SO SÁNH TRUYỆN cổ TÍCH THẦN kỳ NGƢỜI KHMER NAM bộ với TRUYỆN cổ TÍCH THẦN kỳ NGƢỜI VIỆT (một số TYPE và MOTIF cơ bản) tt

B GIO DC V O TO
TRNG I HC S PHM H NI

NGUYN TH NHUNG

SO SáNH TRUYệN Cổ TíCH THầN Kỳ NGƯờI KHMER NAM Bộ
VớI TRUYệN Cổ TíCH THầN Kỳ NGƯờI VIệT
(MộT Số TYPE Và MOTIF CƠ BảN)
Chuyờn ngnh: Vn hc dõn gian
Mó s: 9.22.01.25

TểM TT LUN N TIN S NG VN

H NI 2018


Công trình được hoàn thành tại Trường Đại học Sư phạm Hà Nội

Người hướng dẫn khoa học:
1.GS.Vũ Anh Tuấn

2.TS. Trần Minh Hường

Phản biện 1: GS.TS Lê Chí Quế
Trường ĐHKHXH&NV – ĐHQG Hà Nội
Phản biện 2: PGS.TS Nguyễn Thị Phương Châm
Viện nghiên cứu Văn hóa
Phản biện 3: PGS.TS Trần Đức Ngôn
Trường Đại học Văn hóa

Luận án sẽ được bảo vệ trước Hội đồng chấm luận án cấp Trường họp tại

Trường Đại học Sư phạm Hà Nội vào hồi …..giờ … ngày … tháng… năm…

Có thể tìm hiểu luận án tại thư viện: Thư viện Quốc Gia, Hà Nội
hoặc Thư viện Trường Đại học Sư phạm Hà Nội
2


DANH MỤC CÁC BÀI BÁO

1.

2.

3.

4.

5.

6.

Nguyen Thi Nhung (2016), Applyling the field method inthe process of
researching Fairy tale in Viet Nam, the 6th International Conference on
Sciences and Social Sciences (ICSSS2016) at Rajabhat Maha Sarakham
University, Maha Sarakham, Thailand.
Nguyễn Thị Nhung (2017), Thực trạng và những nhân tố ảnh hưởng đến
việc tồn tại và lưu truyền truyện cổ tích thần kì Khmer Nam Bộ, Kỉ yếu
Hội thảo khoa học Sau đại học - ngành Ngữ văn, năm 2017. Đại học Sư
phạm Hà Nội.
Nguyễn Thị Nhung (2017), Tổng quan về các công trình nghiên cứu

truyện kể dân gian Việt Nam từ góc độ type và motif, Tạp chí Khoa học
trường Đại học Sư phạm Hà Nội số 11 năm 2017.
Nguyen Thi Nhung (2017), Similarities in the story type of Heroes that
kill Monsters of Vietnamese and Southern Khmer people in Vietnam, the
7th International Conference on Sciences and Social Sciences
(ICSSS2017) at Rajabhat Maha Sarakham University, Maha Sarakham,
Thailand. (sẽ đăng trên tạp chí trong năm 2018)
Nguyễn Thị Nhung (2017), Nghiên cứu truyện kể dân gian Việt Nam từ góc
độ type và motif (trường hợp sánh truyện cổ tích thần kì của người Việt và
người Khmer Nam Bộ), Kỉ yếu Hội thảo Khoa học trường Đại học Thái
Nguyên và Cao đẳng Sư phạm Lào Cai phối hợp tổ chức năm 2017.
Nguyễn Thị Nhung (2017), Tìm hiểu truyện Ba Phi vùng Tây Nam Cà Mau
từ góc nhìn Văn hóa Nam Bộ, NXB Mỹ Thuật.

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INTRODUCTION
1. Reason for choosing the topic
In the rich assortment of folk literature in various peoples’ culture, folk stories in
general, and fairy tales in particular, take up a relatively large portion compared to other
genres of folk literature. Serving as a unique kind of mirror, fairy tales reflected every
aspect of people’s social life in a shroud of legend. Through conflicts both within
families and amongst social communities, fairy tales have showcased human’s desire
across thousands of generations, the desire for a society of equality and goodness where
the “You reap what you sow” philosophical principle avails. Through the study of
different people’s fairy tales, we can identify the values and philosophies of life
stemming from their ancestors, as well as their perception in the art of vocabulary.
With the appeal of the genre, fairy tales have drawn in the attention of folklore

researchers across the globe for centuries. Amidst the large number of such studies, the
researches that approached fairy tales from their type and motif viewpoints, as well as
papers comparing fairy tales of numerous peoples based on their types and motifs have
been carried out by a number of researchers.
It can be assumed that the study of fairy tales from the tale type and motif
perspective, as well as comparisons based on tale types and motifs is the method that a
great deal of folklore researchers have applied effectively, especially for studies which
aim at pinpointing both the shared characteristics and unique qualities of various folk
stories in the same category.
Being a people with a rather large population among 54 Vietnamese ethnicities,
Khmer people mainly settle in Southern regions (namely Southwest) – the birth place of
“Oc Eo Culture”, the land with a long history and a huge number of exceptional cultural
heritage that are well-known across the country and also the South East Asia. Amongst
Khmer people’s generous collection of folk culture and literature, their fairy tales stood
out the most as an extraordinary art form crafted with words. In addition to the general
characteristics of the content and art of the fairy tales, this story type has many their own
features, reflecting the Khmer ethnic identity and the South.
Through our research in the present state of studies, we have noticed that: there have
been several works of collection, research on or introduction to folktales of Khmer people in
Southern regions which have gained a certain number of achievements. In order to
acknowledge the distinctiveness of Southern Khmer’s fairy tales, they need to be placed in
a wider range of perspective, that being among Viet people’s fairy tales; and there especially
needs to be a comparison between them and those of another people, ones which are
plentiful in number and different in terms of culture, humans and narrative. It is our thought
that comparing Southern Khmer’s fairy tales and those of Viet people would be a practical
approach in attaining the aforementioned goal.
For such reasons, this thesis is going with the topic: “A comparison between

