{"id":2267,"date":"2024-11-01T14:13:11","date_gmt":"2024-11-01T14:13:11","guid":{"rendered":"https:\/\/antropoflora.com\/mitul-fetei-padurii-origini-si-conexiuni-cu-alte-entitati-folclorice-locale\/"},"modified":"2024-11-01T14:56:57","modified_gmt":"2024-11-01T14:56:57","slug":"mitul-fetei-padurii-origini-si-conexiuni-cu-alte-entitati-folclorice-locale","status":"publish","type":"post","link":"https:\/\/antropoflora.com\/en\/mitul-fetei-padurii-origini-si-conexiuni-cu-alte-entitati-folclorice-locale\/","title":{"rendered":"The Forest Maiden Myth. Ancestry and Connections to Other Local Folkloric Figures\u00a0"},"content":{"rendered":"
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Photo: Ioana C\u00eerlig<\/p>\n\n\n\n

In the following lines, we discuss the myth of the Forest Maiden in relation to a series of similar figures that stand out through their wildness and aggression in the local folkloric culture from the past centuries. These figures contribute, in one form or another, through a constant and chaotic revival, to the continuity of the narrative representations found in the mythologies of Mesopotamia, Ancient Greece, or the Roman Empire. At the same time, they adapt to a vast cultural area that extends beyond the boundaries of continental Europe. In this regard, we will observe how several mythical feminine and masculine entities form the basis of a rich repertoire of interconnected folkloric themes exploring: nature (the surrounding landscape), gender power dynamics, and supernatural (divine) punishment. We will present both \u201cforest spirits,\u201d such as the Forest Maiden, the Forest Crone, the V\u00e2lva, and the Forest Man, and water entities, like the Sea Maiden, the Sirens, the Water Man, and nocturnal figures such as the Iele and the Night Man as well. These folkloric figures can easily be described within a common category due to their connections with certain pre-ancient, Roman, or medieval mythical representations, such as demons of the incubus and succubus type or the Wild Man.<\/p>\n\n\n\n

The history of the Forest Maiden myth and its relationship with Muma P\u0103durii (the Forest Crone)<\/strong><\/p>\n\n\n\n

The Forest Maiden appears recurrently in the mythology of Maramure\u0219, Bukovina, Moldavia, Transylvania, and the Ukrainian region of Transcarpathia starting with the second half of the 19th century. The stories featuring her presence were included in collections by folklorists such as Ion Pop Reteganul, A. Onaciu, Kadar Joszef, Grigore Moldovan, Vasiliu Criste, Simion Florea Marian, and Elena Niculi\u021b\u0103-Voronca. The myth gradually spread to Bihor and Banat, and in the following century, ethnographic research continued with figures like Tache Papahagi, Ion Mu\u0219lea, V. Scurtu, I.A. Candrea, Marcel Olinescu, Ovidiu B\u00e2rlea, Otilia Hede\u0219an, and later, in the current century, with Constantin Eretescu, Pamfil Bil\u021biu, or Maria Ioni\u021b\u0103 (Dr\u0103goi, 2009: 13). In most stories, the Forest Maiden is a “bringer of death,” a demonic entity who becomes the fatal antagonist of shepherds, especially young men who get lost in the dark wilderness of the forest. This can be interpreted as an initiation myth aimed at young shepherds, foresters, and other inhabitants of these densely vegetated landscapes. Most descriptions indicate her long hair, which covers much of her body. “(…) there was a girl with breasts like a woman’s, and in her mouth too! And a body like a woman’s, with long, black hair and eyebrows\u2026 But from the neck down, all, all, all was hair” (Hede\u0219an, 2000, 12). However, there are many variations in the disfigurements with which this entity can be encountered. Depending on the storyteller’s choice, the Forest Maiden is either “young and beautiful” or old and “monstrous,” which likely led ethnologist and anthropologist Constantin Eretescu to conclude that this mythical figure “has invaded the space of other supernatural beings and taken over their functions” (Eretescu, 2007: 109).<\/p>\n\n\n\n

