Djeha, the North African Trickster

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Manufactured in the United States of America

First printing 2023

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Library of Congress Cataloging-in-Publication Data

Names: Jones, Christa, editor.

Title: Djeha, the North African trickster / Christa C. Jones.

Description: Jackson : University Press of Mississippi, 2023. | Includes bibliographical references and index.

Identifiers: LCCN 2023016708 (print) | LCCN 2023016709 (ebook) | ISBN 9781496847041 (hardcover) | ISBN 9781496847058 (trade paperback) |ISBN 9781496847065 (epub) | ISBN 9781496847072 (epub) | ISBN 9781496847089 (pdf) | ISBN 9781496847096 (pdf)

Subjects: LCSH: Berbers—Africa, North—Folklore. | Folklore—Africa, North. | Tales—Africa, North. | Kabyles—Folklore. | Berbers—Folklore. | Tricksters—Folklore. | Algeria—Folklore.

Classification: LCC GR353.2.B43 D54 2023 (print) | LCC GR353.2.B43 (ebook) | DDC 398.20961—dc23/eng/20230522

LC record available at https://lccn.loc.gov/2023016708

LC ebook record available at https://lccn.loc.gov/2023016709

British Library Cataloging-in-Publication Data available

Contents

Acknowledgments

Note from the Editor and Translator

Introduction: Tracing the Trickster in North African Folktales

1. Family and Kinship

Djeha and His Son

Djeha and the Pot

Djeha and the Nail

Djeha and the Goat Hide

Djeha and His Mother’s Shoes

Djeha and the Treasure

The Burial of Djeha’s Father

Djeha Marries a Sultan’s Daughter

Djeha and His Wife

Djeha and His Burnous

2. Animal Tales

Djeha Wants to Buy a Donkey

Djeha and the Rabbit Sauce

The Raven

Djeha and His Donkey

Djeha and the Dog

Djeha and the Man Who Wants to Borrow His Donkey

Djeha and the Two Oxen

The High-Strung Horse

The Rent

Djeha and the Jackal

3. Faces, Places, or Daily Life in the Village

Djeha and the Miller

Djeha and His Friends at the Hammam

Djeha and the Qadi

Djeha and His Jewish Neighbor

Djeha and the Local Caid

Djeha and the Barber

The Watermelon

Djeha and His Watch

Djeha, the Field, and the Old Woman

Djeha and His Rope

4. Foodways

Djeha and the Chicken

Djeha and the Meat

The Roasted Kid

Djeha and the People Who Were Eating

Djeha and the Bread

Djeha and the Owner of the Pot

Djeha and the Arab

The Turnips

Djeha and the Ewe’s Head

The Eggs

5 The Intricacies of Hospitality: Beware of Friends and Foes!

Djeha and His Friends

Djeha and His Guests

Djeha and His Two Friends

Djeha and the Burglar

Djeha at the Feast

Djeha Feeds the Students

Djeha and the Students

Djeha and the Thieves

The Hosts’ Pickax

Djeha’s Hare

6. Religion, Death, and the Afterlife

Djeha and the Ten Blind People

Djeha and the Christian

Djeha and the Murder Victim

The Jew Who Wanted to See God

Djeha and Judgment Day

Djeha’s Knife Kills and Resuscitates

Djeha in the Grave

Djeha and the Sheep’s Head

Eagle-Eyed Djeha and His Excellent Marksmanship

Djeha’s Death

Appendix

Notes

References

Index

Acknowledgments

I am most grateful to Mary Heath, associate editor, and Katie E. Keene, editor-in-chief at University Press of Mississippi for their guidance, for their encouragement, and for moving this book toward publication. In particular, I would like to thank Kelly Burch, copyeditor; Corley Longmire, associate project editor; and Joey Brown and the marketing team at the University Press of Mississippi for their hard work. I am very grateful for the comments made by the two anonymous readers commissioned by the press, and I would also like to thank administrators at Utah State University, in particular former department head Bradford Hall, former executive vice-president and provost Francis D. Galey, associate vice-provost Janis Boettinger, and Dean Joseph (Joe) P. Ward, for granting me a research leave during the academic year 2021/22. I am grateful to my colleagues Abdulkafi Albirini and Asmaa Yasidi Alaoui for their help with transliteration of Arabic and Berber terms. Last but not least, I give a big shout-out to my daughter, Audrey Annie, for her insightful remarks and to my trickster husband, Brett Travis Jones, for his editorial input and his unfaltering support.