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Southern Khmer’s fairy tales and Viet people’s fairy tales - some basic types and motif”
as the research topic with the purpose of finding out and clarifying the similarities and
differences in the types and motifs between these two peoples - Southern Khmer and Viet
- in terms of their cultural formats and foundations.
On the other hand, being a lecturer at Can Tho University, where 15% of the
attending students are Khmer people, by choosing this subject, the thesis writer would
further advance and expand their knowledge on fairy tales in general and Southern Khmer’s
fairy tales in particular, thus enabling them to prepare even more effective lectures on local
folklore literature teachings for students of the university.
2. The subject and scope of the study:
2.1. Subject of the study
This thesis establishes the subject of study as being the several basic types and
motifs from Southern Khmer’s fairy tales in comparison with some types and motifs in
Viet (Kinh) people’s fairy tales.
2.2. Scope of the study
“Type” level: The thesis would examine and compare these 2 basic types of
story: “People in animal shapes” and “Heroes that kill Monsters ”
“Motif” level: The thesis would examine every motif spotted in the two
aforementioned types of stories and compare the basic motifs that appear in these two
types.
3. Goals and objectives of the study
3.1. Goals of the study
From comparing Southern Khmer’s fairy tales and Viet people’s fairy tales on the
basis of several standard tale types and motifs, the thesis pointed out the similarities and
differences in characters, structures and motifs between the basic types in fairy tales of
these two peoples; as well as explaining the similarities and differences between them
based on features such as the two people’s exchange and adaptation of culture, history,
natural habitat, cultural essence, etc. A scientific confirmation based on those elements

can thus be drawn about the definitive contents and artistic choices of words in Southern
Khmer people’s fairy tales.
3.2. Objectives of the study
- An overview on the subject of study; building the theoretical framework for the
thesis and choosing a research direction for the topic.
- Identifying the range of genre, the natural space for experiencing, materials to be
examined and conduct the examination to distinguish and address the different types in
fairy tales. From then, carrying on to select the two basic types: People in animal shapes
and Heroes that kill Monsters , and proceed to examine and address the motifs belonging
in these two tale types.
- Point out the similarities and differences between these two types of stories; at

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the same time explain these phenomena in terms of: format, exchange – adaptation of
culture, history, natural habitat, cultural essence, etc. to find the reason for these types of
stories’ transformation and adaptation in Southern Khmer and Viet people’s fairy tales.
- From the standpoint of its comparison to Viet people’s fairy tales, the thesis
would point out the characterizing natures of the two types of stories – People in animal
shapes and Heroes that kill Monsters – from Southern Khmer people’s fairy tales and
propose a method to apply results of this thesis and subsequent studies on the thesis’
topic.
4. Approach and method of study
4.1. The approach
The topic is approached from aspects such as: The folklore study major approach, the
cultural humanity approach, the interdisciplinary approach, and the field approach.
4.2. The method of study
In order to reach the goals and objectives of the topic, the thesis mainly use the

following basic research methods in combination with each other: Type comparison
method, Method of analyzin - numerating - categorizing Folklore materials, Field
method (observation, participation).
5. Contributions of the study
5.1. In terms of theories on types and motifs: The thesis contributes to the
systemization of previous research theories on folktales types and motifs, and at the
same time, through applying the theories on types and motifs, on the basis of succeeding
and comparing itself to the works of Viet people’s fairy tale researchers, the thesis
identifies, addresses and establishes a system of motifs for the two types of stories by
Southern Khmer people: People in animal shapes and Heroes that kill Monsters .
Additionally, the application of folklore studies into the singular case study: “A
comparison between Southern Khmer’s fairy tales and Viet people’s fairy tales - some
basic types and motif”, the thesis helps to solidify and confirm the effectiveness of
folklore studying methods, associating theories with research practicality.
5.2. In terms of folklore studies (fairy tales): The thesis plays its part in
pinpointing and confirming the similarities and differences between the types and motifs
of fairy tales in Southern Khmer and Viet people’s cultures; while also elaborates the
reason that caused such similarities and differences, and the content-related and artistic
values of Southern Khmer people’s fairy tales.
5.3. In terms of fairy tale relating materials of different peoples: Through
cataloging, editing and translating a variety of Southern Khmer people’s fairy tales, the
thesis has made considerable contribution in terms of documentations to the fairy tales
collection of minor ethnic groups in general, and Southern Khmer people in particular.
Most notably, after going through board inspection, the dual lingual collection of stories
would serve as materials for two scientific researches, namely: “Teaching Khmer

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language to Southern Khmer students through fairy tales”; and “Preserving the Lakhon
Bassac traditional theater in Southwestern Vietnam”. If these two researches are met with
success, they would bring about extremely practical benefits for the spiritual life of
Southern Khmer people.
6. Structure of the thesis
Besides the introduction, conclusion, references and annex, the main content of
this thesis is arranged in four chapters: (1) An overview on the research situation and
theoretical basis of the topic; (2) Identification of basic types and motifs in Southern
Khmer people’s fairy tales in correlation with those of Viet people; (3) Comparison
between the “Human in animal shapes” type of stories in Southern Khmer’s and Viet
people’s fairy tales; (4) Comparison between the “Heroes that kill Monsters ” type of
stories in Southern Khmer’s and Viet people’s fairy tales.
Chapter 1
AN OVERVIEW ON THE RESEARCH SITUATION
AND THEORETICAL BASIS OF THE TOPIC
1.1. An overview on the research situation
1.1.1. The situation of research on comparison between Viet people’s fairy tales
and those of other countries from the type and motif viewpoint
Generally speaking, the research papers comparing Viet people’s fairy tales with
fairy tales all over the world have mainly focused on the comparison with Asian
countries like: China, Japan, Korea and several other countries in South East Asia.
Going into details with the tale type and motif perspective, we must first
acknowledge the abundant and diverse researches on the Tam Cam (the Vietnamese
Cinderella tale) type of story, along with comparisons between Vietnamese’s Tam Cam
and others of the same type in other countries. Some noteworthy projects include: The
work “A preliminary study of matters in fairy tales through Tam Cam (1968) by Dinh
Gia Khanh; The works: “Folktales through types and motifs” (2001); “From the tale of
Kajong and Halek of the Chams to Tam Cam tale type in South East Asia”); “The
cultural exchange and interaction between peoples in South East Asia through Tam Cam
tale type”; “ The Tam Cam tale type in South East Asia”; “Whom were the conflicts

between in Tam Cam tale type in South East Asia” etc. by Nguyen Tan Dac; or Duong
Tieu Thi in the work “Comparing Cinderella tale type of some peoples in Southern
China with the Vietnamese’s Tam Cam tale type” (2008), etc.
In addition to Tam Cam, other tale types are gaining the interest of folklore
literature specialists. Several notable projects are: “Thach Sanh and the Hero tale type in
Vietnamese and South East Asia folktales”, “ A survey and comparison of several tale types
and motifs in Vietnamese - Japanese folklores” by Nguyen Thi Nguyet, “The clever-animals
tale type in folktales of Vietnam and the world” by Dang Quoc Minh Duong and various