The Forest Maiden, like many other folkloric representations, appears under a wide range of anthroponyms that vary according to the geography of the community being studied and the time when ethnographic data was recorded: P\u0103dureana or P\u0103dureanca in some sources, Fata, Fata Nop\u021bii (Night Girl), Fata de P\u0103dure (Forest Girl), Fata Dracului (Devil’s Girl), Ciufu Nop\u021bii (Night Owl), Ileana P\u0103durii (Ileana of the Forest), and \u0218tima P\u0103durii (Forest Spirit). The same character is associated with other demonic figures, such as Avizuha, Frumu\u0219elele (the Beauties), the Forest Crone (Muma P\u0103durii), or Mar\u021bolea (Dr\u0103goi, 2009: 13), as well as other anthropomorphic characters like V\u00e2lva P\u0103durii. While some ethnographic studies do not differentiate between the Forest Maiden and the Forest Crone, other folklore collections depict the former as the latter’s daughter (Ilea, 2018: 244) or as entities with no direct connection other than the forest setting that they both inhabit.<\/p>\n\n\n\n

Eretescu believes that the confusion between the Forest Maiden and the Forest Crone stems from the name and the physical polymorphism of the latter, although the same polymorphism can be observed in both cases, alongside other common aspects such as the anthropomorphization of the forest through the manifestation of a demonic behaviour. It is also noted that folkloric narratives on the Forest Maiden and other similar characters overlap with the rise of aesthetic currents that make use of these myths, particularly in folk ballads, where themes centred on figures “cut out” from oral stories are converted into dramatic characters like the Forest Maiden, Sila Samodiva, or the Scorpia. (The Samodiva, according to the volume “Folklore Studies” edited by Laz\u0103r \u0218\u0103ineanu, has a Bulgarian origin and designates a fairy with “genius” characteristics who resides in orchards or crossroads, while the Scorpia is another female monster who lures and kills young men.) Such literary movements and the echoes one hear in folk music \u201csecularize the myths\u201d (Alexandru, 2018: 173) and contribute to the darkening of certain folkloric creations\u2019 genesis.<\/p>\n\n\n\n

A primary argument for this darkening is the ambiguity surrounding the relationship between the Forest Maiden and the Forest Crone, where the familial connection can be easily justified by elements such as the fact that family organization is one of the defining aspects of Romanian fairy tales. The mythology documented here is abundant with characters like: Muma Zmeilor (Mother of the Ogres), Muma Soarelui (Mother of the Sun), Muma V\u00e2nturilor (Mother of the Winds\u2014Criv\u0103\u021b, the Stormy Wind, the Spring Wind, the Winter Wind), or Fata Ciumei (Daughter of the Plague), Fata M\u0103rilor (Daughter of the Seas), Fata Apelor (Daughter of the Waters), Fata \u00cenflorit\u0103 din Flori N\u0103scut\u0103 (Flower-Born Daughter), Fata Meiului (Daughter of Millet), Fata Gr\u00e2ului (Daughter of Wheat), Fata Florii-Soarelui (Daughter of the Sunflower), and Fata N\u0103scut\u0103 din Piatr\u0103 (Stone-Born Daughter) (Ilea, 2019: 95).<\/p>\n\n\n\n

Yet, the nuclear family structure does not always appear explicitly in texts or records; it can be “read” or explained through correspondences and thought models typical of folkloric stories across most cultural areas. Some sources indicate that the Forest Crone’s children are the spirits of the night\u2014Murgil\u0103 (Twilight), Miaz\u0103noapte (Midnight), and Zoril\u0103 (Dawn)\u2014while other narratives focus on figures like Mo\u0219ul-codrului (the Old Man of the Forest), Tat\u0103l-p\u0103durii (the Father of the Forest), P\u0103durarul (the Forester), P\u0103duroiul (the Woodman), or Mare\u0219-tat\u0103 (Father Mare\u0219). However, none are considered to be the Forest Crone’s partner or the father of the Forest Maiden, but rather the male version of the same character. In general, Romanian mythology tends to separate the presence of parents in the context of birth or child-rearing, and as Bogdan Neagota notes, both parents appear simultaneously in a story only in a crisis situation, such as infertility. When it comes to demonic figures in folklore, motherhood is \u201calways exclusive\u201d (Neagota, 2005: 76).<\/p>\n\n\n\n

