KacheliTV

KacheliTV — the world's stories, read aloud.

Looking for a story to fall asleep to, to ride with on a long drive, or to share at bedtime? Start here.

We read the folk tales and classics of every culture on Earth — complete and unabridged, never excerpts — in fresh English translations, performed by our cast of voices. The fairy tales of Ireland and Japan. The legends of India and Nigeria. Jamaica, the Netherlands, the Cherokee, the Norse — and the Russia of Pushkin and Krylov. The stories your grandmother knew, and stories from shores you've never heard — every culture in the spotlight, no one missed.

New tales arrive every week. Pick a shelf, press play, and let the world's grandmothers talk you to sleep.

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From The Dog You Chose LLC, Gulfport, Florida. Public-domain sources, told with respect.

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YouTube — https://www.youtube.com/@KacheliTVFlorida

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Website — https://dogyouchose.com

The Dog You Chose books — https://www.amazon.com/dp/B0FYSTBLQ3

Our cast is a company of AI-generated voices, performing fresh in-house translations of public-domain works from every culture.

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S27 · E5
October 17 · 12 min
Folk Tales of Denmark — Part 5 (The Princess on the Island)
Got something to say to this podcast? Send a voicemail, and you might hear yourself on the next episode! Part Five of Folk Tales of Denmark stays with the second gathering of Svend Grundtvig's Gamle danske Minder i Folkemunde, and with Vendsyssel in the north of Jutland. (The Danish tales are read here part by part, tale by tale — this is not the whole of either collector's great gathering, and no completeness is claimed beyond what is read here.) The Princess on the Island (in Danish, Prindsessen paa Øen) — an English prince will marry no one but the Danish princess, and her father will not give her, though it should cost blood; so she is sent away to an island castle with seven maids, a little dog, and seven years' provisions, and the castle is walled up fast. When the seven years end, the king is slain and the prince holds the city; all that is left of the princess in her chamber is her ivory loom with its rollers of red gold, the web of birds and fishes and all kinds of beasts unfinished upon it — and the prince proclaims that whoever can weave the web to its end shall be his queen. Out on the island the provisions are eaten, and hunger comes into the walled castle: the seven maids, one after another, ask to be killed and eaten, and are, until the princess is alone with the little dog, and after it the rats and mice; and it is her own tongue that tells it, twice over, in the verses she speaks on the ride to church — for she comes home in rags to her father's kitchen, weaves the web down where the false bride could not, and rides to the wedding in the false bride's place on her own horse Blanke, who kneels at her voice. The tale is read here whole and as written: the story stands exactly as Lars Østrup told it, and as Grundtvig printed it in 1857. Nothing has been cut, nothing softened, and nothing added. Chapters: 00:11 — The Princess on the Island Source: Svend Grundtvig, Gamle danske Minder i Folkemunde (Old Danish Memories in the Mouths of the Folk), vol. II (Copenhagen, 1857), no. 308, "Prindsessen paa Øen" — told by the smallholder Lars Østrup of Hvedsted in Vendsyssel and recorded by the student Nik. Chr. Christensen. The English here is our own translation from the Danish, made for this shelf. Music: gentle instrumental bed under the narration. Thank you for listening — Part 6 of the Danish tales follows on this shelf. 🔊 The KacheliTV podcast carries a new world folk tale every day — follow the show so the next story finds you.
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S20 · E14
October 17 · 19 min
Hungarian Folk Tales — Part 14 (Kondás Jankó)
Got something to say to this podcast? Send a voicemail, and you might hear yourself on the next episode! The youngest of three poor brothers will not cut wood. While his elder brothers toil and are blessed — a store-chamber of flour and bacon under the walnut tree, a cellar of a hundred wine barrels under the acacia — Jankó throws his axe away and roasts bacon instead, and the grey old man rewards the idleness with a wonder-wand. His father drives him from the house, and Jankó takes service with a king as swineherd, a hundred pigs in his care. Warned on pain of a horrible death never to enter the lead forest, he drives the pigs straight into it. In the lead forest the seven-headed dragon rushes to tear him to pieces, and one wave of the wand takes all seven heads — and in the seventh head is a key. Beyond it: a lead castle, a lead nosegay, a lead horse hanging in the well, and in the sty the king's own lost hundred pigs and his old swineherd, shut in by the dragon. Jankó frees them all, sends the man home with a tub of lead money, and drives two hundred pigs home where a hundred went out. And so it goes, exactly, twice more: the silver forest and its fourteen-headed dragon, and three hundred pigs; the golden forest and its twenty-four-headed dragon, and four hundred pigs home — each nosegay begged away by a princess, lead, silver and golden in turn. Then the king proclaims his three daughters to the lads who can leap on horseback to the nosegays atop a tall tree. No prince can leap halfway. But there is a swineherd who keeps three bridles — and a youngest princess who will throw her golden apple to no one who stands before her. The tale is told whole, as Benedek wrote it, and its hard passages stand at the source's own weight: three dragons slain, each with a single wave of the wonder-wand, each in a single clause of the telling; and the wand's own stated power — that one swing of it could strike down a whole regiment of soldiers — stands in the old man's gift speech exactly as written, though the tale never turns it on any human being. No one is killed or harmed in the tale but the three dragons: the captive swineherds come out of the sties alive and go home the richer, and every threat in it is answered before it lands. From Benedek Elek, Magyar mese- és mondavilág (Athenaeum, 1894–96), public domain; told in a fresh in-house rendering. KacheliTV — world classics, read aloud.
