Jorinde and joringel

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Illustration by Heinrich Vogeler

Jorinde and Joringel is a fairy tale ( ATU 405). It is in the fairy tales of the Brothers Grimm in place 69 (KHM 69) and comes from Johann Heinrich Jung-Stilling's autobiography Heinrich Stilling youth of 1777th

content

An old sorceress lives in a castle in the forest. During the day she transforms into a cat or night owl (in Jung-Stillings version also into a rabbit). It attracts animals to be slaughtered. Whoever comes too close to the castle can no longer move. She turns virgins into nightingales, which she keeps in the castle. Jorinde and Joringel are young lovers who accidentally come near the castle. At first they cry and become very sad, then Jorinde becomes a nightingale, and while Joringel cannot move, the witch catches her and takes her away. Joringel begs her to release her, but she does not allow herself to be softened. Joringel spends a long time abroad as a shepherd and often walks around the castle. Then he dreams of a blood-red flower with a pearl in the middle. He wanders for nine days and in the morning finds the flower with a drop of dew in the middle. The witch is powerless against this, although she sprays poison and bile. When she tries to carry a bird away, he recognizes Jorinde and frees the 7,000 other birds.

Language and style

Despite some details, the story is told briefly. Simple, lined up sentence structures and selected expressions appear natural and sophisticated at the same time. Many sentences like in the middle of a big, thick forest, in which an old woman lived all alone sound meaningful to peculiar, like the invented names Jorinde and Joringel . Verbatim speeches are almost missing, with the exception of Joringel's introductory action “Take care,” ... “that you don't come so close to the castle” , and the two striking poems . During her transformation, Jorinde sings:

“My little bird with the ring sings red
Suffering, Suffering, Suffering:
it sings its death to the dove,
sings Leide, Lei - zicküth, zicküth, zicküth.

The irregular iambi meet bright vowels here, except for the rhyme red - death . The old woman releases Joringel with a singsong, also heavy iambs. The vowels are darker, the verses broken off and clumsy, especially at the end. Some editors also printed them as quatrains:

"Howdy, Zachiel,
when it shines in the basket,
untie Zachiel,
at a good hour. "

The natural use of magic , black and white painting and victory for the good fit in with the magical fairy tale . Atypically, the text describes the witch before the plot, which is told in an exciting way. The sunset scene suddenly leads to the low point of the night, followed by another turn in the morning and redemption. The contrast between day and night serves as a moral characterization. The hero perceives the wonderful in a fairy tale rather casually. It falls to the lovers after they have passed their probation, punishment is unnecessary. Even the suspense is reminiscent of a drama or Christian conception of history of the fall of man and redemption, the morality goes well with young stillings with a very pietistic upbringing.

interpretation

Depiction of a turtle dove

Metaphors in the text

The couple is with lovebirds compared according to the saying love how the turtledoves : cry As Jorinde and complains a turtledove sings mournfully upon the beech trees , and is transformed when she sings even the "little bird, with the necklace red" . Lovebirds have a red ring around their round eyes and are a symbol of peace, purity and innocence (see also Venus ). The nightingale that Jorinde becomes gives it a more sensual or melancholy coloring. With the Maibuche only the ordinary can Rotbuche be meant that casts out in May and blooms. According to Westphalian folklore, it is a symbol of fertility. The description of the old woman with big red eyes and a crooked nose resembles the owl she transforms into. Their reputation "Sho - hu - hu - hu" and the glowing eyes are the best match for a long-eared owl that is widespread throughout Central Europe. She, the moon and the cat are attributes of witches (see also Artemis , Hecate , Freya , Lilith , Luna ; KHM 70 , 174 ). Joringel's blood-red flower is most likely a rose ( love ), but could also be a carnation ( death , cf. KHM 76 ) or a lily plant ( resurrection ). Her flower ring corresponds to Jorinde's "Ringlein red" . The tears thus become pearls in the dream, then morning dew (cf. KHM 179 ). Red as blood stands for danger, sin, and finally love.

The varied circular shape of the ring and flower indicates complementarity , as already the names Jorinde (like bark ) and Joringel ( curl up ). One might think of the ankle ring of tamed birds, or of the wedding ring. In other fairy tales, the man puts a ring in the wine goblet to identify the woman (KHM 25 , 65 , 93 , 101 , AaTh 947 ). The nocturnal creatures share an ambivalence in all their contrast to the pious pigeons , the moon has an increasing and decreasing half, the threatening owl is also considered sharp-sighted and wise, the cat is a predator and domestic animal. In Jorinde's song, the phrase “Mein Vöglein” reveals an identity between the young and the old woman, which, conversely, shows grace when she unties Joringel and disappears with Jorinde's redemption (cf. KHM 179 ). Her “when it shines in the basket” corresponds figuratively to the pearl in the calyx and linguistically to the diminutive “my little bird with the red ring” . If one continues the sexual interpretation of the ring and flower with dew drops, the witch personifies the fear of both young people before initiation in her paralyzing, but also protective effect: They were as dismayed as if they should have died. Circles of ban, as a damage spell or for healing , are similar to binding with magic rope. In the fairy tale type Jungfrau im Turm (KHM 12 ), the release takes place in a basket on a rope. The witch takes advantage of the fact that she attracts her victims (cf. KHM 8 ), she paralyzes them, and she spits poison (cf. KHM 12 , 50 , 53 ). It thus resembles a snake whose poison also has a paralyzing effect and which was revered as immortal because of its molting (metamorphoses) (see also Medusa , Basilisk , Gilgamesh epic ). Due to its physique and ambiguous meaning in the Old Testament and in Gnosticism , it is an important symbol of duality and its overcoming ( Ouroboros ).

