The frog king or Iron Henry

from Wikipedia, the free encyclopedia
The king's daughter looking into the fountain after an illustration by Bernhard Wenig
Picture for the fairy tale by Anne Anderson

The frog king or the iron Heinrich is a fairy tale ( ATU 440 husband ). It comes first in the children's and house tales of the Brothers Grimm (KHM 1).

content

A princess drops her golden ball into the fountain while playing, and a frog offers to help her. She has to promise him to become his girlfriend and share the plate and bed with him. When she has the ball back, she goes home and forgets the poor frog in his well. But the frog comes to the door of the royal palace and, at her father's insistence, she reluctantly acknowledges her promise. She has to share her table with the frog. But when the frog demands that she take him to her bed with her, her disgust is so great that she throws the slimy and ugly frog against the wall. At the same moment the frog transforms into a prince. He had been cursed by an evil witch. According to her father's will, he leads the king's daughter to his kingdom as his wife in a carriage. During the journey, Heinrich, the loyal servant of the young king, jumped in two with a loud crash, out of joy at the redemption of his master, the three iron chains that he (the "iron Heinrich") had had around his heart when his master was in turned into a frog. They live happily ever after.

origin

The frog in front of the door
The frog as a porcelain figure in the Prinzenstrasse subway station in Berlin

The Latin proverb Qui fuit rana nunc rex est ("Who was a frog is now king") appears in the Satyricon by Titus Petronius Arbiter .

Grimm's comment locates the fairy tale in Hesse, where they probably heard it from the Wild family , and recounts The Frog Prince from the first edition. A third story from Paderborn (by the von Haxthausen family ) continues as follows: The redeemed prince gives his bride a shawl with his name in red, which turns black when he is dead or unfaithful (cf.KHM 56 , 60 , 89 ) . When he has a false bride, the one on the right follows him with her sisters disguised as riders and escapes exposure by cursing like men when falling over scattered peas (cf. KHM 67 ). He recognizes her when there is a crash on the way and he shouts three times “Stop, the car is breaking”, to which she responds: “Oh no, it breaks a bond in my heart.” The Brothers Grimm value the fairy tale particularly old, with reference Georg Rollehagen ( Froschmeuseler , 1595), and collect epic examples of hard ties around the heart. You also cite the comment section of John Leyden's edition of John Bellenden's Complayant of Scotlande , which connects the fairy tale with a story of the wolf at the well at the end of the world:

open the door, my hinny, my hard,
open the door, mine ain wee thing;
and mind the words that you and I spak
down in the meadow, at the well-spring!

Compared to Wilhelm Grimm's original handwriting, the text of the first edition describes the game scene at the fountain in more detail. The dialogues are more lively, e.g. B. "Eat from your golden plate and sleep in your bed" (cf. KHM 53 ), the saying that was spoken in the wind disappeared again later. The threefold cracking of the ties from the heart corresponds to the three stages of the action, also the description of the car with gold and the golden plate, like the gold ball at the beginning, contribute to the rounding off. The formula In the old days, when wishing still helped, the first fairy tale of the collection only introduces from the 3rd edition and was borrowed from KHM 127 Der Eisenofen . The last hand edition is even more detailed. At the beginning, the beauty of the daughter and her gold ball are underlined or parallelized by the sun, which was astonished every time it shone in her face . Wilhelm Grimm subtly works out the parallel between the fountain and bed scene when the daughter is sitting and crying. She emphasizes the difference in status to the "Wasserpatscher" (from 3rd edition, see KHM 7 ), "he sits in the water with his own kind and croaks" . There are more and more diminutives like little hands , little plates , little beds , but the frog lacks the expression “I want to sleep with you” . Hans-Jörg Uther notes that Wilhelm Grimm's handwriting emphasizes the childlike nature of the king's daughter and the moral father's command, while later orally influenced versions emphasize the intimate encounter with the frog.

The name Heinrich is referred to in the edition of Hartmann's Der arme Heinrich 1815, for which the Brothers Grimm is responsible, as suitable for a servant because it is popular. They found the name Frog King in Rollehagens Von Bröseldieb, the Meusekönig's son, knowledge with the Frog King , where the iron band is also mentioned in the preface. The verse “King's daughter youngest / Open up for me” is already in Friedrich David Gräter's Bragur 3 (1794, pp. 241–242).