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S23 · E7
October 17 · 16 min
Folk Tales of the Philippines — Part 7 (The Miraculous Cow · The Clever Husband and Wife · Juan and his Adventures)
Got something to say to this podcast? Send a voicemail, and you might hear yourself on the next episode! Part 7 of Folk Tales of the Philippines is two drolls and a wonder tale — three stories about getting by on wit: a boy who talks his way out of a rope, a couple who lie very still and prosper, and a youngest son whose brothers-in-law are the kings of the beasts. In "The Miraculous Cow," two boys steal a farmer's cow from behind his own cart: one leads the cow away while the other ties himself in its place, and talks his way free with the story of a mother's curse that turned him into a cow and has only just worn off. Told by Adela Hidalgo, a Tagalog from Manila. In "The Clever Husband and Wife," Pedro and Marta, the doctor's kept servants, run through their marriage gold and think of another way — each in turn reports the other dead and collects the burial money; and when the doctor and his sister come to see for themselves, they find the couple both lying stiff in the bed. Told by Elisa Cordero, a Tagalog from Pagsanjan, Laguna. In "Juan and his Adventures," Juan sets out to find the three sisters he never knew, taken by the enchanter snake of the felled tree; with a cap of invisibility, flying sandals, and a key that opens any door — and the friendship of the kings of the lions, the fishes, and the eagles, his brothers-in-law — he opens the giant's rock and carries the lost princess home. Told by José Ma. Katigbak, a Tagalog from Lipa, Batangas. A word on the road here, told plainly. Between "The Clever Husband and Wife" and "Juan and his Adventures," the book prints its seventeenth tale, "The Three Brothers" — the great Forgotten Betrothed story — and it does not stand in this part: at its centre the princess's ring is recovered from the sea by a means this shelf does not read aloud, so the tale stands held whole, as it stands in the book, awaiting the collection's own ruling, and no completeness is claimed for this stretch of the book. In the tales that are read here, the deaths are pretences the stories themselves own, the snake's threat is words only and never carried out, and the giant of the last tale falls in a single sentence, when the little bird and the egg that hold his life are destroyed — kept at the book's own weight and in the book's own words, nothing enlarged, nothing dwelt on. The book's storytellers, kept with honour: Adela Hidalgo ("The Miraculous Cow"); Elisa Cordero ("The Clever Husband and Wife"); José Ma. Katigbak ("Juan and his Adventures"). Chapters: 00:11 — The Miraculous Cow 02:20 — The Clever Husband and Wife 06:36 — Juan and his Adventures Source: Dean S. Fansler (ed.), Filipino Popular Tales, Memoirs of the American Folk-Lore Society, Vol. XII (1921) — the tales written down in English by the Filipino narrators credited above; public-domain 1921 edition (Project Gutenberg eBook #8299). The collectors' notes stand in the book, unread here. Our telling is a fresh in-house rendering of the 1921 text. Music: gentle instrumental bed under the narration. Thank you for listening — Part 8 of the Philippine tales follows on this shelf. 🔊 The KacheliTV podcast carries a new world folk tale every day — follow the show so the next story finds you.
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S25 · E6
October 17 · 14 min
Folk Tales of Jamaica — Part 6 (The Pea That Made a Fortune · Settling the Father's Debt · The Tree-Wife · Grandy-Do-An'-Do · John Studee · Contavio · Crossing the River · Fish, Fish, Fish)
Got something to say to this podcast? Send a voicemail, and you might hear yourself on the next episode! KacheliTV returns to Jamaica, and to Martha Warren Beckwith's Jamaica Anansi Stories of 1924 — tales Jamaican storytellers told her, their names kept. Part Six opens the book's second country, the Old Stories, Chiefly of Sorcery, and takes its gentle stretch: exchange and riddle tales, a wish that turns a tree into a wife, a threat defeated by a name carried home in song, two pea-fowl messengers, a ferryman's lesson, and a little fish sung back to the river whole. In "The Pea That Made a Fortune" one planted pea climbs a chain of exchanges — horn, fish, moreen, whip, cow — into riches. "Settling the Father's Debt" is settled on a boy's riddle-answers. "The Tree-Wife" grows from a hunter's wish and is sung home on the road of her own spittle. In "Grandy-Do-An'-Do" a very bad woman's threat is beaten by a name Crab gives and a song keeps. "John Studee" and "Contavio" send the pea-fowl flying from house-top to house-top as messenger. "Crossing the River" teaches a greedy boy the ferryman's price. And in "Fish, Fish, Fish" a caught fish is sung up again, whole, and put back in the river. One passage stands as told, in a single summary clause: in "Fish, Fish, Fish" the caught fish is cooked for the family's dinner — ordinary meat-taking, kept at source weight — before the daughter's song brings all of him up again and turns him back into a big fish. Every tale of this stretch was read in full at this shelf's gate. Held for a ruling, and not read here: "Asoonah," whose single shot is the hinge of its tale. Excluded at the gate, recorded plainly, each turning on an enacted killing: "Mr. Lenaman's Corn-Field"; "Simon Tootoos"; "Sammy the Comferee"; "Grandy-Do-An'-Do" in its first telling; "Jack and Harry"; "The Barking Puppy"; "The Singing Bird," both tellings; "Two Sisters"; "The Greedy Child" in its second telling; "Alimoty and Aliminty"; "The Fish Lover," first and third tellings; "Juggin Straw Blue"; "The Witch and the Grain of Peas"; "Bosen Corner"; "The Three Dogs," both tellings; and "Andrew and His Sisters." No completeness is claimed for this stretch of the book. The book's storytellers, kept with honour: Etheline Samuels of Claremont ("The Pea That Made a Fortune"); Simeon Falconer of Santa Cruz Mountains ("Settling the Father's Debt"); Thomas White of Maroon Town ("The Tree-Wife"); Julia Gentle of Malvern ("Grandy-Do-An'-Do"); Matilda Hall of Maroon Town ("John Studee"); Oliver D. Witter of Santa Cruz Mountains ("Contavio"); George Barrett of Maroon Town ("Crossing the River"); and Florence Thomlinson of Lacovia ("Fish, Fish, Fish"). Chapters: 00:32 The Pea That Made a Fortune 01:35 Settling the Father's Debt 03:30 The Tree-Wife 05:44 Grandy-Do-An'-Do 07:54 John Studee 10:32 Contavio 11:56 Crossing the River 12:50 Fish, Fish, Fish Source: Martha Warren Beckwith, Jamaica Anansi Stories, Memoirs of the American Folk-Lore Society, Vol. XVII (1924) — the tales told by the Jamaican storytellers credited above; public-domain 1924 edition (Project Gutenberg eBook #72735). Our telling is a fresh in-house rendering of the 1924 text. Music: gentle instrumental bed under the narration. Thank you for listening — with Part Six the Old Stories open; the Jamaican tales continue on this shelf. 🔊 The KacheliTV podcast carries a new world folk tale every day — follow the show so the next story finds you. Jamaican folk tales, Anansi stories, Jamaican folk tales audiobook, Jamaican folklore, Martha Warren Beckwith, Caribbean folk tales, world folk tales, free audiobook
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S27 · E4
October 17 · 7 min
Folk Tales of Denmark — Part 4 (Trillevip)
Got something to say to this podcast? Send a voicemail, and you might hear yourself on the next episode! Part Four of Folk Tales of Denmark turns to Funen, and to a tale from the second gathering of Svend Grundtvig's Gamle danske Minder i Folkemunde. (The Danish tales are read here part by part, tale by tale — this is not the whole of either collector's great gathering, and no completeness is claimed beyond what is read here.) Trillevip — a girl from Nørre Esterbølle, walking home from church through the Sandagergaard wood, is overheard by the manor's son as she counts to twenty: the spindles of yarn she tells him, in her embarrassment, that she could spin in an evening. His mother sends for her at once, and that night the wool for twenty spindles is laid before her. She spins and weeps towards midnight, not half done, when a little fellow in a red cap steps in and offers his help — if she will be his sweetheart, and afterwards his wife. One, two, three, the work stands finished, and it is finished every evening after; and the mistress is so pleased that the girl is to have her son. But the promise stands between her and the wedding, until the little helper himself offers her a way out: guess his name. A huntsman, out after game for the wedding, has heard the hill-folk dancing in their mound, and a certain little singer running and singing the name that must not be told. On the wedding day three old women come to the table, and the bride knows what she must call them. The tale is read here whole, exactly as Grundtvig printed it, in our own translation from the Danish. Chapters: 00:12 — Trillevip Source: Svend Grundtvig, Gamle danske Minder i Folkemunde (Old Danish Memories in the Mouths of the Folk), vol. II (Copenhagen, 1857), no. 309, "Trillevip" — from Funen, recorded by schoolteacher K. Sørensen of Jellinge. The English here is our own translation from the Danish, made for this shelf. Music: gentle instrumental bed under the narration. Thank you for listening — Part 5 of the Danish tales follows on this shelf. 🔊 The KacheliTV podcast carries a new world folk tale every day — follow the show so the next story finds you.
