sleeping Beauty

from Wikipedia, the free encyclopedia
Illustration in Die Gartenlaube , 1865

Sleeping Beauty is a fairy tale ( ATU 410). It is in the children's and house fairy tales of the Brothers Grimm from the 1st edition of 1812 at position 50 (KHM 50) and is passed on orally via Marie Hassenpflug to Charles Perrault's La belle au bois dormant ('The sleeping beauty in the forest') back. Perrault published it in Contes de ma Mère l'Oye in 1697 and before that in 1696. Ludwig Bechstein took the fairy tale into his German book of fairy tales as The Sleeping Beauty (1845 No. 63, 1853 No. 52).

Content at Perrault

Print by Gustave Doré for Perrault's La belle au bois dormant , 1867

A royal couple is finally having a child. At the baptism seven fairies are supposed to bestow gifts such as beauty and the like on the daughter. An old, forgotten fairy arrives, insulted because there is no gold cutlery left, and curses the child to die from the stab of a spindle. But one of the young fairies has saved her wish and mitigates death to a hundred years of sleep, from which a prince will wake her. The king banishes all spindles. After 15 or 16 years, the child finds a castle tower where a friendly old woman is spinning, grabs the spindle and sinks. You put them on the bed. So that she is not alone when she wakes up, the fairy lets everyone sleep in the castle and trees grow close together so that no one disturbs her. After 100 years, a prince is hunting there and wondering about the towers in the forest. Most think that there is an ogre at home, only an old farmer knows of the sleeping beauty. The trees, blackberries and thorn bushes give way to the prince, he finds everyone asleep, finally the princess. She wakes up and talks to him for a long time, there is a feast with a wedding ceremony. His mother becomes suspicious, but he keeps the marriage a secret. After two years his father dies, and he takes home his wife and two children named Mörgenröte and Taglicht. When he was at war, his mother had the two children and his wife slaughtered one after the other in order to eat them, but the steward took a lamb, a kid and a doe instead. One evening the boy betrays himself by crying loudly. The evil one recognizes the deception and prepares for execution. The king joins them, she judges herself. Perrault pulls morale: No girl today waits so well for marriage.

Content at Grimm

Image by Walter Crane

A royal couple longs for a child. Finally a frog (up to the 2nd edition: a cancer) prophesies the birth of the queen. For the festival, twelve fairies are brought in to bless the girl, a thirteenth is skipped, there is no longer a gold plate for her. She then bursts in and curses it to death by a spindle stab in its fifteenth year. But a fairy has not yet spoken her blessing and so softens death to a hundred years of sleep. The king burns all the spindles. At fifteen, her parents are out, the girl finds an old woman spinning in a castle tower, reaches for the spindle, stabs herself and falls asleep. Everyone and everything in the castle sleeps too, thick thorns grow all around. One hears of the princess as the Sleeping Beauty, but princes who seek it die miserably in the thorns. How a hundred years have passed, a prince hears about it again, the thorns are flowers and let him in. Sleeping Beauty wakes up from his kiss, everyone wakes up and celebrates the wedding.

Origin and processing

Image by Carl Offterdinger

Jacob Grimm's handwritten original version from 1810 is apparently based on Marie Hassenpflug's childhood memories of Perrault's fairy tales, which she largely shrank. At Perrault, the prince hides his love affair from his mother, who then tries to eat his children and wife when he is at war. This brutal second part is missing here. The fact that the suitors got stuck is only mentioned briefly. The punch line that a fairy still has her wish was added to the print version in 1812, and the short plot sketch is now designed in Wilhelm Grimm's sense. Hans-Jörg Uther notices the leitmotif-like repetition of Sleeping Beauty's beauty.

The plot hardly changed between the different print runs. The saying "that the king did not know how to leave himself for joy" was added to the 2nd edition first in Grimm's Der Puss in Boots , The Young Giant , similar to Schnabel's island rock castle . The description becomes longer, more concrete, with more literal speeches. Apparently by mistake the eleventh of the "wise women" is missing from the list, as the fairies are now called to dispose of French fairy tales . Desires also call wealth. The fact that the cook pulls the kitchen boy's hair is said to have “done something”. In the country goes the "legend" of Sleeping Beauty, the old man advises against the hero. The flowers no longer turn to thorns behind him. The awakened look at each other with big eyes, their enumeration takes on a clear rhythm, like a counting text (e.g. Das Birnli won't fall ). From the 3rd edition, the prophetic cancer is a frog. The key is rusted instead of just yellow. The royal couple lies by the throne. The 4th edition corrects the absence of the eleventh woman, the appearance of the thirteenth is more detailed. Also new is: “And the wind died down, and there was no more leaf moving from the tree in front of the castle”, for the 5th edition “They went down together ...”, for the 6th edition “... before a year goes by, you will you give birth to a daughter. ”There's a bed in the tower. Heinz Rölleke observes how the phrase “I'm not afraid” was added to the 6th edition in the spirit of the hero Sigurd . The Brothers Grimm were convinced from the start that the text contained traces of the Germanic myth, which is why it remained in the collection despite its French origins. Grimm's KHM 193 Der Drummler speaks similarly . The comment on KHM 93 The Raven also tries to free Brünhild . Dorn-Röschen's story was first called Antoine d'Hamilton's fairy tale L'histoire d'épine in Bertuch's German translation Blue Library of All Nations , 1790, but it is a completely different fairy tale. Walter Scherf speculates that a thorn rose could appear there and in other Sleeping Beauty versions as part of a magical escape like in KHM 51 Fundevogel . After his impression, the text was again approximated to Perrault, but his courtly pompous style became bourgeois. This is how healing baths become the domestic bathtub. The 13 is not only suitable as an unlucky number, in bourgeois imagination a trousseau had twelve plates. For Heinz Rölleke, falling asleep and waking up is a special masterpiece of Wilhelm Grimm, which also distracts from shortening the kissing scene.

