Insights: the setting
In the stories examined were found that link with the site that features the legends [1] . The characters act or suffer the actions of their opponents at specific locations, known or detectable by the recipients of the stories, places just mentioned or briefly described, or embellished with a wealth of detail, depending on the extraction and the ability of the narrator, which in some cases, the collector-translator overlaps with his style and his inclinations literature.
Indeed, with regard to the geography of Britain, in the six stories reported in the Catalogue Jean Berthou [ Les Lavandières de nuit (Souvestre) Celle qui lavait la nuit (Le Braz), The Lavandière de Nuit (Luzel), Les Lavandières de Nuit (Cadiz), Les Lavandières de Nuit and The Lavandière des Noes Gourdais (P. Sébillot)], and the other three crops, respectively, from Le Braz and Luzel - The intersigne de "l'Étang" ; The Lavandière de nuit (et Soëzic ar Floc'h ) Lavandière de La nuit du douet de Plougonven -, we find that:
- in four of the places they occur, the (part of) the facts are explicitly mentioned by the narrator or the collector (Cadiz : Brennilis, P. Sébillot: Noes Gourdais; The intersigne de "l'Étang" : Kergogn; Luzel: Plougonven)
- in one, but perhaps in two others, are not mentioned but you can guess by deducting from information about the narrator or the place of registration (Souvestre: Guissény; Le Braz: Plougastel-Daoulas?; La Nuit de Lavandière (Luzel): Plouaret?)
- a place is mentioned in two short-distance [ The intersigne de "l'Étang" : Kergogn; The Lavandière de nuit (et Soëzic ar Floc'h ): The farm Loguellou (Botsorhel)];
- is mentioned in three cases, a center (more or less) near the most important ( La Nuit de Lavandière (Luzel): Morlaix, P. Sébillot: Dinan; The intersigne de 'l' étang ': Penhars)
- two stories, however, you know at least the "traditional province" [2] membership and / or birthplace of a character - in one case, however, secondary - (Souvestre: Leon, Henvik, Le Braz: Cornouaille, Saint-Tremeur).
In ten other evidence, sufficiently detailed in terms of space and time and relate to local beliefs Breton [The Men Luzel ( Pont-ar-Goazcan ), Cadiz (3), de Cerny, E. Berthou (2), and Plourin Commana (recent memories)], there is a greater uniformity and certainty in the particulars:
- appearing in nine towns / precise geographic locations where they thought there were some "laundresses" (de Cerny: Dinan, Cadiz: Plouharnel, Vréguézel, Brennilis; Berthou E.: Pleubian, Lanmodez; Plourin, Commana; Luzel: Pont-ar-Goazcan )
- in a nomination is only the "traditional province" of maximum spread (Le Men: Léon).
not in all nine stories then, the sites of action are outlined with a wealth of descriptive elements. Les Lavandières de nuit (Souvestre) is the richest, for the presence of data from both the ball to the auditory or visual: the way the crosses, the brooms, the dark of night without moon or stars, dead leaves, the trembling of the bushes, the castle in ruins, the stones of the stream, the oak dead, singing, resounding hoof [3] on the cobbles, the wind, the sources, the vane, the waterfall, the chimes of midnight ... items that are already too many places without those for the d ' meeting with the ' Ankou and the noz- kannerezed (the douez , that the wash, and its immediate vicinity). In Celle qui lavait la nuit (Le Braz), in the first part is the predominant component of hearing (the silence of night broken by the noise of the laundry and the talks of the two laundresses) compared to the essentiality of visual aspects (the moonlight, the river, linen); in the second part the scenery is more detailed: the bed (bank- tossel ), kitchen with stove and utensils, the threshold, the door. It
The intersigne de "l'Étang" (Le Braz) rather than to the auditory component roughly reduced to the dialogue between Jósika and washing, by far outweigh the visual elements: the pool, the moonlight makes the surface shine, the road, the cave, the cap and costume laundress, its wooden box, which expands the sheet to cover the whole pond, a fireplace, a bowl of soup, the stool, the light of the candle. It
Lavandière de La Nuit (Luzel) the environment is the house (with the spinning wheel, a clock, a fireplace, the bed, the door, the floor [of clay] and all the things used by "sorcière"), the back ( the courtyard with a closet), the wash-house, the fountain, with a predominance of the visual (there is even a moonlight) sulI'uditivo, limited to the items and noises made by women. It
The Lavandière de nuit (et Soëzic ar Floc'h), are mentioned only the main elements of the setting (the meadow, grove, the pond, the brook, the house along the way) and three violent blows on the stones of the laundry washing, while it Lavandière de La nuit du douet de Plougonven , overall we have a greater presence of descriptive details: moonlight, the stream, the wooden bridge, the pond , the meadow, the road, the bluff, the large ladle of the laundress, chaumière , hooves and hat, stone washing, the strong blows of the ladle, the ladle thrown against the door that goes to pieces.
