# The White Bird and His Wife

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East Asian folktale.

The White Bird and His Wife is an East Asian folktale published as part of the compilation of The Bewitched Corpse. Scholars related it to the cycle of the animal bridegroom: a human woman that marries a supernatural husband in animal form and, after losing him, has to seek him out.

## Origin[ edit ]

The Tales of the Bewitched Corpse is a compilation of Indo-Tibetan stories that was later brought to Mongolia and translated to Mongolic languages.[1][2] The collection is known in India as Vetala Pañcaviṃśati, in Tibet as Ro-sgrung,[3] in Mongolia as Siditü kegür, and in Oirat as Siddhi kǖr.[4][5]

## Summary[ edit ]

The girl finds the cage with her husband's bird-soul locked inside. Illustration by Maurice Day for Wonder Tales from Tibet (1922).

The following summary is based on Rachel Harriette Busk's[6] and Bernhard Jülg [de]'s translations of the story.[7]

In a distant kingdom called Fair-flower-garden, a man lives with his three daughters grazing their goat herds. One day, the goats vanish, and the elder daughter goes to look for them. She finds a large red door and goes through, then a gate of mother-of-pearl and another of emerald. A white bird[a] appears to her and tells her that he can show where her herds are, as long as she consents to marry him. The elder daughter refuses.

The next day, the middle daughter goes to look for the goats, and the same bird appears with the same proposal. She also refuses. The following day, the youngest daughter goes to look for her goats, and bird appears to her. The youngest believes its words and agrees to marry him.

Some time after, a large gathering is happening near a local temple, and will last 13 days. The white bird's wife joins the people as the loveliest woman in the gathering. A mysterious rider on a dappled gray horse also joins the people. The white bird's wife goes back to the bird's palace and tells her husband about the rider at the gathering.

This goes on for the next days. On the 12th day of the gathering, the white bird's wife pours out her heart to an old woman about the mysterious rider. The old woman advises the girl to pretend to go to the gathering, wait for her husband to take off the birdskin, assume human form and ride to the festival on his dappled gray horse.

On the 13th day, the girl waits until her husband becomes human and leaveson his horse, then burns the perch, the birdcage and the featherskin. Later, after her husband returns, the girl tells him that she burned his featherskin and the cage, to keep him in human form permanently. Her husband despair at her action, because his soul was inside the cage, and now "gods and dæmons" will come for him. The only solution is for her to stand the gate of mother-of-pearl and hew a stick for seven days and seven nights, without interruption.

The girl gets some motes of feather-grass to apply to her eyelids. She resists for seven days, but, on the seventh night, the motes of grass come off her eyes and she fails the task, thus allowing her husband to be taken. She then goes looking for him anywhete between the heavens and the earth.

One day, she hears his voice coming from up in the mountains. She follows it until she reaches a stream, where she finds her husband, carrying pairs of boots on his back. He explains that the gods and demons made him their water-carrier, and the worn-out boots indicate that he has been like this for some time. The girl asks what she can do to rescue him, and her husband tells her to build a new birdcage and to woo his soul back into it.

## Variants[ edit ]

In the translated version by Charles John Tibbitts with the title The Bird-Man, a father lives with his three daughters, who herds their calves; the sisters pass through a golden door, a silver door and a brazen door and find the bird; the youngest sister marries the bird. During the 13 days' feast around the large pagoda in the neighbourhood, the bird, in human form, rides a white horse, and his wife burns his birdhouse, which was the husband's soul. When the wife finally finds him again after he disappears, he explains that he is forced to draw water for the Tschadkurrs and the Tângâri. The wife saves him by building a new birdhouse.[10]

### Mongolia[ edit ]

According to Hungarian orientalist László L. Lőrincz, all Mongolian versions of The Bewitched Corpse contain 13 tales. The seventh tale of the compilation is titled Sibaɣun ger-tü ("The Man in the Form of a Bird").[11] In a 1959 publication of Mongolian fairy tales, a variant was published as its eighth tale, whose translated title is Histoire de la femme dont le mari était un coq ("The story of the girl whose husband is a rooster").[12]

Russian Mongolist Boris Ya. Vladimirtsov [ru] translated and published in 1958 a Mongol-Oirat version of The Bewitched Corpse, whose seventh tale is titled "Имеющий птичью оболочку" ("Having a Bird Skin"): the man and his three daughters live in a place called Jirgalangiin-ӧy. Later in the tale, the youngest daughter marries the bird and burns his birdskin to keep him human forever, but he explains to her that his life was in the birdskin.[13]