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other papers by authors such as: Cao Huy Dinh, Le Thi Que, Vu Anh Tuan, Nguyen Bich
Ha, Nguyen Thi Hue, Pham Duc Duong, Pham Tiet Khanh, Tran Minh Huong, Duong
Tieu Thi, La Ma Thi Gia, etc.
The comparative approach, the method of compiling and processing materials, the
comparison method and the generalization and clarification in types and motifs comparison
that the authors have used in the researches above all served as the basis for us to gain our
approach direction in our study.
1.1.2. The situation of comparative research in fairy tales of peoples in general and
in comparison with Southern Khmer’s fairy tales from the type and motif viewpoint in
particular
Regarding researches that are related to Viet people’s fairy tales in terms of types
and motifs, the works that we tallied are: “A survey on the structure and meaning of
some motifs in Tay people’s folk tales in Northeastern Vietnam” by Vu Anh Tuan;
“Analyzing Viet people’s fairy tales based on story structure” by Pham Tuan Anh; “The
little-brother tale type in folktales of Viet people” by Nguyen Thi Ngoc Lan; “The motif of
demanding wedding gifts in folktales of Viet people”) by Nguyen Lan Ngoc, etc.
As of today, there have not been many researches that compare fairy tales of Viet

people with those of Southern Khmer, especially in terms of tale type and motif
comparison. Several prominent works can be listed such as: “Survey of Southern Khmer
folk stories (via myths - legends - fairy tales” by Pham Tiet Khanh; “Studying the
Southern Khmer folk story from the context’s perspective” by Huynh Vu Lam, and a
number of master theses.
In conclusion, from a general viewpoint, we can see a gap in researches, namely:
Until now there has been no actually detailed project that studies and compares Southern
Khmer and Viet people’s fairy tales on a broad and general scale, specifically ones that
follow the tale type and motif approach.
1.2. Theoretical basis and supporting terms
1.2.1. Theories on type and motif
1.2.1.1. Definition of type
The concept of Type in the thesis is as follows:
Type is a collection of stories with motifs of the same type. These motifs are
arranged in a certain order according to the narrative structure of the story. A tale type
may consist of several motifs or may consist of only one or a few motifs.
1.2.1.2. Definition of motif
In this thesis, our notion is that: “Motif is the smallest element that makes up a
story type. Motif is the nucleus of action and is repeated many times in the story type”.
1.2.1.3. Aarne –Thompson’s index of types and motifs
1.2.1.3.1. Tale type index
Aarne’s tale type index is in three large categories:

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* Animals (type 1 to type 299)
* General folktales (type 300 to type 1199)
* Jokes and anecdotes (type 1200 to type 2499)

1.2.1.3.2. Motif index of folk-literature by Stith Thompson
Thompson's motif index is divided into chapters from A to Z about mythology,
the world’s creation, animals, about taboos, charms, magic, shape-shifting, etc.
Stith Thompson's motif classification gave us a solid foundation and theoretical
basis to examine, naming and analyzing the structure of motifs in Southern Khmer’s and
Viet people’s fairy tales.
1.2.2. Comparative study of folk culture and literature
1.2.2.1. Concept
Comparisons in folklore are the comparison of some literary things or phenomena with
other literary things or phenomena, to gain an acknowledgement of the similarities and
differences between them in order to perceive such things and phenomena more clearly and
wholeful, more in relation to other phenomena and things.
1.2.2.2. Subject and purpose of comparison
The subject of comparison usually consists of two or more things or phenomena.
In literary comparisons, the subject of comparison normally features about the quantity,
content or artistic format of literary works, genres or literature movement, etc.
1.2.2.3. Principles of comparative research
The comparison of literary phenomena must adhere to these basic principles:
Principle of objectivity and non-prejudice; Principle of same-type comparison in
hierarchical ranking; Interdisciplinary comparison principle; and Collective
comparison principle.
1.2.2.4. Several approaches in comparative study of folk culture and literature
* Same-era comparison is the comparative method based on a series of
phenomena of the same chronological era or deemed as so. It can be observed that in
literary comparison studies, same-era comparison is indeed format comparison, as this
direction of comparison also approaches the subject of comparison from the point of
view of basic characteristics and features of literary phenomena of the same kind, with
many similarities and a few differences. The comparison takes place on the basis that
subjects are of the same type, in which their similarities will be fundamental (Major
similarities, minor differences).

* Chronological comparison means the comparison of phenomena of the same
type but belonging in different eras in order to elucidate the development of such
phenomena in terms of time, in order to set up a historical system, and restore the origin
of a cultural element. The ethnicity’s characteristics is shown in the overview of cultural
and psychological features, etc. and while more complex layouts are compared, the

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adaptation is fainter. Among the majority of equivalent factors, the differences in
chronology can still be seen. In the development trend, more complex ethnographic
phenomena which are less structurally complicated are probably retained less in their
original form.
1.2.2.5. Explanation of the similarities and differences in comparing folklore
phenomena
We clarified the similarities and differences from such perspective as: the format
perspective, historical - geographic perspective; cultural perspective; the perspective of
"self-generating" of cultural phenomen and folklore; general or interdisciplinary
perspective, etc.
1.2.5. Theoretical application of the thesis
The process of comparing the two types: People in animal shapes and Heroes
that kill Monsters can be systemized by the following graph:

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Comparison

Type
Khmer’s Fairy tales
Type (combined with chronology)

Type
Viet people’s fairy
tales

COMPARATIVE

Structure

Characte
rs

Motif

SIMILARITY
Character
- Origin, character and life of the character.
- Role of the character in the animation story of the
characters, etc.
Structure
- Structure (basic narrative steps)
- Types of expression in the story type (based on the
order of arrangement and the frequency of
occurrences of the motif)
Motif
- Motif structure
- The details forming the basic motif

- Narrative functions, aesthetic sense of the motif

DIFFERENCE
Character
-Origin, character and life of the character.
-Different ways of overcoming the challenges,
showing the talent and making feat of arms,etc.
Structure
- Structure (a number of narrative steps with different
minor details that create a complex of structure)
- Specific types of structures in Khmer Krom genres
Motif
- Number of typical motifs
- Details in typical motifs
- Narrative functions, aesthetic sense of the motif

EXPLANATION

SIMILARITIES

DIFFERENCES

- Special format

- Created by creativity and adaptation that suit their own

- Is exchanged and “borrowed” through wars, trading,
religious preaching, immigration, etc
- Derived from the same “model” or symbolism
- Is the rules of cultural phenomena’s development and selfgeneration

- Share the same perception, feelings and development
regarding human psychology
- Share the same cultural ecology: same ecological
characteristics and geographical conditions
- Same cultural format
-All ethnic groups share the same ancestor
- Other reasons

environment during the process of exchanging and
“borrowing”
- Self-generating development that complies with rules of the
cultural phenomena to adapt with environmental development.
- The pace of development among each people is different in
each stage of evolution and progress.
- Different in environment and ecology
- Different in cultural format
- The results of passed down values, especially folklores
- The unique way each people take after values during
exchanging and “borrowing”
- Other reasons.

