While the deeper meanings of a story remain constant the details and mechanics are often effected quite strongly by the medium. This is never more obvious than the change wrought on werewolves by the cinema. Almost everything we think we know about werewolves: their connection to the lunar cycle; their immunity to all but silver bullets; their un-controllable blood lust; the weird feud thing with vampires; that a bite will will make you one too… were all popularised by movies and are all wrong.
In pre-Victorian folklore the moon doesn’t play a part in werewolf stories at all, they have no crossover with vampires whatsoever and getting bitten by a werewolf may be painful, or even fatal, but it is not transformative. Werewolves die as easily as any other mammal and only a few of them are hell bent on destruction. In the old folktales it seems that being a werewolf is a purely physical condition. The person of evil intent will become an evil wolf whilst the good and civilised person will remain equally domesticated whilst in their furry skin.
Those who are wicked and have the ability to become a wolf are frequently repeatedly violent, not always when changed either. The renowned folklorist Sabine Baring-Gould, wrote a book called “The Book of Were-Wolves” which is actually primarily about serial killers. He appears to be making the case that the werewolf trope arises out of the monsterfication of the multiple murderer. In folktales and history bad werewolves get killed of course, usually with a fairly standard sharp implement such as a spear or a knife, or dancing at the end of a rope if the law has caught up with them.
One of the things about the good werewolf is that they don’t have a big problem with being a bit doggy; running off in to the woods is just a thing they have to do now and then. There are even stories in which the ability to transform is given as a gift or reward. Any problems that they have stem from other people’s reactions. It is often getting past society’s unwarranted negativity that creates the conflict in the story. In one French tale (France has quite a high density of the afflicted), a dissolute Abbott called Gilbert falls form his horse in the forest whilst drunk, cutting himself in the process. The smell of blood attracts some wild panthers who are about to make a meal of him when he is rescued by a werewolf. The werewolf follows Gilbert back to the abbey, despite Gilbert’s repeated and ever increasing attempts to shoo it away, and later turns out to be his Bishop who lectures Gilbert on the Christian values of judging people by their actions rather than their appearance.
Unlike many other beast genres in folktale, the climax of the tale rarely involves the werewolf becoming permanently human, the condition is not one that gets cured. The more gentle and well behaved werewolf can mostly avoid the terrible terminations of their murderous cousins but is still generally the same amount of canine at the end of the story as the beginning. The wedding that is the resolution in so many fairytales is totally absent as well, the werewolf’s marital status being neither here nor there unless it is their spouses attitude to their lupine nature that causes their problems. What the good werewolf can generally look forward to as their “happily ever after” is acceptance of who they are, however big their eyes, ears and teeth are.
…here’s to living happily ever after, until the next adventure.
The Travelling Talesman www.thetravellingtalesman.co.uk