### Kalmyk people[ edit ]

Baira Goryaeva, expert on Kalmyk folklore, grouped tales about lost spouses (husbands and wives) under the same type of the Kalmyk tale corpus: type 400/1, "Муж ищет исчезнувшую или похищенную жену (жена ищет мужа)" ("Man searching for lost wife/Wife searching for lost husband"). She noted that the Mongol-Oirat tale "Имеющий птичью оболочку" fit the tale type she abstracted.[14]

Charles Fillingham Coxwell [de] translated a Kalmyk variant with the title The Story of the Bird-Cage Husband: an old man lives with his three daughters in the "Land of the Lustrous Flower Gardens", and they spend their days grazing their buffalo. One day, their animal disappears. The elder sisters goes looking for it and reaches a large red portal that leads to a court. She passes by the red portal, then by a gate of mother-of-pearl and finally by a gate of emerald, and finds herself in a grand palace with a little bird sitting on a table. The little bird tells her it can reveal the fate of the buffalo, in exchange for her marrying him. She refuses. The middle sister passes by the same three portals and declines the same offer. The youngest sister agrees to become the bird's wife, and it returns the buffalo to her family. Some time later, an assembly of people gathers as part of a 13 days' visit to a divine image in a monastery. The girl goes to the assembly and sees a fine youth on a blue-gray horse. The girl returns home and tells her little bird husband about the youth. This goes on for 11 days. On the 12th day of the assembly, an old woman tells the girl the youth on the horse is her husband, and that she should toss her husband's bird-cage into the fire. The girl follows the old woman's instructions. Later that night, the husband returns and she tells him about the bird-cage. The husband despairs at the fact and gives his wife a stick, for her to beat herself with it near the gate of mother-of-pearl for seven days and nights until his battle with the demons ceases. The girl obeys and resists for 6 days and nights, until, on the 7th day, she tires and her husband is taken by the demons. The girl searches for her husband, until she hears his voice in a mountain and in the depths of a river. Finding her husband near a pile of stones, he tells her he has become a water-carrier for "gods and demons" and that she can save him by building another bird-cage, then vanishes. Heeding his words, the girl returns to their home, fashions a new bird-cage and "invites her husband's soul" to enter it.[15]

Austrian journalist Adolf Gelber [de] translated the tale as Das Geheimnis des weißen Vogels ("The Secret of the White Bird"). In his translation, the third sister goes through the red gate, the gates of gold, mother-of-pearl and emerald and finds the bird; the girl agrees to be the bird's wife and returns the buffalo to her father. After the girl burns her husband's featherskin, her husband, in human form, tells her that the old woman was a messenger from the gods and devils. After the husband disappears, the old woman comes and advises the girl to keep looking for her husband. At the end of the tale, the girl is risen to the sky and meets her husband there.[16]

German theologue Johann Andreas Christian Löhr [de] translated the Kalmyk tale as Die weiße Eule ("The White Owl"), wherein the bird the maiden marries is explicitly identified as a white owl.[17]

### Tibet[ edit ]

Tibetologist August Hermann Francke, in a 1923 article, reported the existence of Tibetan manuscript from the Bar-bog family from Lahul. The manuscript, titled Ňos-grub-can-gyi-sgruns, contained 13 tales, the seventh named Bya-shubs-rgyal-po (German: der König in Vogelgestalt; English: "The King in Bird-form").[18]

According to Lörincz, M. K. Kolmaš provided the Eötvös Loránd University with a microfilm of a xylography from East Tibet. The xylographic version contained 16 tales, the ninth tale titled Rgyal-bu bya-šubs-čan-kyi leu'ste (French: Histoire du prince au corps d'oiseau; "Story of the Prince with the body of a bird").[19] Lörincz also distinguishes between literary and folkloric (oral) versions of the tale: in the Tibetan redaction, the bird is identified as a rooster; in the literary versions, the three girls search for the lost cattle, whereas in oral versions the cattle just disappears.[20]

