King Drosselbart

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King Drosselbart is a fairy tale ( ATU 900). It is in the children's and house tales of the Brothers Grimm at position 52 (KHM 52). Up to the 2nd edition the title King Droßelbart was written .

content

A king's daughter mocks all invited suitors, especially a king with a crooked chin, since then called "thrush beard". Her father angrily gives her to a begging minstrel who takes her home. On the way she admires beautiful properties and regretfully learns that everything belongs to King Drosselbart. She has to work in the minstrel's cottage, who stresses her ineptitude. If it fails in braiding and spinning, it must offer dishes on the market. People like to buy, but the second time a supposedly drunk hussar on horseback breaks her goods. Her husband scolds and sends her to the royal palace as a kitchen maid, where she helps out and brings leftover food home. At the wedding of the royal couple, she just wants to watch, but King “Drosselbart” pulls her onto the dance floor, with the leftover food falling out of her pockets. She tries to escape, but he catches up with her on the stairs and identifies himself as her husband, the alleged beggar. He had disguised himself as a minstrel to punish their arrogance and had been the hussar too. They are celebrating their wedding.

style

The fairy tale takes on unsteady features from the pointed speeches of the king's daughter ( "the wine barrel!" Etc.) and her ignorance. On the way she says:

“Oh, who does the beautiful forest belong to?” [1. Edition: "oh, who belongs to ..."]
"It belongs to King Drosselbart;
If you had taken it, it would be yours. ”
“ I poor maiden tender,
oh, if I had taken King Thrushbeard! ”[1. Edition: "Oh, I would have taken ..."]

"Who does the beautiful green meadow belong to?" Edition: “Whom belongs to…”]
“It belongs to King Drosselbart;
had you taken it, it would have been yours. ”
“ I poor maiden tender,
oh, if I had taken King Thrushbeard! ”[1. Ed .: "oh if I had taken but ..."]

"Who is this beautiful big city?" [Until 5th ed .: "Who is probably ..."]
"It belongs to King Thrushbeard
had you taken it, it would have been yours. ”
“ I poor maiden tender,
oh, if I had taken King Thrushbeard! ”[1. Edition: "Oh, I would have taken ..."]

"Oh, God, what is the house so small! [up to 5th edition: "Oh God, what a little house"]
who is that miserable tiny house? "

The humiliations increase from the sight of the goods and the house to the low jobs and fear of ridicule by " people from my father's kingdom " in the market. Wilhelm Grimm rounded off the end with another shame with breaking pots in front of the court and a final remorse: " ... she was so ashamed that she would have preferred to be a thousand fathoms underground " (cf. KHM 47 ); “ I wish you and I would have been there too ” (cf. KHM 134 ).

origin

Jacob Grimm's handwritten original version from 1810 (after the Hassenpflug family ) is decorated in the first print from 1812 (after Dortchen Wild ) by the wedding visit at the end, the intermediate episode with lichens and spiders, and more verbatim speeches and rhymes. The abundance of eloquent abuse of suitors, which started with the second edition in 1819, apparently comes from a version from Paderborn (probably based on Ludowine von Haxthausen ), the beginning of which reproduces the note: She looks through the window like the minstrel with a golden wheel Häspelchen makes music. When no goldsmith can do anything like that to her father, she promises marriage for the secret. In a fourth story (perhaps based on Friederike Mannel ), Bröselbart has to guess which animal a hide comes from, deliberately guesses incorrectly and comes back as a beggar (see princess with the louse ). The Grimms still call Pröhle children's fairy tales No. 2, Pentameron IV, 10 Der punished arrogance , Norwegian by Asbjörnsen Thl. 2 Halon Borkenbart and a song by Mithard (Beneke contributions p. 291) .

