Кто создал сказку царевна лягушка

The Frog Princess
Vasnetsov Frog Princess.jpg

The Frog Tsarevna, Viktor Vasnetsov, 1918
Folk tale
Name The Frog Princess
Aarne–Thompson grouping ATU 402 («The Animal Bride»)
Region Russia
Published in Russian Fairy Tales by Alexander Afanasyev
Related
  • Puddocky
  • The Three Feathers

The Frog Princess is a fairy tale that has multiple versions with various origins. It is classified as type 402, the animal bride, in the Aarne–Thompson index.[1] Another tale of this type is the Norwegian Doll i’ the Grass.[2] Russian variants include the Frog Princess or Tsarevna Frog (Царевна Лягушка, Tsarevna Lyagushka)[3] and also Vasilisa the Wise (Василиса Премудрая, Vasilisa Premudraya); Alexander Afanasyev collected variants in his Narodnye russkie skazki.

Synopsis[edit]

The king (or an old peasant woman, in Lang’s version) wants his three sons to marry. To accomplish this, he creates a test to help them find brides. The king tells each prince to shoot an arrow. According to the King’s rules, each prince will find his bride where the arrow lands. The youngest son’s arrow is picked up by a frog. The king assigns his three prospective daughters-in-law various tasks, such as spinning cloth and baking bread. In every task, the frog far outperforms the two other lazy brides-to-be. In some versions, the frog uses magic to accomplish the tasks, and though the other brides attempt to emulate the frog, they cannot perform the magic. Still, the young prince is ashamed of his frog bride until she is magically transformed into a human princess.

In Calvino’s version, the princes use slings rather than bows and arrows. In the Greek version, the princes set out to find their brides one by one; the older two are already married by the time the youngest prince starts his quest. Another variation involves the sons chopping down trees and heading in the direction pointed by them in order to find their brides.[4]

Ivan-Tsarevitch finds the frog in the swamp. Art by Ivan Bilibin

In the Russian versions of the story, Prince Ivan and his two older brothers shoot arrows in different directions to find brides. The other brothers’ arrows land in the houses of the daughters of an aristocrat and a wealthy merchant, respectively. Ivan’s arrow lands in the mouth of a frog in a swamp, who turns into a princess at night. The Frog Princess, named Vasilisa the Wise, is a beautiful, intelligent, friendly, skilled young woman, who was forced to spend three years in a frog’s skin for disobeying Koschei. Her final test may be to dance at the king’s banquet. The Frog Princess sheds her skin, and the prince then burns it, to her dismay. Had the prince been patient, the Frog Princess would have been freed but instead he loses her. He then sets out to find her again and meets with Baba Yaga, whom he impresses with his spirit, asking why she has not offered him hospitality. She tells him that Koschei is holding his bride captive and explains how to find the magic needle needed to rescue his bride. In another version, the prince’s bride flies into Baba Yaga’s hut as a bird. The prince catches her, she turns into a lizard, and he cannot hold on. Baba Yaga rebukes him and sends him to her sister, where he fails again. However, when he is sent to the third sister, he catches her and no transformations can break her free again.

In some versions of the story, the Frog Princess’ transformation is a reward for her good nature. In one version, she is transformed by witches for their amusement. In yet another version, she is revealed to have been an enchanted princess all along.

Analysis[edit]

Tale type[edit]

The Russian tale is classified — and gives its name — to tale type SUS 402, «Russian: Царевна-лягушка, romanized: Tsarevna-lyagushka, lit. ‘Princess-Frog'», of the East Slavic Folktale Catalogue (Russian: СУС, romanized: SUS).[5] According to Lev Barag [ru], the East Slavic type 402 «frequently continues» as type 400: the hero burns the princess’s animal skin and she disappears.[6]

Russian researcher Varvara Dobrovolskaya stated that type SUS 402, «Frog Tsarevna», figures among some of the popular tales of enchanted spouses in the Russian tale corpus.[7] In some Russian variants, as soon as the hero burns the skin of his wife, the Frog Tsarevna, she says she must depart to Koschei’s realm,[8] prompting a quest for her (tale type ATU 400, «The Man on a Quest for the Lost Wife»).[9] Jack Haney stated that the combination of types 402, «Animal Bride», and 400, «Quest for the Lost Wife», is a common combination in Russian tales.[10]

Species of animal bride[edit]

Researcher Carole G. Silver states that, apart from bird and fish maidens, the animal bride appears as a frog in Burma, Russia, Austria and Italy; a dog in India and in North America, and a mouse in Sri Lanka.[11]

Professor Anna Angelopoulos noted that the animal wife in the Eastern Mediterranean is a turtle, which is the same animal of Greek variants.[12] In the same vein, Greek scholar Georgios A. Megas [el] noted that similar aquatic beings (seals, sea urchin) and water-related entities (gorgonas, nymphs, neraidas) appear in the Greek oikotype of type 402.[13]

Yolando Pino-Saavedra [es] located the frog, the toad and the monkey as animal brides in variants from the Iberian Peninsula, and from Spanish-speaking and Portuguese-speaking areas in the Americas.[14]

Role of the animal bride[edit]

The tale is classified in the Aarne-Thompson-Uther Index as ATU 402, «The Animal Bride». According to Andreas John, this tale type is considered to be a «male-centered» narrative. However, in East Slavic variants, the Frog Maiden assumes more of a protagonistic role along with her intended.[15] Likewise, scholar Maria Tatar describes the frog heroine as «resourceful, enterprising, and accomplished», whose amphibian skin is burned by her husband, and she has to depart to regions unknown. The story, then, delves into the husband’s efforts to find his wife, ending with a happy reunion for the couple.[16]

On the other hand, Barbara Fass Leavy draws attention to the role of the frog wife in female tasks, like cooking and weaving. It is her exceptional domestic skills that impress her father-in-law and ensure her husband inherits the kingdom.[17]

Maxim Fomin sees «intricate meanings» in the objects the frog wife produces at her husband’s request (a loaf of bread decorated with images of his father’s realm; the carpet depicting the whole kingdom), which Fomin associated with «regal semantics».[18]

A totemic figure?[edit]

Analysing Armenian variants of the tale type where the frog appears as the bride, Armenian scholarship suggests that the frog bride is a totemic figure, and represents a magical disguise of mermaids and magical beings connected to rain and humidity.[19]

Likewise, Russian scholarship (e.g., Vladimir Propp and Yeleazar Meletinsky) has argued for the totemic character of the frog princess.[20] Propp, for instance, described her dance at the court as some sort of «ritual dance»: she waves her arms and forests and lakes appear, and flocks of birds fly about.[21] Charles Fillingham Coxwell [de] also associated these human-animal marriages to totem ancestry, and cited the Russian tale as one example of such.[22]