The story quoted by Grimm in Leyden's Complaynt of Scotland is the earliest evidence of the fairy tale to this day. A singing verse of the frog can be found as early as 1794 in Friedrich David Gräter's On German Folk Songs and Their Music . Medieval passages in the text, as noticed by the Brothers Grimm, only move in the proverbial realm ( Si quis amat ranam, ranam putat esse Dianam - if someone loves a frog, he thinks the frog is Diana; in gremium missa post rana sinum petit ipsa - If the frog is in the lap, he would like to be in the bosom), as well as an ancient one in Petronius' Das Banquet des Trimalchio (chap. 77, about a nouveau riche: qui fuit rana, nunc est rex - who was a frog is now King). Attempts to derive them from ancient oriental sources are also based only on individual motifs. The image of iron ties around the heart is already documented in the Middle Ages, it may live on in idioms like mine a load off my heart .

variants

Frog King by Gottfried Kumpf at the Vienna Simmering transport station (2000)

38 German variants of the fairytale type AaTh 440 are documented, most of them in the coastal area, v. a. Mecklenburg and East Prussia , as well as through Grimm's collecting activity in Hesse . Further versions can be found in Northern and Eastern Europe, rarely outside of Europe e.g. T. mixed with other animal groom tales. Newer variants are often dependent on Grimm's Frog King , which can be demonstrated in the plot structure. Lutz Röhrich notes that the action is almost always motivated by the plight of the woman, as is the case here, and shows binary oppositions: curse / redemption, deficiency / remedy, promise / compliance, refusal / surrender, bondage / liberation, going out / coming home. The verses are different, but always mark the culmination point of the action, when the unexpected happens and the animal calls for the promise.

The princess turns from playing child to marrying woman, accordingly in some variants more time passes before the animal visits the castle, which can also be a snake. Through their intimate encounter, the prince turns from animal to human (cf. KHM 101 , 108 ). The disgust scene resembles legends of the snake kiss , here too the animal can be a frog or a toad, but the redemption fails. Unlike in animal groom tales (KHM 88 , 127 ), redemption does not take place through love and self-conquest, but rather in a predetermined manner against the heroine's intention. The fact that she is the real protagonist also makes the lack of a history of the cursing of the prince understandable. A kiss for redemption is only documented in variants from the end of the 19th century. Iron Heinrich is the prince's mystical brother here (cf. KHM 136 ). Some editors found it so unnecessary that they left it out. In variants like the one in Grimm's Note, however, it refers to the bride and introduces a second narrative section. The action mostly takes place at court, but from the perspective of the common people, up to socially critical features of the humiliation of a proud princess (cf. KHM 52 ). Wilhelm Grimm developed the king-father into a moral authority, later interpreted psychoanalytically as the heroine's super-ego or criticized as too authoritarian.

Compare the Russian fairy tale The Frog Queen . Cf. Oda and the snake (on the frog's speech: ... and your golden crown, I don't like that too The White Wolf ) in Ludwig Bechstein's German book of fairy tales .

Interpretations

The fairy tale philologist Lutz Röhrich observes that psychologists also interpret this fairy tale as a maturation process. The golden ball creates a relationship, gets the events 'rolling', but the girl doesn't want to give herself away yet, it is the lost, golden world of childhood. Throwing a ball can mean love in children's or board games. The deep well was interpreted as an entrance to the uterus or the unconscious (see also KHM 24 , 91 ), the frog as a phallus . The fairy tale clearly has something to do with sexuality and the feelings of fear triggered by radical change.

