THE OWL GETS MARRIED A widow with one daughter was always warning the girl that she must be sure to get a good hunter for a husband when she married. The young woman listened and promised to do as her mother advised. At last a suitor came to ask the mother for the girl, but the widow told him that only a good hunter could have her daughter. “I’m just that kind,” said the lover, and again asked her to speak for him to the young woman. So the mother went to the girl and told her a young man had come a-courting, and as he said he was a good hunter she advised her daughter to take him. “Just as you say,” said the girl. So when he came again the matter was all arranged, and he went to live with the girl. The next morning he got ready and said he would go out hunting, but before starting he changed his mind and said he would go fishing. He was gone all day and came home late at night, bringing only three small fish, saying that he had had no luck, but would have better success to-morrow. The next morning he started off again to fish and was gone all day, but came home at night with only two worthless spring lizards ( duwĕ′gă ) and the same excuse. Next day he said he would go hunting this time. He was gone again until night, and returned at last with only a handful of scraps that he had found where some hunters had cut up a deer. By this time the old woman was suspicious. So next morning when he started off again, as he said, to fish, she told her daughter to follow him secretly and see how he set to work. The girl followed through the woods and kept him in sight until he came down to the river, where she saw her husband change to a hooting owl ( uguku′ ) and fly over to a pile of driftwood in the water and cry, “ U-gu-ku! hu! hu! u! u! ” She was surprised and very angry and said to herself, “I thought I had married a man, but my husband is only an owl.” She watched and saw the owl look into the water for a long time and at last swoop down and bring up in his claws a handful of sand, from which he picked out a crawfish. Then he flew across to the bank, took the form of a man again, and started home with the crawfish. His wife hurried on ahead through the woods and got there before him. When he came in with the crawfish in his hand, she asked him where were all the fish he had caught. He said he had none, because an owl had frightened them all away. “I think you are the owl,” said his wife, and drove him out of the house. The owl went into the woods and there he pined away with grief and love until there was no flesh left on any part of his body except his head.
The doctrine and worldview that natural phenomena, places, and objects possess inherent spirit, soul, or personality — and that the cosmos is populated by countless local, plural, embodied divine agents: kami in mountain and tree, sidhe in cairn and well, landwights in field and stone, nymphs in spring and grove, haltija in forest and lake, lares and penates in household and threshold, Iamblichean daemons in element and place. Distinct from monotheism (single transcendent God), pantheism (one underlying substance), and emanation_hierarchy (cascading single source); animism's signature is the plurality, locality, and embodied-in-landscape character of the divine.
The passage is a quintessential example of animism, depicting an owl as a sentient, spiritual agent capable of human marriage, deception, and emotional suffering within the natural landscape.
Form-mutability as a constitutional property of divine and preternatural beings — gods, heroes, spirits, and their human practitioners possessing inherent capacity to alter form across human, animal, plant, or elemental states. Loki and Odin's transformations in Norse, Math's pigs and Blodeuwedd's owl-shape and Pwyll's exchange with Arawn in the Mabinogion, the Greek Proteus, the Indian dasavatara, Vainamoinen's bird-flight in the Kalevala, Ovid's metamorphoses, the shamanic and witch's capacity for ritual form-change. Distinct from anthropomorphism (divine taking specific human form, single embodiment) in that anthropomorphism establishes a stable form whereas this concept establishes form's plurality and instability.
The central plot device is the husband's ability to shift between human and owl forms at will, illustrating form-mutability as a constitutional property of the character.