The singing, jumping lion beak

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The singing, jumping Löweneckerchen is a fairy tale ( ATU 425A). It is in the children's and house tales of the Brothers Grimm at position 88 (KHM 88). Up to the 2nd edition the title Das singende, jumping Löweneckerchen was written .

content

A man is traveling and asks his three daughters what he should bring them back from the trip. The eldest daughter wants pearls, the second a diamond. The youngest daughter, however, who is his favorite, wants a singing, jumping little lion ( lark ). On his way home, the man already has the presents for the two older daughters and actually finds a little lion corner. However, this belongs to a lion who first demands the life of the man. However, the lion offers him the little lion's corner and that he may keep his life if he leaves him the creature that he meets first at home. At the anxious servant's insistence, the man agrees, at the risk of his youngest and dearest daughter being the first to meet him. The man's fear comes true, but the daughter reassures the father and voluntarily goes to the lion.

This one is an enchanted prince who is a lion by day and human by night. The two get married and live happily together. When her eldest sister gets married, she leaves her husband for the duration of the celebration. Her family is surprised to see her safe. She wants to take her husband with her to the second sister's wedding. This is only reluctant, because he turns into a pigeon for seven years when firelight falls on him. In contrast, a windowless room is being prepared. But the door cracks, so that the prince is lit by fire and transformed.

So that his wife can follow him (the dove), he loses a drop of blood and a feather every seven steps. Shortly before the deadline, the pigeon does not lose its feather or blood, so the woman loses sight of it. She asks the sun, moon and winds where she can find the pigeon. The sun and moon cannot tell her a direction, but give her a box and an egg that she should open when she is in need. The night wind has seen the prince, transformed back into a lion, on the Red Sea fighting a dragon. The wind also knows how to support the prince in battle: if the lindworm is struck with the eleventh rod on the bank, he can be defeated. Then Lindwurm and Lion transform, because the Lindwurm is an enchanted king's daughter. After the transformation, the king's daughter takes the prince in her arms and flies away with him on a griffin.

The woman, who has followed her husband so far, runs until she has found the castle where the wedding of the prince and the king's daughter is being prepared. In her need, she opens the sun's box and inside is a dress that she puts on. She envies the king's daughter and wants this as a wedding dress. She can buy it “ Not for money and goods, but for flesh and blood. “This allows the desperate woman to sleep one night in the prince's chamber. He does not notice her visit because he was given a sleeping draft. With the help of the ice of the moon, which contained a hen and twelve golden chicks, she is allowed to spend another night with the bridegroom. Since his servant confessed everything to the prince, this time he did not drink the sleeping potion. He recognizes his wife and they both flee home to their child on the griffin.

interpretation

The Löweneckerchen , according to the text a lark, explains Walter Scherf as a “little ghost”. The tree, in the crown of which the spirit dwells, can be understood as the tree of life , the nut from which it grows anew, because of its genital-like shape as a symbol of the sexually mature woman (cf.KHM 65 Allerleirauh , KHM 113 De Zwei Künigeskinner , KHM 127 The iron stove ). The snake ( dragon , lindworm) is often a treasure-guarding monster (KHM 105 , 201 , 210 ; see also shadow ). It arises again when molting. The spirit-guarding lion skin, on the other hand, is discarded (cf. KHM 101 Der Bärenhäuter , KHM 108 Hans mein Igel ) and releases a peaceful dove.

The father's guilt, who does not find the modest gift and transfers his daughter, is initially compensated by her tolerance. After their mistake, the ambivalence of the lion, which only shows itself at night, is accompanied by the dualistic image of the snake that becomes its second self. The relationship constellation suggests a borderline and a narcissistic personality disorder (see Echo and Narcissus ), which in this version alternates with the depressive image of the search hike.

Fairytale researchers see animal marriage as the core motif and its end when women break taboos. All other elements also appear in other narratives. The use of the beginning (three wishes of the daughters) is perhaps influenced by Jeanne-Marie Leprince de Beaumont's Beauty and the Beast , the striking of the lindworm with a certain tail from King Lindworm .