In his work about animal symbolism in Slavic culture, Russian philologist Aleksandr V. Gura [ru] stated that the frog and the toad are linked to female attributes, like magic and wisdom.[23] In addition, according to ethnologist Ljubinko Radenkovich [sr], the frog and the toad represent liminal creatures that live between land and water realms, and are considered to be imbued with (often negative) magical properties in Slavic folklore.[24] In some variants, the Frog Princess is the daughter of Koschei, the Deathless,[25] and Baba Yaga — sorcerous characters with immense magical power who appear in Slavic folklore in adversarial position. This familial connection, then, seems to reinforce the magical, supernatural origin of the Frog Princess.[26]

Other motifs[edit]

Georgios A. Megas noted two distinctive introductory episodes: the shooting of arrows appears in Greek, Slavic, Turkish, Finnish, Arabic and Indian variants, while following the feathers is a Western European occurrence.[27]

Variants[edit]

Andrew Lang included an Italian variant of the tale, titled The Frog in The Violet Fairy Book.[28] Italo Calvino included another Italian variant from Piedmont, The Prince Who Married a Frog, in Italian Folktales,[29] where he noted that the tale was common throughout Europe.[30] Georgios A. Megas included a Greek variant, The Enchanted Lake, in Folktales of Greece.[31]

In a variant from northern Moldavia collected and published by Romanian author Elena Niculiță-Voronca, the bride selection contest replaces the feather and arrow for shooting bullets, and the frog bride commands the elements (the wind, the rain and the frost) to fulfill the three bridal tasks.[32]

Russia[edit]

The oldest attestation of the tale type in Russia is in a 1787 compilation of fairy tales, published by one Petr Timofeev.[33] In this tale, titled «Сказка девятая, о лягушке и богатыре» (English: «Tale nr. 9: About the frog and the bogatyr»), a widowed king has three sons, and urges them to find wives by shooting three arrows at random, and to marry whoever they find on the spot the arrows land on. The youngest son, Ivan Bogatyr, shoots his, and it takes him some time to find it again. He walks through a vast swamp and finds a large hut, with a large frog inside, holding his arrow. The frog presses Ivan to marry it, lest he will not leave the swamp. Ivan agrees, and it takes off the frog skin to become a beautiful maiden. Later, the king asks his daughters-in-law to weave him a fine linen shirt and a beautiful carpet with gold, silver and silk, and finally to bake him delicious bread. Ivan’s frog wife summons the winds to help her in both sewing tasks. Lastly, the king invites his daughters-in-law to the palace, and the frog wife takes off the frog skin, leaves it at home and goes on a golden carriage. While she dances and impresses the court, Ivan goes back home and burns her frog skin. The maiden realizes her husband’s folly and, saying her name is Vasilisa the Wise, tells him she will vanish to a distant kingdom and begs him to find her.[34]

Czech Republic[edit]

In a Czech variant translated by Jeremiah Curtin, The Mouse-Hole, and the Underground Kingdom, prince Yarmil and his brothers are to seek wives and bring to the king their presents in a year and a day. Yarmil and his brothers shoot arrow to decide their fates, Yarmil’s falls into a mouse-hole. The prince enters the mouse hole, finds a splendid castle and an ugly toad he must bathe for a year and a day. When the date is through, he returns to his father with the toad’s magnificent present: a casket with a small mirror inside. This repeats two more times: on the second year, Yarmil brings the princess’s portrait and on the third year the princess herself. She reveals she was the toad, changed into amphibian form by an evil wizard, and that Yarmil helped her break this curse, on the condition that he must never reveal her cursed state to anyone, specially to his mother. He breaks this prohibition one night and she disappears. Yarmil, then, goes on a quest for her all the way to the glass mountain (tale type ATU 400, «The Quest for the Lost Wife»).[35]

Ukraine[edit]

In a Ukrainian variant collected by M. Dragomanov, titled «Жена-жаба» («The Frog Wife» or «The Frog Woman»), a king shoots three bullets to three different locations, the youngest son follows and finds a frog. He marries it and discovers it is a beautiful princess. After he burns the frog skin, she disappears, and the prince must seek her.[36]

In another Ukrainian variant, the Frog Princess is a maiden named Maria, daughter of the Sea Tsar and cursed into frog form. The tale begins much the same: the three arrows, the marriage between human prince and frog and the three tasks. When the human tsar announces a grand ball to which his sons and his wives are invited, Maria takes off her frog skin to appear as human. While she is in the tsar’s ballroom, her husband hurries back home and burns the frog skin. When she comes home, she reveals the prince her cursed state would soon be over, says he needs to find Baba Yaga in a remote kingdom, and vanishes from sight in the form of a cuckoo. The tale continues as tale type ATU 313, «The Magical Flight», like the Russian tale of The Sea Tsar and Vasilisa the Wise.[37]

Finland[edit]

Finnish author Eero Salmelainen [fi] collected a Finnish tale with the title Sammakko morsiamena (English: «The Frog Bride»), and translated into French as Le Cendrillon et sa fiancée, la grenouille («The Male Cinderella and his bride, the frog»). In this tale, a king has three sons, the youngest named Tuhkimo (a male Cinderella; from Finnish tuhka, «ashes»). One day, the king organizes a bride selection test for his sons: they are to aim his bows and shoot arrows at random directions, and marry the woman that they will find with the arrow. Tuhkimo’s arrow lands near a frog and he takes it as his bride. The king sets three tasks for his prospective daughters-in-law: to prepare the food and to sew garments. While prince Tuhkimo is aleep, his frog fiancée takes off her frog skin, becomes a human maiden and summons her eight sisters to her house: eight swans fly in through the window, take off their swanskins and become humans. Tuhkimo discovers his bride’s transformation and burns the amphibian skin. The princess laments the fact, since her mother cursed her and her eight sisters, and in three nights time the curse would have been lifted. The princess then changes into a swan and flies away with her swan sisters. Tuhkimo follows her and meets an old widow, who directs him to a lake, in three days journey. Tuhkimo finds the lake, and he waits. Nine swans come, take off their skins to become human women and bathe in the lake. Tuhkimo hides his bride’s swanskin. She comes out of the water and cannot find her swanskin. Tuhkimo appears to her and she tells him he must come to her father’s palace and identify her among her sisters.[38][39]

Azerbaijan[edit]

In the Azerbaijani version of the fairy tale, the princes do not shoot arrows to choose their fiancées, they hit girls with apples.[40] And indeed, there was such a custom among the Mongols living in the territory of present-day Azerbaijan in the 17th century.[41]

Poland[edit]