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S22 · E10
October 17 · 15 min
Folk Tales of France — Part 10 (The Fairies' Bread and the Crystal Eye · The Houle Saint-Michel · The Houle of Chêlin · The Pertuis ès Fêtes)
Got something to say to this podcast? Send a voicemail, and you might hear yourself on the next episode! Folk Tales of France, Part Ten — four more tales from Sébillot's second Breton volume (Tome II, 1881), freshly translated; what the gate and the scan kept back is declared below. The Fairies' Bread and the Crystal Eye. A poor one-eyed woman of Saint-Cast shares her last piece with a beggar — a fairy in disguise, who pays her with a loaf that never diminishes and a crystal eye for the lost one: never tell what it sees. Her gossip's knife ends the loaf; at Matignon market the eye shows her the fairy thieving unseen, and she cries out. Told whole, as printed: the fairy tears away the crystal eye itself, in a single clause, and her parting curse names a starvation the tale never enacts. The Houle Saint-Michel. The fairies under the hearth take Jean's pig, and pay: a purse of a hundred gold pieces — and a second when a cow follows. When his wife lies dying, a fairy rises through the hearth with a bottle she may not use herself — the mother must rub the ointment in, feet, tongue and eyes — and her son, an innocent of fifteen who has never spoken or walked, walks, speaks, reasons, and receives the fairy's wand. The Houle of Chêlin. A slab in a flooded house lifts on the fairies' kitchen, and a woman bakes in their oven; ointment round her eyes shows her the little fions, and the baked loaf will never diminish — if only her own hand cuts it. A day-labourer's knife ends that. Told whole, as printed: at Matignon fair she sees a fairy thieving from a woman's apron, cries out, and the fairy tears out her seeing eye in the tale's single closing clause — no suffering told; she knows it only at her mirror. The Pertuis ès Fêtes. Ploughmen above the Fairies' Cleft joke with the voices below — "Since you are baking, give us a cake for our share" — and get one full of hairs, and a second, golden, which the dog tests first. Having eaten it, they take back their threat against the fairies' dog; and the voice spares the goat about to be beaten, and makes the gorse grow again daily as fast as it is cut, till the farmers are rich on cartloads. Tellers, as printed: Joseph Macé, Saint-Cast, cabin boy, 14; Rose Renaud, Saint-Cast, from an aged woman of Erquy; François Marquer, Saint-Cast, cabin boy, 14; Jacquemine Nicolas, Saint-Cast, about 60 — all told in 1880. What stands around these four is accounted for, not hidden. Two passing tales wait on the book itself: La Fleur du Rocher — between the two Houles above — passes with passage notes, but its middle leaves (pp. 35–37) are absent from the only lawful scan; La Poule noire passes whole, but one leaf's lower half is illegible there. Both stand artifact-blocked, with the opening tale La Houle du Châtelet, for a later part. Tome II stands gated tale by tale: twenty-eight pass whole, twenty-six with passage notes, their matter disclosed in their parts, as here. Eleven stand stopped, held for the owner's ruling by name: La Mort des fées, La Princesse Félicité, Les Petites Coudées, Le Corps sans âme, Petite Baguette, Le Présent de la fée, La Fille aux bras coupés, La Chèvre blanche, Moitié de Coq, Les Boucs de Saint-Brieuc des Iffs, and La Biquette et ses petits biquets. Two are excluded by name: Les Trois Petites Poules, and the second printed telling of Les Sept Garçons et leur sœur. Three more wait on the book: Les Fées du Guildo, Le Meneur de loups, and Le Bélier courant in part. No completeness is claimed. Chapters 00:08 The Fairies' Bread and the Crystal Eye 02:48 The Houle Saint-Michel 08:26 The Houle of Chêlin 12:24 The Pertuis ès Fêtes From Paul Sébillot, Contes populaires de la Haute-Bretagne, Tome II (Paris: G. Charpentier, 1881), public domain; told in a fresh in-house rendering from the French. Folk Tales of France is one shelf of the KacheliTV world folk tale library. 🔊 Listen to the podcast: https://rss.com/podcasts/kachelitv/
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S41 · E1
October 17 · 16 min
Folk Tales of Bolivia — Part 1 (Our Lady of Candelaria and the Silver Arch · A President's Dream)
Got something to say to this podcast? Send a voicemail, and you might hear yourself on the next episode! Folk Tales of Bolivia opens with two traditions and legends of Bolivia, collected and shaped by José Manuel Aponte in his Tradiciones bolivianas (La Paz, 1909) — traditions he gathered, in the judgment of the Bolivian folklorist Antonio Paredes Candia, from nearly the whole country, and shaped as he set them down. They are read here in a fresh English translation made for this shelf. In Our Lady of Candelaria and the Silver Arch, Potosí in 1662 gives its silversmiths' finest work to the mother church: the corregidor Don Gómez de Ávila commissions a silver arch for the image of Our Lady of Candelaria, and the master smith, forced to the work against an impossible deadline, finishes it on the eve of the feast — only to find, before the whole congregation, that the arch does not fit. What happens next, the chronicler Martínez y Vela recorded as a miracle, and the image keeps her inclined head to this day. Two harms stand in the tale's frame, reported and not enacted: the corregidor, deposed by a riot before the tale opens, is said to have died shortly after, poisoned; and the smith is dragged off toward jail before he breaks free to pray. In A President's Dream, the bishopric of Santa Cruz stands vacant in 1855, and the President — tradition names General Belzu, though Aponte's own dates assign the deed to his successor Jorge Córdova — dreams of the bishop to come: dark, short, lean, and humble, and will appoint no other. Marching out against a rumoured revolution that never materialises onstage, he halts for one night at Toledo in Oruro, and recognises the village priest, Don Agustín Gomes Cabezas, as the man of his dream. The tale's frame carries the period's military colour, armies described in general terms as falling on towns like locusts. Chapters 0:19 Our Lady of Candelaria and the Silver Arch 7:57 A President's Dream From Tradiciones bolivianas (1909) by José Manuel Aponte — public domain. Music: gentle instrumental bed under the narration. KacheliTV — world classics, read aloud.
