Abstract
FORMS AND TYPES OF EVILNESS IN THE HELVACI GÜZELİ FOLKTALE
All religions introduce different explanations about the evil in the context of the relationship between evil and God. Apart from religions, various disciplines have been searching for answers about what is the evilness, and they answered differently. The evil is the reality of the Universe. The evilness exists and people live by being aware of its existence. Religions, philosophy and other sciences study and discuss the evil from a theoretical point of view; however, for the literature, evilness is a practical problem. In the literature, the evilness is discussed in fiction and reality’s borders. In the tales, which is the most common narration type in the oral narrative tradition, there is a fiction, too. Tales narrate the evil and evilness to the audiences in the fiction. In the tales, there are moral acceptances, and whether written or oral, all texts are the transmitters of these. The evilness in the tales is a moral problem and tales do not discuss it. Not only indicate they the evil to their audiences and attempt to protect them from it, but they also try to draw their attention to its negative impacts and the significance of the good. In the world of the tales, one the one hand, the evil always gets receive its just deserts. But, on the other hand, tales also allow forgiving the evil. Forgivingness observed in the tales is not impotence against the evilness. On the contrary, it is an opportunity presented to the evil to turn into the good. Tales, by doing that, remind the audience about the values such as mercy and forgivingness. Tales’ original language narrates that the evilness is a temporary situation against the goodness. Therefore, the audience witnesses the triumph of the good against evil. This rule does not change in the Helvacı Güzeli folktale, as well. In this tale, the “goodness” is an absolute and creating value, and the evilness is not permanent, but temporary.
Keywords
Folklore, Evilness, Tale, Evilness Forms, Evilness Types