THE NATURE - CHARACTERISTICS - ORIGIN - RELATIONSHIP - ADAPTATION PROCESS OF THE 2 TYPES

CHARACTERISTICS, CONTENT AND ARTISTIC VALUES OF FAIRY TALES & THE CULTURAL – SOCIAL –
HISTORICAL IMAGE OF KHMER KROM PEOPLE

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1.3. Theoretical introduction on Fairy tales; People in animal shapes tale type,
Heroes that kill Monsters tale type the current state of materials
1.3.1. Fairy tales
The Soviet’s folklorists’ idea was that: “Fairy tales are the type of folk tales in which
social conflicts are resolved in the realm of magic and thaduenks to magic.”
1.3.2. Documentation and identification of basic story types
Table 1.1: Selection Criteria for Study Materials of the Project
No.
Type
Criteria
- There are characters in the animal
shapes

1

People
shapes

in

animal - There is act of shifting on to human
- Have a challenge
- Have the ability to overcome the
challenge
- There are valiant characters

2

Heroes that kill
Monsters

- There are demonic characters
- There is action to kill the demon
- There is action to save the beauty

1.3.2.1. Southern Khmer’s fairy tales
Based on the results of field survey and fieldwork, we find that, compared to other
types of fairy tales of the Khmer people (over 10 types), the number of stories of two types:
The People in animal shapes ; Heroes that kill Monsters accounting for the highest
proportion (19 out of 44) and still widely circulated in the daily life of the Khmer people in
Southern Vietnam (through TV storytelling programs and Du ke shows). Thus, these two
types of stories are identified by us as the two most fundamental types in the Southern
Khmer’s fairy tales and use them as subjects compared with the legendary Viet people’s
fairy talesin the thesis.
1.3.2.2. Viet people’s fairy tales
Inheriting the materials of leading researchers such as Nguyen Bich Ha, Nguyen Thi
Hue, Nguyen Thi Nguyet, Pham Tuan Anh and the printed stories in the collections of
Nguyen Dong Chi and Nguyen Thi Hue or the fairy tales of the Vietnamese, we selected 5
stories of the type of story of the People in animal shapes and 3 stories of type story of
Heroes that kill Monsters as the object to compared with the two types of stories of the
same Southern Khmer’s fairy tales
Summary of Chapter 1
Through the synthesis of research, we initially noticed: Up to now, there have been
no studies of the fairy tales of the Southern Khmer people. In particular, their folk fairy tales
seems absent from the collection of folk literature of ethnic minorities. Thus, the results of

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the study comparing the legendary Southern Khmer people's fairy tales and Viet people’s
fairy tales from the perspective of type and motif, in addition to giving the reader a more
specific view, will make a small contribution to the historical overview of the stories of the
group of people.
In this chapter, we also make the system for the whole of the underlying theory
(theory of type and motif by Aarne - Thompson, type comparison theory) and auxiliary
systems theory, structural theory; symbol theory, cultural exchange theory ...); the concepts
of types and motifs that we use to survey, compare, and explain the problems of the thesis.
In addition to the generalizations of comparative research and the theoretical
framework for the thesis, in the third part of Chapter 1, we first develop the basic criteria for
identifying two types of stories: People in animal shapes and Heroes that kill Monsters
Then, based on these criteria to choose to survey sources of fairy tales of the Khmer and
Vietnamese and selected 27 stories (12 stories of People in animal shapes and 15 stories of
Heroes that kill Monsters ) as objects of research and comparison of the thesis.
Chapter 2
IDENTIFY BASIC TYPES AND MOTIFS OF SOUTHERN KHMER 'S FAIRY
TALES IN CONJUNCTION WITH VIET PEOPLE’S FAIRY TALES
2.1. Type of People in animal shapes
2.1.1. Structure
Based on the life of the protagonist and the actions that the protagonist has to undergo,
we divide the 20 motifs surveyed in Table 2.1 into four narrative groups as a basis for
constructiong of narrative structure of the story type of people in animal shape as follows:
(1) The motif group introduces the characters in the animal shape: Motif I.1.
Born miraculously; motif I.2. Masquerading; motif I.3. Child-bearing the object; motif I.4.
Meet the married subject; motif I.5. Curse of snake; motif I.6. Worship the gods.
(2) Group of Challenge motif: Motif II.8. Challenges; motif II.11. Choosing wife;
motif II.13. The task assigned to remove the person in the animal shape; motif II.18.
Shuffles; motif II.19. Transfiguration; motif II.22. Fighting for beauty; motif II.17. The only
thing left; motif II.10. The youngest son was treated badly.
(3) Groups of motifs in overcoming the challenge: Motif II.7. Changing the shape;

motif II.9. Talent; motif II.12. Go out (Find medicine, save people); motif
II.17. Test; motif II.20. Identify each other by signal; motif II.23. Fight against invaders;
motif II.14. Helping materials (objects of wealth, miracles, objects that recognize each
other); motif II.15. Helper

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(4) Group of motifs of group rewards: motif II.21. Imitation failed; motif III.24.
Reunion; motif III.25. Get marriage; motif III.26. Throne; motif III.27. Reward.
*The basic structure of the type of People in animal shapes
Introduction