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S40 · E1
October 17 · 18 min
Folk Tales of Papua New Guinea — Part 1 (The Origin of Kiwai Island and People · The Kiwai People Move from the Bush to the Coast · Kapía the Black Cockatoo Brings Fire · How the Animals Were Sent to Fetch Fire · Narato and the Suguma)
Got something to say to this podcast? Send a voicemail, and you might hear yourself on the next episode! Folk Tales of Papua New Guinea opens with five tales of the Kiwai Papuans of the Fly River, in what is now the Western Province of Papua New Guinea. They were collected by Gunnar Landtman, who lived with the Kiwai people from 1910 to 1912 and recorded the tales from named Kiwai narrators, and published in his The Folk-Tales of the Kiwai Papuans (Helsingfors, 1917). They are read here in Landtman's own English text, lightly normalized. In The Origin of Kiwai Island and People, told by Káku of Ipisía, the island itself gathers from river refuse into a sandbank, and Méuri, the first man, grows from a fish the hawk dropped on a stranded palm; a second telling, by Gaméa of Mawáta, tells how the people came from worms in the drying fish. In The Kiwai People Move from the Bush to the Coast, told by Gibúma of Mawáta, the bush villages hear a roaring and think it a fighting spirit — and Kokéma creeps down alone and finds only the sea; in the second telling, by Káku of Ipisía, Daméra appoints the totems and gives fire and the coconut their names. In Kapía the Black Cockatoo Brings Fire, three short tellings — by Obúro of Iása, Mánu of Ipisía, and Bogéra of Ipisía — tell how the cockatoo carried the fire-stick from Manávete, and why his beak is red at the corners to this day. In How the Animals Were Sent to Fetch Fire, told by Másingára men, the rat, the iguana, and the snake all run away into the bush, and the íngua swims the whole way to Túdo with the fire in its mouth. And in Narato and the Suguma, told by Duáne of Mawáta, a flesh-eating sugúma drives the people from their village, and the hunter who feeds it instead of fighting it ends with the monster as his children's guardian; the telling is Landtman's main version, presented complete as printed in 1917. Chapters 0:28 The Origin of Kiwai Island and People 4:15 The Kiwai People Move from the Bush to the Coast 8:19 Kapía the Black Cockatoo Brings Fire 9:22 How the Animals Were Sent to Fetch Fire 10:53 Narato and the Suguma From The Folk-Tales of the Kiwai Papuans (1917) by Gunnar Landtman — public domain. Music: gentle instrumental bed under the narration. KacheliTV — world classics, read aloud.
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S27 · E3
October 17 · 14 min
Folk Tales of Denmark — Part 3 (Ederland, the Poultry-Maid)
Got something to say to this podcast? Send a voicemail, and you might hear yourself on the next episode! Part Three returns Folk Tales of Denmark to Svend Grundtvig's great gathering, and to Vendsyssel in the north of Jutland, the home of Maren Mathisdatter, the teller of Part One's King Dragon. (The Danish tales are read here part by part, tale by tale — this is not the whole of either collector's great gathering, and no completeness is claimed beyond what is read here.) Ederland, the Poultry-Maid (in Danish, Ederland, Hønsepigen) — a dying mother leaves her two fine elder daughters everything she owns, and to the youngest, little Ederland, only a dough-pan, a broomstick, and an apron. In service at a manor she is made poultry-maid, and praised for her poultry, until her envious sisters tell the master she can fetch wonders: a candlestick that shines without light, a horse with bells on all four legs, a sow that stays as fat however much bacon is cut from it. Three times she sails to the trolls' island in the dough-pan, broomstick for mast and apron for sail, counselled at her dead mother's grave — and three times she comes home with the wonder, while the trolls' shouted reckoning follows her across the water: the old troll-mother pushed headfirst into the well, the old troll-father beheaded at his own block, his head laid in the bed with a nightcap on and his body in the soup kettle, and at the last the two sisters who sail to the island in their turn. The tale is read here whole and as written: the story stands exactly as Maren Mathisdatter told it, and as Grundtvig printed it in 1854. Nothing has been cut, nothing softened, and nothing added. Chapters: 00:14 — Ederland, the Poultry-Maid Source: Svend Grundtvig, Gamle danske Minder i Folkemunde (Old Danish Memories in the Mouths of the Folk), vol. I (Copenhagen, 1854), no. 248, "Ederland, Hønsepigen" — told by Maren Mathisdatter of Furreby in Vendsyssel and recorded by Niels Levinsen. The English here is our own translation from the Danish, made for this shelf. Music: gentle instrumental bed under the narration. Thank you for listening — Part 4 of the Danish tales follows on this shelf. 🔊 The KacheliTV podcast carries a new world folk tale every day — follow the show so the next story finds you.