in Cadiz is only mentioned the river (which turns red for the blood of the first kannerez -noz), in P. Sébillot the wash, with the surrounding lawn. Even in
other witnesses - except those mentioned, briefly, by Paul and Paul-Yves Sébillot it The folk-lore de France and La Bretagne et ses Traditions , and even Les lavandiéres de nuit de Pont-ar-Goazcan - are present for the most essential elements: rivers, basins, roads ... A few more especially in Cadiz, the trees swaying (Poul-er-Pont), and especially in de Cerny: ponds, streams, canals and towpaths, walls and towers of Dinan, the water of Rance "fluorescent" (and places frequented by cats).
In fact, even in these legends there is an exact description, objective structured into its parts, the place of action, but rather the hint of some components of a framework (one could speak of environmental suggestion, rather than reconstruction) that we find in real places who knows how many of Britain, if not knew that the events related by the narrators in places (usually) geographically determined. If then there is certainty in spatial structures, is mainly because the various elements - concrete, yes, but in itself common, topographically general - as a whole are attributed to certain places, almost always called by their name.
Consider, for example, just De nuit les Lavandières collected by Souvestre. Two hundred years ago, maybe more people on the basis of the descriptions included in the story, they could recognize in the representation of the sites (next to Guissény?) Where there is the story of Wilherm Postik, something familiar, namely the special geographical environmental-equal or similar to those in places of their existence, past or present. The narrator, however - an inhabitant of Guissény - allegedly to enrich the history of functional details to the story itself, even in order to enhance the feeling of his audience. And it coincides, in the act of registration, with the collector, the narrator was able to describe the location indicating where the main character, real or plausible as they are, but any place names [4] , except for Henvik (current Henvic), the country of Fantik ar Fur.
Something similar must have happened in the case of other witnesses, when they do not contain any microtoponimo.
also references to time, stories Breton concerned, are typical of those legends. They have the concreteness of lived experience, of personal and collective.
However, it should again distinguish between witness and testimony. But there is primarily one thing in common: all The events take place after sunset or at night (it Lavandière de La nuit du douet de Plougonven end but in the day), which would - as we well know - depends on the fact that the 'washerwoman' are creatures of night is the special behavior of the protagonists of the stories, which do not comply with the general rule (and the advice of the old or those with more experience and common sense) you do not go around at night or work (especially outside) when should be in bed [5] .
The stories are different but in terms of hours, duration, special days and months or seasons. All nine stories, except the Souvestre and The Lavandière de nuit du douet de Plougonven , definitely or probably take place during the summer. Only one ( Celle qui la nuit lavait ) explicitly refers to the summer (the month of August), while it The Lavandière de nuit (et Soëzic ar Floc'h ) shows the month of April, in the absence of other details of the cold, storms, with heavy clothing, and the fact that the protagonists are brought out - and especially to go and wash - in the evening or at night, also suggest a framework for summer (or spring: it The intersigne de "l'Étang" Jósika wears the mantle to exit).
Different situation is in Souvestre however, since - as we have seen [→ 3rd and 8th part ] - Wilherm of the drama takes place on the eve of the November 2, namely in the evening All Saints, when the dead return among the living and enter into homes Ioro a time to warm up and eat "meal of the dead, once the Britons were preparing for their loved ones at bedtime. Moreover, if different from almost all the legends (with the exception of that of C. Jeannic Brennilis) the "laundresses in the night" it Les Lavandières de nuit are more than one - indeed, are many and in every washroom in the valley, along each fence, on top of each wilderness - it is because the hero-victim goes around does not in any one night (or the beautiful the bad season), but at that of All Saints, the Christian holiday that anteposition addition to the Day of the Dead, has taken the place of the pagan, presumably similar to the feast of Samain (Early November) of the Irish texts [ 6] .