According to Hedwig von Beit , the heroine can either be understood as an image of the soul, whose ruling consciousness is the king, or as an independent personality. The ball is the part of the self that is remote from consciousness and establishes a relationship with primeval animal life. In ancient times it was both the image of the individual as well as the world soul ( Sphaira ) and toy of the Eros boy . The loss of soul in the well corresponds to the frog's desire for redemption. Mythologically he is often not a harmless being, a manifestation of the poor soul, devilish, but also protective from misfortune, his croaking the screams of the unborn children. The father, as the heroine's first experience of the animus, also urges her to deepen the previously playful, only female approach to the unconscious . Throwing it against the wall is difficult to interpret, possibly as a projection or as a fixation . It is replaced in variants by kissing, burning animal skin or heads. In fairy tales the servant is almost always the hero's shadow or doppelganger, who here breaks out of his old skin like the frog. Variants where this relates to the bride seem psychologically more sensible, e.g. B. the iron ring prevented the birth of a child. According to Bruno Bettelheim , the plot shows an accelerated maturation process. The narcissistic perfection of the gold ball must be brought back from the ugly frog - life has become complicated. The superego in the form of the father forces the game to become serious, which intensifies the feelings, even if negatively at first - mature love takes time. Just as first eroticism cannot be pleasurable, a child must also be thrown out of maternal dependency - the fact that a frog emerges from the water anticipates our embryological knowledge by centuries. Bettelheim mentions another poem by Anne Sexton .

The anthroposophist Friedel Lenz sees a union of the ego with the soul, which it must initially have a repulsive effect. According to Ortrud Stumpfe , the princess has to decipher the work of the sun's forces from the swampy, dusky figure. The anthroposophist Arnica Esterl compared the fairy tale with the healing power of the buttercup plants , the homeopath Martin Bomhardt with the medicines Bufo , Mercurius , Staphisagria , Thuja , Edith Helene Dörre with the amethyst .

Wilhelm Salber sees in the frog and the princess the extremes of the banal and development, which only come into exchange with each other with difficulty through the revival of the past. Regina Kämmerer finds the rebellion of the princess crucial, that she becomes a self-determined woman, which also gives him back the dignity. According to Jobst Finke, the fact that salvation comes here through the heroine's insistence on her own experience is perhaps a template for therapy for couples whose conflicts are based on too much consideration.

According to Eugen Drewermann , frogs are generally portrayed as "disgusting, disgusting, extremely uncomfortable and unsympathetic". E.g. in Ovid's metamphoses of the Lycian peasants , who are transformed into frogs by Latona . The frog is far away from the princess, this shows the difference in size as well as its perspective from the frog's perspective . He is a helper who wants oral wishes as a "playmate" such as "eat from your golden plate and drink from your golden cup". According to Drewermann, the princess acts narcissistically when she runs away from the frog and does not even recognize him as human-like "sits in the water with his own kind". Only when the king's father utters a word of power to equate it with the super-ego , does she submit and finally has to raise the frog to her level "lift me up to you".
According to Drewermann, the fairy tale Der Eisenhans is the male maturation, while here the female is illuminated.

Sexual initiation

The Frog Prince can (also) be read as a story of sexual initiation by a young girl. The fountain stands for the goal of curiosity about one's own original world: a kind of profound self-contemplation into one's own innocent unknown, since the princess is still sexually inexperienced. This recognition begins as an innocent game with the golden ball at the fountain and experiences a sudden turn in the direction of frightening male instincts when the frog, initially perceived as disgusting and not very attractive, appears. The golden ball stands for radiant female concentrated attraction. The frog not only stands for male puberty, which makes boys appear unattractive to girls of the same age at this age, but also generally for male sexuality, which initially appears brash and tormenting (croaking), intrusive, eerie and disconcerting. Only when the girl after the first "fountain experience" through her defense of disgust by smashing the uninvited, haunted guest on the wall, i.e. H. When the relationship turns in the direction of kinship with a young (aggressively active, research-defending) woman, she can overcome her fear of the opposite sex: the frog turns out to be a prince, to whom the girl succumbs and thus becomes an adult woman. Through the green color of the frog, the fairy tale also represents the principle of the first sudden opening, but also represents general hope: salvation from the singular animal, naively innocent state and awakening, waking growth (the little frog becomes the great prince).

Meaning of the word "frog"

The statement of the Iron Heinrich at the end of the original text of the fairy tale "... when you were sitting in the fountain, when you were wasting a frog." Prompted further interpretations:

An interpretation of the word "Fretsche" ties in with the Hessian pronunciation of ferrets , as the Brothers Grimm collected the oral fairy tales in Hesse. The word ferret could stand for cheeky and nimble, which would correspond to the behavior of the cheeky and the princess chasing (following) frog. The onomatopoeic similarity between "fetsche" and frog could be an ambiguous play on words. The fact that iron ties fall from the heart of Iron Heinrich, who is loyal to his prince, after the prince's bustle has ended with the marriage, could be meant as joy at the prince's predictability that has now returned, whereby prince may stand for state authority.