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S22 · E9
October 17 · 19 min
Folk Tales of France — Part 9 (The Seraine of the Fresnaye · The Seraine of the Fresnaye — Another Telling · The Fairy Cave of La Teignouse)
Got something to say to this podcast? Send a voicemail, and you might hear yourself on the next episode! Folk Tales of France, Part Nine — the first part from Sébillot's second Breton volume (Tome II, 1881), freshly translated; what the gate and the scan kept back is declared below. The Seraine of the Fresnaye. A clog-maker's children hear singing on the water and see the Seraine playing on the waves, bright as gold. Lines and cords take nothing; their father finds her asleep on the swell and slips a great basket under her. His wife would eat her; the Seraine answers that whoever eats her flesh will never eat again, and offers any gift. Carried back to the sea, she pays on the spot — at every stroke of her fins the spray is gold — and their fishing never fails after. A year on she fills their purse again and departs for India, never seen in the bay again. The Seraine of the Fresnaye — Another Telling. Sébillot prints a second Saint-Cast telling, and the shelf carries both, as at Part 2. Here he takes her sleeping in his shrimp-net and asks nothing when he frees her — and she remembers: in the dear year his nets fill till he must leave fish behind, bread and butter appear, and in the great cold a parcel comes from Paris with clothes and dolls for the girls. "I am an enchanted queen," she tells him; "you took me, and you did not kill me." The Fairy Cave of La Teignouse. In the houle of La Teignouse stand the fairies' chambers, with the stone tables where the good ladies ate. The fairy Truitonne's goddaughter, promised beauty and a rich marriage, loses her suitor, who finds her sleeping with her mouth full of worms — the sign, says his confessor, that she was never baptised. The godmother turns him into a pig, and long he comes grunting at her door. At the fountain another fairy gives the girl a wand and the words — "By the virtue of my little wand, cease to be a pig, and be a man again" — and with it she raises her parents' house into a château. The fountain heals from that day. Tellers, as printed: the Seraine by Rose Renaud, of Saint-Cast, 60 (1880); the second telling by Adèle Durand, of Saint-Cast, 25, from her grandfather; the Fairy Cave by Scolastique Texier, widow Durand, of Plévenon, 72 (1880). What stands around these three is accounted for, not hidden. The volume opens with La Houle du Châtelet, which passes on its merits but cannot be built: its opening leaf is missing from the lawful scan, and a tale is not built from a decapitated text. Artifact-blocked; first in line for the next part. Tome II stands read and gated tale by tale: twenty-eight pass whole, twenty-six pass with passage notes — carried whole in later parts, their matter disclosed. Eleven stand stopped, held for the owner's ruling by name: La Mort des fées, La Princesse Félicité, Les Petites Coudées, Le Corps sans âme, Petite Baguette, Le Présent de la fée, La Fille aux bras coupés, La Chèvre blanche, Moitié de Coq, Les Boucs de Saint-Brieuc des Iffs, and La Biquette et ses petits biquets. Two are excluded by name: Les Trois Petites Poules, and the second printed telling of Les Sept Garçons et leur sœur (its axe beheading fails the gate; the principal telling passes with notes). Three wait on the book itself: Les Fées du Guildo and Le Meneur de loups (leaves absent from the scan) and Le Bélier courant (text surviving only in part). No completeness is claimed for Tome II. Chapters 00:09 The Seraine of the Fresnaye 09:19 The Seraine of the Fresnaye — Another Telling 13:51 The Fairy Cave of La Teignouse From Paul Sébillot, Contes populaires de la Haute-Bretagne, Tome II (Paris: G. Charpentier, 1881), public domain; told in a fresh in-house rendering from the French. Folk Tales of France is one shelf of the KacheliTV world folk tale library — new parts told from the public-domain collections of the world's peoples, in our own translations. 🔊 Listen to the podcast: https://rss.com/podcasts/kachelitv/
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S42 · E1
October 17 · 27 min
Folk Tales of the United Kingdom — Part 1 (Tom Tit Tot · Cap o' Rushes · The Three Sillies · The Magpie's Nest)
Got something to say to this podcast? Send a voicemail, and you might hear yourself on the next episode! Folk Tales of the United Kingdom opens with four folk tales of England and Scotland as Joseph Jacobs collected them in his English Fairy Tales (London, 1890) — the book Jacobs made, in his own words, to be read aloud. They are read here complete, exactly as written. In Tom Tit Tot, a girl who has eaten all five pies is set by the king to spin five skeins a day on pain of losing her head, and a little black thing that hops in at the window spins them for her — but if she cannot guess its name within the month, she is its own. In Cap o' Rushes, a rich gentleman's youngest daughter, cast out for saying she loves him "as fresh meat loves salt", hides herself in a cloak of rushes and goes into service in a great house. In The Three Sillies, a young gentleman finds a whole household weeping over a mallet that might one day fall, and will not marry the daughter until he has found three sillies greater than these. And in The Magpie's Nest, all the birds come to Mother Magpie to learn how nests are built, and every one of them flies away too soon. Chapters 0:19 Tom Tit Tot 10:28 Cap o' Rushes 17:57 The Three Sillies 24:57 The Magpie's Nest From English Fairy Tales (1890), collected by Joseph Jacobs — public domain. Tales of England and Scotland as Jacobs collected them; no Irish tales appear on this shelf. Music: gentle instrumental bed under the narration. KacheliTV — world classics, read aloud.