In a variant translated as "Царевич в птичьей оболочке" ("The Prince in Bird Skin") or The Feathered Prince,[21] three orphaned sisters live together and earn their living by milking their female buffalo and selling its milk and butter. One day, the animal disappears, and the elder sister goes looking for it. After a while, she sits by a rock near a cave. A little bird appears to her and begs for some food, and asks her to marry it. The elder sister refuses and returns home. The next day, the middle sister goes to look for the animal and rests by the same stone, and the same white bird propositions her, but she declines. Lastly, the youngest sister agrees to marry the white bird, and he directs her into the cave. Inside, magnificent and richly decorated rooms appear before her with every door she opens. At last, the little bird perches upon a couch and tells her that their buffalo was devoured by an evil raksha. The girl begins to live there as the white bird's wife, tidying the place and preparing the food. Some time later, a festival is held in a nearby village, with musicians, equestrian games, and all sorts of amusement. The white bird's wife goes to the festival, and sees a handsome youth on a gray horse, who gazes at her. The girl leaves the festival and meets an old woman. The girl pours out her woes to her, lamenting over the fact that her husband is just a little bird, but the old woman reassures her that the youth at the festival was her husband, and that she only has to burn his bird disguise the next time. The girl follows the old woman's instructions the next day, and burns the bird skin. The same night, her husband (in human form) comes home and asks her about the bird skin. The girl tells him she burned the birdskin, and the man reveals he is a prince, and that the birdskin was to protect him from an evil witch. Saying this, a whirlwind comes and takes the prince. The girl tries to find him and wanders through valleys and deserts, until she finds him one day near a temple, carrying jugs of water and wearing faded boots. The prince tells her to get feathers from all species of bird for a new bird coat, and, once she has fashioned it, she must chant a special prayer for him to return to her. Saying his, he disappears. The girl returns to their cave palace and gathers all feathers she can must, fashions a new bird skin and chants the correct chant to summon her husband back to her. He appears and both live happily.[22]

In a variant published by Tibetologist David MacDonald with the title The Story of the Bird who turned into a Prince, in the land of Mo-tshul, a old farmer lives with his three daughters; the three sisters pass by a red door, a gold door and a turquoise door and meet the bird on a throne; the youngest sister marries the bird and burns his feathered cloak; she does penance to try to save her husband by standing at a door and turning a "devil-stick" or "devil-rod"; after her husband vanishes, she finds him in the summit of a hill, and he explains he must wear out a pair of boots by traveling at the behest of the devils. She saves her husband by fashioning a new feathered cloak and by saying fervent prayers, until he appears at their door.[23]

Author Eleanore Myers Jewett translated the tale as The White Bird's Wife and sourced it from Tibet. In her translation, the youngest daughter is named Ananda.[24]

### Buryat people[ edit ]

Researcher Nadežda Šarakšinova reported a Buryat language translation of The Bewitched Corpse with 22 tales. In this version, the tale is numbered 5 and its title is translated as The Woman who Had a Bird Husband.[25]

### Romani people[ edit ]

Transylvania linguist Heinrich von Wlislocki collected a Romani tale from Siebenbürgen (Transylvania), which he considered to be related to the tale from the Siddi-Kur. In the Romani tale, titled O coro rom te pinsteri or Der arme Zigeuner und die Taube ("The Poor Gypsy Man and the Dove"), a father lives with his three sons who work for a local lord, the eldest grazes the horses, the middle one the cattle and the youngest the pigs. When the horses vanish one day, the eldest tries to find them and passes through a set of doors: a wooden one, an iron one, a silver one, then a golden one, and sees a white dove on a table. The dove talks to him and says it can find the horse if the boy marries her. He declines, telling her that he already has a sweetheart. The same thing happens to the middle brother. When the youngest brother meets the white dove, the boy agrees to marry her. He begins to live with the dove, eating the best food and drinking the best drinks, until he gets bored and wishes to see human people again. The dove tells him that the king will be part of a three day festival in the plains, and he can go there to have fun. The boy finds some money and buys finer clothes to join the people at the festival. When night comes, a young woman clad in golden clothes appears and enjoys the festivities. After the boy returns to the dove, he tells the bird about the maiden at the festival. The next day, the boy sits on a rock by the stream and sighs over the golden maiden. A frog tells him that the golden maiden is the white dove, changed into an animal by an evil sorcerer, and that he can burn her dove feathers when she goes to the festival. That night, the boy waits for his wife to go to the festival and burns the dove feathers. He breaks the enchantment and lives happily with his wife.[26]

## Analysis[ edit ]

### Tale type[ edit ]

The tale has been related by scholarship to the international tale type ATU 425, "The Search for the Lost Husband", of the international Aarne-Thompson-Uther Index.[27][28] These tales refer to a marriage between a human woman and a husband of supernatural origin that appears in animal shape. Sometimes the human wife tries to break the enchantment by destroying the husband's animal skin, but he vanishes and she must undergo a penance to get her husband back.[29]

