basque Country : Julien Vinson, Jean-François Cerquand, Jean Barber

Guadeloupe : Benzo

Nievre : Achilles Millien

Provence : Alphonse Daudet

the Sologne : Claude Seignolle

History of the art of the tale, revival of the tale

But the history of the oral tale could not be reduced to the history collections having for function the conservation of the oral inheritance. When one considers the history of the tale as an art of public speaking, force is to note that the traditional storyteller disappears as industrialization is essential on all the layers of the company, so that it almost disappeared at the 20th century in the companies from the west from Europe.

With his place, one finds as from the years 1970 a Renouveau of the tale, which adapts the research result ethnographic as regards collection of the tales to renovate art to tell the stories, often simply while reciting such as they are the written versions, but sometimes while bringing a personal key, to the manner of the traditional storytellers. Gradually this practice became a performing arts, at the sides of the Théâtre, Danse, One man show, even of the Art performance. With this revival, the tale is become again a Performing art with whole share. More and more of demonstrations from now on are dedicated to the oral tale.

Theories on the popular tales

Typology Aarne Thompson

The most known typology is Typolologie known as " Aarne-Thomson".

The collections of the stories being progressively accumulated 19th century, the folklorists tested at the beginning of the 20th century the need to classify all these accounts, and to operate in an empirical way of the steppings between various versions. The aim in view was to emphasize the elements which make it possible to characterize the same account. Finnish Annti Aarne, and its American colleague Stith Thompson, led thus to the concept of Tale-type, and to a known classification of the tales from now on under the name of Classification Aarne-Thompson. This typological classification (and not credits), include/understand four main categories:

