Rumpelstiltskin

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The miller's daughter and Rumpelstiltskin, illustration by Walter Crane (1886)
Illustration from The heart of oak books (1906)

Rumpelstiltskin is a fairy tale ( ATU 500). It is in the children's and house tales of the Brothers Grimm at position 55 (KHM 55).

action

Rumpelstiltskin meets the miller's daughter, illustration (around 1889)

A miller claims of his beautiful daughter that she can spin straw into gold and wants to marry her off to the king. The king summons the daughter and gives her the task of spinning a chamber full of straw into gold overnight, otherwise she would have to die. The miller's daughter is desperate until a little man shows up, offers her help against her collar and spins the straw into gold for her. The same thing is repeated on the second night, this time for the price of a ring. The king then promises the girl marriage if she can spin another chamber full of straw into gold. This time the male asks the miller's daughter to have her first child, which she finally also agrees to.

After the wedding and the birth of the first child, the male demands the promised reward. The miller's daughter offers him all the riches of the empire, but the male demands her child. Softened by her tears, it gives her three days to guess his name . If she knows him on the third night, then she should be able to keep the child. On the first night the Queen tries all the names she knows; but without success. On the second night she tries unsuccessfully with names that she has asked of her subjects. The next day she learns from a messenger that a little man lives in a small house far away that dances and sings around a fire at night:

Today I'll bake, tomorrow I'll brew, the
day after tomorrow I'll bring the Queen's child;
oh, how good that nobody knows
that my name is Rumpelstiltskin!

The Queen first asks whether Rumpelstiltskin is called "Kunz" or "Heinz" and only then gives the correct traditional name. So she solved the riddle, and Rumpelstiltskin tears himself apart in anger with the words:

"The devil told you that!"

Earlier editions

Jacob Grimm sent the fairy tale together with others to Savigny for his daughter as early as 1808 . Wilhelm Grimm's handwritten original version Rumpenstünzchen from 1810 still largely corresponds to this earliest surviving version of the Grimm brothers. Jacob made a handwritten note for the title: Fischart's Game Directory n ° 363. «Rumpele stilt, or the pop part. » , A quote from Fischart's historical misrepresentation (Chapter 25), where games are listed; What is meant is probably the "strong Poppe" in the tapping gear. The Brothers Grimm had the edition from 1594.

Rumpenstünzchen sounded like a little guy, but Rumpelstiltskin now seems to be someone who makes noises by shaking or “rumbling” stilts (presumably things like table legs). The content of the first print from 1812 was based on the Hassenpflug and Dortchen Wild families , as Wilhelm Grimm noted in his personal copy: Dortchen 10 March 1811. Hassenpflugs . His addition, how the male tears himself up at the end ( Lisette ) instead of just running away, and Jacob Grimm's suggested names Cunz or Hinz , were included in the second edition from 1819. Their lively dialogues also characterize the well-known phrase from “spinning straw to gold”. The search for a name now fits in with the threefold structure of the plot, in that first a messenger is sent, then asked around, and finally the messenger (not the king) observes the male. The phrase “where Fox and Has say good night”, used from the second edition onwards, has diverse literary references. For the sixth or seventh edition, the king's greed for money is underlined by the fact that he looks at the straw that has been spun into gold at sunrise and then takes it "if it is also a miller's daughter".

Grimm's note

Grimm's note noted after four stories from Hesse , which on the whole correspond and complement one another in detail , in one of them it is the king who overhears the little man on the hunt (as in the first edition). They come partly from the Hassenpflug family , partly from Dortchen Wild , the tearing of the male (from the second edition) by Lisette Wild . In a fifth version (it corresponds to the original handwritten version from 1810) a little girl is supposed to spin yarn, but it is always gold and she is sad, sits on the roof and spins. Then comes the little man who promises him a king's son and demands the child. The maid overhears it rides around the fire on a wooden spoon. When it's betrayed, it flies out the window. In a sixth a woman climbs into a garden because of beautiful cherries, a black man comes from the ground, challenges the child, then comes despite all the husband's guards and only lets her if she knows his name. The man overhears him in his cave, which is hung over with wooden spoons.