In a Polish from Masuria collected by Max Toeppen with the title Die Froschprinzessin («The Frog Princess»), a landlord has three sons, the elder two smart and the youngest, Hans (Janek in the Polish text), a fool. One day, the elder two decide to leave home to learn a trade and find wives, and their foolish little brother wants to do so. The two elders and Hans go their separate ways in a crossroads, and Hans loses his way in the woods, without food, and the berries of the forest not enough to sate his hunger. Luckily for him, he finds a hut in the distance, where a little frog lives. Hans tells the little animal he wants to find work, and the frog agrees to hire him, his only job is to carry the frog on a satin pillow, and he shall have drink and food. One day, the youth sighs that his brothers are probably returning home with gifts for their mother, and he has none to show them. The little frog tells Hans to sleep and, in the next morning, to knock three times on the stable door with a wand; he will find a beautiful horse he can ride home, and a little box. Hans goes back home with the horse and gives the little box to his mother; inside, a beautiful dress of gold and diamond buttons. Hans’s brothers question the legitimate origin of the dress. Some time later, the brothers go back to their masters and promise to return with their brides. Hans goes back to the little frog’s hut and mopes that his brother have bride to introduce to his family, while he has the frog. The frog tells him not to worry, and to knock on the stable again. Hans does that and a carriage appears with a princess inside, who is the frog herself. The princess asks Hans to take her to his parents, but not let her put anything on her mouth during dinner. Hans and the princess go to his parents’ house, and he fulfills the princess’s request, despite some grievaance from his parents and brothers. Finally, the princess turns back into a frog and tells Hans he has a last challenge before he redeems her: Hans will have to face three nights of temptations, dance, music and women in the first; counts and nobles who wish to crown him king in the second; and executioners who wish to kill him in the third. Hans endures and braves each night, awakening in the fourth day in a large castle. The princess, fully redeemed, tells him the castle is theirs, and she is his wife.[42]

In another Polish tale, collected by collector Antoni Józef Gliński [pl] and translated into English by translator Maude Ashurst Biggs as The Frog Princess, a king wishes to see his three sons married before they eventually ascend to the throne. So, the next day, the princes prepare to shoot three arrows at random, and to marry the girls that live wherever the arrows land. The first two find human wives, while the youngest’s arrow falls in the margins of the lake. A frog, sat on it, agrees to return the prince’s arrow, in exchange for becoming his wife. The prince questions the frog’s decision, but she advises him to tell his family he married an Eastern lady who must be only seen by her beloved. Eventually, the king asks his sons to bring him carpet woven by his daughters-in-law. The little frog summons «seven lovely maidens» to help her weave the carpet. Next, the king asks for a cake to be baked by his daughters-in-law, and the little frog bakes a delicious cake for the king. Surprised by the frog’s hidden talents, the prince asks her about them, and she reveals she is, in fact, a princess underneath the frog skin, a disguise created by her mother, the magical Queen of Light, to keep her safe from her enemies. The king then summons his sons and his daughters-in-law for a banquet at the palace. The little frog tells the prince to go first, and, when his father asks about her, it will begin to rain; when it lightens, he is to tell her she is adorning herself; and when it thunders, she is coming to the palace. It happens thus, and the prince introduces his bride to his father, and whispers in his ear about the frogskin. The king suggests his son burns the frogskin. The prince follows through with the suggestion and tells his bride about it. The princess cries bitter tears and, while he is asleep, turns into a duck and flies away. The prince wakes the next morning and begins a quest to find the kingdom of the Queen of Light. In his quest, he passes by the houses of three witches named Jandza, which spin on chicken legs. Each of the Jandzas tells him that the princess flies in their huts in duck form, and the prince must hide himself to get her back. He fails in the first two houses, due to her shapeshifting into other animals to escape, but gets her in the third. They reconcile and return to his father’s kingdom.[43]

Other regions[edit]

Researchers Nora Marks Dauenhauer and Richard L. Dauenhauer found a variant titled Yuwaan Gagéets, heard during Nora’s childhood from a Tlingit storyteller. They identified the tale as belonging to the tale type ATU 402 (and a second part as ATU 400, «The Quest for the Lost Wife») and noted its resemblance to the Russian story, trying to trace its appearance in the teller’s repertoire.[44]

Adaptations[edit]

  • A literary treatment of the tale was published as The Wise Princess (A Russian Tale) in The Blue Rose Fairy Book (1911), by Maurice Baring.[45]
  • A translation of the story by illustrator Katherine Pyle was published with the title The Frog Princess (A Russian Story).[46]
  • Vasilisa the Beautiful, a 1939 Soviet film directed by Aleksandr Rou, is based on this plot. It was the first large-budget feature in the Soviet Union to use fantasy elements, as opposed to the realistic style long favored politically.[47]
  • In 1953 the director Mikhail Tsekhanovsky had the idea of animating this popular national fairy tale. Production took two years, and the premiere took place in December, 1954. At present the film is included in the gold classics of «Soyuzmultfilm».
  • Vasilisa the Beautiful, a 1977 Soviet animated film is also based on this fairy tale.
  • In 1996, an animated Russian version based on an in-depth version of the tale in the film «Classic Fairy Tales From Around the World» on VHS. This version tells of how the beautiful Princess Vasilisa was kidnapped and cursed by the evil wizard Kashay to make her his bride and only the love of the handsome Prince Ivan can free her.
  • Taking inspiration from the Russian story, Vasilisa appears to assist Hellboy against Koschei in the 2007 comic book Hellboy: Darkness Calls.
  • The Frog Princess was featured in Happily Ever After: Fairy Tales for Every Child, where it was depicted in a country setting. The episode features the voice talents of Jasmine Guy as Frog Princess Lylah, Greg Kinnear as Prince Gavin, Wallace Langham as Prince Bobby, Mary Gross as Elise, and Beau Bridges as King Big Daddy.
  • A Hungarian variant of the tale was adapted into an episode of the Hungarian television series Magyar népmesék («Hungarian Folk Tales») (hu), with the title Marci és az elátkozott királylány («Martin and the Cursed Princess»).
  • «Wildwood Dancing,» a 2007 fantasy novel by Juliet Marillier, expands the princess and the frog theme.[48]

Culture[edit]

Music

The Divine Comedy’s 1997 single The Frog Princess is loosely based on the theme of the original Frog Princess story, interwoven with the narrator’s personal experiences.

See also[edit]

  • The Frog Prince
  • The Princess and the Frog
  • Vasilisa (name)
  • Puddocky

References[edit]

  1. ^ Georgias A. Megas, Folktales of Greece, p 224, University of Chicago Press, Chicago and London, 1970
  2. ^ D. L. Ashliman, «Animal Brides: folktales of Aarne–Thompson type 402 and related stories»
  3. ^ Works related to The Frog-Tzarevna at Wikisource
  4. ^ Out of the Everywhere: New Tales for Canada, Jan Andrews
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  39. ^ Beauvois, Eugéne. Contes populaires de la Norvège, de la Finlande & de la Bourgogne, etc. Paris: E. Dentu, Éditeur. 1862. pp. 180–193.
  40. ^ «Царевич и лягушка». Фольклор Азербайджана и прилегающих стран. Vol. 1. Баку: Изд-во АзГНИИ. Азербайджанский государственный научно-исследовательский ин-т, Отд-ние языка, литературы и искусства (под ред. А. В. Багрия). 1930. pp. 30–33.
  41. ^ Челеби Э. (1983). «Описание крепости Шеки/О жизни племени ит-тиль». Книга путешествия. (Извлечения из сочинения турецкого путешественника ХVII века). Вып. 3. Земли Закавказья и сопредельных областей Малой Азии и Ирана. Москва: Наука. p. 159.
  42. ^ Toeppen, Max. Aberglauben aus Masuren, mit einem Anhange, enthaltend: Masurische Sagen und Mährchen. Danzig: Th. Bertling, 1867. pp. 158-162.
  43. ^ Polish Fairy Tales. Translated from A. J. Glinski by Maude Ashurst Biggs. New York: John Lane Company. 1920. pp. 1-15.
  44. ^ Dauenhauer, Nora Marks and Dauenhauer, Richard L. «Tracking “Yuwaan Gagéets”: A Russian Fairy Tale in Tlingit Oral Tradition». In: Oral Tradition, 13/1 (1998): 58-91.
  45. ^ Baring, Maurice. The Blue Rose Fairy Book. New York: Maude, Dodd and Company. 1911. pp. 247-260.
  46. ^ Pyle, Katherine. Tales of folk and fairies. Boston: Little, Brown, and Company. 1919. pp. 137-158.
  47. ^ James Graham, Baba Yaga in Film[Usurped!]
  48. ^ https://www.goodreads.com/book/show/13929.Wildwood_Dancing