The form that the Forest Crone\u2014associated by some ethnographers with the Great Goddess or Bendis from Thracian mythology, the protector of fields, vegetation, and hunting\u2014takes in Romanian folklore is attributed to transformations brought about by the spread of Christianity in Central and Eastern Europe, which “clothed” pre-Christian entities in a “uniform” more suited to the patriarchal order. (Ilea, 2018: 245).<\/p>\n\n\n\n

The Wild Man, Succubus-Incubus, and Other Demons<\/strong><\/p>\n\n\n\n

In the mythic dimension, the origin of the Forest Maiden (P\u0103durena) is often represented by an abusive episode in which a young girl gets lost in the forest and is further led astray by a boy of similar age, whose intentions are solely violent and sexual. “Since then, she haunts the forests and their surroundings both day and night, being seen by many people” (Mure\u0219an, 2018: 160). We can see how similar myths also influence recent cinematic works, such as I Spit on Your Grave (1978) by Meir Zarchi, which was remade in 2010 by Steven R. Monroe. These are popular examples in the horror genre, where many scenarios are based on the type of myth discussed here.<\/p>\n\n\n\n

The descriptive variations in connection with the mythical actions attributed to the Forest Maiden highlight narrative characteristics that recall the Wild Man, a character who is also found in the wood, often depicted with an emphasis on primitivism and sexuality. The Wild Man appears frequently in Western cultural expressions during the Middle Ages and the Renaissance, as the Wilder Mann or Iron Hans (Eisenhans, Iron John), figures also found in the Grimm Brothers’ collections (Barutcieff, 2007: 43). Different versions of the Wild Man and various motifs related to him appear in local mythology with characters like the Forest Maiden, the Forest Crone, or the Forest Man. Any of these three, or their medieval versions, are proven heirs to the Roman cult dedicated to Silvanus, a tutelary deity recognized as the ruler of Alpine forests, most frequently mentioned in the 2nd century CE.<\/p>\n\n\n\n

The Wild Man myth easily overlaps with narratives regarding the Night Man (Omul Nop\u021bii), popular in Maramure\u0219 and throughout northern Romania. These stories portray him as a cannibalistic monster, who is constantly in conflict with the Forest Maiden. \u201cIf he caught her, it was terrifying what he would do to her,\u201d one person from Maramure\u0219 recounted. “He would beat her and I don’t know what else. He would chase her and catch her, and then came the screams and wailing. She didn’t want to make love to him because she needed human men, not the Night Man. Who knows how ugly he was” (Bil\u021biu, 1999: 173). The Wild Man recurs in the stories of locals from \u021aara Ha\u021begului in the 19th and 20th centuries, but he can also be identified with the Half-Man (Jum\u0103tate-de-Om), a character from Muntenian folklore that spread in the early 20th century and was presented as a malevolent threat to shepherds, who often managed to defeat him through mental cleverness or using “spontaneous props” (Barutcieff, 2007: 48), much like in some stories about the Forest Maiden, where she is lured to a well and captured with the help of a symbolic boot. The same Wild Man myth can also be analysed in relation to the C\u0103pc\u0103un, a man-eating figure frequently illustrated in Romanian fairy tales.<\/p>\n\n\n\n

Another source of inspiration that enriches the Forest Made myth comes from ancient history, particularly Mesopotamian mythology, with the deity Lamashtu, a figure that functions both as an incubus and succubus, interrupting pregnancies and stealing children. Similar demonic female figures are described in other pre-Christian myths, such as the Neo-Sumerian or Indian traditions. Comparable are the changelings and faeries from Irish folklore, as well as numerous other creatures from these mythologies. In Southeast Europe, a similar figure with an identical role is Samca (or Avesti\u021ba, “Satan’s wing”), whose enemy is Saint Sisinnius (Neagota, 2005: 80), just as the Night Man is for the Forest Maiden. This emphasizes how the use of figures inspired by demonology serves as an attempt to popularize church beliefs, which cannot occur without the existence of an antagonist, threat, or demon.<\/p>\n\n\n\n