The Brothers Grimm also enumerate: Karoline Stahl , p. 85 the stick ; Müllenhoff , No. 8; Kletke's Fairy Tale Hall , No. 3; Zingerle , No. 36 and p. 278; Pröhle , No. 23; Bechstein , No. 20; Colshorn , p. 83; Swedish in Cavallius , p. 210; Fischarts , Gargantua (chap. 25, no. 363); Müllenhoffs Sagen , pp. 306, 578; Aulnoy , No. 19; Villandon's Ricdin Ricdon in La Tour ténébreuse , edited in Danish in Ryerup Morstabsläsning , p. 173. Fenia and Menia could grind anything, so that the king let them grind peace and gold. The painful work of gold wire production often fell to poor virgins, for which the Grimm brothers quote an old Danish song from Kämpe Viser (p. 165, B. 24) (cf. Wolfdietrich Str. 89; Iwein 6186–6198): “nu er min Sorg saa mangesold, / som Jongfruer de spinde Guld ”. To guess the name, compare: A Danish legend at Thiele 1.45 , where someone owes a troll heart and eyes and overhears the troll woman speaking to her child about the father; Turandot in a thousand and one days ; a Swedish folk tale of St. Olav in Gräter's magazine Idunna and Hermode (3, 60, 61). Challenging the child encroaches on a great many myths.

Comparative fairy tale research

Like the oldest literary version, Ricdin Ricdon from La Tour ténébreuse by Marie-Jeanne Lhéritier de Villandon (1705), Rumpelstiltskin undoubtedly goes back to older folk tales. The fairy tale type is called supernatural helpers ( AaTh 500), with a smooth transition to folk tales, often devil tales. The devil's pact around the child goes well with this, the disguise with a ridiculous (but typically individual) name, but also Rumpelstiltskin's last words: “The devil told you that!” Spun straw really looks like gold, for example on chasubles.

Different motifs also appear in other fairy tales by the Brothers Grimm, like this:

interpretation

Vernacular

In the vernacular, Rumpelstiltskin is often referred to as rather small people who stand out due to their quick-tempered or raving manner - perhaps in an attempt to compensate for their lack of physical or human size ( Rumpelstiltskin = "Shrumpelstiltskin" = "dwarf with short legs"). In Upper Bavaria in particular , "a Rumpelstilz" disparagingly describes a - not necessarily short - choleric person. Since the 19th century, fairy tale interpreters believed they saw dwarfs as members of an oppressed and later demonized indigenous population who wanted to improve their genes by kidnapping children. The fairy tale researcher Lutz Röhrich uses the youngest representative of this thrust (Otto Kahn: Rumpelstilz hatreal lived , 1967) as well as psychoanalytic approaches (Freud, Wittgenstein, Bühler, von Beit; see below) to show the incompatibility of different interpretations that even only start from Grimm's final version. You suspect - behind the obvious motive of the ridiculous - again and again a narcissism about money and marriage.

Psychoanalysis

Sigmund Freud interpreted the dream of a young woman after her husband's visit: A bald man with a red nose comes over a steep staircase through a small door into her brown room and dances around strangely. It resembles her father-in-law, then her Rumpelstiltskin occurs . Carl Gustav Jung confirms that the spirit in dreams of women often has grotesque dwarf forms. In dreams as in fairy tales, he appears when there is no good advice. Old man and boy belong together, they form the Mercurius of alchemy . You never know whether a spirit is morally good. For Count Ottokar Wittgenstein the straw is a bed, the male the penis, the virgin knows nothing about gold. To -stilzchen he associates stealing , stilting , proud , strutting , stiff , like the stork that brings the children. Charlotte Bühler and Josephine Bilz see a maturation process from girl to mother. For Wilhelm Salber , this is about the eternal longing for ideal states, which is experienced as an externally determined labyrinth of activities. A game arises between total devotion and annihilation - the decisive act achieves the desired, but ends the movement.

Analytical psychology

Hedwig von Beit interprets father and king in depth psychological terms as animus figures who dominate the heroine and inspire her to boast and greed. This one-sided state of consciousness leads through an emergency situation to bind to unknown powers, in all variants of an underworld (black man, black goblin, etc.). Ultimately, they demand the self , for which the collar, ring and child are symbols, the former can also be interpreted as magical fetters or duties. Child and man are the unconscious in its double nature. The naming of the demon fixes, distances or dissolves it. It is a common folk motif that the underground don't want their name or age to be known. Primitive peoples consider their names to be something concrete to look out for.