External links[edit]

  • The Frog Princess on YouTube
  • The Wise Princess (The Blue Rose Fairy Book) from Project Gutenberg
  • The Frog Princess (Ukrainian Folk Tale)
  • The Frog Princess (Polish Folk Tale)
  • The Frog Princess (Chinese Folk Tale)
Источник
The Frog Princess
Vasnetsov Frog Princess.jpg

The Frog Tsarevna, Viktor Vasnetsov, 1918
Folk tale
Name The Frog Princess
Aarne–Thompson grouping ATU 402 («The Animal Bride»)
Region Russia
Published in Russian Fairy Tales by Alexander Afanasyev
Related
  • Puddocky
  • The Three Feathers

The Frog Princess is a fairy tale that has multiple versions with various origins. It is classified as type 402, the animal bride, in the Aarne–Thompson index.[1] Another tale of this type is the Norwegian Doll i’ the Grass.[2] Russian variants include the Frog Princess or Tsarevna Frog (Царевна Лягушка, Tsarevna Lyagushka)[3] and also Vasilisa the Wise (Василиса Премудрая, Vasilisa Premudraya); Alexander Afanasyev collected variants in his Narodnye russkie skazki.

Synopsis[edit]

The king (or an old peasant woman, in Lang’s version) wants his three sons to marry. To accomplish this, he creates a test to help them find brides. The king tells each prince to shoot an arrow. According to the King’s rules, each prince will find his bride where the arrow lands. The youngest son’s arrow is picked up by a frog. The king assigns his three prospective daughters-in-law various tasks, such as spinning cloth and baking bread. In every task, the frog far outperforms the two other lazy brides-to-be. In some versions, the frog uses magic to accomplish the tasks, and though the other brides attempt to emulate the frog, they cannot perform the magic. Still, the young prince is ashamed of his frog bride until she is magically transformed into a human princess.

In Calvino’s version, the princes use slings rather than bows and arrows. In the Greek version, the princes set out to find their brides one by one; the older two are already married by the time the youngest prince starts his quest. Another variation involves the sons chopping down trees and heading in the direction pointed by them in order to find their brides.[4]

Ivan-Tsarevitch finds the frog in the swamp. Art by Ivan Bilibin

In the Russian versions of the story, Prince Ivan and his two older brothers shoot arrows in different directions to find brides. The other brothers’ arrows land in the houses of the daughters of an aristocrat and a wealthy merchant, respectively. Ivan’s arrow lands in the mouth of a frog in a swamp, who turns into a princess at night. The Frog Princess, named Vasilisa the Wise, is a beautiful, intelligent, friendly, skilled young woman, who was forced to spend three years in a frog’s skin for disobeying Koschei. Her final test may be to dance at the king’s banquet. The Frog Princess sheds her skin, and the prince then burns it, to her dismay. Had the prince been patient, the Frog Princess would have been freed but instead he loses her. He then sets out to find her again and meets with Baba Yaga, whom he impresses with his spirit, asking why she has not offered him hospitality. She tells him that Koschei is holding his bride captive and explains how to find the magic needle needed to rescue his bride. In another version, the prince’s bride flies into Baba Yaga’s hut as a bird. The prince catches her, she turns into a lizard, and he cannot hold on. Baba Yaga rebukes him and sends him to her sister, where he fails again. However, when he is sent to the third sister, he catches her and no transformations can break her free again.

In some versions of the story, the Frog Princess’ transformation is a reward for her good nature. In one version, she is transformed by witches for their amusement. In yet another version, she is revealed to have been an enchanted princess all along.

Analysis[edit]

Tale type[edit]

The Russian tale is classified — and gives its name — to tale type SUS 402, «Russian: Царевна-лягушка, romanized: Tsarevna-lyagushka, lit. ‘Princess-Frog'», of the East Slavic Folktale Catalogue (Russian: СУС, romanized: SUS).[5] According to Lev Barag [ru], the East Slavic type 402 «frequently continues» as type 400: the hero burns the princess’s animal skin and she disappears.[6]

Russian researcher Varvara Dobrovolskaya stated that type SUS 402, «Frog Tsarevna», figures among some of the popular tales of enchanted spouses in the Russian tale corpus.[7] In some Russian variants, as soon as the hero burns the skin of his wife, the Frog Tsarevna, she says she must depart to Koschei’s realm,[8] prompting a quest for her (tale type ATU 400, «The Man on a Quest for the Lost Wife»).[9] Jack Haney stated that the combination of types 402, «Animal Bride», and 400, «Quest for the Lost Wife», is a common combination in Russian tales.[10]

Species of animal bride[edit]

Researcher Carole G. Silver states that, apart from bird and fish maidens, the animal bride appears as a frog in Burma, Russia, Austria and Italy; a dog in India and in North America, and a mouse in Sri Lanka.[11]

Professor Anna Angelopoulos noted that the animal wife in the Eastern Mediterranean is a turtle, which is the same animal of Greek variants.[12] In the same vein, Greek scholar Georgios A. Megas [el] noted that similar aquatic beings (seals, sea urchin) and water-related entities (gorgonas, nymphs, neraidas) appear in the Greek oikotype of type 402.[13]

Yolando Pino-Saavedra [es] located the frog, the toad and the monkey as animal brides in variants from the Iberian Peninsula, and from Spanish-speaking and Portuguese-speaking areas in the Americas.[14]

Role of the animal bride[edit]

The tale is classified in the Aarne-Thompson-Uther Index as ATU 402, «The Animal Bride». According to Andreas John, this tale type is considered to be a «male-centered» narrative. However, in East Slavic variants, the Frog Maiden assumes more of a protagonistic role along with her intended.[15] Likewise, scholar Maria Tatar describes the frog heroine as «resourceful, enterprising, and accomplished», whose amphibian skin is burned by her husband, and she has to depart to regions unknown. The story, then, delves into the husband’s efforts to find his wife, ending with a happy reunion for the couple.[16]