Structure
type of
story
The
person in
animal
shape

(1) The motif group introduces the characters in the
animal shape

(2) Group of Challenge motif

Recitals
(3) Groups of motifs in overcoming the challenge

End

(4) Group of motifs of group rewards

s
2.1.2. Basic motifs
2.1.2.1. Group of opening motifs
a. Group of motifs of the miracle birth: The divine combination -> talented,
healthy, excellent, always standing on the side of the right.
b. Group of motifs of the abandoned child: The child is born; the family is not eligible
for raising. -> The father brings them to the forest to kill. -> The child must struggle to
survive (if the son becomes brave, if the daughter will give birth to the Hero)
2.2.2.2. Group of motifs of section of the recitals:
a. Moti of studying (learning, magic, martial arts): Beauty is caught by beast or
monster -> Heroes that kill Monsters is on the way to kill the monster to save the beauty ->
learn more talents -> Use talents to kill the monster
b. Motif of the fortune teller: The fortune-telling prophecy -> conflict within
the clan -> change the fate of the valiant man in a certain period of time
c. Motif of killing evil snake (Ogre, Devil): The ogre causes disaster for people, people
worship and sacrifice -> the Heroes that kill Monsters fights with the ogre -> victory
(save himself or save the beauty)
d. Motif of killing the wicked: Evil bird appears arresting the Princess or the pretty
girl -> the valiant is on the way to kill the evil birds -> Victory and save the beauty.
e. Motif of taking the Heroes that kill Monsters 's work: The Heroes that kill Monsters
kills the monster, saves the beauty -> the villain cheated -> the Heroes that kill Monsters
seeks the escape way and claims the justice
f. Motif of going down the aquarium: The people underwater Aquarium are in trouble->
Heroes that kill Monsters rescues them -> The Heroes that kill Monsters goes to the aquarium
and are donated treasure ->The Heroes that kill Monsters goes back to the world

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Motif of going down to the aquarium There is also a structure in other forms as
follows: The Heroes that kill Monsters goes down the aquarium -> contest with Dragon
King -> save the princess
g. Motif of the mute: The beauty after being saved -> witness the rescuer (The
valiant) be taking his work -> writhe and become mute.
h. Motif of miracles: The Heroes that kill Monsters has challenges -> get the help of
miracle
object -> overcome the challenges -> marry the Princess and live happily.
Listen to the predicted chickens -> The Heroes that kill Monsters performs -> go to
destroy the invaders, get the throne and marry the beauty.
2.2.2.3. Motifs of ending section
a. Motif of marriage, getting throne: The valiant based on the miraculous help> heal
the princess and be vindicated -> marry the princess (get throne), live happily together.
b. Motif of punishing the guilty: The Heroes that kill Monsters win and goes back ->
be vindicated -> point out the evil -> they were punished.
c. Motif of reward, reunion: The Heroes that kill Monsters after the victory -> the
king (reward, union) or reunion with the family -> Have a happy life
Summary of chapter 2
In Chapter 2, we have examined all the motifs from basic to specific of two types of
stories: The Heroes that kill Monsters , the Person in the animal shape, then named
according to the corresponding symbol: Code - Name type - Structure of the corresponding
content; Code - Name of Motif - Structure of the motif.
At the level of type, we choose the stories of two basic types of fairy tales of the
Southern Khmer and the Viet people: Type of people in animal shapes = Type 400 - 409. AT, type 425. The husband is the animal, "Type Heroes that kill Monsters = Type 300 A- T.
Snake killer rescues the princess; 653 A-T ", explores the structure of all the stories of the
two genres, based on the order of appearance of the motifs and autobiographical functions of

the motif groups, to build the characteristic structure of each type of story, to help readers
have a look at the texture of the two types mentioned above.
At the motif level, we looked at all of the motifs in each of the two-story types, then
referred to the motif names of the motif traits for naming and sorting the motifs of the types
in order of their appearance and function in stories, the analysis of motif content and the
overall structure of each motif.
Specifically, in this chapter, we investigated 20 motifs of the type of people in animal
shapes, 21 motifs of the type of story Heroes that kill Monsters , of which nearly 26 motifs
are new motifs of the two types mentioned above are found. This result is the basis for the
detailed comparisons mentioned in chapters 3 and 4 of this thesis.

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Chapter 3
COMPARISON THE TYPE OF PEOPLE IN ANIMAL SHAPES
IN THE SOUTHERN KHMER'S FAIRY TALES AND
VIET PEOPLE’S FAIRY TALES
3.1. Similarities
3.1.1. Similarities about the main character
- In the stories of the People in the animal shape, the protagonists are all masked.
- At first, they are ugly and not respected by others, but later, they become
beautiful, handsome, respected by others and had a happy life.
- Both Viet people and Southern Khmer’s stories have both masculine and
feminine person in the animal shape.
- Masculine characters in the animal shape are similar in both the Southern Khmer
and Vietnamese legends.
- In these predestined characters, the remarkable similarity lies in the youngest
girl character. It is usually a noble daughter, a rich man or a princess, and always

agrees to marry someone who is a criminal.
3.1.2. Similar in structure
All the stories of the People in animal shape of Southern Khmer and Viet people have
motifs belonging to the motif groups arranged in Chapter 2 and they are all multi-motif
stories.
Two types of similar structure of the stories of the type of People in animal
shapes of both ethnic groups are progressive and separative structures.
The advanced type of motif is that motifs develop in the direction of the motif
behind the hook in the autobiographical details of the previous motif to aim at resolving
the conflict and ending the story. Most of the stories of the type of People in animal
shapes of Southern Khmer and the Vietnamese are structured in this progressive form.
The Marry Goat 2, Snail Fairy, Snake god, Coconut can speak). This structure has the
diagram as follows:
(1)  (2)  (3)  (4)

In addition to the groups of one-line story,in the type of the story on the type of
People in animal shapes of both the Sounthern Khmer and the Viet people, some stories
develop narrative lines related to the subject of marriage. We call it a two-line structure:
gathering motif - the motifs separating line - gathering motif as follows:
Motif of line 1
Gathering motif

Gathering motif
Motif of line 2

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3.1.3. Similarities about motifs

Looking at the statistical results of the same motif in the story of People in animal
shapes of the Southern Khmer and the Vietnamese (Table 3.2), you may notice: The
same motifs take up (11/20 motifs and the repetition of above motifs on many stories,
even many times in a story in the story of People in animal shapes of the Southern
Khmer and the Vietnamese.
3.1.4. Explain the similarities, the international character of type of People in
animal shapes
For the first point, we assume that the fate of the character in animal shape is
mischievous and unlucky at the beginning of the story and becomes beautiful and happy
at the end of the story expresses the concept of life and aesthetic beauty of the ancient
people's deep humanity. The happy ending of the stories reflects the humanistic concept
of the ancient workers on the beauty: defending the weak, the disabled, the desire to
change the destiny of the unlucky people and send the belief in the good inside nature,
not the appearance.
The second argument, according to the evolutionist approach, assumes that the
similarities between the characters and the main motifs of the series about People in
animal shapes are the same because they reflect the general developmental rules of the
human world. The essence revolves around the interplay between People and object in
the animal shape that evokes the relationship between man and nature and the primordial
belief in the ability to transform between man and nature, which is reflected in Folk
narrative genres from mythology to fairy tales.
The third argument, based on the theory of type comparison, assumes that there
are narrative characteristics of the type of story of People in animal shapes that play a
decisive role in character, structure and motif analogy of the stories in this style in both
Southern Khmer and Viet people. Finding out about the world's ancient folk treasures
through the Thompson index, we found that many similar types and motifs have been
categorized and coded by scholars. We found the appearance of familiar motifs are
associated with three-fourths of the narrative that we have minimized. The popularity of
this type of story in the world's folklore treasure is an important explanation for the
similarities of character, structure and motif of the masculine story of people in animal