Also Ulla Wittmann is based on the ambivalence of the Animus. Rumpelstiltskin transforms natural instincts, where consciousness does not advance, into goal-oriented labor. However, ambition, achievement and adaptation cost the feminine, living self. The unintegrated masculine is overcome by its positive side, the messenger listening in the forest (like wolf and hunter in Little Red Riding Hood ).

Kurt Stiasny sees alchemical motifs in the transformation from the inconspicuous to the permanent, in the ambivalent (Mercurian) dwarf figure and in the verse of “baking and brewing”, whereby the original version fits better. Eugen Drewermann analyzes how the miller compensates for his poverty with the beauty of his daughter, which in turn leads to the delusion of being able to make money out of it. In the daughter, this leads to a narcissistic obsession at the expense of her feminine self.

therapy

In the experience of the psychiatrist Wolfdietrich Siegmund , the reading of Rumpelstiltskin in patient groups soon brings the conversation to the separation difficulties between parents and children, we learn about the demonia and the promise of existence, and that we neither belong to ourselves nor to our parents. Angela Waiblinger reports on the healing process of a depressed patient to whom Rumpelstiltskin appeared spontaneously in daydreams and showed her the way to her feminine identity. Up until now she had surrendered to her father's wishes for prestige for school grades and a good marriage, while she experienced her mother as absent. Rumpelstiltskin is at the same time old man, child and mediator of the Great Mother ; it tries to remedy the lack of relationship between Eros and Logos , good and bad.

Anti-Semitism research

Similar to the Jew in the spine , the killed by the Jews damsel or the Judenstein be at Rumpelstiltskin anti-Jewish stereotypes and blood libel transported as German folklore and exaggerated to popular wisdom. Its title figure is a symbol of the disturbed relations between Jews and non-Jews, whereby anti-Jewish traditions are spread and intensified in it. “In its strangeness and diabolism, the dwarf, whose name, like that of the devil, may not be called, embodies the potentially dangerous outsider, the 'other' who lives in the middle of society but quite differently and who therefore becomes a projection surface for them Fears and (self-) attributions “of the members of the majority society who see him as a threat. According to the classic anti-Semitic ritual murder legend, the dwarf demands a (Christian) child in return for his magical services. In a paradoxical inversion, in the end it is not the king with his greed for wealth, but the threatening helper who realizes reprehensible wishes, who is abandoned to disregard and destruction with Rumpelstiltskin.

Receptions

Postage stamps of the German Post of the GDR (1976)

Georg Büchner wrote in Woyzeck in 1836 : “Tomorrow I will bring the Queen her child. Blood sausage says: come liver sausage! ”(Cf. KHM 43a ). Christian Peter Hansen combined a North Frisian Rumpelstiltskin variant with the North German legendary figure Ekke Nekkepenn in 1858 to create Der Meermann Ekke Nekkepenn . The little fire man in Theodor Storm's fairy tale Die Regentrude from 1863 has similar echoes .

In Hermine Mörike's parody What became of Rumpelstiltskin, Rumpelstiltskin makes himself whole again in the castle cellar with the queen's Hungarian wine (see Cluricaun or KHM 185 ) and becomes king of the poison mushrooms in the forest through the mediation of the salamander (see KHM 172 ). Janosch's Rumpelstuhlchen throws off the biggest, strongest and thickest suitors, just not the beautiful king's daughter, which is why a clever man simply sits on her lap. At Rosemarie Künzler's , the girl in the straw chamber calls out you're crazy , she'll never marry this hideous king and give up his child, whereupon Rumpelstiltskin has spun for free and is furiously tearing himself apart. Irmela Brender argues that Rumpelstiltskin, who has achieved so much and just felt alone, is being treated unfairly. John Katzenbach processed the fairy tale in 2002 in the psychological thriller The Analyst . Siegfried Stadler ironically interprets it as merciless competition among workers. A manga was published by Anna Hollmann in 2012 .

There is a radio play by Franz Fühmann . The composer and lyricist Roland Zoss set Rumpelstiltskin to music in 2004 in the Swiss dialect fairy tale series Liedermärli . Christian Peitz 's radio play CD Rumpelstiltskin Strikes Back was released in 2009.

The Münchener Freiheit , a German music group, interpreted the fairy tale in their song of the same name from 1983 from the perspective of a promiscuous man.