The myths surrounding the attacks caused by the Forest Maiden or the Forest Crone often refer to the abduction of newborns who were insufficiently watched by their mothers. In the case of the Forest Maiden, most stories explain the abduction by saying that she also has children, but they possess repulsive, inhuman traits, hence her preference for the children of others. The Night Man is accused of the same deeds, just as Silvanus and Wilder Mann were, although in some versions, the purpose of the abduction becomes positive due to its initiatory nature.<\/p>\n\n\n\n

Mar\u021bolea, Ielele, and the Sirens<\/strong><\/p>\n\n\n\n

The Forest Maiden is sometimes mistaken for Mar\u021bolea or Mar\u021bi Seara (Tuseday Evening), though most folklore collections distinguish between these figures. What the Forest Maiden, Mar\u021bolea, Joim\u0103ri\u021ba, or the Frumu\u0219elele (Beautiful Ones) have in common is their role in governing local production, particularly in relation to punishing women who worked at night, especially spinning wool or weaving, by physically torturing them or stealing their tools. Likewise, washing clothes at specific times of the day, or during certain Christian holidays, would provoke \u201ccorrections\u201d from these figures, taking the voice of the victims or getting them lost in the forest. In many tales, the aggression of these entities, and the subsequent healing of the victim, is resolved through a church service. Thus, the violation of a church ordinance is punished in a supernatural dimension and then accepted (or forgiven) once the victim undergoes a series of hardships.<\/p>\n\n\n\n

In many cases, Frumu\u0219elele appear to be regional names for Iele, though they are sometimes mentioned as distinct spirits. Similar to Pan, who in Ancient Greece symbolized rustic musical creation, the Iele are often depicted playing a “magic flute” or “accompanied by bagpipers who play while they dance” (Neagota, 2005: 89). The Forest Maiden uses music in a similarly hypnotic way, with tales collected over time depicting her singing with her voice or flute while leading a dance or hor\u0103. Another similarity between the Forest Girl and the Iele is their method of revenge against young men, through attraction, abduction, and\/or destruction.<\/p>\n\n\n\n

This type of anthropomorphization of the geographical space, as seen in the myths of the Forest Maiden, the Forest Crone (Muma P\u0103durii), and the Night Man (Omul Nop\u021bii), follows the same pattern used in the myths of the Sirens, which appear in numerous literary, theatrical, or cinematic examples. Eretescu describes the Forest Maiden as a “siren of the forest,” justifying this through the erotic character that storytellers and folklore collectors have attributed to the character (Eretescu, 2007: 109). Although sirens have not found a particularly “comfortable” space in Romanian folklore, they do appear occasionally in the imagination and stories of some people. In Pamfil Bil\u021biu’s collection, a person recounts that \u201conce,\u201d in a mythical, timeless past, they encountered a siren in N\u0103vodari, and others mention interactions with a Fish-Girl (Fat\u0103-Pe\u0219te). However, much more frequently mentioned is the Water Man (Omul Apei), who in the same collection is linked to the Forest Girl as her husband in an undefined, ancient past. The Water Man is similarly described to the Night Man or forest entities in terms of bodily anomalies\u2014\u201che was so large they couldn\u2019t even see his hooves\u201d (Bil\u021biu: 163)\u2014but his role is less malevolent than others and often blends with the myth of the “Golden Fish.”<\/p>\n\n\n\n

The forests within the present-day territory of Romania were much more extensive in past centuries than we can imagine today, which explains the abundance of forest creatures in folktales and other folkloric narratives. The V\u00e2lva P\u0103durii is another name designating a mythical woodland creature, and it also has a widespread presence. However, this is not a singular character, considering that the general term signifies a spirit or a fairy. There can be multiple V\u00e2lve ale p\u0103durii (woodland fairies) simultaneously, and folklore generally records a v\u00e2lv\u0103 for everything: V\u00e2lva Lupilor (fairy of wolves), V\u00e2lva B\u0103ilor (fairy of baths), V\u00e2lva Apei (fairy of water), V\u00e2lva Ciumei (fairy of plague), V\u00e2lva Bucatelor (fairy of food), etc. The V\u00e2lva P\u0103durii also has offspring, similar to the Forest Maiden, but in this case, they are small goblins. However, the myths surrounding the V\u00e2lva P\u0103durii present her role as more tempered and protective towards the forest and those living nearby, compared to the Forest Maiden, who \u201csystematically appears to unmarried young men or adolescent boys sent to work alone at the sheepfold or in places where forests are being cleared; she is not dangerous except to them, disappearing or at least softening her violence if a woman is present (even a young girl of just a few years!) or if there is at least the synecdochic sign of a woman (such as the \u2018hem of a girl\u2019s or woman\u2019s skirt\u2019)\u201d (Hede\u0219an, 2000: 49).<\/p>\n\n\n\n