the tale of animals
the tale itself (subdivided in marvellous Tale, religious tale, tale-news and tale of the stupid ogre)
the facetious tale
the tale with formula (or [excursion]]) ====Structure==== {{Detailed Article|quinary diagram|diagram actantiel}} In '' the Morphology of the tale '' (1928), [[Vladimir m.]] analyzes a Russian corpus of tales which it reduces to a series of 31 functions carried by reducible characters with seven characters principaux [http://expositions.bnf.fr/contes/arret/ingre/index.htm Site of the national library, exposure on the fairy tales] . He thus regards the tale as a narrative structure, in which the reasons are interchangeable: one can replace the ogre by a dragon without the direction of the account being modified. Gianni Rodari will propose to carry out a card deck based on the functions of prop. [[Claude Lévi-Strauss]] will formulate criticisms with regard to the theory of m. ('' the structure and the form '', 1960): it will show for example which the tales less better lend themselves to the structural analysis than the myths because they are of freer operation. He will also affirm that by studying the tales apart from any ethnographic context, the structural analysis leads to inconsistencies and an excess of abstraction. Antoine Faivre will consider in his turn that where the Finnish school (Aarne and Thompson) sinned by seeing in the tales only their contents, Vladimir m. was criticizable by his ultra-formalism, which does not consider any more the contents of the tales, but only them structureAntoine Faivre, '' the Tales of Grimm, Mythe and '' Initiation. Paris: Modern letters, 1979.. ====Style==== Max Lüthi approaches the popular tale from a point of view stylistic and literary, which enables him to distinguish it in particular from the legend. It emphasizes in particular flatness ('' Flächenhaftigkeit '', literally the " désincarnation") and the unidimensionnality ('' Eindimensionalität '') of the characters and the accounts. The characters do not have personal history, they are summarized with their action, and if their emotions are evoked, they never go until the case of conscience. A popular hero of tale puts only seldom questions, and he never hesitates. The popular tale does not know introspection. It in what its characters are “flat”, without relief. The unidimensionnality of the tale consists of what the universe in which the account takes seat is continuous. There is no rupture between the normal world and the other world in the tale, consequently by what the hero never is astonished nor even frightened to meet marvellous creatures. The other world is not therefore distinct from the world from which the account takes seat: it is distant spatially from the ordinary world, but it of it is not distant ontologiquement. The hero must thus travel very lengthily before arriving in the other world, or passing a threshold, like that of the forest, of a castle, a well, etc == the tale written == [[Image: Gustave Gilds the botte.jpg cat|thumb|200px|Illustration of Gustave Gilded for '' [[the Cat boot]] '']] The literary history shows that many oral tales were the object, since the Rebirth, of rewritings by writers. These rewritings solidify the oral tale, and transform it into written literary kind, which leads the writers to be detached little by little from the subjects, the structures and the topics of the oral tale. If the tales of [[Perrault]], or of [[Straparole]] before him, are still relatively close to the popular tale, the tales like '' the Queen of Snows '' of [[Hans Christian Andersen]] or '' Ligeia '' of [[Edgar Allan Poe]] of it is on the contrary extremely distant. ===Définition=== The tale of the written literature is thus not characterized by its marvellous aspect, but by literary characteristics which are clean for him. It is first of all one [[account]], just as it [[Romance (literature)|novel]], it [[biography]], etc, in which the actions are told, and not represented as with [[theater]]. A theatrical adaptation of a tale is thus not a tale. Then, it is a short account, just as it [[new]], but '' a contrario '' of the novel or epopee. Contrary to the news which often is authorized narrative pauses, lengths of description, etc, the tale is an account runs but relatively fast, in which the action carries out good progress, without that prohibiting nevertheless descriptions and repetitions. The tale supports nevertheless it badly [[analepse]], and prefers, contrary to the news, the narrative structures linear, without flashback. Then, the literary tale, just as the popular tale, is presented deliberately in the form of a fiction. It is an invented history, just as the news, contrary to [[anecdote]] or of [[historiette]]. These last, even false, are presented in the form of true. The tale arises in fact like forgery. It in what, finally, it has a statute of imagination and imagination which knows little the news. The news is presented in the form of fictitious, but plausible, whereas the tale is presented in the form of a fiction, but incredible. Of this assertion of imagination, one often inféré that the literary tale stopped with the marvellous tale. Nothing is less sure, considering this literary form can adopt very diversified contents, which necessarily do not aim at filling with wonder the reader, but to build it, it to frighten, etc ===Les sub-genera of the tale écrit=== {{…}} *Le pleasant or facetious tale wants to amuse the reader. *Le satirical tale wants to amuse it, but at the expense of somebody or something. [[Voltaire]], with '' Candide '' and '' Zadig '', is the perfect example of the satirical tale which aims at ridiculing its adversary. *Le [[erotic tale]]. *Le fairy tale or [[marvellous tale]]. *Le tale of science fiction. *Le instructive tale. *Le tale of fantasy. *Le [[philosophical tale]]. *Le [[tale etiologic]] is an account which explains a