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S20 · E13
October 17 · 23 min
Hungarian Folk Tales — Part 13 (Vas Laci)
Got something to say to this podcast? Send a voicemail, and you might hear yourself on the next episode! The youngest prince is strong as the iron he is named for — Vas Laci, Iron Laci — and full of mischief besides: seven devils live in him. He knocks an old woman's egg-basket off her head, and she wishes him good for evil: his first wish shall come true at once. That day his three elder sisters, paying him back for his pranks, all pelt only him in the ball game, and in his anger he cries, "Oh, may the earth swallow you up!" — and the earth opens, and takes all three. He tells no one. Grown to manhood, he confesses to the king and goes after them himself: an iron chest, earned by one lifted bundle of branches, carries him beneath the earth and under the water, past the bridge of dancing razors, into the silver castle of the seven-headed dragon. He wrestles the dragon in its iron barn and walks his eldest sister out over the razors on the dragon's own skin. Steeled head to foot by the steel smith, he outwits the fourteen-headed dragon at the spinning golden castle — iron wheel against paper wheel, red flame against blue — and a raven takes all fourteen heads at his better bargain. A little snake saved from a burning haystack counsels him to refuse her father's gold and ask only for his worst horse, his rustiest sword and his dirtiest shirt; and so armed he comes to the diamond castle, where the twenty-one-headed dragon's wife is a devilish woman, and where his elder brothers hang bound to the smoke. There the ransom he is offered costs him the sword and the shirt — and very nearly everything else. The tale is told whole, as Benedek wrote it, and every hard passage stands at the source's own weight: the seven-headed dragon wrestled in the open and its heads struck off; the fourteen-headed dragon undone by its own bargains; the hero cut into a thousand pieces and welded whole again, seven times stronger, by the snake princess's herbs; and the last dragon felled with a single stroke. No one is killed whom the tale does not restore or unmask as a monster: the swallowed sisters are found alive, and the brothers come down from the smoke and are raised whole by the wonder-herbs. From Benedek Elek, Magyar mese- és mondavilág (Athenaeum, 1894–96), public domain; told in a fresh in-house rendering. KacheliTV — world classics, read aloud.
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S24 · E7
October 17 · 14 min
Folk Tales of the Netherlands — Part 7 (The Oni on His Travels)
Got something to say to this podcast? Send a voicemail, and you might hear yourself on the next episode! Part Seven of Folk Tales of the Netherlands continues William Elliot Griffis's Dutch Fairy Tales for Young Folks of 1918 in our own telling, with the book's eleventh tale, in his order. (Parts One to Six carried tales one to ten; the Dutch tales are read here part by part — this is not the whole book. The eleventh tale stands alone in this part, and Part Eight opens with the book's twelfth tale.) The Oni on His Travels — Griffis's bridge tale between Japan and Holland. The onis are Japan's mischievous little imps, fond of saké and soy, of crockery shops and practical jokes, and not dangerous. When the great Tycoon sends a shipload of Japanese curiosities as a present to the Prince of the Dutch, one young oni stows away in the drawer of a lady's lacquer cabinet, comes out among the cheeses and pickled herrings of the palace at The Hague to the uproar of the servants — who cannot agree whether it was a monkey, a ram, or a pug dog, or what language it spoke — puts on a pair of wooden shoes to hide its tracks, rides a cow home to the stable, ruins the farm wife's best lace cap with a spilled bottle of soy, climbs the chimney, and is at last found dead in the cellar, done in, as Griffis tells it, by fright and the strange strong smells of Holland; and a Delft baker takes the body as the model for the clay gargoyles on the churches of the Netherlands. In keeping with this shelf's practice, the tale stands as Griffis told it: the museum leg of the opening stands in his reported folk-telling, the butler's carving knife, the men's clubs and the farmer's gun stand as threat and readiness with no blow struck and no shot fired, the farm wife's broom whack as one comic blow from which the oni escapes unhurt, and the oni's death in the tale's closing summary, no hand against him and no suffering told; no completeness is claimed beyond what is read here. Chapters: 00:10 — The Oni on His Travels Source: William Elliot Griffis, Dutch Fairy Tales for Young Folks (New York: Thomas Y. Crowell Company, 1918), from the public-domain 1918 edition (Project Gutenberg eBook #7871). Griffis retold these tales in his own English; our telling is a fresh in-house rendering of his 1918 text. Music: gentle instrumental bed under the narration. Thank you for listening — Part 8 of the Dutch tales follows on this shelf. 🔊 The KacheliTV podcast carries a new world folk tale every day — follow the show so the next story finds you.
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S39 · E1
October 17 · 12 min
Folk Tales of Argentina — Part 1 (The Fox and the Lion · The Legend of the Suindá-Cuá · The Stone Itá-Guaimí · The Stones of Santo Pi-Pó · The Town of Emboré)
Got something to say to this podcast? Send a voicemail, and you might hear yourself on the next episode! Folk Tales of Argentina opens with five folk tales and legends of the Misiones region and the Alto Paraná, from Juan Bautista Ambrosetti's Supersticiones y leyendas (Buenos Aires, 1917), together with a tale of the Calchaquí valleys from Adán Quiroga's Folklore calchaquí (1929). They are read here in a fresh English translation made for this shelf. Ambrosetti collected on both banks of the Paraná, a border river, and the legends are presented with his own regional framing: the Suindá-Cuá cliff stands on the Paraguayan bank in his geography, the Santo Pipó stream on the Argentine bank, and Quiroga's tale is billed as he bills it — a tale of Catamarca. In The Fox and the Lion, a Catamarca trickster tale told in dialogue, the fox, caught in the open by the lion, pretends that a furious storm is coming, and talks the lion into being tied fast to a tala tree with chaguar fibre. Quiroga gives the moral himself: how the weak defeats the powerful. In The Legend of the Suindá-Cuá, all the cattle of the Jesuit reductions of Jesús and Trinidad vanish in a day, taken away by a saint as a lesson to those who cared for them badly, and their hoofprints remain stamped in the rock of the Owl's Cave. In The Stone Itá-Guaimí, a disobedient girl, sent grumbling to the river to fetch water, is changed into stone by Tupã at the bank, and travellers still lower their voices as they pass her; the legend is presented complete, exactly as Ambrosetti wrote it. In The Stones of Santo Pi-Pó, Saint Thomas, passing the stream on the Argentine bank, leaves the prints of his hands and feet in the rock. And in The Town of Emboré, the lost Jesuit treasure town stands hidden in the selva, its houses without doors or windows, entered by secret tunnels, while expedition after expedition searches for it in vain — a story Ambrosetti tells with open, affectionate scepticism; the legend's own furniture says the Indians who built the town and carried the treasure "disappeared", a vanishing the tale never explains and never depicts. Chapters 0:32 The Fox and the Lion 3:31 The Legend of the Suindá-Cuá 4:33 The Stone Itá-Guaimí 7:13 The Stones of Santo Pi-Pó 8:08 The Town of Emboré From Supersticiones y leyendas (1917) by Juan Bautista Ambrosetti and Folklore calchaquí (1929) by Adán Quiroga — public domain. Music: gentle instrumental bed under the narration. KacheliTV — world classics, read aloud.