On the other hand, Barbara Fass Leavy draws attention to the role of the frog wife in female tasks, like cooking and weaving. It is her exceptional domestic skills that impress her father-in-law and ensure her husband inherits the kingdom.[17]

Maxim Fomin sees «intricate meanings» in the objects the frog wife produces at her husband’s request (a loaf of bread decorated with images of his father’s realm; the carpet depicting the whole kingdom), which Fomin associated with «regal semantics».[18]

A totemic figure?[edit]

Analysing Armenian variants of the tale type where the frog appears as the bride, Armenian scholarship suggests that the frog bride is a totemic figure, and represents a magical disguise of mermaids and magical beings connected to rain and humidity.[19]

Likewise, Russian scholarship (e.g., Vladimir Propp and Yeleazar Meletinsky) has argued for the totemic character of the frog princess.[20] Propp, for instance, described her dance at the court as some sort of «ritual dance»: she waves her arms and forests and lakes appear, and flocks of birds fly about.[21] Charles Fillingham Coxwell [de] also associated these human-animal marriages to totem ancestry, and cited the Russian tale as one example of such.[22]

In his work about animal symbolism in Slavic culture, Russian philologist Aleksandr V. Gura [ru] stated that the frog and the toad are linked to female attributes, like magic and wisdom.[23] In addition, according to ethnologist Ljubinko Radenkovich [sr], the frog and the toad represent liminal creatures that live between land and water realms, and are considered to be imbued with (often negative) magical properties in Slavic folklore.[24] In some variants, the Frog Princess is the daughter of Koschei, the Deathless,[25] and Baba Yaga — sorcerous characters with immense magical power who appear in Slavic folklore in adversarial position. This familial connection, then, seems to reinforce the magical, supernatural origin of the Frog Princess.[26]

Other motifs[edit]

Georgios A. Megas noted two distinctive introductory episodes: the shooting of arrows appears in Greek, Slavic, Turkish, Finnish, Arabic and Indian variants, while following the feathers is a Western European occurrence.[27]

Variants[edit]

Andrew Lang included an Italian variant of the tale, titled The Frog in The Violet Fairy Book.[28] Italo Calvino included another Italian variant from Piedmont, The Prince Who Married a Frog, in Italian Folktales,[29] where he noted that the tale was common throughout Europe.[30] Georgios A. Megas included a Greek variant, The Enchanted Lake, in Folktales of Greece.[31]

In a variant from northern Moldavia collected and published by Romanian author Elena Niculiță-Voronca, the bride selection contest replaces the feather and arrow for shooting bullets, and the frog bride commands the elements (the wind, the rain and the frost) to fulfill the three bridal tasks.[32]

Russia[edit]

The oldest attestation of the tale type in Russia is in a 1787 compilation of fairy tales, published by one Petr Timofeev.[33] In this tale, titled «Сказка девятая, о лягушке и богатыре» (English: «Tale nr. 9: About the frog and the bogatyr»), a widowed king has three sons, and urges them to find wives by shooting three arrows at random, and to marry whoever they find on the spot the arrows land on. The youngest son, Ivan Bogatyr, shoots his, and it takes him some time to find it again. He walks through a vast swamp and finds a large hut, with a large frog inside, holding his arrow. The frog presses Ivan to marry it, lest he will not leave the swamp. Ivan agrees, and it takes off the frog skin to become a beautiful maiden. Later, the king asks his daughters-in-law to weave him a fine linen shirt and a beautiful carpet with gold, silver and silk, and finally to bake him delicious bread. Ivan’s frog wife summons the winds to help her in both sewing tasks. Lastly, the king invites his daughters-in-law to the palace, and the frog wife takes off the frog skin, leaves it at home and goes on a golden carriage. While she dances and impresses the court, Ivan goes back home and burns her frog skin. The maiden realizes her husband’s folly and, saying her name is Vasilisa the Wise, tells him she will vanish to a distant kingdom and begs him to find her.[34]

Czech Republic[edit]

In a Czech variant translated by Jeremiah Curtin, The Mouse-Hole, and the Underground Kingdom, prince Yarmil and his brothers are to seek wives and bring to the king their presents in a year and a day. Yarmil and his brothers shoot arrow to decide their fates, Yarmil’s falls into a mouse-hole. The prince enters the mouse hole, finds a splendid castle and an ugly toad he must bathe for a year and a day. When the date is through, he returns to his father with the toad’s magnificent present: a casket with a small mirror inside. This repeats two more times: on the second year, Yarmil brings the princess’s portrait and on the third year the princess herself. She reveals she was the toad, changed into amphibian form by an evil wizard, and that Yarmil helped her break this curse, on the condition that he must never reveal her cursed state to anyone, specially to his mother. He breaks this prohibition one night and she disappears. Yarmil, then, goes on a quest for her all the way to the glass mountain (tale type ATU 400, «The Quest for the Lost Wife»).[35]

Ukraine[edit]

In a Ukrainian variant collected by M. Dragomanov, titled «Жена-жаба» («The Frog Wife» or «The Frog Woman»), a king shoots three bullets to three different locations, the youngest son follows and finds a frog. He marries it and discovers it is a beautiful princess. After he burns the frog skin, she disappears, and the prince must seek her.[36]

In another Ukrainian variant, the Frog Princess is a maiden named Maria, daughter of the Sea Tsar and cursed into frog form. The tale begins much the same: the three arrows, the marriage between human prince and frog and the three tasks. When the human tsar announces a grand ball to which his sons and his wives are invited, Maria takes off her frog skin to appear as human. While she is in the tsar’s ballroom, her husband hurries back home and burns the frog skin. When she comes home, she reveals the prince her cursed state would soon be over, says he needs to find Baba Yaga in a remote kingdom, and vanishes from sight in the form of a cuckoo. The tale continues as tale type ATU 313, «The Magical Flight», like the Russian tale of The Sea Tsar and Vasilisa the Wise.[37]

Finland[edit]

Finnish author Eero Salmelainen [fi] collected a Finnish tale with the title Sammakko morsiamena (English: «The Frog Bride»), and translated into French as Le Cendrillon et sa fiancée, la grenouille («The Male Cinderella and his bride, the frog»). In this tale, a king has three sons, the youngest named Tuhkimo (a male Cinderella; from Finnish tuhka, «ashes»). One day, the king organizes a bride selection test for his sons: they are to aim his bows and shoot arrows at random directions, and marry the woman that they will find with the arrow. Tuhkimo’s arrow lands near a frog and he takes it as his bride. The king sets three tasks for his prospective daughters-in-law: to prepare the food and to sew garments. While prince Tuhkimo is aleep, his frog fiancée takes off her frog skin, becomes a human maiden and summons her eight sisters to her house: eight swans fly in through the window, take off their swanskins and become humans. Tuhkimo discovers his bride’s transformation and burns the amphibian skin. The princess laments the fact, since her mother cursed her and her eight sisters, and in three nights time the curse would have been lifted. The princess then changes into a swan and flies away with her swan sisters. Tuhkimo follows her and meets an old widow, who directs him to a lake, in three days journey. Tuhkimo finds the lake, and he waits. Nine swans come, take off their skins to become human women and bathe in the lake. Tuhkimo hides his bride’s swanskin. She comes out of the water and cannot find her swanskin. Tuhkimo appears to her and she tells him he must come to her father’s palace and identify her among her sisters.[38][39]

