Mary Child

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Marienkind is the third fairy tale from the children's and house tales by the Brothers Grimm (KHM 3). In the Aarne-Thompson-Uther-Index it is listed under ATU 710 under the type Other stories of the supernatural .

content

A poor wood chopper who cannot feed his three-year-old daughter meets the Virgin Mary, who takes the child with her and cares for it in the kingdom of heaven. After 14 years, Maria goes on a journey and leaves 13 keys, one of which is forbidden. The girl uses one every day and is happy with the angels about the twelve apostles. Then it opens the 13th door, sees the Trinity and touches the luster of which the finger turns golden. Maria sees this, takes the language of the Child Mary and casts it off to earth because it does not confess. It lives miserably in the wild in a tree. A king on the hunt finds and marries the mute. She has three children, whom Maria takes from her. So they think people are ogre and urge the king to have them burned. At the stake she confesses the offense to Maria, then the fire goes out, Maria gives her the children and the voice again, because whoever repents will be forgiven.

Text history

Jacob Grimm sent the fairy tale with others to Savigny as early as 1808 and, almost unchanged, to Brentano in 1810 . Grimm's note notes “from Hessen” (by Gretchen Wild ) and gives another story (by Friederike Mannel ), which was also already in the handwritten original version from 1810 as Ein Mährchen. The mute girl: the father, who cannot feed his children, wants to hang himself in the forest and meets a black-clad maiden in a black carriage, who lets him find a sack of money for what is hidden in the house. That is the daughter in the womb (cf. KHM 181 ). At the request of her mother, the virgin does not take her to her magnificent black castle until she is twelve. A chamber is not allowed to open them. When she peeps through a crack after four years, there are four reading virgins. The foster mother hits her on the mouth and disgusts her. The king marries her against the opposition of his mother, who takes her children away from her. When she is about to be burned, she saves the virgin (like KHM 9 , 25 , 49 ). The Brothers Grimm also compare the daughter of the poor at Meier No. 36, a Norwegian fairy tale at Asbjörnsen No. 8 and a Swedish one from Graumantel's. below"; the legend of St. Ottilie , as in Naubert's folk tales, part 1; in the pentameron 1,8 The goat face ; Wendisch St. Marias sponsorship with Haupt and Schmaler No. 16, “S. 179 "; Wallachian the walled-in mother at Schott No. 2. You notice the spread of the idea of ​​the one forbidden door as in KHM 46 Fitchers Vogel . When every apostle is sitting in a shiny apartment, “let the song of St. Anno ”, v. 720, where the bishops sat together like stars in heaven. It is an old train that virgins, robbed of their clothes, cover themselves with their long hair, so St. Agnes in the “Bibl. maxima 27, 82b ", St. Magdalena at Petrarch in Latin verse, plus an illustration in" Magasin pittoresque 1, 21 ". In an old Spanish romance a king's daughter is sitting on an oak tree and her hair covers the whole tree, Diez 's Old Spanish Romances "177", Geibel's folk songs and Romances of the Spanish p. 151–152. Of St. Ottilie also a copy in Grimm's estate found.

Text changes after Grimm's first edition are not very serious. Starting with the 2nd edition, Mary gives the child the key when they “turned fourteen” (previously: after fourteen years) and warns that if they use the thirteenth, small key, they will be unhappy. The Brothers Grimm now describe in more detail how the child only wants to see through the crack in the door and waits until nobody is looking. Maria looks the child in the eye, he lies three times. Life in the wild is also portrayed more vividly. The king fights his way through the bush hunting game (from 7th edition: a deer, see KHM 136 ). He is amazed at the girl who sits there in his golden hair (see note). The ending is more detailed, rain extinguishes the flames.

Some researchers saw ancient models in the Croesus - Gyges saga, others suspect a counter-Reformation example narrative to explain the Catholic doctrine of complete repentance according to the doctrine of the sacraments of penance after the Council of Trent (14th session, 1551, later Roman Catechism ).

Motive comparisons

interpretation

Bruno Bettelheim's teaching is that the voice with which we lie leads us to perdition and is better taken - telling the truth but redeeming us. The homeopath Martin Bomhardt compares the fairy tale with the drug pictures of Magnesium carbonica , magnesium sulphate , Pulsatilla pratensis . Wilhelm Salber sees the inescapable desire to have everything, which is kept as a secret against the pressure of reality under restrictions, which leads to isolation. Eugen Drewermann notices the legendary morality, exaggerated into the divine, of fairytale motifs that can be interpreted psychologically. Poverty leads through feelings of guilt to oral inhibition when identifying with the parents, they are exaggerated in a compensatory way. The fear bond remains and turns into pampering: "Whoever plays with angels will certainly never be allowed to start quarrels and arguments" - they are the attitudes and evaluations of childhood. In addition, there is the “virginity” of the mother and the invisibility of (God) the father. The prohibition against looking at God is so absurd theologically that it can only be interpreted oedipally. The mother-daughter unit does not last forever. The lie is a way out of fear, in the long run a dead end, but basically an admission of a false ideal. The fear of confessing turns the sexual prohibition into a prohibition of speaking that isolates. This dilemma repeats itself in marriage. Again, concern for the children replaces love for the man who also pretends nothing is happening - only the stress of suffering from even greater fear can the super-ego break. Especially here the text is unfortunately not very clear ( Joh 8,32  EU ). All the religious symbols of salvation run the risk of being abused in mere fearful morals ( Mt 7.21  EU ).