Mystical symbolism

The beloved as a bird in a cage is an old literary motif that goes back to pagan ideas (see variants on KHM 88 ). Here it is baskets, which can allude to the thread of the Greek goddess of fate Lachesis or also to beehives. The Demetermine myth unites the stolen bride with the contrast between the angry goddess of the dead and the forgiving goddess of fertility. Her additions were wheat, poppy seeds , but also u. a. Moon, doves and bees. Karl Kerényi sees here u. a. also connections to Medusa's beheading with a sickle, the moon-shaped device of the grain harvest. The ancient mystery cults , which are said to have formed the basis of many literary texts as a secret subtext (for example Ovid's Metamorphoses ), also worked with the alternation of night and daylight. In the Mithras cult , snake, beehive, dove and light with the goddess of love Venus belonged to the second degree of consecration, nymphus , while shepherd, owl, nightingale and twilight with the moon belonged to the fifth degree of Perses . According to the anthroposophist Friedel Lenz , an offering was made in a basket during the Eleusinian Mysteries , with the moon shining into the basket. She suspects that the archangel Zachariel is echoed in Zachiel , so an actually good, but mutilated divinity. Zachariel (Zadkiel) occurs in apocryphal writings . Fallen angels exist in both the Old Testament and Gnosticism. In alchemy , the refinement of humans took place via a black phase (dying), followed by a white (purity) and a red (dawn). The latter are also the feminine and the masculine, which then unite. The flower is again the beautiful, living thing or the person himself (cf. KHM 9 , 56 , 76 , 85 , 160 , 188 ). In spagyric and homeopathy , the red tiger lily is used for gynecological problems and heart problems with the feeling of bursting with blood vessels. Friedel Lenz interprets the fairy tale as the twilight state of the soul and redemption from this isolation through active love. Christa Siegert explains the witch in the forest as an otherworldly being ( archon ) in human thought networks ( eons ), who sucks ideas and feelings in order to feed on them. Man cannot recognize it and allows himself to be tied, which leads to the separation of heart and head, woman and man. He can only turn away and guard his thoughts until the vision of the Grail can be given to him, which solves all contradictions in the innermost soul-core.

Psychological interpretations

Psychoanalytically interpreted, the lock of the sorceress is her body, which one must not come too close to. According to the analytical psychology of Carl Gustav Jung , the wicked witch stands in many myths for the archetype of the shadow or the ominous mother , from whose clutches the hero has to free the anima . In modern psychology, identity disorders with extreme black and white thinking are associated with borderline personality disorder . The psychotherapist Rudolf Müller interprets the fairy tale as a conflict of a symbiotic relationship between unfinished personalities (as in Hansel and Gretel ), whose inner dependency is only overcome through a phase of external separation and depression. Ulla Wittmann sees a split in Joringel's consciousness as part of it becomes animal. The witch is the stiff, anti-developmental aspect of the unconscious. This development towards one-sidedness arises e.g. B. through prescribed worldviews. In the meditative state of sheep herding, the flower only appears to him in dreams as a symbol of transcendence. The petals with pearls symbolize the wholeness of the self with its core beyond all opposites of male and female, which are represented by the colors red and white. With the overcoming of this subjective interpretation comes the abolition of the opposites, of I and you, from narcissistic love to true love. Verena Kast sees the flower with pearl as a connection between physical and mystical love, with which Joringel learned to see the signs of transcendence in everyday life and to really live love. Your client was professionally successful, but found himself closed. He dreamed that he was looking for a certain door in a functional building that only a boy with a deep red flower could open it. The dreamer was fascinated by his childlike trust and concentration. The fairy tale made him think that he was actually acting like bewitched. He had hyped up women, devalued himself and made relationships impossible.