Another interpretation of the word “Fretsche”, and thus the meaning of the fairy tale, is attempted through a supposed etymological word relationship with the English word “wretch”, which in turn has a connection to the Old High German word “Recke” (see Chambers, Dictionary of Etymology C 1988: " wretch n. Very unfortunate person. Probably before 1200 wrecche, in The Ormulum ; developed from Old English wrecca wretch, stranger, exile ...; related to wrecan to drive out, punish ... Old English wrecca is cognate with Old Saxon wrekkio exile, and Old High German reccho, reckio (modern German Recke warrior, hero), from Proto-Germanic * wrakjon from Indo-European * wrog-… "). From this it is concluded that the Frog King (Frog Prince) should be seen as a warrior expelled abroad, whose fate is described here like a fairy tale.

Disenchantment and its counterpart in psychoanalysis

As a further aspect of possible interpretation: In the fairy tale, the throwing on the wall or, above all, the utterance of the (un) known word "Fretsche" to the characters involved, leads to or completes the disenchantment of the previously bewitched king's son. The disenchantment takes place by releasing or becoming aware of negative emotions. Disenchantment can be found in many fairy tales, e.g. B. in the fairy tale Rumpelstiltskin . At the moment in which his real name is pronounced , the spell is broken or banned. There is a parallel in this regard in psychoanalysis . Only when fears and repressions become aware and uncovered is the (negative) magic broken and healing can begin.

Interpretation by Carl Gustav Jung

Following an interpretation by Carl Gustav Jung , the story is about an initiation of the psyche of a young woman. According to Jung's analysis, fairy tales are a rich source of archetypes and can be analyzed like dreams . The ego character in this story is the princess. As a virgin , she still sees her male fellow human beings like strange animals, more precisely like frogs. The golden ball stands for your conscious self that was lost in the well in the forest. Both the well and the forest represent their unconsciousness . During the process of self-search, she meets a frog, actually: a man. The frog helps her and wants to drink from her mug and eat from her plate, which represents the desire to kiss her. Wanting to sleep in a bed with her represents the intimacy between man and woman. When the virgin princess forcibly throws the frog against the wall, she suddenly realizes the male features in her own unconscious: she changes from being a passive enduring person to an actively acting person. After this sudden discovery, the frog becomes a realistic image of a man, or in this case a prince with beautiful eyes. The princess is now a grown woman capable of marrying.

Receptions

Lutz Röhrich notes that today's poetry often only takes on the longing for salvation without being able to find its fulfillment in modern reality. Parodies , cartoons and jokes often reverse the redemption scene, whereby the eroticism suppressed by Grimm's adaptation is emphasized, but the belief in the miracle of love is rejected. In Wilhelm Busch's picture story The Two Sisters in Stippstoerchen for Aeuglein and Oehrchen (1880), the bad sister has to follow Wasserneck: There she is now sitting with Wasserratzen, / Has to scratch Wassernickel's bald head, / Wears a skirt made of rough rushes, / Every lunchtime gets duckweed ; / And if she has to drink, / There is an abundance of water. Marie Luise Kaschnitz 's poem Groom Froschkönig from 1955 is under the impression of the world wars:

How ugly is
Your bridegroom
Virgo life
A trunk mask his face
A cartridge pouch his belt
A flamethrower
His hand
...

