From our encampment near the shore of this famous lake [Lake Urmia] to the city or Mârâgâ [Maragheh] is eighteen miles: we made this march at night. Moollâh Adeenah, the story-teller of his majesty, was one of our party. The Elchee [ambassador] asked him to beguile the weariness of our road with a tale.
‘How many farsekhs* long do you wish it?’ was his reply.
‘At least five,’ was the answer.
‘I can exactly suit you,’ said the Moollâh; ‘you shall have Ahmed the cobbler.’
I could not help laughing at this mode of measuring a tale; but I was assured it was a common custom, arising out of the calculation professed story-tellers were compelled to make of the leisure of their hearers. All further remarks upon this usage were put an end to, by Moollâh Adeenah desiring us to be silent and attentive; his wish being complied with, he commenced as follows:
‘In the great city of Isfahan lived Ahmed the cobbler, an honest and industrious man…’ [the retelling of the story takes 19 pages ]”.
* 1 farsekh = c. 3 miles = 5 kilometres
Sketches of Persia, from the journals of a traveller in the East, London: J. Murray, 1845 , p. 252 (first published in 1827).
Illustration inspired by Bushman rock paintings in the Cederberg, South Africa
Stories are the houses we live in. They are the food we set on the table, consume, and absorb into the blood. Stories do not exist fully, however, except in the physical presence of those who tell them. Later, mysteriously, they maintain this physicality when they well up to our inner eyes and resound in our inner ears in the process we call memory. Storytellers are thus the architects and masons of our universe. They build arcs of invisible stone that span huge banquet rooms. They also build the commonplace rooms that shelter us routinely. Whether in grand or humble style, storytellers serve us the spiritual food we live by, both the plain truths and the more delicious lies.
Who are the storytellers, then? … [In fact,] we are all both storytellers and story hearers. We must be both these things if we are to navigate the world in which we live, each part of which … is partly our own making. Barring some terrible trauma, these twin faculties of storytelling and story hearing are inalienably ours from a very early age. Throughout life these faculties remain at the core of our intelligent being, shaping our thoughts, calling us back from error, and guiding us incrementally toward whatever our future may hold.
John Niles, Homo Narrans: The Poetics and Anthropology of Oral Literature, Philadelphia: University of Pennsylvania Press, 1999: 64-65
Illustration inspired by the logo of the Kalevala Society
Before Keldibek began a performance of Manas he told the herdsmen that they might come to the camp without fear because their cattle would go home by themselves, and no one –neither man nor wild beast– could steal even the last sheep whilst he was singing Manas. But when he began to sing, the yurt trembled, a mighty hurricane arose amid whose murk and din supernatural horsemen, Companions of Manas, flew down so that the earth shuddered beneath their horses’s hooves.
Kirghiz; quoted in Hatto, “Kirghiz”, en Traditions of Heroic and Epic Poetry. Volume I: The Traditions, edited by A. T. Hatto, London: The Modern Humanities Research Association, p. 305; Manas is the national epic of the Kirghiz people, and tells the exploits of the eponymous hero and his descendants.
Illustration inspired by a drawing of a fish found in New Ireland, Papua New Guinea.