Polish Fairy Tales

A. J. Glinski

Description

Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.

Sujets

• Old Wives Tales
• European literature
• Oral tradition
• Urban legend

Informations

• Publié par: Read Books Ltd.
• Date de parution: 28 octobre 2015
• Nombre de lectures: 0
• EAN13: 9781473370845
• Langue: English

Extrait

Polish Fairy Tales
by
A. J. Glinski


Copyright © 2013 Read Books Ltd.
This book is copyright and may not be
reproduced or copied in any way without
the express permission of the publisher in writing
British Library Cataloguing-in-Publication Data
A catalogue record for this book is available from the British Library


Contents
Polish Fairy Tales
A Short History of Fairy Tales
THE FROG PRINCESS
PRINCESS MIRANDA AND PRINCE HERO
THE EAGLES
THE WHIRLWIND
THE GOOD FERRYMAN AND THE WATER NYMPHS
THE PRINCESS OF THE BRAZEN MOUNTAIN
THE BEAR IN THE FOREST HUT.
APPENDIX


A Short History of Fairy Tales
A fairy tale is a type of short story that typically features European folkloric fantasy characters, such as dwarves, elves, fairies, giants, gnomes, goblins, mermaids, trolls or witches, and usually magic or enchantments to boot! Fairy tales may be distinguished from other folk narratives such as legends (which generally involve belief in the veracity of the events described) and explicitly moral tales, including fables or those of a religious nature. In cultures where demons and witches are perceived as real, fairy tales may merge into legends, where the narrative is perceived both by teller and hearers as being grounded in historical truth. However unlike legends and epics, they usually do not contain more than superficial references to religion and actual places, people, and events; they take place ‘once upon a time’ rather than in actual times.
The history of the fairy tale is particularly difficult to trace because only the literary forms survive. Still, the evidence of literary works at least indicates that fairy tales have existed for thousands of years, although not perhaps recognized as a genre. The name ‘fairy tale’ was first ascribed to them by Madame d’Aulnoy in the late seventeenth century. Many of today’s fairy tales have evolved from centuries-old stories that have appeared, with variations, in multiple cultures around the world. Two theories of origins have attempted to explain the common elements in fairy tales across continents. One is that a single point of origin generated any given tale, which then spread over the centuries; the other is that such fairy tales stem from common human experience and therefore can appear separately in many different origins.
Some folklorists prefer to use the German term Märchen or ‘wonder tale’ to refer to the genre over fairy tale, a practice given weight by the definition of Thompson in his 1977 edition of The Folktale. He described it as ‘a tale of some length involving a succession of motifs or episodes. It moves in an unreal world without definite locality or definite creatures and is filled with the marvellous. In this never-never land, humble heroes kill adversaries, succeed to kingdoms and marry princesses.’ The genre was first marked out by writers of the Renaissance, such as Giovanni Francesco Straparola and Giambattista Basile, and stabilized through the works of later collectors such as Charles Perrault and the Brothers Grimm. The oral tradition of the fairy tale came long before the written page however.
Tales were told or enacted dramatically, rather than written down, and handed from generation to generation. Because of this, the history of their development is necessarily obscure. Many fairy tales appear in written literature throughout different cultures, as in The Golden Ass , which includes Cupid and Psyche (Roman, 100–200 AD), or the Panchatantra (India 3rd century BCE). However it is still unknown to what extent these reflect the actual folk tales even of their own time. The fairy tale itself became popular among the French nobility and among the tales told in that time were the ones of La Fontaine and the Contes of Charles Perrault (1697), who fixed the forms of ‘Sleeping Beauty’ and ‘Cinderella.’ Perrault largely laid the foundations for this new literary genre, with some of the best of his works being ‘Puss in Boots’ and ‘Little Red Riding Hood.’
The first collectors to attempt to preserve not only the plot and characters of the tale, but also the style in which they were told were the Brothers Grimm, who collected German fairy tales. The Brothers Grimm rejected several tales for their collection, though told by Germans, because the tales derived from Perrault and they concluded they were thereby French and not German tales. An oral version of ‘Bluebeard’ was thus rejected, and the tale of ‘Little Briar Rose’, clearly related to Perrault’s ‘The Sleeping Beauty’ was included only because Jacob Grimm convinced his brother that the figure of Brynhildr , from much earlier Norse mythology, proved that the sleeping princess was authentically German folklore. The Grimm Brothers remain some of the best-known story-tellers of folk tales though, popularising ‘Hansel and Gretel’, ‘Rapunzel’, ‘Rumplestiltskin’ and ‘Snow White’.
The work of the Brothers Grimm influenced other collectors, both inspiring them to collect tales and leading them to similarly believe, in a spirit of romantic nationalism, that the fairy tales of a country were particularly representative of it (ignoring cross-cultural references). Among those influenced were the Russian Alexander Afanasyev (first published in 1866), the Norwegian Peter Christen Asbjørnsen and the Englishman, Joseph Jacobs (first published in 1890). Simultaneously to such developments, writers such as Hans Christian Andersen and George MacDonald continued the tradition of literary fairy tales. Andersen’s work sometimes drew on old folktales, but more often deployed fairytale motifs and plots in new tales; for instance in ‘The Little Mermaid’, ‘The Ugly Duckling’ and ‘The Emperor’s New Clothes.’ Fairy tales are still written in the present day, attesting to their enormous popularity and cultural longevity. We hope the current reader, whether old or young – enjoys this book.