Jung-Stillings autobiography

Title of the first edition by Henrich Stillings Jugend depicting his parents at the ruins (anonymous engraving )

Johann Heinrich Jung-Stilling begins his autobiography Heinrich Stilling's youth with his father's wish to marry, mentioning two nightingales that sing each other in the most lovable way. The parents' house stands at the foot of the Geisenberg , on which the Geisenberg Castle stands, a ruin around which the ghost of the one-eyed robber Johann Hübner haunts. It is the Ginsburg on the Ginsberg (today near Grund, part of Hilchenbach ). Stilling's father and his wife Dortchen go for a walk there during the wedding and after the birth of their son. A meaningful song is played in each case, the first of which anticipates fairytale motifs such as the bird, moon, ring and poisonous death of the knight with the black horse . Dortchen feels sick and joyless and later dies, whereupon her husband keeps walking around inconsolably in the forest.

The fairy tale itself is told later by Aunt Mariechen. Meanwhile, the grandfather is looking for wood and has a vision of his impending death in which the deceased Dortchen steps out of the door of a castle “like a virgin” . In the last sentence of the book, a pair of lonely doves on the grandfather's grave are mentioned again, caressing each other between the flowers. In the continuation of Heinrich Stilling's youth, there are always retrospectives to mother and grandfather at the castle ruins, whereby in his own poems there is talk of the setting sun, pigeons, moon and morning dew. The remaining parts no longer contain any allusions. Jung-Stilling condenses mythological material here with moral intention, which he later apparently renounces out of autobiographical or theological conscientiousness. Nevertheless, in his novel The Story of the Lord of Morgenthau a forest ruin appears again as a melancholy refuge for the mourner, who, after being rescued by the hero, comments that he “lived there with Zichim and Ochim” (cf. Zachiel in the song of the witch). The scene is described again with the moon, evening and morning sun, plaintive music, turtle dove, dew drops, rose and mullein . Jung-Stilling's main work, Homesickness, revolves particularly around the idea of ​​rebirth from tears. The hero's initiation rituals are reminiscent of ancient mystery cults in which divine truth is seen.

Jung-Stilling wrote his youth biography in 1772 after studying medicine. His college friend Johann Wolfgang von Goethe shortened it and published it in 1777 as Henrich Stillings Jugend. A true story . The author remained unrecognized for a short time in spite of alienated personal and place names and was then named after the main person Jung-Stilling . According to him, Goethe had not added any "decorations" to the book. He published the sequel (1778) and the other books himself. It cannot be verified whether he really heard the fairy tale from his aunt or to what extent it is otherwise a folk tale . The careful text composition speaks for literary processing most likely by Jung-Stilling himself. According to current knowledge, he must have invented it on the basis of various influences, as there are no direct precursors.

Jung-Stilling was influenced by Ringoltingen's Melusine (1456) through Thuringia , which he read as a child and acted out alone in the forest: A count's son accidentally kills his rich cousin with whom he lives while hunting. Desperate, he wanders through the forest and in the morning finds the water maiden Melusine at a spring, who marries him, makes him rich and happy on the condition that he does not chase her on Saturdays. One day, when he breaks the taboo, he sees her in the bathroom with the belly of a snake. She pretends nothing has happened, but the son commits arson. When the man accuses her, she loses her longed-for bliss as a mortal woman, escapes through the window and flies around the castle three times, and he loses his happiness.

Dieter Cunz writes: We know that it was Herder who sharpened Stilling's ear for the whispers and ghosts in old mountain ruins. The tendency towards light-dark dualisms, which are also expressed in language, is typical of Pietist literature. The Song of Solomon ( Hld 1,1  LUT ) is particularly obvious as a biblical source of inspiration . In the Bible the turtledove is mostly an offering, in Hld 2,12  LUT the sign of spring, the owl an image of decay ( Ps 102,7  LUT ; Isa 13,21  LUT ; Zef 2,14  LUT ). The hare is considered an unclean animal ( 3 Mos 11.6  LUT ; 5 Mos 14.7  LUT ). Dew is a sign of salvation ( 1 Mos 27,28  LUT ; 1 Mos 27,39  LUT ; 2 Mos 16,13  LUT ), flowers etc. a. a metaphor of the transitory body ( Isa 28,1  LUT ; Isa 40,6  LUT ; Jak 1,10  LUT ; 1 Petr 1,24  LUT ). For the sorceress, Circe from Homer's Odyssey may have been a model, which Stilling liked to read (in Heinrich Stilling's youthful years ), or, for example, Nimue from the Arthurian legend . Stilling also knew Shakespeare's Romeo and Juliet . Jorinde's song sounds similar to Desdemona's song in Othello ( Act 4, Scene 3). Shakespeare also uses many flowery paraphrases (for example Hamlet , Act 1, Scene 3; Cymbeline ).

Grimm's Fairytales

Illustration by Otto Ubbelohde
Illustration by Otto Ubbelohde

The fairy tale is best known for the Brothers Grimm . Your children's and house tales contain it from the 1st edition of 1812 at position 69. Apart from the fact that in Jung-Stilling's work the witch also turns into a rabbit, they only made slight linguistic smoothing, whereby Joringel's dialect-colored “Nu! what I shall be done? " to " Uu, what I want to happen? " was reinterpreted. The other editions at Grimm also only show small adjustments to standard German. The third edition of the castle chambers became a chamber of the castle . Your note still refers to an oral story from the swallow areas of two children and a witch who turns the boy into a bird. The girl frees him with a flower and turns the witch into a raven, but then redeems her too.