History Wilherm - not for nothing that the most complex structures - and indeed those with the most accurate and detailed references to time, and also by the longer duration (about 14 hours): The protagonist goes to another place in the evening, it remains up to about 23, meets' Ankou just after midnight and kannerezed-noz later, and finally was found Fantik corpse by dawn ar Fur.
In other stories the temporal structures are mostly limited to spending a few hours of evening or night. In
Celle qui lavait la nuit (Le Braz) and Cadiz (the episode of Jeannic C. Brennilis) facts are held in the evening: begin after sunset and ending respectively after about 3-4 ( by midnight) and 1-2 hours. It The intersigne de "l'Étang" (Le Braz), the story begins and ends at dinner the night (time not specified), so The Lavandière de nuit et Soëzic ar Floc'h (Luzel) opened at nine o'clock or so, an estimated duration for 1-2 hours. It La Nuit de Lavandière (Luzel) the real events taking place at night, after 23 and before sunrise (maybe 4-5 hours total), so Lavandière de La nuit du douet de Plougonven instead The adventure takes place between 2-3 at night and full day (perhaps for a total period of 6-7 hours). In P. Sébillot there is a difference between story ( Les Lavandières de Nuit - The Mere Paillasse ) and the other ( The Lavandière Gourdais des Noes - une femme de journée ): in the first place the facts in the evening and at night around 2 ( I assume a period of 5-6 hours), the second from before sunrise on, for a period, I believe, about two hours.
In other testimony, namely that contain more than ten other beliefs, about the time references is roughly the same essential points highlighted in the data space. In fact it does not usually go beyond the hint in the evening or at night, or alI'imbrunire maximum (in E. Berthou and testimony gathered in Plourin). The Men is reported only in the particular item of laundry done only during odd hours. It should be mentioned here again [→ 6 ª parte ] that La Légende de la mort shows the conviction probably widespread throughout Britain, in order to avoid damage, if you must go through a cemetery, do well only in odd hours [7] . Unfortunately, neither Le Braz, nor, in a footnote, Dottin provide us with more details on this precaution [8] .
As for time references chronologically determined, absolutes, there is to say that overall the number of documents Breton considered per se do not. Beliefs and stories in fact belong in all respects to the historical period during which they were written down - most between 1830 and 1900 - so much so that in one case, Luzel [→ 4 ª and 6 ª parte ], the sign at the speed of steam engines confirms the membership of the narrator in 1800, or at least could allow a "backdating" the first story containing that particular, a few decades year of registration, 1890. The fact is that this sign is, if I am not mistaken, the only allusion to the Revolution industriaIe present in the texts of testimonies on the collectors 'washerwoman' Breton considered [9] , under the aspect of "material culture" , economics, and agricultural technology, the world they live in the characters of the stories (but this seems true for the informants), it should not be dissimilar to what I believe they lived the Bretons of 1700: a rural society, in which it is possible for women save on costs or increase the family income through the activities the laundress or the domestic spinning (not the texture, which was done by weavers by trade) [10] .
Even where one would expect better accuracy for the years or at least the decades - the recent memories of some ladies and Plourin Commana - we do not have data out chronologically, and you were forced to speak, above [→ 8 ª parte ], beliefs and attitudes date back approximately 50-70 years ago. Less inaccurate, however, are historical references contained in the memories of Erwan Berthou, dating roughly to the period 1865-1910, but this is precisely another re-enactment (in this case, less recent) behavior and feelings.
As I mentioned from time to time, in most stories you see the reason for the moonlight : in Le Braz ( Celle qui la nuit lavait , The intersigne de "l'Étang" ) , Luzel ( The Lavandière de nuit, La Lavandière de nuit du douet de Plougonven [11] , and also the testimony of Laouic Mihiac [12] ), P. Sébillot ( the Paillasse mère). All in all I think it is a functional description of the environment: first, because Souvestre is in the opposite situation: "The night was moonless and starless."
not in Britain were of little or no importance to the presence, influence, the phases of the moon, so much so that Anatole Le Braz relates the belief that a child born in the night with the moon or blanket close around widely by clouds, it would be hanged or drowned [13] . But I am not any particular connection between the folk "laundresses" Breton and the moon, beyond that which tells of the night creatures encountered by travelers is expected to be found or laundresses of the moon to illuminate the places and human activities carried out just at night, and which - according to a report in É. Mozzani - in Britain believed that laundry washed with the new moon, it would narrow, worn and torn [14] .