Hans-Jörg Uther names the Middle High German mare Diu halbe bir and the Icelandic Clárus saga from the 13th and 14th centuries, as well as in Basile's Pentameron IV, 10 The punished arrogance , cf. also I, 5 Der Flea , III, 1 Cannetella . The fact that the father enforces humiliation is documented for the first time by Grimm's version, cf. KHM 1 The Frog King or the Iron Heinrich , KHM 111 The trained hunter . Cf. KHM 71 Sixes come through the whole world , KHM 134 The six servants , KHM 191 The sea rabbit ; Luigi Alamannis The Countess of Toulouse ; William Shakespeare's The Taming of the Shrew . Revenge and seduction by the rejected recruiter is a popular basic constellation of medieval fiction and fairytale literature. The quarrelsome women’s speech has a literary tradition and here is very similar to Von den meiden in Hugos von Trimberg’s Der Renner (on “der Zinshahn!” See KHM 179 ). Walter Scherf compares other versions. Apparently with a view to the child-friendly little edition of the children's and house fairy tales, Wilhelm Grimm chose this simple text, which is now so well known.

Origin theory

One evening to Prince Leopold of Anhalt-Dessau , the Dessauer be riding up Spittelstrasse. As he passed the pot merchants, he asked how the business had been. The pot traders complained and lamented. Thereupon the prince rode right into the middle of the pottery, so that soon only shards could be seen. The market women screamed and howled, but the more they did so, the more impetuous their sovereign behaved. In the end, not a single piece was whole. When the prince had torn everything apart, he asked the market women to come to the castle with them and he paid them the damage caused by a penny, so that the women had a good market after all. It is said that the Brothers Grimm heard of this incident.

interpretation

Ines Köhler-Zülch concludes from the story of the text that the narrators warned against recklessness and arrogance, wanted to emphasize the value of work and humility, or to address social inequality, or that it is about male fantasies of breaking women. The narrator can put their upbringing or male vengeance in the foreground.

According to Hedwig von Beit , the rejection of suitors is based on unconscious father identification ( animus ), which leads to isolation, which on the other hand is broken by the animus figure of the strange beggar. In other versions his beard refers to the devil or Odin , his music seduces or leads to the self . At the same time, the rapture confronts the real hardship of life. Instead of male autocracy, her femininity is now also exaggerated at first. This leads to renewed outbursts of affect until the torn opposites, natural and spiritual parts are integrated on a higher level (wedding). The female psyche thus experiences a shadow-like form of life and recognizes its higher self. An interpretation from the male psyche, on the other hand, would have to assume a painful search of the soul for the self. The homeopath Martin Bomhardt compares the fairy tale with the drug picture of platinum . Wilhelm Salber sees tensions between preservation and change, which was initially thought to be impossible, which punishes each other with revenge. The psychotherapist Jobst Finke also sees a possibility of interpretation as a sadomasochistic couple relationship (according to Willi ), which can be relatively stable as soon as one resigns, while the other must repeatedly convince himself of his submission.

Receptions

Cf. in Ludwig Bechstein's German book of fairy tales most likely Vom Zornbraten . In Janosch's parody, she runs away with Drosselbart's son until freedom is exhausted, they recognize each other and are rich together. A version of the fairy tale appears in David Drake's fantasy novel Servant of the Dragon (1999) and in Bill Willingham Comic Fables (from 2002). A manga about King Drosselbart was published in 2012 by Mikiko Ponczeck .

  • The king's daughter disdains all suitors.

  • The minstrel leads his wife into the poor hut.

  • The king's daughter has to do all the housework herself.

  • A hussar destroys their pottery in the market.

  • The king's daughter works as a kitchen maid at the king's court.

  • The prince reveals himself.

Theater adaptations

Brothers Grimm Fairy Tale Festival Hanau : King Drosselbart as a musical, world premiere May 10, 2008, music by Alexander S. Bermange , book and lyrics by Wolfgang Adenberg , director: Marc Urquhart .