The faithful adoption of the text is a sign of high esteem, as the pietistic custom of moralizing life stories corresponded to Grimm's view of their fairy tales as an educational book. Jung-Stilling's life story was one of her earliest acquisitions and could have had a lasting impact on her. Wilhelm Grimm added for the 6th edition of 1850 to the characterization of the witch in Hansel and Gretel : The witches have red eyes and cannot see far, but they have fine weather, like the animals, and notice when people approach ( see also Bechstein's The Boy Who Wanted to Learn Witchcraft ). In KHM 181 The Mermaid in the Pond and KHM 198 Jungfrau Maleen he lets the separated lovers run around the pond or around the castle, which does not appear in the underlying original texts. The same applies to the use of the poem in KHM 179 Die Gänsehirtin am Brunnen . The similar storyline of The Mermaid in the Pond could already be influenced by the widespread use of Grimm's fairy tales. KHM 123 The Alte im Wald was probably based on the model of Jorinde and Joringel . The totemism of the rose tree in KHM 161 Snow White and Rose Red would also fit .

Conversely, the similarity to animal bridegroom fairy tales ( AaTh 425) such as Grimm's KHM 88 Das singende jumping Löweneckerchen and KHM 127 Der Eisenofen could be explained by the common influence of the melusine material . There are further motifs similar to the Virgin in the Tower (AaTh 310, 870: KHM 12 , 76 , 198 ) or the Swan Virgin (AaTh 400, 401: KHM 92 , 93 , 193 ) and the Flower Girl (AaTh 407: KHM 56 , 76 ). On the bird of the dead cf. KHM 47 , 96 , for the flower KHM 203 , for petrification KHM 60 , 85 , 113 , 74a . There is often a house in the forest (KHM 9 , 13 , 22 , 31 , 40 , 53 , 68 , 93 , 116 , 123 , 125 , 127 , 163 , 169 ) or a castle in the forest (KHM 137 , 197 , 130a ). Magic flowers are also not uncommon in fairy tales, see e.g. B. Grimm's comment on KHM 28 The Singing Bone , Bechstein's Das klagende Lied , Marie de Frances Eliduc . The reception of the colors white and red (innocence and passion) in the Song of Songs has a long tradition. B. in Eschenbach's Parzival (Book VI), Basile's fairy tale The Raven , The Three Lemons . Other mystical works, such as Jakob Boehme's Aurora, may indirectly be heard through the Song of Songs .

variants

The fairy tale classification by Aarne and Thompson names its own type 405 Jorinde and Joringel , for which hardly any examples from folk poetry were found. So while contemporaries still considered fairy tales to be authentic, comparative fairy tale research is only marginally interested in it. For individual motifs cf. in Basiles Pentameron II, 2 Verde Prato . Comparable with Ludwig Bechstein would be Die Hexe und die Königskinder in Deutsches Märchenbuch (about rose, dew and nightingales also Die Rosenkönigin in the edition of 1845) and Vom Knaben, who wanted to learn witch , Klare-Mond , Vom Hasen und dem Elefantenkönige in Neues German fairy tale book . Ignaz Vinzenz Zingerle finds a Tyrolean fairy tale about a farmer who still wants to cut his grain in the moonlight and hears a voice: the day is yours, / the night is mine, / go home soon, / otherwise you will fall victim to evil violence. Ursula Enderle reports a variant of The Girl Bird from the Serbo-Croatian region. In a Spanish variant, Joringel kills a snake as a guard. Psychologically similar, for example, is a South African fairy tale of the heavenly woman who came to earth on the thread of light from a star, with a secret celestial asset in a basket. The 1986 film adaptation of DEFA turned the fairy tale into an anti-war story, with the sorceress playing a morally positive role.

Receptions and parodies

Sheetlets of the Deutsche Post of the GDR, 1969

Novalis liked fairy tales and knew Jung-Stilling's work. In his novel Heinrich von Ofterdingen he uses a symbolic language similar to his: ruins in the forest, the course of the sun, the sympathy of opposites. In particular, there is a scene at the end of the fourth chapter where he and the oriental slave girl Zulima ascend to the castle in the forest under the rising moon, where she has to serve a horde of crusaders. The longing for the Orient that is expressed is also reminiscent of Stilling's novel Das Heimweh . Compared to Stilling's moral and spiritual approach, Novalis seems to want to recognize nature spiritually, which is expressed in the search for a tall blue flower . She became a symbol of romanticism . Compare Oscar Wilde's The Nightingale and the Rose . In Ina Seidel's novel Das Wunschkind , the hero hears the fairy tale when his sister is being kidnapped. Both are repeatedly covered with the motifs of sun, moon, lark, cat, being petrified, they are even referred to as undine.