Fairy tale research

Image by Alexander Zick

The comment by the Brothers Grimm noted “From Hessen” (by Marie Hassenpflug ). They compare the sleeping woman with Brunhild in the song edda "Samundar 2, 186", Sigurd wakes her in the wall of flames , Othin stabbed her with the sleeping thorn, name Basiles Pentameron V, 5 sun, moon and Thalia , Perrault's La belle au bois dormant , KHM 53 Snow white . At Basile's and Perrault's conclusion, they refer to their fragment, The Evil Mother- in-Law, reproduced in the annotation volume . The note of the 1st edition also mentioned KHM 82a The three sisters , to the spindle the bone in Basiles III, 3 Viso . On sleep, see also II, 8 La schiavottella , KHM 62 The Queen Bee . The spiders - as typically female skills - comes in many fairy tales, KHM 9 , 14 , 24 , 49 , 55 , 65 , 67 , 79 , 128 , 156 , 181 , 179 , 188 , also enchanted castles, KHM 92 , 97 , 121 , 137 , 163 , 197 , 130a . The hidden spinning room may also suggest a forbidden chamber as in KHM 3 , 46 , 62a and in Grimm's comment on Rapunzel . We know cruel stepmothers like Perrault's from Grimm's The Six Swans , Snow White , De Drei Vügelkens , Bechstein's The Boys with the Golden Stars .

The oldest evidence of the narrative type ATU 410 is the story of Troylus and Zellandine in Perceforest (around 1330, book 3, chapters 46, 48, 55), the second part of the Catalan poem Blandin de Cornoualba and the also Catalan poem Frayre de Joy e Sor de Plaser . The death sleep and the helper bird, which played a role in earlier versions of ATU 410, are known by various narrators in the Middle Ages, such as Marie de France in Eliduc and Yonec . Grimm's comment already referred to the Sigrdrífomál of the Edda . Zeus hides Thalia from Hera , she has twins. Basiles Sonne, Mond und Thalia alludes to it and is the first fairy tale version of the type. Rudolf Schenda saw in Sleeping Beauty "one of the most telling examples of the chain of tradition Basile - Perrault - Grimm."

interpretation

Watercolor by Henry Meynell Rheam , 1899

Grimm's reference to Norse mythology was often taken up. Joachim Fernau , for example, saw Sleeping Beauty as a defused version of the Nibelungen saga that was adapted to the moral morals of the time . According to Sigmund Freud, psychoanalysts interpreted long sleep as the escapist fantasy of puberty or, according to CG Jung, the 13th fairy as the great mother , suppressed sexuality and femininity. According to Max Lüthi , the palace is paradise and prison, the first deadly, then flowering hedge expresses the polarity of death and resurrection - which Hans-Jörg Uther puts into perspective, Sleeping Beauty is more in a coma , time stands still, different in legends like KHM 202 The twelve apostles . Today, after thorough philological preparatory work, Heinz Rölleke points out how the young Marie Hassenpflug apparently consciously or unconsciously reproduced what she could identify with: The “15-year-old princess has to wait a long time in her sleeplessly impotent sleep without making any decisions a prince charming falls into her lap, so to speak. ”In the portraits of her youth, she almost embodies the delicate beauty of the sleeping girl, she was very familiar with fainting spells, and as the daughter of a socially distinguished father, she actually had nothing to do but wait for her bridegroom. Dorothee Ostmeier believes that by independently opening and closing the hedge at Sleeping Beauty , even at the beginning of the Brothers Grimm's preface to their fairy tales, she recognizes Jacob Grimm's natural law understanding, in his essay On Poetry in Law, the speech of fate using twigs and branches is. Detailed and important psychological interpretations can be found in Bruno Bettelheim ( Children need fairy tales , 1975), Marie-Louise von Franz ( The female in fairy tales , 1977) or Eugen Drewermann ( Sleeping Beauty ).