shapes of the Southern Khmer and the Vietnamese.
3.2. Differences
3.2.1. Difference on the main character
- In Vietnamese stories, the female characters in the animal shape are not being
raised in the family and hide in the common wild animals that we often see in the field.
The predestined subjects are the orphans, the poor students with the same class of people
in society. The special talents of fairy tales are displayed to help with the everyday life
of people, including dressing, cooking, cleaning the house. When they change the shape,
they get married and the story ends in a happy marriage.
- In the Khmer story, the Heroine is Golden Box Girl, the Horse-faced Girl.

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Both of them have a specific family background and are in the animal shape due to
miraculous birth. They actively appear and attract the predestined subject by their own
charm. Their predestined subjects are of royal origin such as the crown prince the prince.
They are married to these characters and join the royal family. No talent or challenge
related to daily life. The challenges they faced were not as simple as daily meals, but
battles involving mortal life, fighting to save lives.
3.2.2. Structural differences
In addition to the similarities mentioned in Section 3.1.2, we find that in the story
type of the people in animal shape of the Khmer, there is a typical type of structure: the
knotted multi-layered round structure (each knot is a small type ). This is the type of
structure that repeats the cycle of a group of motifs in a similar order, helping to stretch
the whole story instead of pushing it to the end of the story. The structure of this form
can be modeled as follows:
Round 1: (1)  (2)
(3)  (4)

Round 2: (2)  (3) 
(4)

Round 3: (2)  (3)
 (4)

Nang Hop vang, Mieng dua biet noi chuyen, Nguoi con gai mặt ngua, Pho ma
Coc of the SouKhmer Krom are the stories of this structure.
3.2.3. Differences in motifs
Look at the statistical results of specific motifs in the story type Poeple in animal
shapes Southern Khmer and the Vietnamese (Table 3.3), may notice: The motifs of the
motifs only appear in the Southern Khmer people's version) account for 9 out of 21
motifs and the repetition of motifs in many stories., even many times in a story in the
story of Poeple in animal shapes of the Southern Khmer and the Vietnamese.
3.2.4. Explain the differences, the characteristics of the Khmer story of People
in animal shapes
3.2.4.1. Explain differences in characters
As pointed out in the character comparison, the striking differences of the type of
story of People in animal shapes of the Vietnamese and the Southern Khmer people are
about the covers. To explain this, we need to come back to characteristics of ethnic
culture in the relationship between man and nature.
Thus, in order to explain the differences in the "stories" in Southern Khmer and
Vietnamese stories, we can give explanations on two aspects. Firstly, it is related to beliefs fetish
animals in mythology, Vietnamese stories are goat and frog covers, while the Khmer stories have
snake cover. Secondly, derived from things familiar with daily life, Vietnamese stories with
coconut and snail covers; while the Khmer story has coconut, horse, and frog covers.
3.2.4.2. Explain the differences in motifs
The motifs in the story of People in animal shapes are portrayed by the
Vietnamese as a social influence of Confucianism. Conversely, the recitals of the female

character in the Khmer story reflects a Khmer society boldly colorful Buddhist
Theravada and religious beliefs. Characters in the animal shape, Golden Box Girl, and

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Horse-Faced Girl, are strong-willed daughters. Both of them actively approached the
subject of marriage and struggled to gain happiness.
In studies of Khmer culture, the Khmer received Indian monarchy views through
the sea. This form of monarchy reflects the appearance of the Khmer stories. In the
traditional Khmer customs, the court applied the form of swearing to the court, creating a
link to the motif curse in the Khmer story. In addition, the kingship and royal colors also
seem to have an effect on the Khmer storyline, as motifs against foreign invaders and
monarchs appear at the end of some stories.
The above interpretations help the thesis judge that: The stories of people in
animal shapes of the Vietnamese show the character of the miraculous fairy tales, while
those of the Khmer people show the intersection with the type of Heroic stories.
3.2.4.3. Explain the structural differences: Du ke - Khmer folk inscriptions and
the integration of the plot
Du ke, the typical Khmer folk singing style is more related to the performance of
fairy tales. The scenarios of Du ke, such as the traditional operetta of the Vietnamese, are
mostly taken from the treasures of folk stories.
During the fieldwork, we went to many Khmer-inhabited areas. Fieldwork in Soc
Trang, Bac Lieu and Kien Giang provinces shows that the stories are no longer widely
spoken in families or Khmer temples. They exist in the form of stories printed in
children's books, in the collections of ancient writers and almost absent of textbooks in
Khmer. However, Du ke is still performed. The Khmer people still watch and still write
new scripts. Therefore, they still need folk tales as a narrative resource. It is the nature of
the chorus that combines many of these stories, although the commentary we have just

drawn in the previous section is The story of People in animal shapes of the Khmer
ethnicity shows the intersection with the Heroic type.
Summary of Chapter 3
In Chapter 3, the similarities and differences in characters, structures and motifs of
the story types about the people in the shape of Southern Khmer and Viet people have been
described, analyzed and explained. The stories about the people in the shape of Southern
Khmer and Viet people have the similarities in character, structure and motifs.
Similarities are explained: Firstly, similarities of the shapes, the transformation of
people-animal in the stories about Viet people and Southern Khmer stories reflect the
general nature of folk narrative in recording the development of the human world, from
mythology to fairy tales. Secondly, the existence of the story type about the People in
animal shapes in the collection of human's fairy tales explains the type-based similarities
in character, structure, motif of this type of story, which is also the story of the people in
the shapes of Viet people and the Southern Khmer.
The differences create the distint nationalistic beauty of each story and explained
by two reasons: firstly, some shapes have a profound relationship in racial belief and
secondly, the difference comes from the culture environment (Viet people's stories is