phenomenon of the ordinary life (why the giraffes have long legs? why the blackberries are red? etc) by bringing it back to a mythical or fictitious origin. It is a type of very frequent account in the oral tradition, but much of writers seized themselves of the kind (Ovide, Kipling…). *Le black tale. Certain storyteller-authors, in particular those which belong to the " generation-TV" , the tracks between reality and fiction scramble. In the black tale and the tale of horror, they use the form of the tale while cultivating the illusion of realism, and while taking as a starting point the sets of themes close to the cinema to kind. ===Histoire of the tale écrit=== ====Le tale classique==== {{…}} The tale as a literary kind writing is born in Occident with the '' [[Decameron]] '' from [['' Boccace '']]. Later, in XVIe century, Straparole and Basile will be inspired partly by the oral tradition when they compose, one the Nights Facetious, the other the Tale of the Tales. In France, the great stage in the literary revival like the tale is at the end of the XVIIe century, when Perrault and its colleagues invent or reinvent the popular tales. They do it in an invaluable way: the tale is then a play of living room. Thousand and One Nights ====Le tale romantique==== {{…}} Ludwig Tieck, Jean Paul, Petrus Borel, Alphonse Karr, etc Edgar Allan Poe ====Le tale réaliste==== {{…}} George Sand, Alphonse Daudet, etc ====Le tale symboliste==== {{…}} Lorraine Jean ====Les tales for enfants==== {{…}} Lewis Carroll, James Matthew Barrie, Roald Dahl, etc ==Les tales and the psychanalyse== The children are fond of delicacies stories told with the oral examination, or their written retranscriptions. The psychoanalysis was interested of very close with the messages which these stories can convey, in their form fixed as at the level of the recurring screens to the oral examination. However, it is necessary to underline the reducing aspect of all " study savante" tale… What characterizes the tale, in particular the marvellous tale, it is the mystery which is the beating heart, mystery which one can hope for " approcher" by it saying, but that no analysis, was it psychoanalytical, cannot claim " capturer". ''' Sigmund Freud ''' The work of psychoanalytical interpretation began with the contribution from its creator [[Sigmund Freud]]. It develops several axes around: * a theory of culture asserting that the popular tales are the result of compromise between the various authorities of the psychic life. * a theory of the development of the human personality evoking an evolution since the polymorphic sexuality of the all-small childhood until the adult genitality while passing by many tests to solve like [[Oedipus complex]]. * a theory of the unconscious processes where the phantasm, the achievement of a desire playing a part in the development of fictitious accounts, in particular in the popular tales: [[phantasm]] of return to the maternal center with the child hidden by the woman of the Ogre, phantasm of the primitive scene with the prohibited room of Bore-Blue, phantasm of seduction with Skin of Ass. ''' Jung and the jungiens ''' To the theories freudiennes, Jungiens add that the characters and the events represent archetypal psychic phenomena which require a maturation obtained by the unconscious personnel and collective with the individual personality. For [[Marie-Louise von Franz]], continuatrice of the work of Jung, the tales stick to the process of individuation. These processes are delayed at the stage which relates to the integration of the shade (the primitive and instinctive aspect). Others with the expression of the animus and animated (female principle and masculine which one meets at any man and any woman). Others are delayed on the image of the father and the mother or on the search of the inaccessible treasure. The work provided by [[Clarissa Pinkola Estés]] leaving di inheritance popular tales, fables and myths, and on the basis of the psychoanalytical interpretation of the school of [[Carl Gustav Jung]] contributes an original share to the argument as well as a key of reading of this one undoubtedly more accessible and more contemporary. ''' Bruno Bettelheim and the psychoanalytical function of the tale ''' [[Bruno Bettelheim]] in its work '' [[Psychoanalysis of the fairy tales]] '' shows that it [[marvellous tale]] {{necessary Référence}} has an important place in the training of maturity while being addressed simultaneously to all the levels of the personality. He says to us that the tales reassure the children in their showing that their [[phantasm]] S are neither single nor monstrous. Many are the researchers who produce starting from the objects of orality. Research centres exist in many universities, they are the occasion of work of analysis and comprehension of these objects. Studies appear also today on the use of the tales, their functions therapeutic, educational initiatory or teaching. Universities of literature, communication, social sciences ([[sociology]], [[anthropology]] etc), take more and more into account the place of the tale, the accounts and mythologies in their work. == Bibliographie == ''' Art to tell: techniques and pedagogy due art to tell ''' * '' Conter, an art? '', [[Michel Hindenoch]], Editions the Small light * '' the storyteller and imaginary the '', [[Pépito Matéo]], Edisud * '' Former children storytellers '', [[Agnes Chavanon]], Hatchet education, coll Pédagogie practices at the school ''' Revival of the tale ''' * Genevieve Calame-Griaule (to dir.). '' The Revival of the tale: acts of the international symposium to the National museum of arts and traditions popular from February 21st to 24th 1989 ''. Paris: CNRS Editions, 1999. 