Note from the Editor and Translator

Auguste Mouliéras’s 1892 trickster collection Les Fourberies de Si Djeh’a (Si Djeh’a the Schemer) contains sixty folktales about the trickster’s daily life and his interactions with the villagers and various individuals he encounters. These sixty tales are numbered and titled but, for the most part, they are thematically unrelated and chronologically disconnected, with the exception of a few tales dealing with the prankster’s wife (chapter 1), his students (chapter 5), thieves (chapter 5), and the numerous folktales centered on foodways (chapter 4). In some tales, the trickster protagonist is young and gullible, while in others, he is either married and shrewd or old and cunning. To enhance the reading experience and provide context about French Algeria and Berber culture, each chapter is preceded by a short introduction, while the tales are arranged thematically. Each of the six chapters contains ten folktales revolving around a common theme: Family and Kinship (chapter 1), Animal Tales (chapter 2), Faces, Places, or Daily Life in the Village (chapter 3), Foodways (chapter 4), The Intricacies of Hospitality: Beware of Friends and Foes! (chapter 5), and Religion, Death, and the Afterlife (chapter 6). This themed structure is intended to help general readers navigate the Djeha folktale maze, while the introductions provide historical and cultural information about French Algeria and Berber culture that might be unfamiliar to Anglophone readers. Mouliéras’s translation is somewhat dry and repetitive. It paradoxically often lacks humor. In my modern translation, I have tried to do justice to the humorous aspect of the jocular tales and anecdotes. Mouliéras’s stilted rendition might be in part attributable to the vertical mode of transmission of the tales and the different personalities of his various informants. He collected the tales from members of the Beni Jennad El-Bahar tribe, who worked as masseurs, and from one person called Amor Ben Mohammed Ben Ali, a member of the Beni Jennad El-Bahar tribe (see Introduction).

When reading the tales, it emerges that some clearly originate from the same informant while others are stylistically very different. Many are short and snappy, while others are long, windy, and repetitive. More than a century later, it is difficult to comment on the exact nature of the relationship between Mouliéras and his various informants, including Amor Ben Mohammed Ben Ali (see Mouliéras 1893, I) whom he credits as his main informant. Were they acquaintances, friends, or did Amor Ben Mohammed Ben Ali consider Mouliéras a figure of authority? Equally important, it should be noted that these trickster folktales were primarily orally transmitted for many centuries and not meant to be read in book form in the first place.¹ They were foremost oral, communally told folktales, and each storyteller had their own personal storytelling style, repertoire, and unique storytelling skills. Some storytellers had undoubtedly more incisive storytelling techniques or better punchlines than others. Jean Déjeux’s bilingual (Berber-French) edition Les Fourberies de Si Djeh’a: Contes kabyles (1987) is a verbatim reedition of Mouliéras’s book. In my English translation, I have attempted to—whenever possible—bring out the punchline of the trickster’s jokes, jests, or pranks.

Introduction

Tracing the Trickster in North African Folktales

This collection of jocular trickster folktales, pranks, jests, and anecdotes is a translation of Auguste Mouliéras’s Les Fourberies de Si Djeh’a (1892; Si Djeh’a the Schemer). It was first published in the Berber Zwawa dialect in 1891, followed by a bilingual French-Berber edition by Mouliéras in 1892, which is the basis for this translation. Djeha, the North African Trickster revisits Mouliéras’s sixty folktales that star an enduringly popular folktale character called Djeha. This iconic figure is the Maghrebian trickster par excellence (Galley and Iraqui Sinaceur 1994, 51).¹ He is, in fact, the most popular protagonist of jocular tales, jokes and pranks in the Arab world (Marzolph 2017, 139). In the northern Algerian mountain range of Kabylia, which provides the setting for this folktale collection, Djeha is a quintessential figure, an imaginary character with whom the Kabyles like to identify (Bourdieu 1979, 15), probably due to the trickster’s proverbial cleverness, stubbornness, and disrespect for figures of authority. We will see that the North African Djeha (also sometimes spelled Djoha, Juḥā, or Ğuḥā) in this collection is poor, hungry, clever, cunning, and resourceful. He plays pranks on the rich and powerful out of necessity, usually to find something to eat and to survive. Djeha is a rebellious, nonconformist, and free agent at a time when Algeria was a French colony (1830–1962). The Kabyle tribes were colonized by the French from 1851 to 1857 (so roughly, three decades after the conquest of Algiers in 1830), with insurrections against the French occupant occurring in the Aurès mountains in 1859 and in Hodna in 1860. Finally, a major revolt occurred in Kabylia in 1870 that was crushed, marking the end of colonization of Algeria by the French (Lacoste [1995] 2004, 28).