Franz Xaver Hacker wrote a short story Das Marienkind (1869), Paul Heyse a novella Marienkind (1892), Hermann Erler a drama Marienkind (1897). To what extent they relate to the fairy tale should be examined.

Illustrations

In the richly illustrated fairy tale jewelery books published by Verlag Josef Scholz between 1904 and 1922, the fairy tale Marienkind was also published . The Art Nouveau illustrations of the Marienkind are by Heinrich Lefler and Joseph Urban . Marienkind thematize eight full-page color pictures, which are supplemented by a black and white ornamentally designed initial at the beginning of the fairy tale and five further black and white drawings. The color images are dominated by a light-mystical color contrast of yellow tones with blue. All pictures are ornamentally and linearly adapted to the fairytale mood. The theme of the color images

1. The encounter with the fairy Maria and the small child in the company of their parents in the forest
2. The little girl in the paradise fairy castle, symmetrically accompanied by angels
3. Mary and the obstinate child in front of the open door to heaven
4. The beautiful woman in the forest is found by a prince in her tree hiding place
5. The girl rides wrapped in her golden hair with the prince to the castle
6. Mary takes the children of the beautiful and mute ones
7. The doubting king with his evil advisers
8. Mary brings the children and saves Marienkind from the stake

literature

  • Grimm, brothers. Children's and Household Tales. Complete edition. With 184 illustrations by contemporary artists and an afterword by Heinz Rölleke. Pp. 46-50. 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. Pp. 19–21, p. 443. Revised and bibliographically supplemented edition, Stuttgart 1994. (Reclam-Verlag; ISBN 3-15-003193-1 )
  • 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. Pp. 196-201, pp. 371-373. Cologny-Geneve 1975. (Fondation Martin Bodmer; Printed in Switzerland)
  • Eugen Drewermann : Dear little sister, let me in. Grimm's fairy tales interpreted in terms of depth psychology. Munich 1992. pp. 43-101. (dtv-Verlag; ISBN 3-423-35056-3 )
  • Eugen Drewermann, Ingritt Neuhaus : Marienkind. Grimm's fairy tales interpreted in terms of depth psychology. 5th edition. Walter Verlag, Olten, Freiburg im Breisgau 1992, ISBN 978-3-530-16864-8

Web links

Wikisource: Marienkind  - Sources and full texts

Individual evidence

  1. ↑ Heinz Rölleke (ed.): The oldest fairy tale collection of the Brothers Grimm. Synopsis of the handwritten original version from 1810 and the first prints from 1812. Edited and explained by Heinz Rölleke. Cologny-Geneve 1975 (Fondation Martin Bodmer, Printed in Switzerland), pp. 196-201, 278-282, 371-372.
  2. ↑ Rölleke, Heinz (ed.): Fairy tales from the estate of the Brothers Grimm. 5th improved and supplemented edition. Trier 2001. pp. 93–94, 117. (WVT Wissenschaftlicher Verlag Trier; ISBN 3-88476-471-3 )
  3. ↑ Hans-Jörg Uther: Handbook on the children's and house tales of the Brothers Grimm. de Gruyter, Berlin 2008, ISBN 978-3-11-019441-8 , pp. 7–8.
  4. ↑ Bruno Bettelheim: Children need fairy tales. 31st edition 2012. dtv, Munich 1980, ISBN 978-3-423-35028-0 , pp. 20-21.
  5. ^ Martin Bomhardt: Symbolic Materia Medica. 3. Edition. Verlag Homeopathie + Symbol, Berlin 1999, ISBN 3-9804662-3-X , pp. 836, 854, 1152.
  6. ^ Wilhelm Salber: fairy tale analysis (= work edition Wilhelm Salber. Volume 12). 2nd Edition. Bouvier, Bonn 1999, ISBN 3-416-02899-6 , pp. 68-70, 112, 128-130.
  7. ↑ Eugen Drewermann: Dear little sister, let me in. Grimm's fairy tales interpreted in terms of depth psychology. dtv, Munich 2002, ISBN 3-423-35050-4 , pp. 48-101.
  8. ^ Grimms Märchen Illustriert im Jugendstil - published by Arena Verlag Edition Popp Würzburg, 1982; ISBN 3-88155-102-6 and picture example