According to Hedwig von Beit , the frog or cancer is the great mother , who was reluctant to release her child into the conscious world, and is identical to the fairies who are favorably attuned through ritual sacrificial meals, whereby the consciousness forgot the essential, the fateful. The negative image of the mother is followed by a fatherly spell of female determination, the girl “disappears” into unconscious fantasies. Approaching unconscious content causes a decrease in waking consciousness. Thorn bushes, which in popular belief ward off witches, are mandala-like protection in the quiet ripening time.

According to Bruno Bettelheim , the central theme of all versions of Sleeping Beauty is that parents cannot prevent their children's sexual awakening - the postponed fulfillment is no less beautiful. What seems so passive is not really death. At 15 the rule started earlier, 13 is the lunar months of the year, the rhythm of menstruation. A spiral staircase means a dream of sexual experiences, the small chamber the vagina, the key the act ("What kind of thing is that ..."), whereupon she falls asleep. In the Bible menstruation is "the curse", passed on from woman to woman. The thorn-armed death sleep is a warning against premature sexualization, but also narcissistic isolation. Only inner harmony is harmony with others, give life, and everyone awakens. Bettelheim interprets Sleeping Beauty as a typical adolescence phenomenon in girls and boys:

“With major changes in life, such as adolescence, both active and restful periods are necessary for successful growth. A turning inward, which outwardly has the effect of passivity (or sleepiness), occurs when inner processes of such importance take place in the person concerned that he no longer has any energy for outwardly directed activities. (...) The happy outcome guarantees the child that it will not be permanently caught in apparent idleness. "

- Bettelheim : Children need fairy tales, p. 262

Eugen Drewermann recognizes in the first version, in which a cancer appears in the bathroom instead of a frog (the Grimms changed it, since cancer was a less well-known fairy-tale animal), a drive alignment that goes forwards by also going backwards - a larvized regression (like the crab walk ) with the king and queen. The king shows this behavior by having only twelve gold plates instead of thirteen. "Anyone who only invites others to shine in front of them with their gold cutlery does not arouse affection, they establish a system of favor and resentment." In his sleep in the castle, he sees "the horses in the stable, the dogs in the yard ... yes." , the fire on which the hearth flickered “the drying up of the princess's vitality and warmth, but also the parents lay down to rest (unlike Perrault) over the princess's first sexual experience. Instinctual impulses are "put to sleep" and thus also the parents' fears; when the id no longer stirs, the super-ego can lie down. But a neurosis can result. According to Steff Bornstein, the hedge of thorns symbolizes a desire for revenge for the defloration, "Sleeping Beauty is divided into the one that sleeps in the tower cell ... and the other, symbolized by the hedge of thorns, which lives out its sadistic vengeance." He also sees that in the hedge of thorns Pubic hair of the woman as well as the imagination of the vagina dentata . Purely passive, as if without doing anything on her own, without (suspecting) its effect (...) of her own charm, the young woman who has become Sleeping Beauty attracts men who are always at the same time repulsed. Drewermann compares this with the fairy tale The Little Mermaid : The sailors captured "fear and horror, but they sat quietly on their floating iceberg and saw the bright lightning bolt zigzagging into the floating sea." The Sleeping Beauty Prince is not allowed to like any of the animals Wake up horses, pigeons and flies beforehand, first he has to find Sleeping Beauty and kiss her. When he has done this, the royal state including queen and king (the superego) first awakens, only then does the ego and id (inner things such as horses, pigeons, flies, cooks) awaken.

Psychiatrist Wolfdietrich Siegmund says: "Not when a person wants it, but as in Sleeping Beauty , when the right time has come, the deadlock is released, the spell is broken or the enchantment is removed." Friedel Lenz takes the frog as an image of metamorphosis From the spiritual to the sensual world, the security in the twelveness of the zodiac gives way to a thirteenth, Lucifer or, in fact, Nordic Loki , who lets the self spin in the tower, in the upper room think in thorny egoism, redemption and grace come in the Christian sign of the rose. According to Wilhelm Salber , Sleeping Beauty is a playful challenge to mysterious powers. For the sake of temptation, you experiment with the unheard of, which you then want to keep in an intermediate state. He compares it with the life story of a young girl who is curious to follow up on disreputable suggestions. Blooming stories do develop, but before they are realized it always stops in the surrounding area and experiences similar injuries. Homeopaths compared the fairy tale with the medicines Silicea , Aranea diadema , Ignatia amara , Lac caninum . According to Rüdiger Dahlke's “Law of Polarity”, evil arises through exclusion from consciousness, in patriarchy 13 as the number of the female lunar year, up to reconciliation with the female pole among the thorns of the unconscious. For psychotherapist Gerhard Szonn , the fairy tale describes the attainment of female identity and maturity. Jobst Finke mentions the fairy tale motif of death sleep as a possible metaphor for the constrictions in severe depression .