A peculiar fact connected to this myth is that, in many versions, the emphasis falls on the Forest Maiden\u2019s presence in areas where deforestation is happening or in situations where she frightens forest workers or shepherds, who can be seen here as guardians of the woodland space. These myths \u201center circulation\u201d during a historical period when the timber industry undergoes massive development, substantially altering the map of European forests, while colonial relations in Europe are being reshaped. Under such circumstances, it seems that the role of the Forest Maiden would be to send the following message: \u201cDo not approach certain areas of the forest. You must not see anything.\u201d Some ethnographic records from the late 20th century present versions in which the Forest Maiden meets her end and is permanently defeated by the locals in the area where she appeared, as if there was no longer any reason for her to scare them and drive them away from the forests thereafter. However, the \u201cdeath\u201d of the Forest Maiden is not universally recognized, and her survival is confirmed through the field research conducted by ANTROPOFLORA in Maramure\u0219 at the end of this summer, where different versions of the Fata P\u0103durii myth were recorded from contemporary sources, including one in which the character is described, in a more spectacular way than what we have recorded so far, as a blue flame.<\/p>\n\n\n\n

References:<\/p>\n\n\n\n

Alexandru Elena Maria, \u201eFemininul mitologic \u00een balada popular\u0103 rom\u00e2n\u0103\u201d \u00een Buletin \u0218tiin\u021bific, Fascicula Filologie<\/em>, Seria A, Volumul XXVII, Baia Mare, 2018, pp. 173\u2013183<\/p>\n\n\n\n

Bil\u021biu Pamfil, Bil\u021biu Maria, Izvorul fermecat. Basme, pove\u0219ti, legende, povestiri \u0219i mito-credin\u021be din judetul Maramure\u0219<\/em>, Editura Gutinul, 1999<\/p>\n\n\n\n

Cioanc\u0103 Costel, \u201eDrumul c\u0103tre reu\u015fit\u0103. O (scurt\u0103) perspectiv\u0103 hermeneutic\u0103 asupra p\u0103durii din basmul fantastic rom\u00e2nesc\u201d \u00een MERIDIAN CRITIC<\/em>, Volumul 23, Nr.2, 2014, pp. 29\u201336<\/p>\n\n\n\n

Cioanc\u0103 Costel, \u201eContribu\u0163ii la o istorie a r\u0103ului din basmul fantastic rom\u00e2nesc fiin\u0163e malefice conotate mitofolcloric\u201d \u00een Danubius<\/em>, Volumul XXXVIII, Gala\u0163i, 2020, pp. 529\u2013544<\/p>\n\n\n\n

Dr\u0103goi Macarie Marius-Dan, \u201eFata P\u0103durii \u00een mitologia rom\u00e2neasc\u0103 din zona V\u0103ii \u0162ible\u015fului\u201d, \u00een Etnologia rom\u00e2neasc\u0103 \u2013 ast\u0103zi. Studii \u0219i comunic\u0103ri<\/em>, Cluj-Napoca, Editura Funda\u021biei pentru Studii Europene, 2009, 13\u201322<\/p>\n\n\n\n

Eretescu Constantin, Fata P\u0103durii \u0219i Omul Nop\u021bii \u2013 \u00een compania fiin\u021belor supranaturale<\/em>, Editura Compania, 2007<\/p>\n\n\n\n

Hede\u0219an Otilia, Pentru o mitologie difuz\u0103<\/em>, Timi\u015foara, Editura Marineasa, 2000<\/p>\n\n\n\n

Ilea (Rogojin\u0103) Cristina Ileana, \u201eAntroponime \u015fi nume de locuri sacre \u00een basmul rom\u00e2nesc\u201d \u00een Incursiuni \u00een imaginar<\/em>, nr. 9 (1), Alba Iulia,  2018, pp. 238\u2013248<\/p>\n\n\n\n