Moreover, beliefs about the influences of the moon, which form part of astrology popular (not just country) like a bit 'all over Europe, and have come down to us from ancient pre-Christian Middle Ages through the Modern EVA have always belonged to that particular folk know that, as has been opposed by the Church as a superstition with the cults of pagan origin, has managed to retain, at least in part, to this day in the lunar and Proverbs of the peasants.
[1] See GL Beccaria (1987): 17-8; T. Gatto Chanu (1989): 20.
[2] In Breton bro = French pays.
[3] In translating the "sockets" ( galoches ) of Wilherm are now "boots", the "sources" (sources ) "streams" [cf. Gw. The Scouëzec (1986): 35].
[4] Compare, as an example, the wash of this story called simply "the lavoir," "the douéz ," with the Doué des Noes Gourdais of two stories reported by P. Sébillot.
[5] See A. Le Braz (1990): t. II, p. 24.
[6] In current Irish Samhain is the month of 'November'. Samain Samonios is comparable with the Gallic name of the first month of the calendar of Coligny [X. Delamarre (2008): 265-6].
[7] A. Le Braz (1990): t. I, p. 301, P. Sébillot (1968c): 134.
P. Sébillot also reports that in the Gironde and in the Beauce was assumed that the odd hours of the night were the most dangerous, and in Lower Britain were those in which the elves could "exercer leur malice" [P. Sébillot (1968a): 145, cf. It is also. Mozzani (1995): 1226, 1240].
[8] The need to use in certain activities, special things odd, cf. P. Sébillot (1968b): 193 (birds), 230 (eggs), 241 ( evil amoureux ; hour), 387 (shepherd's stick) and P. Sébillot (1968c): 77 ( necklaces talismans).
É. Mozzani points out that, for the most part, the odd numbers are considered lucky ones [É. Mozzani (1995): 1225-6].
[9] It mentions "the rapid ronflement et des machines à vapeur" in a comparison that is in another legend told in Brittany, in Luzel by François Thépaut (February 17, 1890): La dame blanche [F.-M. Luzel (1995): 164].
[10] In the story The linceul de Marie-Jeanne, it is said that this was spinning flax, but he did it by weaving "tisserand du bourg [A. Le Braz (1990): t. I, p. 336]. See also-M.Luzel F. (2007): 187.
[11] F. -M.Luzel (2007): 215.
[12] F. -M.Luzel (2007): 225.
[13] A. Le Braz (1990): t. l, p. 391. At
pp. 249-50 of Volume II, tells of a dead woman who returns every night until you see the new moon.
P. Sébillot refers to beliefs about punishment Breton girls and pregnant women who do not hide the look of the moon "when they meet a natural need," and cases of veneration of the moon - Lord's Prayer recited at the moon new - certificates in Britain for the years around 1620 [P. Sébillot (1968a): 41-2, P. Sébillot (1990): 178-9, cf. also Gw. The Scouëzec (1986b): 174, É. Mozzani (1995): 1030-2, P.-Y. Sébillot (1998): 288].
On the importance of the moon in the culture of the ancient Celtic peoples and folklore of the Celtic countries: P. Sébillot (1968a): 41-7, P. Sébillot (1968c): 58; J. de Vries (1982): 167-9; J. Chevalier, A. Gheerbrant (1986): sv Moon (pp. 46-7); F. Le Roux, Ch.-J. Guyonvarc'h (1986): 135-6, 138-9, 141, 260, P. Sébillot (1990): 178-80; Green MJ (1992): 153-4; JC Davies (1992): 219-21; P.-Y. Sébillot (1998): 288-9; Ph. Jouet (2007): 80, 244, 399 (footnote 17).
[14] É. Mozzani (1995): 970, 1031.
I let the moonlight fulfilled "assez nombreux des gestes' [P. Sébillot (1968a): 144]. An example
Breton magic action for which the full moon was essential: bathing the little finger of his left hand in a fountain in Saint-Samson, near Dinan, at midnight and the full moon, it was believed to get a unique strength [P. Sébillot (1968): 237].
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