Receptions

Illustration by Otto Ubbelohde , 1909

Fairy tale researchers came to the conclusion that despite Grimm's fairy tales, the narrative type ATU 410 never really became part of oral folk tradition. Variants in the Romance-speaking area are similar to Basiles or Perraults, while three Flemish versions also include Grimms. Others were found in Greece and the Orient. JC Mardrus added an Egyptian to his edition of The Arabian Nights . See also The history of the brass city in a version of the Arabian Nights .

Marie-Catherine d'Aulnoy's fairy tale La biche au bois ( The White Hind ) may have been influenced by Perrault.

With The Sleeping Beauty, Ludwig Bechstein adheres closely to Grimm's version, which he also specifies. He paints something out, for example that the spinning wheels should have been introduced with the abolition of the spindles.

The nursery rhyme Sleeping Beauty Was a Beautiful Child was written in the 1890s. Sleeping Beauty Was a Beautiful Child is also a novel by Ross Macdonald , 1973. Irmtraud Morgner's 1974 novel Life and Adventure of Trobadora Beatriz varies the theme of sleep in the playwoman Beatriz de Diaz. AN Roquelaure, better known as Anne Rice , wrote a trilogy called The Sleeping Beauty (in the original: Sleeping Beauty ), in the Sleeping Beauty fairy tale with sadomasochistic continues elements. The curse of the eighth fairy by David Henry Wilson (1991) begins with the awakening of the princess (here "Saphira") and on the one hand deals with the consequences of the crown prince of a more or less "realistically" described empire allegedly in an undocumented castle in Wald wants to marry the "enchanted princess" found, on the other hand the curse resting on her is worked out in a new variant. In Da suddenly the stars fell from the sky , the poet Ludwig Harig treats Sleeping Beauty in detail , paying special attention to the prince, who knows how to grab the kairos (happy moment) by the forelock.

Sleeping Beauty is one of the most famous fairy tales and gives its name to cultivated roses, restaurants, streets and a Sleeping Beauty Bridge in Hanover . The Sababurg is also called the Sleeping Beauty Castle . Dörrenbach has a Sleeping Beauty circular walk . Sleeping Beauty means long-lasting, hidden state. The Sleeping Beauty syndrome is associated with a high need for sleep.

Parodies

Illustration by Otto Ubbelohde , 1909

Many parodies turn the stopped time into the grotesque with modern references. Erich Kästner's poem The seemingly dead princess from 1932 is aimed at a backward-looking German public that doesn't really want to wake up. Michael Eisig shows the rudimentary, flattened understanding of fairy tales of a manager who pricks his finger while picking berries. Erich Oedipus blessingly lets everyone fall asleep and wake up again. Erno Scheidegg parodies the post-war period as the end of a 12-year slumber. Günter Kunert imagines how the prince meets an aged Sleeping Beauty behind a labyrinth of thorns instead of a timeless utopia. Even Franz Fühmann ponders too early and too late has come prince. Josef Reding's girl, don't give a damn about the prince from 1974 urges emancipation ("... no prince / from the saucepan will bring you to the ruler's throne ..."). At Irmela Brender's , the cook and the kitchen boy were arguing about chopping onions, and they make up after waking up. Martin Walser sees a fairy tale by the oppressed for the oppressed: As with the lottery, it is not community that wins, but one in a hundred years, and everyone runs into the thorn hedge. Wolfram Siebeck's prince cuts his way with the chainsaw, and everyone wakes up. He wears a wristwatch and sunglasses, Sleeping Beauty fades next to magazine stars, and the marriage is soon to be divorced. Ruth Schweizer's resurrection in 1980 is resigned to secret wishes. Günter Grass , like Kästner, returns the kiss of salvation to the doombringer ("... who would be released to fear."). Imre Töröks Aliens in Dornrösia (1994) like to sleep through eons in anticipation of the latest fashions until everyone falls asleep because the Prince Charming is not in the mood. Even Robert Coover Prince who last no desire and jumps back into the thorn hedge. Fairy tale and children's radio author Christian Peitz published a new version of the fairy tale in 2009, and the same book also contains his parody of the subject with Rosdörnchen . Karen Duve's patient prince waits 100 years, everyone is reconciled, the fairy rejuvenates him. Sleeping Beauty appears in Kaori Yuki's manga Ludwig Revolution , a Manhwa The Legends of the Dream Dealer was published in 2004 by Lee Jeong-a , and a manga in 2012 by Misaho Kujiradou . It also occurs in Ever After High .

