Narrating names

Folklore, April, 2002 by W.F.H. Nicolaisen

For most of us, the best known type in this respect is probably AT 500, which in the Tale Type Index is appropriately entitled "The Name of the Helper," and at the heart of which is what we might call the "Rumplestiltskin" syndrome (Marshall 1973; Kapfhammer 1995-6, 1:573-6). As part of a riddle-wager, the unknown, difficult name of an otherworldly helper has to be guessed by a young mother in order for her to be freed from a promise made under life-threatening circumstances and for the monstrous helper to be driven out of her life. As an otherworldly creature, the helper does not have a human name but is, in the various cultures in which this tale is told, called Rumpelstilzchen, Tom Tit Tot, Whippity Stoorie, Ricdin-Ricdon, Trillerip, Kulfacek, Skaane, Tvester, Purzinigle, Mimi Pinson, Timbutoe, Knirrficker, Ekke Nekkepen, and the like (Nicolaisen 1999). He is therefore convinced that his name cannot be guessed, is so self-assured, in fact, that he inadvertently gives it away himself. This successful guessing of a name never heard before, and therefore seemingly unguessable, hits the demon so much harder because the threatened young woman thus gains power over him or he loses his power over her. The numinous is made profane. Undoubtedly, the belief in name magic plays an essential role in this tale, though it is probably worth observing that in our day and age and in our society names have, on the whole, become much more harmless, and we do not feel immediately threatened and more vulnerable once somebody knows our name (Nicolaisen 1998). In the context of this brief study, the story of the desperate guessing of the unguessable name of a monstrous helper is perhaps best seen as an outstanding example of the potentially close links between name and narrative, between namer and narrator, between homo nominans and homo narrans.

While the dramatic circumstances surrounding the Rumplestiltskin tale are difficult to reproduce in any other traditional story in the folk-cultural register, the use of names in another tale type perhaps speaks of greater profundity and more existential concern (Nicolaisen 1993). Both subtypes of AT 510 take their titles from the outward appearance and temporarily diminished social status of their female protagonists because in a very real sense they narrate their names, the onymic clothing of innocent, persecuted heroines. Neither of them is an archetypal "rags-to-riches" story, since the situations in which their names cloak them in the eyes of the world are false and temporary ones imposed on them by cruel persecuting forces which prevent them from occupying their rightful places in society. While Cinderella's name in 510A derives from her lowly position in the ashes of the hearth, she is transformed into her real self by the clothing provided by the birds on her mother's grave, by a fairy godmother, or by some such supernatural helper.

This is a motif which also occurs centrally in subtype 510B, in which it has a similarly positive effect for its heroines. The major difference, however, lies in the fact that the protagonists of AT 510B, in order to evade their pursuers, deliberately hide their true identity during their flight, which ultimately leads them to find themselves and to restore justice and order in their lives. Before their desperate escape from their previous standing as princess, aristocrat's or rich man's daughter, or some other high position in society becomes necessary, for a number of different reasons, they are nameless, and it is only when a drastic disguise is needed that the world in which they live as depersonalised refugees ironically responds by naming them after the new image which they present to outsiders. In each variant of the story, the disguise is an intentional, lowering uglification of--how could it be otherwise--a beautiful person and therefore of the creation of a false, albeit only outward, identity. It is also significant that the disguise consists of non-human coverings, as in Cap o' Rushes, Catskin, Allerleirauh (All-kinds-of-fur), Peau d'ane (Donkeyskin), Katie Woodencloak, Tattercoats, Rashie Coat, The Bear, The Little Stick Figure, Mossycoats, Wooden Maria, and so on, with flora and fauna coming to their aid.