The Origins of Djeha/Juḥā and His Twin Brother Nasreddin Hoca

The historical origins of the Djeha figure are extremely varied and complex. The longevity and geographical diffusion of this hybrid and migratory character that is rooted in oral tradition and that has evolved tremendously over a very long period of time explain why he is anything but a uniform or static character.² As Islamicist philologist, folklorist, and Ğuḥā scholar Ulrich Marzolph notes:

First, it is important to keep in mind that Ğuḥā, as he is known and perceived toward the end of the twentieth century, is a popular jocular character whose image developed over a period of more than a thousand years. It was a long way from the first mention of Ğuḥā in the poetry of ‘Umar b. Abī Rabī ‘a, who died around the year 93/712, to the vigorous component of oral tradition in the Arab world that he represents today. (1992, 164; emphasis mine)

In Medieval Islamic Civilization: An Encyclopedia, Marzolph examines the trickster’s origins, lists various manuscripts, and notes that the modern Djeha figure—the one depicted in the folktales in this collection—has been fashioned by traditional Arabic narratives, folktales of the Turkish jester Nasreddin Hoca, and nineteenth-century print tradition:

Juha [sic], a pseudohistorical character, is the most prominent protagonist of jocular prose narratives in the entire Islamic world. The first securely datable anecdote about Juha is narrated in both al-Jahiz’s (d. ca. 255 AH/869 CE) al-Qawl fi l-Bighal (Remarks About Mules) and his Rasa’il (Epistles). Substantial anecdotal material about Juha is available in the large adab³ compilations of the tenth and eleventh centuries, such as the works of al-Tawhidi (d. 414/1023) and al-Abi (d. 421/1030). By the eleventh century, Juha had already been firmly established as a focusee of a cycle of jocular prose narratives, and a booklet devoted to these narratives is listed in Ibn al-Nadim’s Fihrist (The Index; a late tenth-century Baghdad bookseller’s bibliography of works he knew or believed to be extant). During the following centuries, the character attracted ever more material. The only monograph collection of his tales surviving from premodern Arabic literature, a booklet called Irshad Man Naha ila Nawadir Juha (The Guidance of Those Who Feel Inclined to the Stories of Juha), was compiled by Yusuf ibn al-Wakil al-Milawi in the seventeenth century and contains a total of seventy-four tales. The modern image of Juha was shaped by nineteenth-century print tradition. Printed editions of Juha’s tales present an amalgam of traditional Arabic material about him, together with tales that had originally been attributed to the Turkish jester Nasreddin Hodja [sic] and anecdotes derived from traditional Arabic literature. (2006, 426; emphasis mine)

It is indeed important to point out that the Berber prankster Juḥā, or Djeha—as he is called in France and in this collection—has a famous twin brother called Nasreddin Hoca in modern Turkish. Hundreds of Nasreddin aphorisms and tales circulate all over the Arab and Islamic worlds, from North Africa via the Balkan region and the Middle East (including Iran) to Middle, and South Asia. Nasreddin Hoca, who might have been a real person,⁴ probably goes back to the thirteenth or fourteenth century:

Some of the most wide-reaching examples of the impact of traditional jocular tales in the Muslim world are the jokes and anecdotes attached to the character of Nasreddin (Başgöz and Boratav 1998; Marzolph 2006). Whether or not a person by this name, obviously a minor cleric, ever lived in Anatolia in the thirteenth or fourteenth century is a question of historical relevance that fades into insignificance considering the characters spread all over the Muslim world. Today, we witness an all-encompassing reception of the Nasreddin-tales literally in the footsteps of the Prophet Muhammad, i.e., in every language and culture that was or still is influenced by Islam, from Sephardic Spain⁵ to Uyghur culture in Communist China. Considering the syncretistic nature of popular tradition, Nasreddin over the centuries has incorporated the narrative repertoire of numerous other jocular characters, some of them known by name and others remaining anonymous (Marzolph 1998). In this manner, the tales of the Arabic Juhâ, the Sicilian Giufà, the Sephardic Djoha, the Turkish Nasreddin Hoca, the Greek Nastratin, the Iranian Mollâ Nasreddin, the Özbek Ependi (Afandi) or the Chinese A-fan-ti derive from a common source. Besides having been published in numerous jestbooks and cartoons, the tales attached to this character are alive in oral tradition and in a truly transnational manner are potentially accessible to virtually each and every inhabitant of the Muslim world. (Marzolph 2011, 182; emphases mine)

Unlike Djeha in this collection, who is more of an underdog or a parasite (see Déjeux 1976, 28 and 1978, 34), the Nasreddin Hoca character is usually portrayed as the village imam, a role that combines the functions of a judge (qadi), a teacher (hodja), and a preacher (imam); he is a figure who assists the community with legal and religious affairs (Başgöz and Boratav 1998, 7). The Turkish Nasreddin (also spelled Nasroddin) was originally a separate character that was only merged with Djeha/Juḥā/Ğuḥā in a conscious effort in the nineteenth century during a period that also saw a speedy dissemination of a plethora of jocular folktale collections thanks to the introduction of the printing press in the Arab world (see Marzolph 1992, 1999, 2009, and 2011).⁶

The name of the North African Djeha/Juḥā/Ğuḥā trickster has numerous dialectical