Visual arts

Oil painting by John Collier , 1921

The fairy tale was illustrated for countless fairy tale books of the 19th and 20th centuries. It became a historical allegory in the murals of the Kaisersaal in Goslar by Hermann Wislicenus (around 1880). The multi-part Sleeping Beauty cycle stands for the long "sleep" and the reawakening of the German Empire.

music

Sculpture by Ignatius Taschner at the Märchenbrunnen in the Volkspark Friedrichshain

Sleeping Beauty Was a Beautiful Child is a children's play song by Margarethe Löffler from the 1890s. In 1995 the band dornRöSCHEN released a debut album of the same name. The Dresden band tauReif releasedthe song Sleeping Beauty on their album Zwei Welten (2001). By Brice Pauset 's The Sleeping Beauty for string quartet, two choirs and orchestra (2012).

theatre

Postage stamp of the Deutsche Bundespost (1964) , designed by Holger Börnsen

The actor Robert Bürkner created a theatrical version of the fairy tale in 1920, which is largely based on the original.

Opera

ballet

musical

  • The composer and author Roland Zoss set Sleeping Beauty to music in Swiss dialect in the fairy tale series Liedermärli .
  • The composer Frank Steuerwald and the author Eberhard Streul wrote the musical "Sleeping Beauty" for the Musikbühne Mannheim eV The piece was premiered in 1997 in the Rosengarten in Mannheim.
  • The composer Alexander S. Bermange and the author Wolfgang Adenberg set the material to music for the Brothers Grimm Festival in Hanau . The world premiere took place on May 22, 2009. The play could also be seen from August 17, 2019 at the Deutsches Theater in Munich .

Movie and TV

See also the feature film The Tiger and the Snow (2005); the crime thriller Sleeping Beauty Revenge (2007). Sleeping Beauty also appears in Ever After High .

literature

Primary literature

  • Doris Distelmaier-Haas (Ed.): Charles Perrault. All fairy tales. Reclam, Ditzingen 2012, ISBN 978-3-15-008355-0 , p. 136 (translation by Doris Distelmaier-Haas after Charles Perrault: Contes de ma mère l'Oye. Texts établi, annoté et précédé d'un avant-propos par André Cœuroy. Éditions de Cluny, Paris 1948).
  • Brothers Grimm: Children's and Household Tales. Complete edition. With 184 illustrations by contemporary artists and an afterword by Heinz Rölleke. 19th edition. Artemis & Winkler, Düsseldorf and Patmos, Zurich 1999, ISBN 3-538-06943-3 , pp. 281-284.
  • Hans-Jörg Uther (Ed.): Ludwig Bechstein. Storybook. After the edition of 1857, text-critically revised and indexed. Diederichs, Munich 1997, ISBN 3-424-01372-2 , pp. 246-250, 389.

Literary studies

  • Heinz Rölleke, Albert Schindehütte: Once upon a time…. The true fairy tales of the Brothers Grimm and who told them. Eichborn, Frankfurt am Main 2011, ISBN 978-3-8218-6247-7 , pp. 250-254, 263-266.
  • Harold Neemann: Sleeping Beauty. In: Encyclopedia of Fairy Tales. Volume 12. Walter de Gruyter, Berlin / New York 2007, pp. 13-19.
  • Walter Scherf: The fairy tale dictionary. Volume 1. CH Beck, Munich 1995, ISBN 978-3-406-51995-6 , pp. 172-177.
  • Heinz Rölleke (Ed.): The oldest fairy tale collection of the Brothers Grimm. Synopsis of the handwritten original version from 1810 and the first prints from 1812. Edited and explained by Heinz Rölleke. Cologny-Geneve 1975 (Fondation Martin Bodmer, Printed in Switzerland), pp. 106-111, 359.

Interpretations

  • Hedwig von Beit: Symbolism of the fairy tale. Francke, Bern 1952, pp. 695-701.
  • Bruno Bettelheim: Children need fairy tales. 31st edition 2012. dtv, Munich 1980, ISBN 978-3-423-35028-0 , pp. 261-274.
  • Friedel Lenz: the imagery of fairy tales. 8th edition. Free Spiritual Life and Urachhaus publishing house, Stuttgart 1997, ISBN 3-87838-148-4 , pp. 19-26.

Parodies

  • Wolfgang Mieder (Ed.): Grim fairy tales. Prose texts from Ilse Aichinger to Martin Walser. Fischer Verlag, Frankfurt (Main) 1986, ISBN 3-88323-608-X .
  • Johannes Barth (ed.): Texts and materials for teaching. Grimm's fairy tales - modern. Prose, poems, caricatures. Reclam, Stuttgart 2011, ISBN 978-3-15-015065-8 .