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deep with Confucianism in Viet people's society while the Southern Khmer 's stories
have developments attached to the Khmer Kings' society, and contain many good-toinclined lessons that show the influence of Theravada Buddhism.
From structural analyzes, it can be seen that the most distinctive feature of the
stories about the people in the Viet shape is plenty of world affairs, closely linked to the
rural environment, reflecting a Vietnamese class-divided society and the dreams of the
simple-hearted workers who want to change their lives and expect others to respect their
own values. The stories of the people in the Southern Khmer 's shapes still express the
features of legend, historical inspiration and tend to be dramatically thrill. It reflects the

widespread of the type of stories in society, as evidenced by the interpenetration of fairy
tales and "du ke" performance.
Chapter 4
A COMPARISON BETWEEN THE STORY TYPE OF HEROES THAT KILL
MONSTERS IN SOUTHERN KHMER 'S FAIRY TALES AND VIET PEOPLE'S
FAIRLY TALES
4.1. Similarities
4.1.1. Similarity in main character
- The first similarity of characters is: The main character of the story must be a Hero.
This is firstly proved by the name of the story.
- The next feature of this type of story Heroes that kill Monsters is the similarity
of the narrative system that follows the main character: The character of Hero is a
supernatural character -> going through adventures with fights against enormous and
dangerous forces. -> winning the fight -> winning a prize, marrying with the princess,
receiving the throne, reuniting with the family as the rewards for the Heroes, making
them happy forever after.
4.1.2. Similarity in structure
The types of stories are multi-motif. The diverse combination of motifs in the five
above narration steps will create two different types of story structures: Simple and
Complicated.
The first similarity is that among the stories of both Southern Khmer and Viet
people, there are simple stories (two stories of Viet people, 3 stories of the Southern
Khmer). According to our survey in the stories of Heroes that kill Monsters , the
simplest structure of the story includes three steps:
1)  (2)  (5)
The next similarity in the type of "Heroes that kill Monsters " story of the
Southern Khmer and Viet People is the existence of pairs of stories with similar
narrative structure. The first pair is the Southern Khmer 's story "Areca spadix" and the
Viet people's story "three good guys". The second pair is the "Thach Sanh" story of the
Viet people and the "Chau Sanh Chau Thong" story of the Southern Khmer. This

surprising similarity in two above pairs of stories leads to the thinking that this version
may be a variant of the other.

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4.1.3. Similarity in motifs
Observing the statistics table of the same motifs in the type of "Heroes that kill
Monsters " story of the Southern Khmer and Viet people (Table 4.2), we find out that up
to 17/21 motifs are the same in the type of Heroes that kill Monsters story of Southern
Khmer and Viet people are quite rich and diversified.
4.1.4. Explanation about the similarities, the international features of the story type
The similarity of the Heroes that kill Monsters stories of the Southern Khmer
and Viet people comes from the intrinsic basis of the law of folklore narrative creativity.
According to the arguments of the type theory, the thesis hypothesizes that the
similarities in the Heroes that kill Monsters stories of the Southern Khmer and Viet
people are in the law of similarity in the character, strcuture and motifs of the Heroes
that kill Monsters in the world.
Firstly, in terms of the character, the image of the Hero or brave man is
understood to be the talented man who has achieved the doughty deeds, who is listed in
the treasure of folklore narratives of any any nation.
Secondly, in terms of structure, in the treasure of world, there are many stories of
the story about the Heroes in which the narrative structure has the same steps as the
stories of the Heroes that kill Monsters (According to Thompson's look-up table)
Thirdly, in terms of motif, we refer to A-T's motif index collection for narrative
steps of the series of Heroes that kill Monsters stories and find out that similar motifs
can be found out in almost any group.
However, there are other similarities that can not be just explained from the basis
of the genre. The thesis hypothesizes that the environmental, social, historical, and

autogenous cultural factors of these ethnic groups are also the basis for the production of
the Heroes that kill Monsters stories. Going deeper into the history of ethnic group's
culture, the thesis hypothesizes the culture- history relation between the Viet people and
Southern Khmer together and the influences of Indian culture also contribute to create
the similarities in the story of the two peoples. Due to the long process of settlement
between the Southern Khmer and the Viet people, the two Heroes that kill Monsters
stories of the two peoples have much similarity. It can be said that this story is the
version of the other story, in other ethnic languages.
4.2. Differences
4.2.1. Differences in main character
4.2.1.1. Character of Hero
In the story of the Khmer, there are many characters with different origins and
characteristics:

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- Firstly, the characters of the group of ordinary people who practise and selfimprove to become the talented.
- Secondly, the characters belongs to the group of youngest children given magic
support.
- Thirdly, the characters belongs to the miraclous childbearing group.
4.2.1.2. Character of cannibal
Cannibal in the Hero story of the Southern Khmer appeared popularly. There is the
hometown, kingdom of cannibals, including cannibal kingdom, cannibal princess. Basically,
cannibal characters in the motif of killing evil snake is very fierce and ferocious, kidnapping
beautiful women, eating the innocent people, destroying and demanding tribute. Therefore,
the people are terrified, the king is offering the prize for the cannibal killer.
However, in the system of a number of stories belonging to the type of Heroes
that kill Monsters stories of the Southern Khmer, there are characters of cannibal

depicted as friends. There are also some close relationships between them. Especially,
there are Heroess who make the cannibal surrenderred and give them magic objects, help
them cross the sea and escape from danger.
4.2.2. Differences in structure
Among almost the stories of the Southern Khmer (8 stories), each story has its
own feature, making a special diversity.
The first typical group includes stories with two main characters, two narrative
lines, and a structure of focal motif - parallel motif - focal motif. They are Nieng Soc ko -ro-óp and Chao T'bat T'bua.
The second typical group is the story with many layers of knot. They are the
stories with the most complicated structure, series of the stories of Xang xa La Chi
(Variant: Săn sal La chi) and Sang sen lo chay.
4.2.3. Specific motifs
Observing the statistical results of the specific motifs of the types of stories of the
people in the shapes of the Southern Khmer and Viet People (Table 3.3), it can be seen
that the number of specific motifs (motifs only appear in the stories of the Southern
Khmer , accounting for 6/21 motifs and repetitions of above motifs in many stories, even
many times in a story in the type of storiess of the people in the shapes of the Southern
Khmer and Viet people.
4.2.4. Explanation about the differences, the special feature of the Hero story of
the Southern Khmer.
4.2.4.1. The Royal power of the Khmer is the basis to explain the difference
betwee character of Hero and motifs on characters of Hero in the Khmer's stories.
The first difference is that the Heroes come from royal origin, making a variation