Theater versions

Image by Anne Anderson

Film adaptations

A servant of the king overhears Rumpelstiltskin, Efteling theme park , 2008

Rumpelstiltskin has supporting roles in The Wonder World of the Brothers Grimm (USA 1962), the comedies Werner - Beinhart! (Germany 1990), 7 dwarfs - The forest is not enough (Germany 2006), Shrek Forever After (USA 2010) and the fantasy series Once Upon a Time - Once Upon a Time ... (USA, from 2011).

literature

Brothers Grimm

  • Brothers Grimm: Children's and Household Tales . Complete edition. With 184 illustrations by contemporary artists and an afterword by Heinz Rölleke. Pp. 314-317. Düsseldorf and Zurich, 19th edition 1999. (Artemis & Winkler Verlag; Patmos Verlag; ISBN 3-538-06943-3 )
  • 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. Pp. 106-108, 466. Revised and bibliographically amended edition, Reclam, Stuttgart 1994, 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. 238-243, 379-380. Cologny-Geneve 1975. (Fondation Martin Bodmer; Printed in Switzerland)

variants

  • Christian Peitz : Rumpelstiltskin strikes back (radio play). Publisher HoerSketch, Münster 2009.
  • Kurt Ranke (ed.): Schleswig-Holstein folk tales . Kiel 1958. pp. 96-102.

Literary studies

  • Hans-Jörg Uther: Handbook to the children's and house fairy tales of the Brothers Grimm . de Gruyter, Berlin 2008. pp. 134-139, ISBN 978-3-11-019441-8 .
  • Lutz Röhrich: Rumpelstiltskin . In: Siegfried Schödel (Ed.): Working texts for teaching. Fairy tale analyzes . Reclam, Stuttgart 1977, ISBN 3-15-009532-8 , pp. 123-155. First seen as: Lutz Röhrich: Rumpelstilzchen. On method pluralism in narrative research . In: Swiss Archives for Folklore 68/69 (1972/73) pp. 567–596.
  • Lutz Röhrich: name of the monster . In: Encyclopedia of Fairy Tales . Volume 9. pp. 1164-1175. Berlin, New York, 1999.
  • Walter Scherf: The fairy tale dictionary . Second volume L-ZS 1000-1005. CH Beck, Munich 1995, ISBN 3-406-39911-8 .

Märchenspiegel magazine (1997–1999)

  • Kurt Stiasny: Alchemy in Grimm's fairy tales . In: fairytale mirror. Journal for international fairy tale research and fairy tale care . MSP 1/97, February 1997, 8th year. P. 2. (published by the Märchen-Stiftung Walter Kahn (with English summaries); ISSN  0946-1140 )
  • Lutz Röhrich: Today I'll bake, tomorrow I'll brew, the day after tomorrow I'll bring the queen her child ... dwarf sagas and fairy tales . In: fairytale mirror. Journal for international fairy tale research and fairy tale care . MSP 1/98, February 1998, volume 9. P. 6. (Editor: Fairy Tale Foundation Walter Kahn; ISSN  0946-1140 )
  • Kurt Stiasny: Flown wrong from the pen. Wilhelm Grimm's unfavorable adaptations of three popular fairy tales . In: fairytale mirror. Journal for international fairy tale research and fairy tale care . MSP 2/99, May 1999, 10th year. P. 43. (Editor: Märchen-Stiftung Walter Kahn; ISSN  0946-1140 )

Interpretations

  • Sigmund Freud : Fairy Tales in Dreams . In: International journal for medical psychoanalysis . Vol. 1 (1913), H. 2, pp. 147-151. Reprint Nendeln / Liechtenstein 1969. pp. 147–148. Also in: Sigmund Freud: Gesammelte Werke. Ordered chronologically. Volume X. London 1949. pp. 1-9.
  • Ottokar Graf Wittgenstein: Fairy Tale Dreams Fates . Eugen Diederichs, Düsseldorf / Cologne 1965, pp. 199–210.
  • Charlotte Bühler, Josephine Bilz: The fairy tale and the child's imagination . Munich 1958. First published in 1918 as supplement 7 of the magazine for applied psychology .
  • Hedwig von Beit: Contrast and Renewal in Fairy Tales . Second volume of «Symbolism of Fairy Tales». Second, improved edition, A. Francke, Bern 1956. pp. 535-543.
  • Hedwig von Beit: Contrast and Renewal in Fairy Tales . Second volume of «Symbolism of Fairy Tales». Second, improved edition, A. Francke, Bern 1956, p. 536.
  • 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. 161-164.
  • Angela Waiblinger: Rumpelstiltskin. Gold instead of love . 6th edition, Kreuz, Zurich 1991, ISBN 3-268-00010-X .
  • Wilhelm Salber: fairy tale analysis (= work edition Wilhelm Salber. Volume 12). 2nd Edition. Bouvier, Bonn 1999, ISBN 3-416-02899-6 , pp. 97-99.
  • Eugen Drewermann : From the power of money or fairy tales to the economy . Patmos, Düsseldorf 2007, ISBN 978-3-491-21002-8 , pp. 17-71.
  • Rainer von Kügelgen: »Rumpelstiltskin« or: From naming. http://achtvorderschrift.de/Interpretationen/Rumpelstilzchen/zu%20%C2%BBRumpelstilzchen%C2%AB%20oder.pdf