Azerbaijan[edit]

In the Azerbaijani version of the fairy tale, the princes do not shoot arrows to choose their fiancées, they hit girls with apples.[40] And indeed, there was such a custom among the Mongols living in the territory of present-day Azerbaijan in the 17th century.[41]

Poland[edit]

In a Polish from Masuria collected by Max Toeppen with the title Die Froschprinzessin («The Frog Princess»), a landlord has three sons, the elder two smart and the youngest, Hans (Janek in the Polish text), a fool. One day, the elder two decide to leave home to learn a trade and find wives, and their foolish little brother wants to do so. The two elders and Hans go their separate ways in a crossroads, and Hans loses his way in the woods, without food, and the berries of the forest not enough to sate his hunger. Luckily for him, he finds a hut in the distance, where a little frog lives. Hans tells the little animal he wants to find work, and the frog agrees to hire him, his only job is to carry the frog on a satin pillow, and he shall have drink and food. One day, the youth sighs that his brothers are probably returning home with gifts for their mother, and he has none to show them. The little frog tells Hans to sleep and, in the next morning, to knock three times on the stable door with a wand; he will find a beautiful horse he can ride home, and a little box. Hans goes back home with the horse and gives the little box to his mother; inside, a beautiful dress of gold and diamond buttons. Hans’s brothers question the legitimate origin of the dress. Some time later, the brothers go back to their masters and promise to return with their brides. Hans goes back to the little frog’s hut and mopes that his brother have bride to introduce to his family, while he has the frog. The frog tells him not to worry, and to knock on the stable again. Hans does that and a carriage appears with a princess inside, who is the frog herself. The princess asks Hans to take her to his parents, but not let her put anything on her mouth during dinner. Hans and the princess go to his parents’ house, and he fulfills the princess’s request, despite some grievaance from his parents and brothers. Finally, the princess turns back into a frog and tells Hans he has a last challenge before he redeems her: Hans will have to face three nights of temptations, dance, music and women in the first; counts and nobles who wish to crown him king in the second; and executioners who wish to kill him in the third. Hans endures and braves each night, awakening in the fourth day in a large castle. The princess, fully redeemed, tells him the castle is theirs, and she is his wife.[42]

In another Polish tale, collected by collector Antoni Józef Gliński [pl] and translated into English by translator Maude Ashurst Biggs as The Frog Princess, a king wishes to see his three sons married before they eventually ascend to the throne. So, the next day, the princes prepare to shoot three arrows at random, and to marry the girls that live wherever the arrows land. The first two find human wives, while the youngest’s arrow falls in the margins of the lake. A frog, sat on it, agrees to return the prince’s arrow, in exchange for becoming his wife. The prince questions the frog’s decision, but she advises him to tell his family he married an Eastern lady who must be only seen by her beloved. Eventually, the king asks his sons to bring him carpet woven by his daughters-in-law. The little frog summons «seven lovely maidens» to help her weave the carpet. Next, the king asks for a cake to be baked by his daughters-in-law, and the little frog bakes a delicious cake for the king. Surprised by the frog’s hidden talents, the prince asks her about them, and she reveals she is, in fact, a princess underneath the frog skin, a disguise created by her mother, the magical Queen of Light, to keep her safe from her enemies. The king then summons his sons and his daughters-in-law for a banquet at the palace. The little frog tells the prince to go first, and, when his father asks about her, it will begin to rain; when it lightens, he is to tell her she is adorning herself; and when it thunders, she is coming to the palace. It happens thus, and the prince introduces his bride to his father, and whispers in his ear about the frogskin. The king suggests his son burns the frogskin. The prince follows through with the suggestion and tells his bride about it. The princess cries bitter tears and, while he is asleep, turns into a duck and flies away. The prince wakes the next morning and begins a quest to find the kingdom of the Queen of Light. In his quest, he passes by the houses of three witches named Jandza, which spin on chicken legs. Each of the Jandzas tells him that the princess flies in their huts in duck form, and the prince must hide himself to get her back. He fails in the first two houses, due to her shapeshifting into other animals to escape, but gets her in the third. They reconcile and return to his father’s kingdom.[43]

Other regions[edit]

Researchers Nora Marks Dauenhauer and Richard L. Dauenhauer found a variant titled Yuwaan Gagéets, heard during Nora’s childhood from a Tlingit storyteller. They identified the tale as belonging to the tale type ATU 402 (and a second part as ATU 400, «The Quest for the Lost Wife») and noted its resemblance to the Russian story, trying to trace its appearance in the teller’s repertoire.[44]

Adaptations[edit]

  • A literary treatment of the tale was published as The Wise Princess (A Russian Tale) in The Blue Rose Fairy Book (1911), by Maurice Baring.[45]
  • A translation of the story by illustrator Katherine Pyle was published with the title The Frog Princess (A Russian Story).[46]
  • Vasilisa the Beautiful, a 1939 Soviet film directed by Aleksandr Rou, is based on this plot. It was the first large-budget feature in the Soviet Union to use fantasy elements, as opposed to the realistic style long favored politically.[47]
  • In 1953 the director Mikhail Tsekhanovsky had the idea of animating this popular national fairy tale. Production took two years, and the premiere took place in December, 1954. At present the film is included in the gold classics of «Soyuzmultfilm».
  • Vasilisa the Beautiful, a 1977 Soviet animated film is also based on this fairy tale.
  • In 1996, an animated Russian version based on an in-depth version of the tale in the film «Classic Fairy Tales From Around the World» on VHS. This version tells of how the beautiful Princess Vasilisa was kidnapped and cursed by the evil wizard Kashay to make her his bride and only the love of the handsome Prince Ivan can free her.
  • Taking inspiration from the Russian story, Vasilisa appears to assist Hellboy against Koschei in the 2007 comic book Hellboy: Darkness Calls.
  • The Frog Princess was featured in Happily Ever After: Fairy Tales for Every Child, where it was depicted in a country setting. The episode features the voice talents of Jasmine Guy as Frog Princess Lylah, Greg Kinnear as Prince Gavin, Wallace Langham as Prince Bobby, Mary Gross as Elise, and Beau Bridges as King Big Daddy.
  • A Hungarian variant of the tale was adapted into an episode of the Hungarian television series Magyar népmesék («Hungarian Folk Tales») (hu), with the title Marci és az elátkozott királylány («Martin and the Cursed Princess»).
  • «Wildwood Dancing,» a 2007 fantasy novel by Juliet Marillier, expands the princess and the frog theme.[48]

Culture[edit]

Music

The Divine Comedy’s 1997 single The Frog Princess is loosely based on the theme of the original Frog Princess story, interwoven with the narrator’s personal experiences.