According to philologist researcher Irina S. Nadbitova, from the Kalmyk Institute for Humanities research RAS, a similar narrative exists in the Kalmyk Folktale Corpus, with two variants she listed. Nadbitova classified it as type 432, "Финист – ясный сокол" ("Finist, the Bright Falcon", the name of a Russian fairy tale).[30]

### Related tales[ edit ]

According to Lörincz, in a Tibetan language translation of The Bewitched Corpse, titled Ro-sgruṅ (published by professor Damdinsuren), tales nr. 4 and nr. 9 (out of 21 of the compilation) are tales about animal husbands. As such, they can be classified as tale type ATU 425 and its subtypes.[31]

Hungarian Mongolist Ágnes Birtalan [hu] translated the tales collected by linguist Gábor Bálint [hu] in the 19th century from Kalmyk sources. The third tale of his collection, named Moγǟ köwǖn ("The snake-lad") by Birtalan, also contains the animal husband (a snake), his disappearance and later the wife's quest for him.[32]

## See also[ edit ]

- The Bird Lover

## Footnotes[ edit ]

1. ^ In an early 19th century publication by German priest Benjamin Fürchtegott von Bergmann, he claimed that the original language word was Zagaom Schabucha, referring to a species of great owl.[8][9]

## References[ edit ]

1. ^ de Rachewiltz, Igor; and Rybatzki, Volker. Introduction to Altaic Philology. Leiden, The Netherlands: Brill, 31 May. 2010. pp. 227, 233. doi: https://doi.org/10.1163/ej.9789004185289.i-524
2. ^ Kára, G. "Mongolian Literature". In: Turkic and Mongolian Literature. History of civilizations of Central Asia, v. 5. UNESCO. p. 738.
   ISBN 978-92-3-103876-1.
3. ^ Francke, A. H. “Die Geschichten Des Toten Ṅo-Rub-Can. Eine Tibetische Form Der Vetālapañcavimśatikā Aus Purig”. In: Zeitschrift Der Deutschen Morgenländischen Gesellschaft 75 (1921): 72–74. http://www.jstor.org/stable/43373227.
4. ^ de Rachewiltz, Igor; and Rybatzki, Volker. Introduction to Altaic Philology. Leiden, The Netherlands: Brill, 31 May. 2010. pp. 227, 233. doi: https://doi.org/10.1163/ej.9789004185289.i-524
5. ^ Kára, G. "Tibetan and Mongolian Literature". In: History of civilizations of Central Asia. UNESCO, 2000. p. 386. ISBN 92-3-103654-8.
6. ^ Busk, Rachel Harriette. Sagas from the Far East or, Kalmouk and Mongolian Traditionary Tales. London: Griffith and Farran. 1873. pp. 89-96.
7. ^ Jülg, Bernhard. Kalmükische Märchen. Leipzig: F.A. Brockhaus, 1866. pp. 39-42.
8. ^ Bergmann, Benjamin Fürchtegott B. Nomadische Streifereien unter den Kalmüken in den Jahren 1802 und 1803. C.J.G. Hartmann, 1804. p. 312 (footnote).
9. ^ Thoms, William John. Lays And Legends of Various Nations: Illustrative of Their Traditions, Popular Literature, Manners, Customs, And Superstitions. Vol. 4. London: G. Cowie, 1834. p. 72 (footnote).
10. ^ Tibbitts, Charles John. Folk-Tales and Legends: Oriental. London: W. W. Gibbings. 1889. pp. 101-106.
11. ^ LŐRINCZ, L. “LES «CONTES DU CADAVRE ENSORCELÉ» DANS LA LITTÉRATURE ET LE FOLKLORE MONGOLS”. In: Acta Orientalia Academiae Scientiarum Hungaricae 20, no. 2 (1967): 205, 222. http://www.jstor.org/stable/23682112.
12. ^ LŐRINCZ, L. “LES «CONTES DU CADAVRE ENSORCELÉ» DANS LA LITTÉRATURE ET LE FOLKLORE MONGOLS”. In: Acta Orientalia Academiae Scientiarum Hungaricae 20, no. 2 (1967): 214, 215. http://www.jstor.org/stable/23682112.