Web links

Wikisource: Rumpelstiltskin  - Sources and full texts
Commons : Rumpelstiltskin  - collection of images, videos and audio files

Individual evidence

  1. ↑ a b Lothar Bluhm and Heinz Rölleke: “Popular speeches 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. New edition. S. Hirzel Verlag, Stuttgart and Leipzig 1997, ISBN 3-7776-0733-9 , p. 88.
  2. ↑ 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. Fondation Martin Bodmer, Cologny (Geneva) 1975, p. 238.
  3. ↑ Hans-Jörg Uther: Handbook on the children's and house tales of the Brothers Grimm . De Gruyter, Berlin 2008, p. 135. ISBN 978-3-11-019441-8 .
  4. ↑ 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. Fondation Martin Bodmer, Cologny (Geneva) 1975, p. 241.
  5. ↑ Wikisource: Rumpelstiltskin , various editions by Grimm.
  6. ^ Lutz Röhrich: Name of the monster . In: Encyclopedia of Fairy Tales . Volume 9. Berlin and New York 1999, pp. 1164-1175.
  7. ^ Lutz Röhrich: Name of the monster . In: Encyclopedia of Fairy Tales . Volume 9. Berlin and New York 1999, p. 1168.
  8. ^ Lutz Röhrich: Rumpelstiltskin . In: Siegfried Schödel (Ed.): Working texts for teaching. Fairy tale analyzes . Reclam, Stuttgart 1977, pp. 123-155. ISBN 3-15-009532-8 . First seen as: Lutz Röhrich: Rumpelstilzchen. On method pluralism in narrative research . In: Swiss Archives for Folklore 68/69 (1972/73) pp. 567–596.
  9. ^ Lutz Röhrich: Rumpelstiltskin . In: Siegfried Schödel (Ed.): Working texts for teaching. Fairy tale analyzes . Reclam, Stuttgart 1977., pp. 126-129. ISBN 3-15-009532-8 . First published as: Sigmund Freud : Märchenstoffe in Träume . In: International journal for medical psychoanalysis . Leipzig and Vienna 1913, reprint Nendeln / Liechtenstein 1969, pp. 147–148. Also in: Sigmund Freud: Gesammelte Werke . Ordered chronologically. Volume X. London 1949, pp. 1-9.
  10. ↑ CG Jung: Collected Works . Ninth volume. First Half Volume: The Archetypes and the Collective Unconscious . Walter, Olten and Freiburg im Breisgau, 1976, ISBN 3-530-40797-6 , pp. 230-234.
  11. ^ Lutz Röhrich: Rumpelstiltskin . In: Siegfried Schödel (Ed.): Working texts for teaching. Fairy tale analyzes . Reclam, Stuttgart 1977, pp. 130-133. ISBN 3-15-009532-8 . First published in: Ottokar Graf Wittgenstein: Märchen - Träume - Schicksale . Eugen Diederichs, Düsseldorf and Cologne 1965, pp. 199–210.
  12. ↑ Charlotte Bühler, Josephine Bilz: The fairy tale and the fantasy of the child . Munich 1958. First published in 1918 as supplement 7 of the magazine for applied psychology .
  13. ^ Wilhelm Salber: fairy tale analysis (= work edition Wilhelm Salber. Volume 12). Second edition. Bouvier, Bonn 1999, ISBN 3-416-02899-6 , p. 97 ff.
  14. ↑ Hedwig von Beit: Contrast and Renewal in Fairy Tales . Second volume of the symbolism of fairy tales . Second improved edition. A. Francke, Bern 1956, pp. 535-543.
  15. ↑ Ulla Wittmann: I fool forgot the magic things. Fairy tales as a way of life for adults . Ansata, Interlaken 1985, pp. 161-164. ISBN 3-7157-0075-0 .