Web links

Commons : Sleeping Beauty  - collection of images, videos and audio files
Wiktionary: Sleeping Beauty  - explanations of meanings, word origins, synonyms, translations
Wikisource: Sleeping Beauty  - Sources and full texts

Individual evidence

  1. ↑ Heinz Rölleke (ed.): The oldest fairy tale collection of the Brothers Grimm. Synopsis of the handwritten original version from 1810 and the first prints from 1812. Edited and explained by Heinz Rölleke. Cologny-Geneve 1975 (Fondation Martin Bodmer, Printed in Switzerland), pp. 106-111, 359.
  2. ↑ Hans-Jörg Uther: Handbook on the children's and house tales of the Brothers Grimm. de Gruyter, Berlin 2008, ISBN 978-3-11-019441-8 , p. 118.
  3. ↑ Lothar Bluhm and Heinz Rölleke: “Popular speeches that I always listen to”. Fairy tale - proverb - saying. On the folk-poetic design of children's and house fairy tales by the Brothers Grimm. New edition. S. Hirzel Verlag, Stuttgart / Leipzig 1997, ISBN 3-7776-0733-9 , p. 83.
  4. ↑ Heinz Rölleke, Albert Schindehütte: Once upon a time…. The true fairy tales of the Brothers Grimm and who told them. Eichborn, Frankfurt am Main 2011, ISBN 978-3-8218-6247-7 , pp. 263-266.
  5. ↑ Walter Scherf: The fairy tale dictionary. Volume 1. CH Beck, Munich 1995, ISBN 978-3-406-51995-6 , pp. 172-177.
  6. ↑ Heinz Rölleke, Albert Schindehütte: Once upon a time…. The true fairy tales of the Brothers Grimm and who told them. Eichborn, Frankfurt am Main 2011, ISBN 978-3-8218-6247-7 , pp. 263-266.
  7. ↑ https://de.wikisource.org/wiki/Kinder-_und_Haus-M%C3%A4rchen_Band_3_(1856)/Anmeränke#50 Wikisource: Grimm's comment on Sleeping Beauty
  8. ↑ https://de.wikisource.org/wiki/Dornr%C3%B6schen_(1812) Wikisource: Dornröschen (1812), appendix
  9. ↑ Harold Neemann: Sleeping Beauty. In: Encyclopedia of Fairy Tales. Volume 12. Walter de Gruyter, Berlin / New York 2007, pp. 13-19.
  10. ^ Giambattista Basile: The fairy tale of fairy tales. The pentameron. Edited by Rudolf Schenda. CH Beck, Munich 2000, ISBN 3-406-46764-4 , p. 613 (based on the Neapolitan text of 1634/36, completely and newly translated).
  11. ^ Joachim Fernau: Thistles for Hagen. Inventory of the German soul. Ulm 2005, pp. 38-39.
  12. ↑ Harold Neemann: Sleeping Beauty. In: Encyclopedia of Fairy Tales. Volume 12. Walter de Gruyter, Berlin / New York 2007, p. 17.
  13. ↑ Hans-Jörg Uther: Handbook on the children's and house tales of the Brothers Grimm. de Gruyter, Berlin 2008, ISBN 978-3-11-019441-8 , p. 119.
  14. ↑ Heinz Rölleke, Albert Schindehütte: Once upon a time…. The true fairy tales of the Brothers Grimm and who told them. Eichborn, Frankfurt am Main 2011, ISBN 978-3-8218-6247-7 , p. 254.
  15. ↑ Lecture at the congress Fairy Tales, Myths and Modernity: 200 Years of Children's and Household Tales by the Brothers Grimm , 17. – 20. December 2012 in Kassel (online) , (speaker abstracts in PDF, p. 53)
  16. ↑ Hedwig von Beit: Symbolism of the fairy tale. Francke, Bern 1952, pp. 695-701.
  17. ↑ Bruno Bettelheim: Children need fairy tales. 31st edition 2012. dtv, Munich 1980, ISBN 978-3-423-35028-0 , pp. 261-274.
  18. ↑ Drewermann, Eugen: How Love Enchants Us Grimm's fairy tales interpreted in terms of depth psychology, Patmos Verlag, 2015, pp. 6–36
  19. ↑ Drewermann, Eugen: How Love Enchants Us Grimm's fairy tales interpreted in terms of depth psychology, Patmos Verlag, 2015, p. 36 ff.
  20. ↑ Drewermann, Eugen: How Love Enchants Us Grimm's fairy tales interpreted in terms of depth psychology, Patmos Verlag, 2015, p. 61
  21. ↑ Drewermann, Eugen: How Love Enchants Us Grimm's fairy tales interpreted in terms of depth psychology, Patmos Verlag, 2015, p. 90
