Anglo-Canadian Folklore
Like French-Canadian folklore, Anglo-Canadian folklore lacks the creation myths and legends of the FNMI culture. There are some tall tales and fairy tales that through retellings and adaptations are distinctly Canadian. Often it is the setting of traditional stories that has been adapted to the Canadian landscape. While woods are a frequent part of folkloric structure, they take on a special significance in Canadian stories. The Canadian forests were a large presence in settlers' lives, who needed to be clear the land so it could be farmed, chop the wood to build and heat their homes. As well, the woods were home to frightening animals, like wolves. Considering the role that the woods played in the settlers lives, it isn’t surprising that it became a central image in Canadian folklore. "St. Nicholas and the Children", retold by Eva Martin, is an example of a story where the woods is a significant part of the setting. In it, two young children forage for berries and roots while the weather is nice, but when their grandmother takes ill in the winter, they trek through the woods to find a village where they can buy meat to make her some brother. While in the woods, they encounter an old man who gives them a magic willow whistle that can call St. Nicholas if they are ever in need.
From Nova Scotia hails the legend of the Great Breton Giant. While some books referred to these stories as tall tales, I’m inclined to think of them as legends since they are rooted in an actual person, Angus MacAskill. Well known for feats of strength, stories about this man promote helpfulness, humility and parental respect (Butts, 2011). They also embody the reality of the hard work of pioneer families. Giant MacAskill used his strength to help his neighbours, an important lesson for settlers about the need to help each other. These tales continue to be told because they reinforce communal values and continue to speak to people.
"The Soup Bone" told by Melissa Morelli Lacroix in World on a Maple Leaf is another example of a tale that emphasizes sharing and helping others, arguably very Canadian traits. This telling is set in Saskatchewan and the gist of it is that a man shares his soup bone with another in need, and the bone continues to be shared with others and always remains meaty and flavourful.
From Nova Scotia hails the legend of the Great Breton Giant. While some books referred to these stories as tall tales, I’m inclined to think of them as legends since they are rooted in an actual person, Angus MacAskill. Well known for feats of strength, stories about this man promote helpfulness, humility and parental respect (Butts, 2011). They also embody the reality of the hard work of pioneer families. Giant MacAskill used his strength to help his neighbours, an important lesson for settlers about the need to help each other. These tales continue to be told because they reinforce communal values and continue to speak to people.
"The Soup Bone" told by Melissa Morelli Lacroix in World on a Maple Leaf is another example of a tale that emphasizes sharing and helping others, arguably very Canadian traits. This telling is set in Saskatchewan and the gist of it is that a man shares his soup bone with another in need, and the bone continues to be shared with others and always remains meaty and flavourful.
Newfoundland seems to have a particularly active folklore tradition, in large part owing to its “often isolated and enclavic outport communities scattered around the coast and the offshore islands conserved and maintained many of the traditions brought over from ‘the old country’” (Halpert and Story as cited in Widdowson, 2009). For this reason, Memorial University founded its folklore department in the 1960s, with Dr. Herbert Halpert at the helm. Rosenberg (2013) describes Newfoundland culture as “a sort of stew of English, Irish, Scottish, and French cultures” (p.97).
Jack, the equivalent of the French-Canadian Ti-Jean, is a common character in Newfoundland lore. He “encapsulates elements of the Newfoundland character that have evolved over five centuries: honesty, naivete, wit, handiness, courage, humility, cleverness, generosity, and a general belief in the impossible” (Rosenberg, 2013). A recent series of stories about Jack adapted by Andy Jones and illustrated by Darka Erdelji “captures the rhythms of Newfoundland English” and in doing so, promotes the distinctive culture of Newfoundland.
I was disappointed that I didn’t discover many Anglo-Canadian folktales that were written and illustrated for children, in the way that our ethnic folktales and FNMI myths and legends are. I did find Eva Martin’s compendium of stories, "Canadian Fairy Tales", now out of print, but there seems to be a dearth of written material geared towards children. Most of the stories I located were in books on storytelling, where they are less likely to be found by young ones. I hope they have the joy of listening to the tales.
Jack, the equivalent of the French-Canadian Ti-Jean, is a common character in Newfoundland lore. He “encapsulates elements of the Newfoundland character that have evolved over five centuries: honesty, naivete, wit, handiness, courage, humility, cleverness, generosity, and a general belief in the impossible” (Rosenberg, 2013). A recent series of stories about Jack adapted by Andy Jones and illustrated by Darka Erdelji “captures the rhythms of Newfoundland English” and in doing so, promotes the distinctive culture of Newfoundland.
I was disappointed that I didn’t discover many Anglo-Canadian folktales that were written and illustrated for children, in the way that our ethnic folktales and FNMI myths and legends are. I did find Eva Martin’s compendium of stories, "Canadian Fairy Tales", now out of print, but there seems to be a dearth of written material geared towards children. Most of the stories I located were in books on storytelling, where they are less likely to be found by young ones. I hope they have the joy of listening to the tales.