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in the beginning of the stories. Due to the influence of temple religions from India as
Brahmanism, in the Khmer society, the kingship is attached to servant power in the kingbeliefs, therefore, the origin of princes of the Heroes, is considerred as an explanation of

the miraclous origin of the character.
The next difference coming from cultural origin is the marriage motif of the
Heroes. Marriage reflects a view on the hero who conquer the beautiful woman.
However, looking at another aspect, this motif not only reflects the dominance of the
patriarchal regime, but also expresses the appearance of the matriarchy. The marriage in
paternal relations, such as the story in which San Sal Ra gets married with the daughter
of a princess knowwn as his cousin, can also be explained when we study about
marriage customs of the Khmer.
Thirdly, religious practice is the path of maturity of the Hero in the story and the
Khmer boys in real life. There are many specific motifs in the Hero stories of the Khmer
in relation with the religion, including religious practice, the help of the monk, the
fortune teller's predictions.
Thus, from the comparisons and connections of culture-folklore, it can be seen
that the differences of Heroes and motifs related to the Hero in Khmer story derive from
the Khmer society of royal power under the influences of the practice of Theravada
Buddhism.
4.2.4.2 Snake in life to the yeak symbol in the culture explains the difference about
the cannibal character and motifs about cannibal in the Khmer Hero story
The life of the "cannibal" characters in the story " Heroes that kill Monsters " of
Southern Khmer exist in a abundant and diverse world. The cannibal is always present
or related to the life of the Hero. This can be explained by the actual living
environment of the Southern Khmer. The ancient South called as the forest of Death
with countless dangerous animals: evil birds, snakes (python), tigers, leopards, etc is
where these people live. They are the earliest ethnic group in the South. Selecting the
high land area to live, born along the crowded canal, wild and mysterious mangrove
forest, everyday they face the risks, from dangerous animals including snakes. Snakes
are enemies they want to kill but they are also the friends who they want to live in
peace with. Perhaps this is the reason the Khmer story has many such characters with
different nature and motifs.
In terms of origin of cannibal image, there are many different stories, legends telling

that Yeak is a Hometree- a god protecting village and wells. In Theravada Buddhism in
Southeast Asia, Yeak is said to be a cannibalistic devil and then surrenderred by the Buddha
and given the position of the god of protection for the temple.

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In folk rituals of the Southern Khmer who have tradition of agriculture and under
influences of Theravada Buddhist from India, there have been changes in cannibal
images for harmony. The images of cannibals are used to express the desire for
dispelling evils, welcoming the good things and luck in life. In the shaping art, many
temples have sculpture of cannibal images. They often appear in pairs in Khmer temples,
sometimes demonstrating the "good" nature of cannibal, contributing to dignify the spirit
of tolerance and justice of Buddhism, praising beauty, good things, preventing evils
from entering the temple and protect the security of the Buddha.
Probably because of the above evidences, the characters of cannibal in the stories
of the Heroes that kill Monsters of the Khmer are rich in character, including the good
and bad cannibals, the cannibal king, the queen cannibal, the cannibal princess and
cannibals as friends. Con người sinh sống cùng với chằn, có cả xứ chằn, hoặc vương
quốc chằn. Humans live together with cannibal, including the hometown of cannibal or
kingdom of cannibal. In the journey of the Khmer Heroes, they always have to fight,
agree and live with cannibal. All are reflections of the cultural image.
4.2.4.3. Explanation about the difference in the structure of the stoties about the
Heroes of the Khmer based on "du ke" culture.
In the "Du ke" performances, we found that the stories are edited. For example, the
"Du ke" play named "Săng sên Lờ Chây" has a stage development similar to the narrative
structure of the "Săng sên Lờ Chây" story.
According to some writers of the Khmer "Du ke" script, the motif of killing cannibals
appear in many "Du ke" scripts. "Cannibal" image keep a role as the soul of "Du ke" play.

The role of cannibal is often the villain, representing the bad, the evil, the symbol of obstacles
that exist in life in order to test the will of human. However, finally, in the end of any "Du ke"
script, the cannibal will be surrendered by the rights. These contribute to the clarification of
the cannibal character and motif related to the cannibal in the above part.
Because of the involvement of the cannibal character, the "Du ke" play are often
very dramatic, with many layers of action, many lines of characters, such as the good
and the evil, people and cannibal, meeting, conflicts and struggles. , and solving the
conflict. The "du ke" plays can last for several hours. This is the environment that fosters
the adventure stories with complicated narrative structure, many motifs as we can see in
the Khmer's story about Heroes.

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Summary of Chapter 4
In Chapter 4, the similarities and differences in characters, structures and motifs
of the type of the stories about the Heroes of Southern Khmer and Viet people have been
described, analyzed and explained. We found that the similarities make up the
internationality of story genres and types, differences make up the distinctly nationalistic
beauty of each story.
For explanation, Chapter 4 applies the type theory to affirm the existence of
common narrative types in the treasure of folk literature of mankind, where similarities
are the result of the laws of narrative development.
In addition, this chapter provides explanations that the influences of Indian culture
on the Southern Khmer and Viet people culture have created similarities in cannibal
character and motifs in the stories of Southern Khmer and Viet people. The long-term
settlement relationship between the Southern Khmer and Viet people makes many
stories have very similar structures and motifs, such as stories "Thach Sanh" and "Chau
Sanh Chau Thong".

The first interpretation of the difference follows the direction of explaining the
difference in characters, leading to difference in motifs. The thesis presents two
characters characterized by Hero character and cannibal character. These two characters
in the Khmer fairy tales reflect the Theravada-Buddhism-influenced worldview, the
king's religious beliefs, and folk beliefs of the Khmer.
The second interpretation is focused on the differences in structure. The Rô-băm
and Du ke folk stages have a great influence on the richness and complexity of the
stories on the Heroes of the Khmer. The Heroic inspiration in the Rô-băm plays, the
theatricality of Yu-ke plays which is a special stage environment that cultivates the
world of characters of Heroes and cannibals, choreographize story motifs and deepen the
narrative structures.
CONCLUSIONS
Comparing the Southern Khmer 's fairy tales with the Viet people's fairy tales in
terms of some basic types and motifs: "Type and motif are unit elements that are both
characteristic and sustainable in folk tales.". The thesis has applied the combination of
research theories of type, motif in the folklores and theory of type comparison,
interdisciplinary research in folklore research to point out the fundamental similarities
and differences in the two types of stories: People in animal shapes and Heroes that kill
Monsters of these two ethnic groups. It can be said that from this comparison, the thesis
identifies in a scientific way and the nature of the typical characteristics as well as the
outstanding values of the Southern Khmer 's fairy tales in comparions with the Viet
people’s fairy tales.
1. Based on an overview, assessment of the fields and issues involved in the study of

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