In Franz Fühmann's poem, the princess throws the slimy frog out of the window because no one else is helping her. Daniela Weiland's Never Kiss a Frog is also famous ! . In Janosch's parody, Frog King plays with his air bubbles and the ugly girl becomes a frog queen when he puts her in a headlock. It also appeared as an illustrated book and was shown on TV in Janosch's dream hour (episode 15). Heinz Fischer-Tschöp interviews Mr. Froschkönig, who, suffering from severe inferiority complexes because of his physiognomy , emerged from the night of love , which only came about out of pity, bigger, more beautiful - even my butler Heinrich ... hardly recognized me. In Barbara König's retelling he presses around when his bride wants to know about the not-so-ugly witch, whose magic was of the most pleasant kind and only turned wrong when it subsided . At Heinrich Wiesner's , she kisses him and becomes a frog. In Achim Bröger's short prose text, The Fear of the Frogs in Front of the King's Daughters (1984), she inflates him, “like children do,” because he will not become a prince. Helmut Heißenbüttel forges Iron Heinrich to have an affair with Ottilie Wildermuth . James Finn Garner's emancipated princess redeems a real estate agent in a golfer's dress, but pushes him back under water when he wants to cut everything down and build it up. Christian Peitz wrote another parody Smooching with the Frog . Kathrin Schmidt invents the prehistory and the end, how the king's retort child crushes frogs, is cursed by the pond witch and finally puts the iron ties on the princess. According to Katja Lange-Müller , the prince mourns his time as a frog because she doesn't love him. A manga appeared in 2009 by Kei Ishiyama in Grimms Manga (Volume 2). He also appears in Kaori Yuki's manga Ludwig Revolution (Volume 2). Karen Duve ironically retells the fairy tale as The Frog's Bride in her 2012 book Grrrimm . Die Zeit titled an issue about the new man with a frog doll.

photos

Froschkönigbrunnen in Vienna
Frog King Fountain in Rendsburg

Jessie Marion King created illustrations for The Frog Prince in the aesthetic of Scottish Art Nouveau .

Fountain

Sculptors used the motif of the frog prince to design ornamental fountains . Examples are works by Gottfried Kumpf , Klaus Kütemeier and Wilhelm Srb-Schloßbauer .

theatre

Film adaptations

Postage stamps

literature

expenditure

  • Children's and household tales collected by the Brothers Grimm in three parts. Turm-Verlag Leipzig 1907–1909.
  • Editions of the Grimm fairy tales illustrated by Otto Ubbelohde. NG Elwert Verlag, Marburg 1922.
  • Two-volume edition, text-critically revised by Heinz Rölleke, Verlag Diederichs, Cologne 1982 and final edition with an appendix of all guarantees of origin in three volumes, Reclam, Stuttgart 1980.

Literary studies

  • 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. Pp. 15–19, 442. Revised and bibliographically supplemented edition, Stuttgart 1994. (Reclam-Verlag; ISBN 3-15-003193-1 )
  • Rölleke, Heinz (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. Pp. 144-153, 365-367. Cologny-Geneve 1975. (Fondation Martin Bodmer; Printed in Switzerland)
  • Uther, Hans-Jörg: Handbook to the children's and house fairy tales of the Brothers Grimm. Berlin 2008. pp. 1-6. (de Gruyter; ISBN 978-3-11-019441-8 )
  • Röhrich, Lutz: Frog King. In: Encyclopedia of Fairy Tales. Volume 5. pp. 410-424. Berlin, New York 1987.

Interpretations

  • von Beit, Hedwig: Contrast and renewal in fairy tales. Second volume of «Symbolism of Fairy Tales». Second, improved edition, Bern 1956. pp. 34–42. (A. Francke AG, publisher)
  • Lenz, Friedel: Visual language of fairy tales. 8th edition. Stuttgart 1997. pp. 97-101, 259-260. (Free Spiritual Life and Urachhaus; ISBN 3-87838-148-4 )
  • Stumpfe, Ortrud: The symbolic language of fairy tales. 7th, improved and expanded edition 1992. Münster. Pp. 58–59. (Aschendorffsche Verlagbuchhandlung; ISBN 3-402-03474-3 )
  • Wilhelm Salber: fairy tale analysis (= work edition Wilhelm Salber. Volume 12). 2nd Edition. Bouvier, Bonn 1999, ISBN 3-416-02899-6 , pp. 89-91.
  • Maria Tatar: The hard facts of the Grimms' fairy tales . Princeton University Press, Princeton 2003, ISBN 978-0-691-11469-9
  • Eugen Drewermann : The Frog King. Grimm's fairy tales interpreted in terms of depth psychology . Walter Verlag , 2003, ISBN 3-530-16953-6 .