Hans-Jörg Uther finds evidence of oral narratives, particularly in the Scandinavian, Irish, German and Slavic regions, which mostly go back to Grimm's, more rarely to Jung-Stilling's version, as well as parodies that see the witch as a rival. The latter would be reminiscent of fairy tales about the wrong bride (AaTh 403, 533: KHM 13 , 89 , 135 ). Stage performers, but also the anthroposophist Rudolf Meyer, put more poems into the mouths of Jorinde and Joringel. In Janosch's parody, Jorinde turns into a nightingale with the song in a flower circle, whereupon Joringel searches in every bird cage and finally follows her. That there is no witch here fits in with the observation that i. Ggs. To other fairy tales the magic only paints the soul of the couple. At Bernhard Kaczmarek's , the witch eats virgin meat, but changes her mind and seduces Joringel. Jörg Steiner , like Kaczmarek, merely parodies the linguistic twists and turns of the fairy tale. Margaret Mahy's young adult book The Other Side of Silence refers to the fairy tale in which a woman locks her handicapped child in the tower out of shame and hires a mute girl in the household to reveal her secret.

A series of stamps with a Jorinde and Joringel motif was published in the GDR. In Denmark a publisher is apparently called Jorinde & Joringel . The name Jorinde has found a certain distribution as a first name.

Stage plays

Hans Schönfeld's play Joringel und Jorinde (1930) sees the couple as adoptive siblings. Joringel as a shepherd heals a gold digger couple from greed in vain, meets an abandoned sinner in the mountains and finds the blue flower on a snow-covered peak. One recognizes the imagery from Jung-Stillings books, for example yellow as the color of doom. In 1949 Erich Bauer also combined Novalis' blue flower with Stillings yellow as the mourning color.

There is an opera Jorinde and Joringel by Günter Bialas (1963), which the musicologist Heinz-Albert Heindrichs highlights. In 2003, the composer and lyricist Roland Zoss set Jorinde and Joringel to music in the Swiss dialect fairy tale series Liedermärli . The Internet names stage pieces by Martha Schlinkert , Karlheinz Komm , Claudia Hann , a piece of music by Rolf Lukowsky , a play at the Brothers Grimm Fairy Tale Festival in Hanau several times and a premiere musical in 1999 and a play by the Wilde Reiter group in Hanover 2007 ( Jorinde and Joringel . A true love story. Director: Wolfgang A. Piontek).

Audio book

  • Classical audio books for children: Brothers Grimm: Jorinde and Joringel . Read by Samuel Weiss . Edition See-Igel / SWR SG 019, 2006; 56 min. Price of the German record review quarter price 4/2006

Movies

literature

Primary literature

  • Johann Heinrich Jung-Stilling . Henrich Stilling's youth, adolescence, wandering and domestic life. Bibliographically amended edition. Reclam, Stuttgart 1997, ISBN 3-15-000662-7 , pp. 73-75.
  • 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. 382-384.
  • Brothers Grimm: 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. Reclam, Stuttgart 1994, ISBN 3-15-003193-1 , pp. 131, 473.

reference books

Secondary literature and interpretations

  • Hans-Jörg Uther: The Brothers Grimm and Heinrich Jung-Stilling. From Jorinde and Joringel and other stories. In: Ulrich Müller. Margarete Springeth: Couples and pairings. Festschrift for Werner Wunderlich on his 60th birthday. Heinz, Stuttgart 2004, ISBN 3-88099-425-0 , pp. 294-305.
  • Hedwig von Beit : Symbolism of the fairy tale. Francke, Bern 1952. p. 280.
  • Hedwig von Beit: Contrast and Renewal in Fairy Tales. Second volume of «Symbolism of Fairy Tales». 2nd Edition. Francke, Bern 1956, pp. 56, 61, 71, 210, 239, 561.
  • Lutz Röhrich : Fairy tales and reality. Steiner, Wiesbaden 1956, pp. 66, 81, 185, 187.
  • Lutz Röhrich: "and because they didn't die ...". Anthropology, cultural history and the interpretation of fairy tales. Böhlau, Cologne, Weimar, Vienna 2002, ISBN 3-412-11201-1 .
  • Verena Kast : Paths out of fear and symbiosis. Fairy tales interpreted psychologically. dtv, Munich 1987, ISBN 3-530-42100-6 , pp. 190-198.
  • Ulla Wittmann: I fool forgot the magic things. Fairy tales as a way of life for adults. Ansata, Interlaken 1985, ISBN 3-7157-0075-0 , pp. 85-92.