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S37 · E1
October 17 · 15 min
Folk Tales of Venezuela — Part 1 (A Fortunate Monkey · Tobacco in Church · The Lake of Urao)
Got something to say to this podcast? Send a voicemail, and you might hear yourself on the next episode! Folk Tales of Venezuela opens with three traditions and legends of Mérida and the Venezuelan Andes, gathered by Tulio Febres Cordero in his Tradiciones y leyendas (Mérida, 1911) — traditions he collected, as he writes, from old chronicles, documents, and the living voices of the people. They are read here in a fresh English translation made for this shelf. In A Fortunate Monkey, the whole bench of visiting bishops, with the dean and the chapter, hurries to a deathbed in the saintly Bishop Arias's house on the words "the cook is dying" — and finds that the dying one is the household's beloved pet monkey, who lived in the kitchen; the next day the university students paint his tomb with three mitres and an epitaph of their own. In Tobacco in Church, Dean Mendoza wages war on the canons' snuffboxes rattling through the Divine Office, and when a papal bull and the synodal constitutions have both failed, he lights a cigar in the choir himself: if it is allowed in powder, it must be allowed in smoke. One sentence of the tale recalls, as a historical reference only, a Muscovy statute of 1634 against snuff-takers; it is quoted, never enacted. In The Lake of Urao, a bard tells a traveller how the salt lake was formed from the tears of the petrified virgins of the Motatán, how it rose into the air like a cloud and travelled from resting place to resting place under the shelter of the Five White Eagles, and how an evil piache's secret held it fast at Lagunillas. The legend is presented complete, exactly as Febres Cordero wrote it in 1911. Chapters 0:20 A Fortunate Monkey 4:15 Tobacco in Church 8:41 The Lake of Urao From Tradiciones y leyendas (1911) by Tulio Febres Cordero — public domain. Music: gentle instrumental bed under the narration. KacheliTV — world classics, read aloud.
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S35 · E1
October 16 · 14 min
Folk Tales of Uruguay — Part 1 (Ñeambiú and Cuimbaé — The Origin of the Urutaú · The Paraguayan Woman and the Urutaú That Could Not Be Caught)
Folk Tales of Uruguay opens with two tales of the urutaú — the ghost-bird of the Río de la Plata — recorded in Uruguay by Daniel Granada in his Reseña histórico-descriptiva de antiguas y modernas supersticiones del Río de la Plata (Montevideo, 1896), and read here in a fresh English translation from Granada's Spanish. Granada lived for more than fifteen years in Salto, Uruguay, and wrote the book there. The urutaú's lore belongs to the Guaraní tradition of the whole Río de la Plata: Paraguayans, Misioneros, Correntinos, Entre-Ríanos, Orientales — that is, Uruguayans — and Brazilians all keep its Guaraní name, as Granada himself records; it is told here from one of its Uruguayan homes, not as Uruguay's alone. In Ñeambiú and Cuimbaé — The Origin of the Urutaú, the cacique's daughter and the Tupí prisoner who loves her are kept apart by her parents, and grief takes her voice and her feeling; neither her friends nor the diviner Aguará-Payé can call her back, until one word does — and the tale tells how the urutaú came to be, whose cry is a woman's lament ending in dying moans. In The Paraguayan Woman and the Urutaú That Could Not Be Caught, a mother and her little son set out for the stream bank twenty-one days running to snare the marvellous bird, and twenty-one times forget the one thing they went for, while the urutaú sits undisturbed on the same branch. Granada's book is a study of the folk beliefs of the Río de la Plata, and this shelf reads its tales only: the book's chapters on the lobizón, on la luz mala, on haunted places, on the salamanca, and on omens of death stand excluded by name in our shelf register and are not read here or anywhere on this shelf. One belief-line Granada quotes from Azara — that breaking the bird's wing and leg bones leaves it whole again by morning — is omitted from the reading, and a coarse word in a footnote about Don Quixote is never read. Chapters 0:32 Ñeambiú and Cuimbaé — The Origin of the Urutaú 11:36 The Paraguayan Woman and the Urutaú That Could Not Be Caught From Reseña histórico-descriptiva de antiguas y modernas supersticiones del Río de la Plata (1896) by Daniel Granada — public domain. Music: gentle instrumental bed under the narration. KacheliTV — world classics, read aloud.
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S17 · E9
October 16 · 8 min
Nasreddin Hodja — Part 9 of 20 (When I Was Alive)
Ten more anecdotes of the Hodja, from the courts of Timur and Bajazet to the neighbours of the old folk book. A blind poet, once the favourite of the viziers, answers the vizier who visits him with what his boy reads: curses against those who left his father unsupported. Promised anything he wants, Nasreddin asks ten gold pieces and builds a great gate in an open field — a monument the world will laugh at, while Tamerlan's victories draw tears; he saves Bajazet's officers with the offer of a two-man army, himself on the drum; and he corrects the Khan's arithmetic of generosity by one head — his own. Then the folk book takes over: a revenge demanded upon a camel, a whole day and night spent waiting on the evidence of a splashing fountain, a borrowed pan that first bears a young one and then dies, the sauce of the sauce of a hare served to the neighbours of the neighbours — and the Hodja himself, who saws off the branch he sits on, believes the stranger's prophecy, lies down dead, and from his own bier directs the bearers: when I was alive, I always went this way. From Der Hodscha Nasreddin by Albert Wesselski (1911), public domain; told in a fresh in-house rendering. KacheliTV — world classics, read aloud. Chapters: 0:00 Opening 0:05 What the Boy Reads 1:08 The Gate in the Open Field 2:03 You Take the Standard 2:54 One Head Too Few 3:26 Revenge on the Camel 4:27 I Must Finish First 4:58 Your Pan Has Died 5:52 When I Was Alive 7:18 The Sauce of the Sauce 8:18 Where Right Is in the Dark
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S18 · E8
October 16 · 22 min
Northern Tales — Part 8 of 22 (Sea-Jumper · Reindeer-Born · Hare Story)
A young man driven from home crosses the breaking sea ice floe by floe, just as his father foretold, eats of birds that turn to rich sheep's meat upon the spit, hears the reindeer speak in the manner of men, and wins a wife who throws herself down and runs home as a she-wolf to fetch fire. A foundling born of a reindeer doe opens his mouth and swallows the herd whole, until his brother flees him in the night and finds a wife who beats the bushes with a pan-shovel for whipping her husband. And a Hare who visits the Man-Slayer out of curiosity talks his way off the cooking-line and out of the hatchet's reach, and hides under an Eagle-Woman's dish while his pursuer is carried up to the sky and dropped head-first into the earth. Chapters: 00:05 — Sea-Jumper 13:18 — Reindeer-Born 17:20 — Hare Story From Chukchee Mythology (1910) by Waldemar Bogoras — Part I of The Jesup North Pacific Expedition, Vol. VIII (Memoirs of the American Museum of Natural History). Public domain. These three tales open the book's Tales of Russianized Natives. Sea-Jumper was told by Theodosia, a Russianized Yukaghir woman, in the village of Two Brooks on the Large Anui, 1905; Reindeer-Born was told by Mary Alin, a Russianized Chuvantzy woman, at Markova on the Anadyr River, December 1905; and Hare Story was written down by the cossack Innocent Bereskin from the words of Mary Chahin, a Russianized Yukaghir woman, at Pokhotsk on the Lower Kolyma, 1895. Fresh English rendering by KacheliTV; Sea-Jumper is heard with its opening beating told in a single clause, Reindeer-Born with its hostess's former food left untold — her giving it up stands as the condition of her marriage — and the tale left unfinished as its teller left it, and Hare Story with the Hare's bag-of-meat trick left untold, per the shelf's screening ledger. Northern Tales gathers the Chukchi, Siberian Eskimo, Koryak, Yukaghir and Even tales from Bogoras's Jesup North Pacific Expedition volumes, in the books' own order. KacheliTV — world classics, read aloud.