Web links

Commons : Frog King  - Collection of images, videos and audio files
Wikisource: The Frog King or the Iron Heinrich  - Sources and full texts

Individual evidence

  1. ↑ Heinrich Tischner: Fairy tales explained. The Frog Prince
  2. ↑ Burghoff, Beatrix: "In the old days, when wishing still helped ..." KHM 1 - 25. In: Rölleke, Heinz and Bluhm, Lothar (ed.): "Speeches of the people, to which I always listen ». The saying in the children's and house tales of the Brothers Grimm. Bern 1988. pp. 27-28. (Verlag Peter Lang; Proverbs Research Vol. 11, edited by Wolfgang Mieder; ISBN 3-261-03819-5 )
  3. ^ Röhrich, Lutz: The Frog King. In: Solms, Wilhelm and Oberfeld, Charlotte (Ed.): The natural miracle. Contributions to Germanistic fairy tale research. Marburg 1986. p. 8. (Dr. Wolfram Hitzeroth Verlag; Marburg studies on literature, edited by Wilhelm Solms, Volume 1; ISBN 3-925944-02-8 )
  4. ↑ Uther, Hans-Jörg: Handbook to the children's and house tales of the Brothers Grimm. Berlin 2008. pp. 2–3. (de Gruyter; ISBN 978-3-11-019441-8 )
  5. ↑ Uther, Hans-Jörg: Handbook to the children's and house tales of the Brothers Grimm. Berlin 2008. pp. 1–2. (de Gruyter; ISBN 978-3-11-019441-8 )
  6. ^ Röhrich, Lutz: The Frog King. In: Solms, Wilhelm and Oberfeld, Charlotte (Ed.): The natural miracle. Contributions to Germanistic fairy tale research. Marburg 1986. p. 15. (Dr. Wolfram Hitzeroth Verlag; Marburg Studies on Literature, edited by Wilhelm Solms, Volume 1; ISBN 3-925944-02-8 )
  7. ↑ a b c d e Röhrich, Lutz: Froschkönig. In: Encyclopedia of Fairy Tales. Volume 5. pp. 410-424. Berlin, New York, 1987.
  8. ↑ Uther, Hans-Jörg: Handbook to the children's and house tales of the Brothers Grimm. Berlin 2008. p. 3. (de Gruyter; ISBN 978-3-11-019441-8 )
  9. ^ Röhrich, Lutz: The Frog King. In: Solms, Wilhelm and Oberfeld, Charlotte (Ed.): The natural miracle. Contributions to Germanistic fairy tale research. Marburg 1986. pp. 18-19. (Dr. Wolfram Hitzeroth Verlag; Marburg Studies on Literature, edited by Wilhelm Solms, Volume 1; ISBN 3-925944-02-8 )
  10. ↑ by Beit, Hedwig: Contrast and Renewal in Fairy Tales. Second volume of «Symbolism of Fairy Tales». Second, improved edition, Bern 1956. pp. 34–42. (A. Francke AG, publisher)
  11. ↑ Bruno Bettelheim: Children need fairy tales. 31st edition 2012. dtv, Munich 1980, ISBN 978-3-423-35028-0 , pp. 335–341.
  12. ^ Lenz, Friedel: Visual language of fairy tales. 8th edition. Stuttgart 1997. pp. 97-101, 259-260. (Free Spiritual Life and Urachhaus; ISBN 3-87838-148-4 )
  13. ↑ Stumpfe, Ortrud: The symbolic language of fairy tales. 7th, improved and expanded edition 1992. Münster. Pp. 58–59. (Aschendorffsche Verlagbuchhandlung; ISBN 3-402-03474-3 )
  14. ↑ Arnica Esterl: The Frog King or the Iron Heinrich. In: The rod of Mercury. Journal for Anthroposophic Medicine. 63rd volume, issue 6, November - December 2010. pp. 498, 574-578.
  15. ^ Martin Bomhardt: Symbolic Materia Medica. 3. Edition. Verlag Homeopathie + Symbol, Berlin 1999, ISBN 3-9804662-3-X , pp. 286, 899, 1261, 1356.
  16. ↑ Edith Helene Dörre: The precious stone foundation. A homeopathic path of development through 13 gemstones and fairy tales. Novalis, Schaffhausen 2007, ISBN 978-3-907160-66-4 , pp. 587-622.
  17. ^ Wilhelm Salber: fairy tale analysis (= work edition Wilhelm Salber. Volume 12). 2nd Edition. Bouvier, Bonn 1999, ISBN 3-416-02899-6 , pp. 89-91.
  18. ↑ Regina Kämmerer: Fairy tales for a successful life. KVC, Essen 2013, pp. 77–80.
  19. ^ 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. 201, 207.