13. ^ Владимирцов, Борис Яковлевич. "Волшебный мертвец. Монгольско-ойратские сказки" [Bewitched Corpse: Mongol-Oirat Fairy Tales]. Издательство восточной литературы, 1958. Tale nr. 7.
14. ^ Горяева Б.Б. "Калмыцкая волшебная сказка: сюжетный состав и поэтикостилевая система". Элиста: ЗАОр «НПП «Джангар», 2011. pp. 38-39. ISBN 978-5-94587-476-3.
15. ^ Coxwell, C. F. Siberian And Other Folk Tales. London: The C. W. Daniel Company, 1925. pp. 206-209.
16. ^ Gelber, Adolf. Kalmückische Märchen: Wie der Chansohn zwölfmal den Siddhi-Kür holte. Wien; Berlin; Leipzig; München: Rikola Verlag, 1921. pp. 61-65.
17. ^ Löhr, Johann Andreas Christian. Grosses Märchenbuch. Neu geordnet von Gustav Harrer. 2. Aufl. Leipzig: E. Berndt, 1880. pp. 476-478.
18. ^ Francke, A. H. “Zur Tibetischen Vetālapancaviṁśatikā (Siddhikür)”. In: Zeitschrift Der Deutschen Morgenländischen Gesellschaft 77 (n.F. 2) (1923): 239–240. http://www.jstor.org/stable/43367829.
19. ^ LÖRINCZ, L. "LES «CONTES DU CADAVRE ENSORCELÉ» (RO-SGRUN) DANS LA LITTÉRATURE ET LE FOLKLORE TIBÉTAINS". In: Acta Orientalia Hungaricae 18 (1965): 307.
20. ^ LÖRINCZ, L. "LES «CONTES DU CADAVRE ENSORCELÉ» (RO-SGRUN) DANS LA LITTÉRATURE ET LE FOLKLORE TIBÉTAINS". In: Acta Orientalia Hungaricae 18 (1965): 312.
21. ^ Benson, Sandra. Tales of the golden corpse: Tibetan folk tales. Northampton, Mass.: Interlink Books, 2007. pp. 121-126. ISBN 9781566566322.
22. ^ Игра Веталы с человеком (Тибетские народные сказки) [Tibetan Folk Tales]. Мoskva: Наука Главная редакция восточной литературы, 1969. pp. 62-66.
23. ^ Macdonald, D. (1931). "Tibetan Tales II". In: Folklore, 42:3, 308-310. DOI: 10.1080/0015587X.1931.9718409
24. ^ Jewett, Eleanore Myers. Wonder Tales from Tibet. Boston: By Little, Brown, and Company. 1922. pp. 27-49.
25. ^ ŠARAKŠINOVA, NADEŽDA O. “LES CONTES DU CADAVRE ENSORCELÉ CHEZ LES BOURIATES”. In: Acta Orientalia Academiae Scientiarum Hungaricae 16, no. 1 (1963): 46–47. http://www.jstor.org/stable/23682290.
26. ^ Wlislocki, Heinrich von, and Mühlbach. “Märchen Des Siddhi-Kür in Siebenbürgen”. In: Zeitschrift Der Deutschen Morgenländischen Gesellschaft 41, no. 3 (1887): 448, 454-455 (Romani text), 455-457 (German translation). http://www.jstor.org/stable/43361883.
27. ^ LÖRINCZ, L. "LES «CONTES DU CADAVRE ENSORCELÉ» (RO-SGRUN) DANS LA LITTÉRATURE ET LE FOLKLORE TIBÉTAINS". In: Acta Orientalia Hungaricae 18 (1965): 312.
28. ^ Ralston, William. "Beauty and the Beast". In: The Nineteenth Century. Vol. 4. (July–December, 1878). London: Henry S. King & Co. pp. 1000–1001.
29. ^ Coxwell, C. F. Siberian And Other Folk Tales. London: The C. W. Daniel Company, 1925. p. 258.
30. ^ Надбитова, И. С. "Указатель сюжетов калмыцких волшебных сказок". In: http://www.ruthenia.ru/folklore/nadbitova1.htm (Online article).
31. ^ LŐRINCZ, L. “LES RECUEILS RO-SGRU Ṅ TIBÉTAINS CONTENANT 21 CONTES”. In Acta Orientalia Academiae Scientiarum Hungaricae 21, no. 3 (1968): 317, 319, 321. http://www.jstor.org/stable/23682727.
32. ^ Kalmyk Folklore and Folk Culture in the mid-19th Century. Philological Studies on the Basis of Gábor Bálint of Szentkatolna’s Kalmyk Texts.. Oriental Studies 15. Budapest: 2011. pp. 86, 89-91. ISBN 978-963-7451-22-5.

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