  16. ↑ Kurt Stiasny: Alchemy in Grimm's fairy tales . In: fairytale mirror. Journal for international fairy tale research and fairy tale care , published by the Walter Kahn Fairy Tale Foundation. Volume 1/97, February 1997, 8th year, p. 2 .; Kurt Stiasny: Flown wrong from the pen. Wilhelm Grimm's unfavorable adaptations of three popular fairy tales . In: fairytale mirror. Journal for international fairy tale research and fairy tale care . Volume 2/99, May 1999, Volume 10, p. 43. ISSN  0946-1140
  17. ↑ Eugen Drewermann : From the power of money or fairy tales to the economy . Patmos, Düsseldorf 2007, pp. 17-71. ISBN 978-3-491-21002-8 .
  18. ↑ Frederik Hetmann: dream face and magic trace. Fairy tale research, fairy tale studies, fairy tale discussion. With contributions by Marie-Louise von Franz, Sigrid Früh and Wolfdietrich Siegmund. Fischer, Frankfurt am Main 1982, p. 122. ISBN 3-596-22850-6 .
  19. ↑ Angela Waiblinger: Rumpelstiltskin. Gold instead of love. Sixth edition. Kreuz, Zurich 1991. ISBN 3-268-00010-X .
  20. ↑ Federal Ministry of the Interior (editor): Antisemitism in Germany. Manifestations, conditions, prevention approaches , report by the independent expert group on anti-Semitism, Berlin, p. 71.
  21. ↑ Gerd Bockwoldt: The image of the Jew in the fairy tales of the Brothers Grimm , in: Journal for Religions- und Geistesgeschichte , Volume 63, No. 3 (2011), pp. 234–249.
  22. ↑ The unknown about the Brothers Grimm: their anti-Semitism , Osthessen News from October 16, 2014.
  23. ↑ Elisabeth Jütten: Discourses on Justice in the Work of Jakob Wassermann , Tübingen 2007, p. 213. ISBN 978-3-484-65166-1 .
  24. ↑ Hermine Mörike: What became of Rumpelstiltskin. 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. 224–226 (first published in: Fliegende Blätter. Vol. 178 / 89th year, no. 4577, April 20, 1933, p. 245-246.).
  25. ↑ Janosch: The Rumpelstuhlchen. 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. 113–119.
  26. ↑ Rosemarie Künzler: Rumpelstiltskin. 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. 227-228 (first published in: Hans-Joachim Gelberg (ed.): Neues vom Rumpelstiltskin and other house fairy tales by 43 authors. Beltz Verlag, Weinheim and Basel 1976, pp. 26-28.).
  27. ↑ Irmela Brender: I always felt sorry for Rumpelstiltskin. 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. 229-233 (first published in: Hans-Joachim Gelberg (Hrsg.): Neues vom Rumpelstilzchen and other house fairy tales by 43 authors. Beltz Verlag, Weinheim and Basel 1976, pp. 198-200.).
  28. ^ Siegfried Stadler: Marx's fairy tales. In: Die Horen . Vol. 1/52, No. 225, 2007, ISSN  0018-4942 , pp. 211-216.
  29. ↑ Grimm's Manga. Special tape. Tokyopop, Hamburg 2012, ISBN 978-3-8420-0638-6 .
  30. ↑ Jürgen Krätzer: Franz Fühmann: The direction of fairy tales. In: Die Horen , Vol. 1/52, No. 225, 2007, ISSN  0018-4942 , p. 136.
  31. ↑ Münchener Freiheit: Rumpelstilzchen lyrics . songtexte.com. Retrieved December 10, 2019.
  32. ↑ Biography at vvb.de ( Memento of the original from March 1, 2009 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.vvb.de
  33. ↑ See Ernst Hummel: Rumpelstiltskin. Poster draft , in the online collection of the Staatliche Kunstsammlungen Dresden.
  34. ↑ The Stilz is rumbling . On: Creativdepot.at; accessed on January 23, 2015.