See also[edit]

  • The Frog Prince
  • The Princess and the Frog
  • Vasilisa (name)
  • Puddocky

References[edit]

  1. ^ Georgias A. Megas, Folktales of Greece, p 224, University of Chicago Press, Chicago and London, 1970
  2. ^ D. L. Ashliman, «Animal Brides: folktales of Aarne–Thompson type 402 and related stories»
  3. ^ Works related to The Frog-Tzarevna at Wikisource
  4. ^ Out of the Everywhere: New Tales for Canada, Jan Andrews
  5. ^ Barag, Lev. «Сравнительный указатель сюжетов. Восточнославянская сказка». Leningrad: НАУКА, 1979. p. 128.
  6. ^ Barag, Lev. «Сравнительный указатель сюжетов. Восточнославянская сказка». Leningrad: НАУКА, 1979. p. 128.
  7. ^ Dobrovolskaya, Varvara. «PLOT No. 425A OF COMPARATIVE INDEX OF PLOTS (“CUPID AND PSYCHE”) IN RUSSIAN FOLK-TALE TRADITION». In: Traditional culture. 2017. Vol. 18. № 3 (67). p. 139.
  8. ^ Johns, Andreas. 2000. “The Image of Koshchei Bessmertnyi in East Slavic Folklore”. In: FOLKLORICA — Journal of the Slavic, East European, and Eurasian Folklore Association 5 (1): 8. https://doi.org/10.17161/folklorica.v5i1.3647.
  9. ^ Kobayashi, Fumihiko (2007). «The Forbidden Love in Nature. Analysis of the «Animal Wife» Folktale in Terms of Content Level, Structural Level, and Semantic Level». Folklore: Electronic Journal of Folklore. 36: 144–145. doi:10.7592/FEJF2007.36.kobayashi.
  10. ^ Haney, Jack V. The Complete Folktales of A. N. Afanas’ev. Volume II: Black Art and the Neo-Ancestral Impulse. Jackson: University Press of Mississippi. 2015. p. 548. muse.jhu.edu/book/42506.
  11. ^ Silver, Carole G. «Animal Brides and Grooms: Marriage of Person to Animal Motif B600, and Animal Paramour, Motif B610». In: Jane Garry and Hasan El-Shamy (eds.). Archetypes and Motifs in Folklore and Literature. A Handbook. Armonk / London: M.E. Sharpe, 2005. p. 94.
  12. ^ Angelopoulos, Anna. «La fille de Thalassa». In: ELO N. 11/12 (2005): 17 (footnote nr. 5), 29 (footnote nr. 47). http://hdl.handle.net/10400.1/1607
  13. ^ Angelopoulou, Anna; Broskou, Aigle. «ΕΠΕΞΕΡΓΑΣΙΑ ΠΑΡΑΜΥΘΙΑΚΩΝ ΤΥΠΩΝ ΚΑΙ ΠΑΡΑΛΛΑΓΩΝ AT 300-499». Tome B: AT 400-499. Athens, Greece: ΚΕΝΤΡΟ ΝΕΟΕΛΛΗΝΙΚΩΝ ΕΡΕΥΝΩΝ Ε.Ι.Ε. 1999. p. 540.
  14. ^ Pino Saavedra, Yolando. Folktales of Chile. [Chicago:] University of Chicago Press, 1967. p. 258.
  15. ^ Johns, Andreas. Baba Yaga: The Ambiguous Mother and Witch of the Russian Folktale. New York: Peter Lang. 2010 [2004]. p. 153. ISBN 978-0-8204-6769-6.
  16. ^ Tatar, Maria. The Classic Fairy Tales: Texts, Criticism. Norton Critical Edition. Norton, 1999. p. 31. ISBN 9780393972771
  17. ^ Leavy, Barbara Fass. In Search of the Swan Maiden: A Narrative on Folklore and Gender. NYU Press, 1994. pp. 204, 207, 212. http://www.jstor.org/stable/j.ctt9qg995.9.
  18. ^ Fomin, Maxim. «The Land Acquisition Motif in the Irish and Russian Folklore Traditions». In: Studia Celto-Slavica 3 (2010): 259-268. DOI: https://doi.org/10.54586/HXAR3954.
  19. ^ Hayrapetyan Tamar. «Combinaisons archétipales dans les epopees orales et les contes merveilleux armeniens». Traduction par Léon Ketcheyan. In: Revue des etudes Arméniennes tome 39 (2020). pp. 499-500 and footnote nr. 141.
  20. ^ Fomin, Maxim. «The Land Acquisition Motif in the Irish and Russian Folklore Traditions». In: Studia Celto-Slavica 3 (2010): 259 (footnote nr. 9). DOI: https://doi.org/10.54586/HXAR3954.
  21. ^ Propp, V. Theory and history of folklore. Theory and history of literature v. 5. University of Minnesota Press, 1984. p. 143. ISBN 0-8166-1180-7.
  22. ^ Coxwell, C. F. Siberian And Other Folk Tales. London: The C. W. Daniel Company, 1925. p. 252.
  23. ^ Гура, Александр Викторович. «Символика животных в славянской народной традиции» [Animal Symbolism in Slavic folk traditions]. М: Индрик, 1997. pp. 380-382. ISBN 5-85759-056-6.
  24. ^ Radenkovic, Ljubinko. «Митолошки елементи у словенским народним представама о жаби» [Mythological Elements in Slavic Notions of Frogs]. In: Заједничко у словенском фолклору: зборник радова [Common Elements in Slavic Folklore: Collected Papers, 2012]. Београд: Балканолошки институт САНУ, 2012. pp. 379-397. ISBN 978–86–7179-074–1 Parameter error in {{ISBN}}: invalid character.
  25. ^ Fomin, Maxim. «The Land Acquisition Motif in the Irish and Russian Folklore Traditions». In: Studia Celto-Slavica 3 (2010): 260. DOI: https://doi.org/10.54586/HXAR3954.
  26. ^ Kovalchuk Lidia Petrovna (2015). «Comparative research of blends frog-woman and toad-woman in Russian and English folktales». In: Russian Linguistic Bulletin, (3 (3)), 14-15. URL: https://cyberleninka.ru/article/n/comparative-research-of-blends-frog-woman-and-toad-woman-in-russian-and-english-folktales (дата обращения: 17.11.2021).
  27. ^ Megas, Geōrgios A. Folktales of Greece. Chicago: University of Chicago Press. 1970. p. 224.
  28. ^ Andrew Lang, The Violet Fairy Book, «The Frog»
  29. ^ Italo Calvino, Italian Folktales p 438 ISBN 0-15-645489-0
  30. ^ Italo Calvino, Italian Folktales p 718 ISBN 0-15-645489-0
  31. ^ Georgias A. Megas, Folktales of Greece, p 49, University of Chicago Press, Chicago and London, 1970
  32. ^ Ciubotaru, Silvia. «Elena Niculiţă-Voronca şi basmele fantastice» [Elena Niculiţă-Voronca and the Fantastic Fairy Tales]. In: Anuarul Muzeului Etnografic al Moldovei [The Yearly Review of the Ethnographic Museum of Moldavia] 18/2018. p. 158. ISSN 1583-6819.
  33. ^ Barag, Lev. «Сравнительный указатель сюжетов. Восточнославянская сказка». Leningrad: НАУКА, 1979. pp. 46 (source), 128 (entry).
  34. ^ Русские сказки в ранних записях и публикациях». Л.: Наука, 1971. pp. 203-213.
  35. ^ Curtin, Jeremiah. Myths and Folk-tales of the Russians, Western Slavs, and Magyars. Boston: Little, Brown, and Company. 1890. pp. 331–355.
  36. ^ Драгоманов, М (M. Dragomanov).»Малорусские народные предания и рассказы». 1876. pp. 313-317.
  37. ^ Dixon-Kennedy, Mike (1998). Encyclopedia of Russian and Slavic Myth and Legend. Santa Barbara, California: ABC-CLIO. pp. 179-181. ISBN 9781576070635.
  38. ^ Salmelainen, Eero. Suomen kansan satuja ja tarinoita. II Osa. Helsingissä: Suomalaisen Kirjallisuuden Seura. 1871. pp. 118–127.
  39. ^ Beauvois, Eugéne. Contes populaires de la Norvège, de la Finlande & de la Bourgogne, etc. Paris: E. Dentu, Éditeur. 1862. pp. 180–193.
  40. ^ «Царевич и лягушка». Фольклор Азербайджана и прилегающих стран. Vol. 1. Баку: Изд-во АзГНИИ. Азербайджанский государственный научно-исследовательский ин-т, Отд-ние языка, литературы и искусства (под ред. А. В. Багрия). 1930. pp. 30–33.
  41. ^ Челеби Э. (1983). «Описание крепости Шеки/О жизни племени ит-тиль». Книга путешествия. (Извлечения из сочинения турецкого путешественника ХVII века). Вып. 3. Земли Закавказья и сопредельных областей Малой Азии и Ирана. Москва: Наука. p. 159.
  42. ^ Toeppen, Max. Aberglauben aus Masuren, mit einem Anhange, enthaltend: Masurische Sagen und Mährchen. Danzig: Th. Bertling, 1867. pp. 158-162.
  43. ^ Polish Fairy Tales. Translated from A. J. Glinski by Maude Ashurst Biggs. New York: John Lane Company. 1920. pp. 1-15.
  44. ^ Dauenhauer, Nora Marks and Dauenhauer, Richard L. «Tracking “Yuwaan Gagéets”: A Russian Fairy Tale in Tlingit Oral Tradition». In: Oral Tradition, 13/1 (1998): 58-91.
  45. ^ Baring, Maurice. The Blue Rose Fairy Book. New York: Maude, Dodd and Company. 1911. pp. 247-260.
  46. ^ Pyle, Katherine. Tales of folk and fairies. Boston: Little, Brown, and Company. 1919. pp. 137-158.
  47. ^ James Graham, Baba Yaga in Film[Usurped!]
  48. ^ https://www.goodreads.com/book/show/13929.Wildwood_Dancing

