My native speech is Korean, and we Koreans also speak of "borrowing" someone's strength or time, when we fully know those things cannot be repaid and therefore cannot really be borrowed. "Borrowing" is just another way to mean "taking." My guess is that it is a universal idiom. It wouldn't be a price at all, but rather a loan. But if Dormin simply means to borrow the boy's body temporarily and give it back to him. Dormin warns the boy of a "heavy price." The moment we hear this, we divine (correctly) that something catastrophic will befall the boy in exchange for the girl's soul. Now if Dormin's warning is genuine, then his talk of "borrowing" cannot be anything more than a figure of speech. It's not good for you." Rather it says "You do know what you're getting yourself into? Don't blame me later." It is that last procedural formality before you put your signature on the contract that will ruin you. It is not a friendly warning that says "Don't do this. He is stating what can't help but be the core theme of any story like this one: "You don't seriously think you will just have your girl back and ride into the sunset, do you? You do realize I'm not about to let you do that?" If anything, the warning is to remind us of the shady nature of the deal. Dormin's warning of a heavy price has nothing to do with his being honorable. A mature story could NOT be written in which the hero revives a dead girl and then lives with her happily ever after like nothing happened. It would not have the typical happy ending. A discerning viewer should have realized that this tale would be a dark one, as soon as he learned what the boy is trying to do. Orpheus fails to obey this, and the wife's soul fades away. The god grants the request-but with a warning that Orpheus must not look back upon his wife while guiding her to the mortal realm. Orpheus' quest is exactly like the Wanderer's: he journeys to the underworld and beseeches the god of death to revive his dead wife. Death is not to be reversed at whim-not even in the fairy land. The success of such a quest would have implications much too dangerous. The old storytellers decided, voluntarily and independently of one another, that the idea of bringing a dead person back to life is not good material for a magical quest. So why are there so many of the one kind and virtually none of the other? Why do the one end happily and the other unhappily? If a storyteller can imagine a magical potion that can heal any sickness instantly, what prevents him from imagining something similar for dead people? On this subject there seems to be a remarkable consensus among the oral traditions of the world. Isn't that strange? In terms of plot setup, the two schemes are identical. And in that one story-the myth of Orpheus-the hero fails. But how many stories do you know where the hero seeks to revive a dead beloved? Most folks probably can recall no more than one. You can probably recall some from your own childhood. This is a popular setup for fairy tales or myths every major oral tradition has dozens of variants, so that there must be thousands, if not tens of thousands, of these stories in all. They always end well the hero is successful, and the beloved lives.
These stories usually involve securing a magical cure for the ailment or some other supernatural feat.
There are many stories in which the hero sets out on a quest to heal a dying beloved-his ailing lover, mother or friend.
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