Depth psychological interpretation Marie-Louise von Franz

The fairy tale begins with the usual quartet of father and three children, here gender mixed. From the daughter's point of view, the father is the fourth, unconscious function and as such is functionally equivalent to his present, her desire for the animus . As a lion , the latter initially has an instinctive nature, which strives for light, a symbol of purifying erotic desire. At the same time it appears non-human in the light of day-consciousness, it devalues ​​its magical aspect. The conjunctio, the union of extreme opposites, takes place on an unconscious level and has a natural duration that must not be disturbed by profane consciousness, which can never go beyond opposites.

The dove is more emotional, more fleeting and incomprehensible than the lion, until this notion is lost too. The sun, moon, wind and sunbird also existed in ancient mystery cults ; they are, like eggs, nuts and the seabed, images of the self. The heroine is carried to the end of the world by the night wind (other versions: north wind, again the fourth, nefaste) and back by the miracle bird, that is, the processes there take place in a distant spiritual reality. The development of the intrinsically out-of-time self in time succeeds through the passionate demonic animal prince who first gives the drive to consciousness.

Von Franz also examined variants. So the wish of the youngest daughter is varied in many ways, but always a significant symbol, for example everyone that fate would give her, even if it were a lame dog, a squirrel named Sorrow and Sorrow , a golden wreath, a scarlet flower . The taboo can be a ban on speaking or asking questions or a promise to come back in time, to wait, not to recognize him at the party, not to speak to his parents alone, not to bring anything from home, to forget nothing at home, to do nothing without to ask beforehand not to leave the house, less often a forbidden door (which fits better into the fairytale type of the girl murderer , AaTh 312: 46 , 62a ). In versions influenced by Amor and Psyche , the envious sisters persuade the bride to illuminate him with a traffic light. The drops of wax are then related to the drops of blood. Sometimes there is no reparation at all, or she has to walk for a long time without sleeping or bending her legs or climbing a mountain with claws welded on. Redemption almost always takes place, as here, through gifts, all of which have to do with spinning, weaving and tailoring. The donors are seldom their own children. She always buys three wedding nights with it, and she usually has to wake him up too.

Also Jobst Finke looks different interpretations of the animal form, whether as alienation social in the sense of over-fitting, impulsiveness or new vitality.

Motive comparisons

Cf. in Giambattista Basiles Pentameron I, 6 The Ashen Cat , II, 5 The Snake ; II, 8 The little slave , V, 3 Pinto Smauto , V, 4 The golden trunk , V, 9 The three lemons . See Jeanne-Marie Leprince de Beaumont's Beauty and the Beast ; The nut twig , Oda and the snake and the white wolf in Ludwig Bechstein's German fairy tale book (and in Ludwig Bechstein's German fairy tale book from 1845 broomstick ); about the winds on the red sea also soulless in Ludwig Bechstein's New German book of fairy tales ; on King Lindwurm cf. also Siebenhaut in Ludwig Bechstein's New German Book of Fairy Tales.

Grimm's remarks

The fairy tale is in the children's and house fairy tales of the Brothers Grimm from the second part of the first edition in 1815 (there no. 2) in place 88. The version comes from Dortchen Wild . From Grimm's collection, it is the clearest example of the type woman seeks her husband (AaTh 425), next to Der Eisenofen . Even your note notices the high distribution and variance that revolves around Apuleius ' Amor und Psyche , and recounts a version that they only reprinted in the first part of the first edition in 1812 as Von dem Sommer- und Wintergarten (KHM 68a) and a third Story from the Hanöverischen :

A raven helps the hunter to shoot game so that the king's daughters can recover, and asks one to be a wife. The youngest comes into his castle. A mirror hangs in her bedroom to show what is happening at home. When the maid she brought with her looks in the mirror despite the raven ban, he tears her up and sends the bride away. He gives her a pen. She must pledge allegiance. She exchanges clothes with an old woman and works as a maid for an evil woman. When the work is too hard or men press it, she takes the pen. So the work goes by itself and the men expose themselves, beat each other and thank her. After seven years, her prince will pick her up.