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S22 · E6
October 16 · 18 min
Folk Tales of France — Part 6 (The Women and the Devil · The Sorcerer · Jean-Jacques the Sailor)
Three more tales from the Diableries of Upper Brittany, in which the devil is outwitted, outworked, and outsailed. In The Women and the Devil, two short legends show why the women of Brittany are said to have more finesse than the men: a bride saves her bridegroom from his pact with a single hair of her head, and a farmer's wife rescues her husband from the servant he hired at the Saint-Pierre fair with a bottle of holy water. In The Sorcerer, a gentleman with a chest of books makes the mill of Launay grind with neither wind nor wave, and the book he carries — the Petit Albert — draws two further households into its magic: a rector's chambermaid is carried off in a breath of wind as she reads it, and a sick man's night watch is visited by gentlemen in red. In Jean-Jacques the Sailor, a captain ships a sailor who does the work of ten men by whistling, grows rich on three chests of gold-stones, and learns too late whom he has been sailing with. In The Sorcerer, the book tells in a single clause that the rector's chambermaid did not long survive her adventure; the clause is carried whole, exactly as the book gives it, and no completeness beyond the book's own telling is claimed for it. The Women and the Devil stands in the book without a named teller. The Sorcerer was told by Vincente Béquet, of Saint-Pôtan, in 1867, and its second anecdote by Angèle Quérinan, of Andouillé. Jean-Jacques the Sailor was told by Rose Renaud, of Saint-Cast, in 1879. Told in Upper Brittany, and collected by Paul Sébillot (1843–1918). Chapters: 00:09 The Women and the Devil 06:31 The Sorcerer 12:04 Jean-Jacques the Sailor From Paul Sébillot, Contes populaires de la Haute-Bretagne, Tome I (Paris: G. Charpentier, 1880), public domain; told in a fresh in-house rendering from the French. Folk Tales of France is KacheliTV's telling of Paul Sébillot's Contes populaires de la Haute-Bretagne — the great nineteenth-century collection of the tales of Upper Brittany. 🔊 Listen to the podcast: https://rss.com/podcasts/kachelitv/
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S31 · E1
October 16 · 16 min
Folk Tales of Cabo Verde — Part 1 (The Tug-of-War · The Race · Are Monkeys People? · The Worn-Out Animals · Dividing the Cheese · Eggs or Beans)
Folk Tales of Cabo Verde opens with six tales from Elsie Clews Parsons' Folk-Lore from the Cape Verde Islands — the great collection she made from Cape Verdean storytellers in New England and published in 1923 — read in her own English, exactly as printed. The Tug-of-War. Little Rabbit ties one rope around Elephant's belly and the other end around Whale's tail, and sits back laughing while the two giants pull against each other — each certain the rabbit is dragging him. Afterwards Rabbit hides in a horse's skull, and Elephant has never come back to this day. The Race. Porpoise, the fastest fish in the sea, is beaten by two scallops and a relay; and Turtle outruns Goat-Gazelle over twenty miles, calling out at every five — which is why the turtle still comes ashore to lay her eggs, and watches for Goat-Gazelle when she does. Are Monkeys People? A monkey wife is sure that hands, feet and a face make her people. One trip to town, and the children's shouting, teach her otherwise; the cliffs are home after all. The Worn-Out Animals. A horse, a dog, a cat and a rooster, each turned out by his master for growing old, find a robbers' house in the night and frighten the robbers off — and the one robber who goes back tells the tallest tale of all about what met him inside. The scuffle is the book's own slapstick: scratches, a caught calf, a kick, and no worse. Dividing the Cheese. Two cats steal a cheese and take it to a monkey to divide fairly. He weighs, he nibbles the heavy side to even it, he weighs again — and the cats learn what his fairness costs. Eggs or Beans. Wolf leaves a dozen eggs unpaid, and twelve years later the bill has hatched into seven thousand chickens and twelve thousand dollars. In court, his friend Demon defends him with one question: if cooked eggs can hatch, why should cooked beans not sprout? The threats in the courtroom are the book's own dialogue, unacted, as printed in 1923. What stands around these six is not hidden. Much of Parsons' collection is the Wolf-and-Nephew trickster cycle, and a great many of those tales turn on killings, beatings and burnings; under this library's standing rule they are excluded, not softened, and the shelf makes no claim to the whole collection. Part 1 tells the tales that stand clean. Chapters 00:14 The Tug-of-War 03:04 The Race 05:13 Are Monkeys People? 07:28 The Worn-Out Animals 11:00 Dividing the Cheese 12:24 Eggs or Beans From Folk-Lore from the Cape Verde Islands (1923) by Elsie Clews Parsons — public domain. The tales were collected from Cape Verdean tellers in New England; the Creole texts printed beside the English are not read here. Music: gentle instrumental bed under the narration. KacheliTV — world classics, read aloud. 🔊 Listen to the podcast: https://rss.com/podcasts/kachelitv/
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