Anthroposophy

  • Rudolf Müller: Jorinde and Joringel. When love awakens through separation. Wisdom in fairy tales. Kreuz, Stuttgart 1997, ISBN 3-268-00044-4 .
  • Friedel Lenz: the imagery of fairy tales. 8th edition. Free Spiritual Life and Urachhaus, Stuttgart 1997, ISBN 3-87838-148-4 , pp. 197–203, 245, 250, 256–264.
  • Edzard Storck: Old and new creation in the fairy tales of the Brothers Grimm. Lorber and Turm, Bietigheim 1977, ISBN 3-7999-0176-0 , pp. 413-415, 408-411.
  • Rudolf Meyer: The wisdom of German folk tales. 5th edition. Urachhaus, Stuttgart 1963, pp. 144-146, 198-199.
  • Marcus Kraneburg: Grimm fairy tales as a mirror of the soul. Mayer, ISBN 978-3-86783-002-7 , pp. 109-116.
  • Christa M. Siegert: Secret message in fairy tales. A decryption by Christa M. Siegert with seven graphics by B. Schollenberg. Hermanes T. Verlag, 1991, ISBN 3-925072-04-7 . Pp. 141-161.

Plays

  • Claudia Hann : Jorinde and Joringel . Play. A musical fairy tale based on Heinrich Jung Stillung. World premiere at the Cassiopeia Theater Cologne, 2000.
  • Hans Schönfeld: Joringel and Jorinde. A fairy tale game in 5 acts. Talis, Leipzig.
  • Ella Gloël: Jorinde and Joringel. A fairy tale game based on the fairy tale of the same name by Brothers Grimm. Buchner, Munich 1941.
  • Erich Bauer: Jorinde and Joringel. A fairy tale game based on the Brothers Grimm. With music. Buchner, Munich 1949.
  • Harald Grill: Jorinde and Joringel in the Wackersdorfer Wald. 22 images of a heavenly burial. Play. Unterforsthuber & Roßmanit, Traunreut 1987. Städtische Bühnen Regensburg, world premiere on November 6, 1987.

Web links

Wikisource: Jorinde and Joringel  - Sources and full texts
Commons : Jorinde and Joringel  - Collection of images, videos and audio files