  20. ↑ Drewermann, Eugen: Landscapes of the soul or How we man and woman are interpreted Grimm's fairy tales in terms of depth psychology, Patmos Verlag, 2015, p. 405
  21. ↑ Drewermann, Eugen: Landscapes of the soul or How we man and woman are interpreted Grimm's fairy tales in terms of depth psychology, Patmos Verlag, 2015, pp. 397–481
  22. ↑ Drewermann, Eugen: Landscapes of the soul or How we man and woman are interpreted Grimm's fairy tales in terms of depth psychology, Patmos Verlag, 2015, pp. 481-533
  23. ↑ See Kurt Ranke, Rolf Wilhelm Brednich, Hermann Bausinger a. a. (Ed.): Encyclopedia of fairy tales: concise dictionary for historical and comparative narrative research . Volume 11, Walter de Gruyter, Berlin 2004, p. 486.
  24. ^ The Chambers Dictionary . Allied Publishers, New Delhi 1998, p. 1931.
  25. ↑ See Helga Deppermann: The fairy tale as a therapeutic medium in psychosocial work . LIT Verlag, Münster 2003, p. 38.
  26. ↑ Cf. Sigmund Freud, Eugen Bleuler, Carl Gustav Jung (ed.): Yearbook for psychoanalytical and psychopathological research: Volume 5, 1913.
  27. ↑ http://www.sagen.at/texte/maerchen/maerchen_deutschland/wilhelmbusch/diebeidenschwestern/diebeidenschwestern1.html Sagen.at: Wilhelm Busch's The Two Sisters .
  28. ↑ http://www.lyrikline.org/de/gedichte/braeutigam-froschkoenig-1276#.VY2keryYrCJ Lyrikline.org
  29. ↑ Franz Fühmann: The princess and the frog. 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. 120–121 (1962; first published in: Franz Fühmann: Die Dirung der Märchen. Aufbau-Verlag, Berlin 1962, pp. 146–147.) .
  30. ↑ Daniela Weiland : Never kiss a frog! . In: Alice Schwarzer: EMMA . The first 30 years. Munich 2007 (Collection Rolf Heyne), ISBN 978-3-89910-358-8 .
  31. ↑ Janosch: The Frog King. 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. 45-49.
  32. ↑ Heinz G. Fischer-Tschöp: The first night. 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. 52-53 (first published in: Süddeutsche Zeitung . February 24/25, 1973.).
  33. ↑ Barbara König: Paralipomena to the frog king. 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. 54–57 (1974; first published in: Jochen Jung (Hrsg.): Bilderbogengeschichten. Fairy tales, sagas, adventure. Newly told by our authors Zeit. Deutscher Taschenbuch Verlag, Munich 1976, pp. 155–157.).
  34. ^ Heinrich Wiesner: Shortest story: The frog queen. 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. 59 (first published in: Nebelspalter. No. 24, June 14, 1983, p. 39.).
  35. ↑ Achim Bröger: The fear of the frogs of the royal daughters. 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. 121–122 (1984; first published in: Karlhans Frank (Ed.): Hütet den Regenbogen. New fairy tales from the present. Munich 1984, p. 19-20.).
  36. ^ Helmut Heißenbüttel: Eichendorff's downfall and other fairy tales . Project 3/1, Stuttgart 1978, p. 78.
  37. ↑ James Finn Garner: The Frog King. 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. 122–125 (1994; first published in: James Finn Garner: Gute-Nacht-histories. Politically correct. German by Gisbert Haefs. Goldmann, Munich 1995 , Pp. 74-77).
  38. ↑ Kathrin Schmidt: The Fretschenquetscher or the iron Heinrich. In: Die Horen . Vol. 1/52, No. 225, 2007, ISSN  0018-4942 , pp. 30-34.
  39. ↑ Katja Lange-Müller: Disenchanted. In: Die Horen . Vol. 1/52, No. 225, 2007, ISSN  0018-4942 , pp. 9-10.
  40. ↑ Zeit-Magazin. Laughing at yourself is manly. In: The time. Weekly newspaper for politics, business, knowledge and culture. March 27, 2014, No. 14.
  41. ↑ Jessie King: The Frog King