Film adaptations

literature

  • Jacob Grimm , Wilhelm Grimm : Children's and Household Tales. With an appendix of all fairy tales and certificates of origin not published in all editions . Ed .: Heinz Rölleke . 1st edition. Original notes, guarantees of origin, epilogue ( volume 3 ). Reclam, Stuttgart 1980, ISBN 3-15-003193-1 , p. 98-99, 464-465 .
  • 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, pp. 116-121, p. 360. (Fondation Martin Bodmer; Printed in Switzerland).
  • Hans-Jörg Uther : Handbook to the "Children's and Household Tales" by the Brothers Grimm. Origin, effect, interpretation . de Gruyter, Berlin / New York 2008, ISBN 978-3-11-019441-8 , pp. 123-125 .
  • Ines Koehler-Zülch: King Drosselbart. In: Encyclopedia of Fairy Tales . Volume 8. pp. 148-156. Berlin, New York, 1996.
  • Walter Scherf : The fairy tale dictionary . CH Beck, Munich 2007, ISBN 978-3-406-51995-6 , p. 695-699 .
  • Lothar Bluhm , Heinz Rölleke : "Popular sayings 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. S. Hirzel, Stuttgart / Leipzig 1997, ISBN 3-7776-0733-9 , pp. 84-85 .
  • Hedwig von Beit: Symbolism of the fairy tale. A. Francke, Bern 1952, pp. 595-609.
  • Ulla Wittmann: I fool forgot the magic things. Fairy tales as a way of life for adults . 1st edition. Ansata, Interlaken 1985, ISBN 3-7157-0075-0 , p. 153-157 .
  • Regina Kämmerer: Fairy tales for a successful life. KVC-Verlag, Essen 2013, pp. 104-106.

Web links

Wikisource: King Drosselbart  - Sources and full texts
Commons : King Thrushbeard  - Collection of images, videos and audio files

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, pp. 116-121, p. 360. (Fondation Martin Bodmer; Printed in Switzerland).
  2. ^ Jacob Grimm , Wilhelm Grimm : Children's and Household Tales. With an appendix of all fairy tales and certificates of origin not published in all editions . Ed .: Heinz Rölleke . 1st edition. Original notes, guarantees of origin, epilogue ( volume 3 ). Reclam, Stuttgart 1980, ISBN 3-15-003193-1 , p. 98-99, 464-465 .
  3. ↑ Hans-Jörg Uther : Handbook on the "Children's and Household Tales" by the Brothers Grimm. Origin, effect, interpretation . de Gruyter, Berlin / New York 2008, ISBN 978-3-11-019441-8 , pp. 124 .
  4. ↑ Ines Koehler-Zülch: King Drosselbart. In: Encyclopedia of Fairy Tales . Volume 8. S. 151. Berlin, New York, 1996.
  5. ↑ a b Ines Koehler-Zülch: King Drosselbart. In: Encyclopedia of Fairy Tales . Volume 8. P. 149. Berlin, New York, 1996.
  6. ↑ Lothar Bluhm , Heinz Rölleke : “Speeches of the people 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. S. Hirzel, Stuttgart / Leipzig 1997, ISBN 3-7776-0733-9 , pp. 84-85 .
  7. ↑ Walter Scherf : The fairy tale dictionary . tape 1 : A-K . CH Beck, Munich 2007, ISBN 978-3-406-51995-6 , p. 695-699 .
  8. ↑ Dessau, Bauhaus City in the Garden Realm , City of Dessau - Office for Culture, Tourism and Sport, 2006, p. 14
  9. ↑ Ines Koehler-Zülch: King Drosselbart. In: Encyclopedia of Fairy Tales . Volume 8. S. 154. Berlin, New York, 1996.
  10. ↑ Hedwig von Beit: Symbolism of the fairy tale. A. Francke, Bern 1952, pp. 595-609.
  11. ^ Martin Bomhardt: Symbolic Materia Medica. 3. Edition. Verlag Homöopathie + Symbol, Berlin 1999, ISBN 3-9804662-3-X , p. 1109.
  12. ^ Wilhelm Salber : Märchenanalyse (=  work edition Wilhelm Salber . Volume 12 ). 2nd Edition. Bouvier, Bonn 1999, ISBN 3-416-02899-6 , pp. 83-85, 138 .
  13. ^ 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, 204-205.
  14. ↑ Janosh: King Thrushbeard. 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. 165-169.
  15. ↑ English-language Wikipedia on King Thrushbeard
  16. ↑ Mikiko Ponczeck: King Thrushbeard. In: Grimm's Manga. Special tape. Tokyopop, Hamburg 2012, ISBN 978-3-8420-0638-6 .