In The Beauty and the Dragon from The Young American Woman (Ulm, 1765) the animal is a dragon, she has a wishing ring and, without knowing it, is the daughter of a sorceress. You still list many sources (also the iron stove ), u. a. The singing and ringing tree from the Braunschweig collection that influenced her when she named it. They also point to feather elves in popular belief that have a drop of Jesus' blood in their hearts, to Parzival and to stories of dwarfs who are angry about damage in their gardens.

Modern adaptations

  • Patricia McKillip retells the story as The Lion and the Lark .
  • In Janosch's parody, the youngest daughter sends her father and later all the suitors on a world tour, where they are ultimately eaten by the lion until a young man brings her a can that she never dares to open and that supposedly contains a singing, jumping lion's corner because she has to marry him.
  • Gertrud Fussenegger : The magic castle. A fairy tale in rhymes, for reading aloud and replaying Langen Müller, Munich 2006 ISBN 3784430694 . With drawings by her daughter Ricarda Dietz .
  • In the manga volume Grimms Manga 2, Kei Ishiyama draws the story as a modified version, in which the lion is the king's son of the kingdom of the sun and was transformed into a lion by the king of the moon kingdom. Tokyopop , Hamburg 2009, ISBN 978-3867194815 .

Stage plays

filming

Radio plays

literature

Primary literature

  • Grimm, Brothers: Children's and Household Tales. Complete edition. With 184 illustrations by contemporary artists and an afterword by Heinz Rölleke. Pp. 437-443. Düsseldorf and Zurich, 19th edition 1999. (Artemis & Winkler Verlag; Patmos Verlag; ISBN 3-538-06943-3 )
  • Grimm, Brothers: Children's and Household Tales. Last hand edition with the original notes by the Brothers Grimm. With an appendix of all fairy tales and certificates of origin, not published in all editions, published by Heinz Rölleke. Volume 3: Original Notes, Guarantees of Origin, Afterword. Revised and bibliographically supplemented edition, Stuttgart 1994. pp. 164–168, pp. 480–481. (Reclam-Verlag; ISBN 3-15-003193-1 )

Secondary literature

  • Scherf, Walter : The fairy tale dictionary. Second volume L – ZS 1122–1127. Munich, 1995. (Verlag CH Beck; ISBN 3-406-39911-8 )
  • Röhrich, Lutz: dragon, dragon fight, dragon slayer. In: Encyclopedia of Fairy Tales. Volume 3. pp. 787-820. Berlin, New York, 1991.
  • Taloş, Ion: Leo. In: Encyclopedia of Fairy Tales. Volume 8. pp. 1207-1215. Berlin, New York, 1996.
  • Meinel, Gertraud: Nut. In: Encyclopedia of Fairy Tales. Volume 10. pp. 159-164. Berlin, New York, 2002.

Interpretations

  • From Beit, Hedwig: Contrast and renewal in fairy tales. Second volume of «Symbolism of Fairy Tales». Second, improved edition, Bern 1965. pp. 52–92.
  • Kast, Verena: Man and woman in fairy tales. A psychological interpretation. 2nd edition, Munich 1988. pp. 77-99. (dtv; ISBN 3-530-42101-4 )

Web links

Wikisource: The singing, jumping Löweneckerchen  - sources and full texts

Individual evidence

  1. ↑ Scherf, Walter: Das Märchenlexikon. Second volume LZ. S. 1123. Munich, 1995. (Verlag CH Beck; ISBN 3-406-39911-8 )
  2. ^ 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. 159–161, 200–201, 202.
  3. ↑ Janosch: The singing, jumping little lion corner. In: Janosch tells Grimm's fairy tale. Fifty selected fairy tales, retold for today's children. With drawings by Janosch. 8th edition. Beltz and Gelberg, Weinheim and Basel 1983, ISBN 3-407-80213-7 , pp. 17-24.