Individual evidence

  1. ^ Hans-Jörg Uther: Jorinde and Joringel. In: Encyclopedia of Fairy Tales. Volume 7. Berlin, New York, 1993, p. 633.
  2. ↑ Hans-Jörg Uther: The Brothers Grimm and Heinrich Jung-Stilling. From Jorinde and Joringel and other stories. In: Ulrich Müller, Margarete Springeth: Couples and pairings. Festschrift for Werner Wunderlich on his 60th birthday. Heinz, Stuttgart 2004, ISBN 3-88099-425-0 , p. 303.
  3. ^ Rudolf Müller: Jorinde and Joringel. When love awakens through separation. Wisdom in fairy tales. Kreuz, Stuttgart 1997, ISBN 3-268-00044-4 , p. 32.
  4. ^ Klaus Graf: Ring. In: Encyclopedia of Fairy Tales. Volume 11. Berlin, New York 2004, pp. 688-696.
  5. ↑ Christoph Daxelmüller: hard Bannen. In: Encyclopedia of Fairy Tales. Volume 4. Berlin, New York 1984, pp. 1043-1052.
  6. ^ Hans-Jörg Uther: Jungfrau in the tower. In: Encyclopedia of Fairy Tales. Volume 7. Berlin, New York 1993, pp. 791-797.
  7. ↑ Klaus E. Müller: Shamanism. Healers, spirits, rituals. 3rd edition, Beck, Munich 2006, ISBN 978-3-406-41872-3 , pp. 21-22.
  8. ^ Karl Kerényi: Persephone. In: CG Jung, Karl Kerényi: Introduction to the essence of mythology. Walter, Zurich and Düsseldorf 1999, ISBN 3-530-40061-0 , pp. 129-136.
  9. ^ Karl Kerényi: Persephone. In: CG Jung, Karl Kerényi: Introduction to the essence of mythology. Walter, Zurich and Düsseldorf 1999, ISBN 3-530-40061-0 , pp. 134-135.
  10. ↑ Reinhold Merkelbach: Mithras. Hain, Meisenheim 1984, ISBN 3-445-02329-8 , pp. 85-118.
  11. ↑ Helmut Gebelein: Alchemy. Special edition. Hugendubel, Kreuzlingen, Munich 2000, ISBN 3-89631-402-5 , pp. 44, 48, 53-54; CG Jung: Concepts of salvation in alchemy (Psychology and Alchemy 2). From: Grundwerk CG Jung. Volume 6. Ed. Lilly Jung-Merker, Elisabeth Rüf et al. 5th edition. Walter, Zurich, Düsseldorf 1999, ISBN 3-530-40786-0 , pp. 12-13.
  12. ↑ Hedwig von Beit: Symbolism of the fairy tale. Francke, Bern 1952, p. 280; Hedwig von Beit: Contrast and Renewal in Fairy Tales. Second volume of «Symbolism of Fairy Tales». 2nd Edition. Francke, Bern 1956, pp. 56, 61, 71, 239, 561.
  13. ↑ Lilium tigrinum. In: Martin Bomhardt: Symbolic Materia Medica. 3. Edition. Homeopathy and Symbol, Berlin 1999, ISBN 3-9804662-3-X , p. 778; SR Phatak: Homeopathic Medicine. 2nd Edition. Urban & Fischer, Munich 2004, ISBN 3-437-56860-4 , pp. 375-378.
  14. ^ Friedel Lenz: Visual language of fairy tales. 8th edition. Free Spiritual Life and Urachhaus, Stuttgart 1997, ISBN 3-87838-148-4 , pp. 197-203.
  15. ↑ Christa M. Siegert: Secret message in fairy tales. A decryption by Christa M. Siegert with seven graphics by B. Schollenberg. Hermanes T. Verlag, 1991, ISBN 3-925072-04-7 . Pp. 141-161.
  16. ^ Rudolf Müller: Jorinde and Joringel. When love awakens through separation. Wisdom in fairy tales. Kreuz, Stuttgart 1997, ISBN 3-268-00044-4
  17. ↑ Ulla Wittmann: I fool forgot the magic things. Fairy tales as a way of life for adults. Ansata, Interlaken 1985, ISBN 3-7157-0075-0 , pp. 85-92.
  18. ↑ Verena Kast: '' The meaning of symbols in the therapeutic process '' and '' The amplification through fairytale pictures. '' In: Helmut Barz, Verena Kast, Frank Nager: '' Healing and change. CG Jung and Medicine. '' Dtv, Munich 1991, ISBN 3-7608-0712-7 (first Artemis Verlag, Zurich 1986), pp. 39–42, 53–57.
  19. ↑ Johann Heinrich Jung-Stilling: The story of the Lord of Morgenthau. In: Johann Heinrich Jung called Stilling. All the writings. Volume VI 9. Olms, Hildesheim, New York, 1979, ISBN 3-487-06816-8 , pp. 435-436, 450-453. Reprint of the Stuttgart edition 1835–1838. The reprint is based on the copies of the Württemberg State Library in Stuttgart. Signature: Misc. oct 1304
  20. ↑ Johann Heinrich Jung-Stilling: The homesickness. Complete, unabridged edition after the first edition published from 1794–1796. Introduced and provided with notes and a glossary by Martina Maria Sam. In the appendix: Young stillings "Keys to homesickness". Am Goetheanum, 1994, ISBN 3-7235-0741-7 , p. 287.
  21. ↑ Dieter Cunz. In: Johann Heinrich Jung-Stilling: Henrich Stillings youth, youth, wandering and domestic life. Bibliographically amended edition. Reclam, Stuttgart 1997, ISBN 3-15-000662-7 , pp. 367-368, 377-378, 398.
  22. ↑ Johann Heinrich Jung-Stilling: Henrich Stillings youth, youth, wandering and domestic life. Bibliographically amended edition. Reclam, Stuttgart 1997, ISBN 3-15-000662-7 , pp. 51, 53, 60-61, 70.
  23. ↑ Kurt Ruh: The 'Melusine' of the Thuringia of Ringoltingen. Bavarian Academy of Sciences, Munich 1986, ISSN  0342-5991 , ISBN 3-7696-1538-7 , pp. 5-9. (Bavarian Academy of Sciences. Philosophical-Historical Class. Meeting reports. Born 1985. Issue 5.)
  24. ↑ Dieter Cunz. In: Johann Heinrich Jung-Stilling: Henrich Stillings youth, youth, wandering and domestic life. Bibliographically amended edition. Reclam, Stuttgart 1997, ISBN 3-15-000662-7 , p. 410.