THE FAIRY GIRLS MAKE THE CARPET






The pictures in this book are dedicated to my sons .... Gavril and Teddy.” Cecile Walton.



TALES FROM POLAND
These are selections from a large collection made by A. J. Glinski, printed at Wilna in 1862. These fairy tales come from a far past and may even date from primitive Aryan times. They represent the folklore current among the peasantry of the Eastern provinces of Poland, and also in those provinces usually known as White Russia.
They were set down by Glinski just as they were related to him by the peasants.
In the translation it was of course necessary to shorten them considerably; the continual repetition—however quaint and fascinating in the original—cannot easily be reproduced. Portions, too, are often told in rhyme, or in a species of rhyming prose that we associate with the ancient ballad. The obvious likenesses between these and the folklore of Germany, the Celtic nations, or to the Indian fairy-tales, will strike every reader.
Maude Ashurst Biggs.



THE FROG PRINCESS
THERE was once a king, who was very old; but he had three grown-up sons. So he called them to him, and said:
“My dear sons, I am very old, and the cares of government press heavily upon me. I must therefore give them over to one of you. But as it is the law among us, that no unmarried prince may be King, I wish you all to get married, and whoever chooses the best wife shall be my successor.”
So they determined each to go a different way, and settled it thus. They went to the top of a very high tower, and each one at a given signal shot an arrow in a different direction to the others. Wherever their arrows fell they were to go in search of their future wives.
The eldest prince’s arrow fell on a palace in the city, where lived a senator, who had a beautiful daughter; so he went there, and married her.
The second prince’s arrow struck upon a country-house, where a very pretty young lady, the daughter of a rich gentleman, was sitting; so he went there, and proposed to her, and they were married.
But the youngest prince’s arrow shot through a green wood, and fell into a lake. He saw his arrow floating among the reeds, and a frog sitting thereon, looking fixedly at him.
But the marshy ground was so unsafe that he could not venture upon it; so he sat down in despair.
“What is the matter, prince?” asked the frog.
“What is the matter? Why, I cannot reach that arrow on which you are sitting.”
“Take me for your wife, and I will give it to you.”
“But how can you be my wife, little frog?”
“That is just what has got to be. You know that you shot your arrow from the tower, thinking that where it fell, you would find a loving wife; so you will have her in me.”
“You are very wise, I see, little frog. But tell me, howcan I marry you, or introduce you to my father? And what will the world say?”
“Take me home with you, and let nobody see me. Tell them that you have married an Eastern lady, who must not be seen by any man, except her husband, nor even by another woman.”
The prince considered a little. The arrow had now floated to the margin of the lake; he took the arrow from the little frog, put her in his pocket, carried her home, and then went to bed, sighing very deeply.
Next morning the king was told that all his sons had got married; so he called them all together, and said:
“Well children, are you all pleased with your wives?”
“Very pleased indeed, father and king.”
“Well, we shall see who has chosen best. Let each of my daughters-in-law weave me a carpet by to-morrow, and the one whose carpet is the most beautiful shall be queen.”
The elder princes hastened at once to their l