  22. ↑ Frederik Hetmann: dream face and magic trace. Fairy tale research, fairy tale studies, fairy tale discussion. With contributions by Marie-Louise von Franz, Sigrid Früh and Wolfdietrich Siegmund. Fischer, Frankfurt am Main 1982, ISBN 3-596-22850-6 , p. 124.
  23. ^ Friedel Lenz: Visual language of fairy tales. 8th edition. Free Spiritual Life and Urachhaus publishing house, Stuttgart 1997, ISBN 3-87838-148-4 , pp. 19-26.
  24. ^ Wilhelm Salber: Märchenanalyse (= Armin Schulte (Hrsg.): Work edition Wilhelm Salber, psychological morphology. Volume 12). 2nd Edition. Bouvier, Bonn 1999, ISBN 3-416-02899-6 , pp. 43-46, 61-64.
  25. ↑ HE Böttger: The fairy tale and the dangers of its interpretation. In: AHZ. 2/1988, pp. 54-59.
  26. ^ Martin Bomhardt: Symbolic Materia Medica. 3. Edition. Verlag Homeopathie + Symbol, Berlin 1999, ISBN 3-9804662-3-X , pp. 126, 648, 729.
  27. ^ Rüdiger Dahlke: The laws of fate in fairy tales. Part 1: Sleeping Beauty - The Law of Polarity. In: visions. Spirituality - Consciousness - Wellness. 13th year, No. 11, November 2009, ISSN 1434-1921, pp. 36–39.
  28. ↑ Hans-Jörg Uther: Handbook on the children's and house tales of the Brothers Grimm. de Gruyter, Berlin 2008, ISBN 978-3-11-019441-8 , p. 121.
  29. ^ Jobst Finke: Dreams, Fairy Tales, Imaginations. Person-centered psychotherapy and counseling with images and symbols. Reinhardt, Munich 2013, ISBN 978-3-497-02371-4 , pp. 154, 193, 198-199.
  30. ↑ Harold Neemann: Sleeping Beauty. In: Encyclopedia of Fairy Tales. Volume 12. Walter de Gruyter, Berlin / New York 2007, pp. 13-19.
  31. ↑ Johann Christoph Bürgel, Marianne Chenou (ed.): Stories from a thousand and one nights. Reclam, Stuttgart 1995, ISBN 3-15-053560-3 , pp. 289-335.
  32. ↑ Doris Distelmaier-Haas (Ed.): Charles Perrault. All fairy tales. Reclam, Ditzingen 2012, ISBN 978-3-15-008355-0 , pp. 132, 136 (translation by Doris Distelmaier-Haas after Charles Perrault: Contes de ma mère l'Oye. Texts établi, annoté et précédé d'un avant -propos par André Cœuroy. Éditions de Cluny, Paris 1948).
  33. ^ Hans-Jörg Uther (Ed.): Ludwig Bechstein. Storybook. After the edition of 1857, text-critically revised and indexed. Diederichs, Munich 1997, ISBN 3-424-01372-2 , pp. 246-250, 389.
  34. ↑ The last two volumes are indexed in Germany, but freely available in the USA.
  35. ↑ Erich Kästner: The seemingly dead princess. In: Johannes Barth (Ed.): Texts and materials for teaching. Grimm's fairy tales - modern. Prose, poems, caricatures. Reclam, Stuttgart 2011, ISBN 978-3-15-015065-8 , pp. 87-88 (1932; first published in: Erich Kästner: Collected writings for adults. Vol. 6. Droemer Knaur, Munich 1969, pp. 52– 53.).
  36. ↑ Michael Eisig: Sleeping Beauty. In: Wolfgang Mieder (ed.): Grim fairy tales. Prose texts from Ilse Aichinger to Martin Walser. Fischer Verlag, Frankfurt (Main) 1986, ISBN 3-88323-608-X , pp. 170–171 (first published in: Simplicissimus. No. 34, August 24, 1957, p. 541; author's information "Eisig, Michael" in Bodice marked with "?".).
  37. ↑ Erich Oedipus: The whole new Sleeping Beauty. In: Wolfgang Mieder (ed.): Grim fairy tales. Prose texts from Ilse Aichinger to Martin Walser. Fischer Verlag, Frankfurt (Main) 1986, ISBN 3-88323-608-X , pp. 172–174 (first published in: Simplicissimus. No. 15, April 11, 1959, p. 226; author information “Odipus, Erich” in Mark the bodice with "?").
  38. ↑ Erno R. Scheidegg: Dornröschen 1961. In: Wolfgang Mieder (Ed.): Grimmige Märchen. Prose texts from Ilse Aichinger to Martin Walser. Fischer Verlag, Frankfurt (Main) 1986, ISBN 3-88323-608-X , pp. 175–177 (first published in: Simplicissimus. No. 19, May 6, 1961, p. 290; author's information: “Scheidegg, Erno R. "At the bodice with"? ".).