  25. ↑ Dieter Cunz. In: Johann Heinrich Jung-Stilling: Henrich Stillings youth, youth, wandering and domestic life. Bibliographically amended edition. Reclam, Stuttgart 1997, ISBN 3-15-000662-7 , p. 413.
  26. ↑ Johann Heinrich Jung-Stilling: Henrich Stillings youth, youth, wandering and domestic life. Bibliographically amended edition. Reclam, Stuttgart 1997, ISBN 3-15-000662-7 , pp. 101-102, 111.
  27. ↑ Johann Heinrich Jung-Stilling: Henrich Stillings youth, youth, wandering and domestic life. Bibliographically amended edition. Reclam, Stuttgart 1997, ISBN 3-15-000662-7 , p. 284.
  28. ↑ Hans-Jörg Uther: The Brothers Grimm and Heinrich Jung-Stilling. From Jorinde and Joringel and other stories. In: Ulrich Müller, Margarete Springeth: Couples and pairings. Festschrift for Werner Wunderlich on his 60th birthday. Heinz, Stuttgart 2004, ISBN 3-88099-425-0 , p. 302.
  29. ↑ Hans-Jörg Uther: The Brothers Grimm and Heinrich Jung-Stilling. From Jorinde and Joringel and other stories. In: Ulrich Müller, Margarete Springeth: Couples and pairings. Festschrift for Werner Wunderlich on his 60th birthday. Heinz, Stuttgart 2004, ISBN 3-88099-425-0 , p. 294.
  30. ^ Giambattista Basile: The fairy tale of fairy tales. The pentameron. Edited by Rudolf Schenda. CH Beck, Munich 2000, ISBN 3-406-46764-4 , p. 616 (based on the Neapolitan text of 1634/36, completely and newly translated).
  31. ↑ Antti Aarne, Stith Thompson: The types of the folktale. A classification and bibliography. ". Edition. Helsinki 1961, p. 135.
  32. ^ IV Zingerle: Legends from Tyrol. In: JW Wolf (ed.). Journal for German Mythology and Morals. Second volume. Dieterichschen Buchhandlung, Göttingen 1855, p. 355.
  33. ↑ Ursula Enderle (ed.): Fairy tales of the peoples of Yugoslavia. Insel, Leipzig 1990, ISBN 3-7351-0121-6 , pp. 390-392. Original title: Bajke Naroda Jugoslavije. Translated from Serbo-Croatian and with a foreword by Ursula Enderle. Comments from Jaromir Jech.
  34. ↑ Antti Aarne, Stith Thompson: The types of the folktale. A classification and bibliography. 2nd Edition. Helsinki 1961, p. 135.
  35. ↑ Siegfried Neumann: The fairy tale of the heavenly woman's basket. In: fairytale mirror. Journal for international fairy tale research and fairy tale care. February 1999, ISSN  0946-1140 , p. 23.
  36. ↑ Hans W. Panthel: From the 'blutrothe' to the blue flower. In: Neophilologus. 72, 1988, ISSN  0028-2677 , pp. 582-587; G. Stecher: Jung-Stilling as a writer. Berlin 1913, pp. 266-267; Dieter Cunz. In: Johann Heinrich Jung-Stilling: Henrich Stillings youth, youth, wandering and domestic life. Bibliographically amended edition. Reclam, Stuttgart 1997, ISBN 3-15-000662-7 , p. 415.
  37. ^ Gerhard Schulz (Ed.): Novalis works. 4th edition. Beck, Munich, ISBN 3-406-47764-X , p. 176.
  38. ↑ Ina Seidel: The desired child. Deutsche Verlags-Anstalt, Stuttgart 1930, pp. 27, 67, 102, 168–169, 176, 177, 187, 191, 248, 251, 255–264, 283, 290, 292, 304, 307, 332, 360– 362, 465, 483, 535-543, 563, 589, 602, 752, 767, 774, 810, 812, 822, 824, 829, 831, 837, 858, 866-868, 886, 887, 897, 926, 933, 936.
  39. ^ Hans-Jörg Uther: Jorinde and Joringel. In: Encyclopedia of Fairy Tales. Volume 7. Berlin, New York 1993, p. 633.
  40. ^ Rudolf Meyer: The wisdom of German folk tales. 1935. 5th edition. Urachhaus, Stuttgart, 1963, pp. 198-199.
  41. ↑ Janosch: Janosch tells Grimm's fairy tales. 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. 240–242.
  42. ^ Burkhard Kaczmarek: Story by Jorinde and Joringel. 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. 231–234 (first published in: Simplicissimus. No. 16, April 20, 1963, p. 242; Mieder only mentions “Bernhard Kaczmarek ", In the source section" Kaczmarek, Burkhard ").
  43. ^ Jörg Steiner: Jorinde and Joringel. 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. 238-239 (1973; first published in: Hans-Joachim Gelberg (Hrsg.): Neues vom Rumpelstilzchen and other house fairy tales by 43 authors Beltz & Gelberg, Weinheim 1976, pp. 78-80.).
  44. ↑ Margaret Mahy: The Other Side of Silence. Deutscher Taschenbuch Verlag, Munich 2000, ISBN 3-423-70594-9 (translated by Cornelia Krutz-Arnold; New Zealand original edition: The Other Side of Silence ).
  45. ↑ Heinz-Albert Heindrichs: Why there are fairy tale operas. In: fairytale mirror. Journal for international fairy tale research and fairy tale care. February 1998, ISSN  0946-1140 , p. 21.
  46. ^ Review, see Wilhelm Trapp: Audiobooks. Fairy tales, epics and English meanness. Willful misunderstandings . Section under the magic blanket . In: The time . November 15, 2006. Retrieved April 23, 2012.
  47. ↑ See www.hoerjuwel.de ( Memento from January 24, 2012 in the Internet Archive ). Retrieved April 24, 2012.
  48. ^ Roy Kinnard: Horror in silent films: A Filmography, 1896–1929. McFarland, Jefferson, North Carolina, and London 1995, ISBN 0-7864-0036-6 , p. 118.
  49. ↑ Program information on Jorinde and Joringel on rbb-online.de ( Memento from December 3, 2011 in the Internet Archive ), accessed on December 11, 2011.