Ilea (Rogojin\u0103) Cristina Ileana, \u201eAspecte lingvistice ale rela\u021biilor de rudenie \u00een basmul rom\u00e2nesc\u201d \u00een Incursiuni \u00een imaginar<\/em>, nr. 10 (1), Alba Iulia,  2019, pp. 91\u2013100<\/p>\n\n\n\n

Iusco Vasile, \u201eDe la tradi\u021bie la modernism \u00een folclorul muzical maramure\u0219ean\u201d \u00een Materialele Conferin\u021bei \u0219tiin\u021bifice a doctoranzilor. Tendin\u021be contemporane ale dezvolt\u0103rii \u0219tiin\u021bei: viziuni ale tinerilor cercet\u0103tori, <\/em>Volumul II, Edi\u021bia a IX-a, Chi\u0219in\u0103u, 2020, pp. 87\u201392<\/p>\n\n\n\n

Marin-Barutcieff Silvia, \u201eFrumuse\u021bea s\u0103lbaticului. despre alteritatea diform\u0103 \u00een imaginarul Europei centrale \u015fi r\u0103s\u0103ritene\u201d \u00een Andi Mihalache, Adrian Ciofl\u00e2nc\u0103 ed., In medias res. Studii de istorie cultural\u0103<\/em>, Ia\u015fi, Ed. Universit\u0103\u0163ii \u201eAl. I. Cuza\u201d,  2007, pp. 43\u201356.<\/p>\n\n\n\n

Mure\u0219an Olimpia, \u201eFiin\u021be mitologice din lumea satului s\u0103l\u0103jean: Fata P\u0103durii sau P\u0103dureana\u201d \u00een Acta Musei Porolissensis: ActaMP<\/em>, XXXX, nr. 2, seria istorie-etnografie-art\u0103, Zal\u0103u, Editura Porolissum a Muzeului Jude\u021bean, 2018, pp. 159\u2013168 <\/p>\n\n\n\n

Neagota Bogdan, \u201eDaemonologii folclorice, \u00eentre ritualitate \u015fi narativitate. O perspectiv\u0103 istorico-religioas\u0103\u201d \u00een ORMA. Revist\u0103 de studii etnologice \u015fi istorico-religioase<\/em>, Nr. 4, 2005, pp. 75\u201394<\/p>\n\n\n\n

Neagota Bogdan, \u201eHomo Viridis contra Strigas. Ethnographic description and historical-religious archeology in rural Transylvania\u201d \u00een Revista de etnografie \u0219i folclor<\/em>, nr. 1\u20132, 2019, pp. 69\u201393<\/p>\n\n\n\n

\u0218\u0103ineanu Laz\u0103r, Studii folclorice. Cercet\u0103ri \u00een domeniul literaturii populare<\/em>, Bucure\u0219ti, Editura Libr\u0103riei Socec & Comp., 1896.<\/p>\n","protected":false},"excerpt":{"rendered":"

Photo: Ioana C\u00eerlig In the following lines, we discuss the […]<\/p>\n","protected":false},"author":1,"featured_media":2265,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[23],"tags":[],"class_list":["post-2267","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-articles"],"_links":{"self":[{"href":"https:\/\/antropoflora.com\/en\/wp-json\/wp\/v2\/posts\/2267","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/antropoflora.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/antropoflora.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/antropoflora.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/antropoflora.com\/en\/wp-json\/wp\/v2\/comments?post=2267"}],"version-history":[{"count":1,"href":"https:\/\/antropoflora.com\/en\/wp-json\/wp\/v2\/posts\/2267\/revisions"}],"predecessor-version":[{"id":2268,"href":"https:\/\/antropoflora.com\/en\/wp-json\/wp\/v2\/posts\/2267\/revisions\/2268"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/antropoflora.com\/en\/wp-json\/wp\/v2\/media\/2265"}],"wp:attachment":[{"href":"https:\/\/antropoflora.com\/en\/wp-json\/wp\/v2\/media?parent=2267"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/antropoflora.com\/en\/wp-json\/wp\/v2\/categories?post=2267"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/antropoflora.com\/en\/wp-json\/wp\/v2\/tags?post=2267"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}