  39. ^ Günter Kunert: Sleeping Beauty. In: Wolfgang Mieder (ed.): Grim fairy tales. Prose texts from Ilse Aichinger to Martin Walser. Fischer Verlag, Frankfurt (Main) 1986, ISBN 3-88323-608-X , p. 178 (first published in: Günter Kunert: Tagträume in Berlin and elsewhere. Carl Hanser, Munich and Vienna 1972, p. 82.).
  40. ^ Franz Fühmann: (Sleeping Beauty). In: Wolfgang Mieder (ed.): Grim fairy tales. Prose texts from Ilse Aichinger to Martin Walser. Fischer Verlag, Frankfurt (Main) 1986, ISBN 3-88323-608-X , p. 179 (first published in: Franz Fühmann: Two and Twenty Days or Half of Life. Hinstorff, Rostock 1973, p. 164.).
  41. ↑ Josef Reding: Girls, don't give a damn about the prince. In: Johannes Barth (Ed.): Texts and materials for teaching. Grimm's fairy tales - modern. Prose, poems, caricatures. Reclam, Stuttgart 2011, ISBN 978-3-15-015065-8 , pp. 88-89 (1974; first published in: Josef Reding: Gutenttagxte. Engelbert, Balve 1974, p. 39.).
  42. ↑ Irmela Brender: From the kitchen boy in Sleeping Beauty's castle. In: Wolfgang Mieder (ed.): Grim fairy tales. Prose texts from Ilse Aichinger to Martin Walser. Fischer Verlag, Frankfurt (Main) 1986, ISBN 3-88323-608-X , pp. 180-181 (first published in: Hans-Joachim Gelberg (ed.): Neues vom Rumpelstiltskin and other house fairy tales by 43 authors. Beltz Verlag, Weinheim and Basel 1976, pp. 104-106.).
  43. ↑ Martin Walser: Information about Sleeping Beauty. In: Wolfgang Mieder (ed.): Grim fairy tales. Prose texts from Ilse Aichinger to Martin Walser. Fischer Verlag, Frankfurt (Main) 1986, ISBN 3-88323-608-X , pp. 184-186 (first published in: Neue Zürcher Zeitung. No. 302, December 24/25, 1977, p. 37).
  44. ↑ Wolfram Siebeck: Sleeping Beauty. In: Wolfgang Mieder (ed.): Grim fairy tales. Prose texts from Ilse Aichinger to Martin Walser. Fischer Verlag, Frankfurt (Main) 1986, ISBN 3-88323-608-X , pp. 182-183 (first published in: Wolfram Siebeck's best stories. Fischer, Frankfurt 1979, pp. 220-221.).
  45. ↑ Ruth Schweizer: Resurrection. In: Johannes Barth (Ed.): Texts and materials for teaching. Grimm's fairy tales - modern. Prose, poems, caricatures. Reclam, Stuttgart 2011, ISBN 978-3-15-015065-8 , p. 89 (1980; first published in: Neue Zürcher Zeitung. No. 108, May 10/11, 1980, p. 70).
  46. ^ Günter Grass. In: Johannes Barth (Ed.): Texts and materials for teaching. Grimm's fairy tales - modern. Prose, poems, caricatures. Reclam, Stuttgart 2011, ISBN 978-3-15-015065-8 , p. 90 (1986; first published in: Volker Neuhaus (ed.): Günter Grass: work edition in 10 volumes. Vol. 7: Die Rättin. Luchterhand, Darmstadt / Neuwied 1987, p. 368.).
  47. ↑ Imre Török: Dornrösia. In: Johannes Barth (Ed.): Texts and materials for teaching. Grimm's fairy tales - modern. Prose, poems, caricatures. Reclam, Stuttgart 2011, ISBN 978-3-15-015065-8 , pp. 90–94 (1994; first published in: Imre Török: Akazienskizze. New and old stories. Fantasy flights. Pop Verlag, Ludwigsburg 2009, p. 32– 35.).
  48. ^ Robert Coover: The beautiful sleeper. In: Johannes Barth (Ed.): Texts and materials for teaching. Grimm's fairy tales - modern. Prose, poems, caricatures. Reclam, Stuttgart 2011, ISBN 978-3-15-015065-8 , pp. 94–95 (1996; first published in: Robert Coover: Sleeping Beauty Stories. German by Gerd Burger. Rowohlt, Reinbek bei Hamburg 1999, pp. 53– 54.).
  49. ↑ Karen Duve: Grrrimm. Goldmann, Munich 2014, ISBN 978-3-442-47967-2 , pp. 49-76.
  50. ↑ Grimm's Manga. Special tape. Tokyopop, Hamburg 2012, ISBN 978-3-8420-0638-6 .
  51. ↑ www.deutsches-theater.de/dornroeschen
  52. ↑ The comic pictures as print: Sleeping Beauty. Book about the film. Parragon, Bath 2013 ISBN 978-1-4723-4737-4 . In German