449 p. * Maria Patrini. '' The Storytellers tell ''. Swiss Geneva: Slatkine, 2002. {{ISBN|2-05-101890-1}}. * Magdalena Gorska. Richard Edwards (to dir.). '' Conteur in France: today a profession? '' Professional Thèse. Warsaw, 1996. * [[Bruno of the Room]], Michel Hindenoch, Emmanuelle Gougis and Sophie Thirouard. '' Raconter today? : inquire realized by the Center of Oral Literature between November 1984 and March 1985 ''. Vendôme (Loir-et-Cher): Clio, 1985. * Elects Lebert and Jacques Bonniel (to dir.). '' Storytellers: emergence of a profession ''. Cultural development and direction of projects Lyon-2 University, 2000. * Henri Touati. '' The Art of the account in France: problems, inventory of fixtures 2000 ''. Study carried out at the request of the ministry for the Culture, under the responsibility of the AGECIF. * Bruno of the Room, Pascal Fauliot, Michel Hindenoch and Emmanuelle Gougis. '' Pratique and stake of contemporary orality ''. Vendôme (Loir-et-Cher): Clio, 1984. * Vaber Douhoure and Bernadette Bost (to dir.). '' The Revival of the tale: the example of the spectacular tale ''. Grenoble: University Stendhal Grenoble 3,2004. * '' Pourquoi should stories be told? Volumes 1 and 2 '', Editions Differently, Paris, remarks collected by Bruno of the Room, Michel Jolivet, Henri Touati and Francis Cransac (collection of interventions of personalities of orality and the account during the meetings with the Theater of the Roundabout in 2004 for volume 1, 2005 for volume 2) ''' Theory on the oral tradition ''' * NR. Belmont, '' Poétique of the tale (test on the tale of oral tradition) '', Gallimard ''' Interpretations and analyzes of the tales ''' * [[Rene-Lucien Rousseau]], '' the back of the tales. Initiatory value and secret thought of the fairy tales '', St-Jean-of-Sling, Dangles Editions, 1991,239p. * [[Vladimir m.]], '' Morphologie of the Tale '', Point-Threshold, Paris * [[Bruno Bettelheim]], '' Psychanalyse of the Fairy tales '', Gallimard, Paris * [[Marie-Louise von Franz]] (collaborator of [[Carl Gustav Jung]]), '' the interpretation of the fairy tales '', the fountain of Pierre, Paris * [[Pierre Péju]], '' the little girl in the forest of the tales. For poetic of the tale: in answer to psychoanalytical and formal interpretations ''. ISBN 2221106342 * [[Carole Aurouet]] (Dir.), " Tales and legends with the écran" , CinémAction, 2005,280 p. == Voir also == {{Other projects|s=Catégorie: Tales|wikt=conte}} === related Articles === ''' Practical oral ''' * [[Rimiaux]] of [[Anjou]] * [[Revival of the tale]] * [[Palaver]] * [[The Slam (poetry)|possible slam sessions]], places of told * [[Griot]] * [[Round and counting rhymes]] ''' Works ''' * [[Pañchatantra]] * [[Tales of the vampire]] * [[Thousand and One Nights]] * '' [[Tales of the perched cat]] '', of [[Marcel Aymé]] * '' [[Tales of my mother the Goose]] '', of [[Charles Perrault]] * Facetious tales of [[Nasr Eddin Hodja]] * Chinese tales: [[The equal Monkey of the sky]], of [[Frédérick Tristan]] * Tales, of [[Kama Sywor Kamanda]] * [[history teaching]] ''' Others ''' * [[The Wolf (character of tale)|wolf]], as a character of tale * [[folklore]] * Credits: [[Literature]], [[kinds and literary forms]] === external Bonds === {{too many bonds}} * ''' infrastructures and networks of promotion of the tale, as an art of public speaking ''' ** [http://www.mondoral.org/web/index.php/ Mondoral] ** [http://www.clio.org/ Clio Centers oral literature] directed by Bruno of the Room ** [http://www.conte-quebec.com/ the Regrouping of the Tale in Quebec] ** [http://www.productions-cormoran.ca/ the Cormorant Productions - Montreal - Quebec] ** [http://www.lamaisonduconte.com/ House of the tale] directed by Michel Jolivet ** [http://www.nicacadie.com/ Harms international of the tale in Acadie] (Canada) ** [http://www.artsdurecit.com/ Centers arts of the account in Isere] directed by Henri Touati ** [http://www.lagrandeoreille.com/ the Large ear], the review of arts of the word * ''' the art of the tale ''' ** [http://www.apple-paille.com/contepourenfants/contepourenfantaccueil.htm the tale, the storyteller and the child] ** [http://www.contesafricains.com African tales] ** [http://www.yparaitque.ca '' Y appears that… '' is a documentary series on the French Canadian legends] ** [http://classiques.uqac.ca/classiques/jousse_marcel/Style_oral_verbo_moteurs/style_oral.html rhythmic and mnemotechnical oral style at the verbo-engines] [[Marcel Jousse]] * ''' the marvellous tale (written literature) ''' ** [http://w3.u-grenoble3.fr/lire/ LIRA] mixed Unit of research in literature, ideologies, representations, {{S mini|XVIII|E}} - {{S|XIX|E}} S, [[Stendhal university]], Grenoble 3. Research on the tale as an emerging literary form of the {{S|XVIII|E}}, and it [[Eastern tale]] ** [http://www.feeries.revues.org Fairyhoods], re-examined literary of study of the marvellous tale of French language, the {{sp-|XVII|E|with|XIX|E}} ** [http://expositions.bnf.fr/contes/ It was once the fairy tales - BNF] * [http://www.wikinouvelles.fr/wiki/index.php?title=Cat%C3%A9gorie:Conte collaborative Writing in line of Tales] ==Notes and références== {{References | columns = 1}} {{Multi stringcourse|Gate spectacle|gate sociology|gate myths and legends|Gate francophonie|Gate literature}} {{AdQ bond|in}} [[Category: Performing arts]] [[Category: Art of public speaking]] [[Category: Tell|*]] [[Category: Social anthropology and cultural]] [[Category: Kind and literary form]] [[Category: Literature of childhood and youth|*]] [[Category: Multi-field arts]] [[Category: culture]] [[Category: sociology of imaginary]] [[Category: sociology of the culture]] [[Cs: Pohádka]] [[da: Eventyr]] [[of: Märchen]] [[in: Fairy bruises]] [[eo: Fabelo]] [[be: Cuento of hadas]] [[and: Muinasjutt]] [[fi: Satu]] [[it: Fiaba]] [[ja: 童話]] [[KB: 동화]] [[lb: Mäerchen]] [[nl: Sprookje]] [[N: Eventyr]] [[No: Eventyr]] [[nrm: Tell]] [[pl: Bajka]] [[Pt: Contos of fadas]] [[sv: Saga (fantasi)]] [[tr: Masal]] [[the U.K.: Казка]] [[VI: Truyện cổ tích]] [[zh: 童话
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