External links[edit]

  • The Frog Princess on YouTube
  • The Wise Princess (The Blue Rose Fairy Book) from Project Gutenberg
  • The Frog Princess (Ukrainian Folk Tale)
  • The Frog Princess (Polish Folk Tale)
  • The Frog Princess (Chinese Folk Tale)
Источник

Царевна-лягушка с открытки нач. XX века

«Царе́вна-лягу́шка» — русская народная волшебная сказка. Сказки с подобным сюжетом известны также в некоторых европейских странах — например, в Италии[1] и в Греции.[2] Персонаж этой сказки — прекрасная девушка, обычно обладающая познаниями в колдовстве (Василиса Премудрая) и принуждённая жить какое-то время в облике лягушки.

Сюжет

По типичному сюжету сказки, Иван Царевич вынужден жениться на лягушке, так как находит её в результате обряда (царевичи стреляли из луков наугад, куда стрела попадёт — там невесту и искать). Лягушка, в отличие от жён братьев Ивана Царевича, отлично справляется со всеми заданиями царя, своего свёкра, либо с помощью колдовства, либо с помощью «мамок-нянек». Когда царь приглашает Ивана с женой на пир, она приезжает в облике прекрасной девушки. Иван Царевич тайно сжигает лягушачью кожу жены, чем вынуждает её покинуть его. Иван отправляется на поиски, находит её у Кощея Бессмертного и освобождает свою жену.

По классификации Аарне-Томпсона сюжету присвоен номер 402.

См. также

  • Король-лягушонок

Примечания

  1. ↑ Italo Calvino, Italian Folktales p 438 ISBN 0-15-645489-0
  2. ↑ Georgias A. Megas, Folktales of Greece, p 49, University of Chicago Press, Chicago and London, 1970
 Просмотр этого шаблона Сказочные жанры
Главный герой (А. Аарне, С. Томпсон), по тематике Сказки о животных, растениях, неживой природе и предметах  • Волшебные сказки  • Легендарные сказки  • Новеллистические (бытовые) сказки  • Сказки об одураченном чёрте  • Анекдоты  • Небылицы  • Кумулятивные сказки  • Докучные сказки
О животных
(А. Аарне, С. Томпсон)		 Дикие животные (Лиса, Другие дикие животные)  • Дикие и домашние животные  • Человек и дикие животные  • Домашние животные  • Птицы и рыбы  • Другие животные, предметы, растения и явления природы
О животных
(В. Я. Пропп), структурно-семантическая		 Кумулятивная сказка о животных  • Волшебная сказка о животных  • Басня (аполог)  • Сатирическая сказка
О животных
(Е. А. Костюхин), по содержанию		 Комическая (бытовая) сказка о животных  • Волшебная сказка о животных  • Кумулятивная сказка о животных  • Новеллистическая сказка о животных  • Аполог (басня)  • Анекдот  • Сатирическая сказка о животных  • Легенды, предания, бытовые рассказы о животных  • Небылицы
Целевая аудитории Детские сказки (Сказки рассказанные для детей, Сказки рассказанные детьми) • Взрослые сказки
Кумулятивные (рекурсивные) сказки С бесконечным повторением (Докучные-«Про белого бычка», Единица текста включается в другой текст-«У попа была собака») • С конечным повторением (нарастают единицы сюжета в цепь, пока цепь не оборвётся — «Репка»; расплетание цепи, пока цепь не оборвётся — «Петушок подавился», предыдущая единица текста отрицается в следующем эпизоде — «За скалочку уточку»)
Источник

История персонажа

Много ли вы знаете сказок, сюжет которых был известен уже много сотен лет назад? Царевна-лягушка – персонаж, популярный среди народов Причерноморья и Приазовья. Археологи находят упоминания о ней на артефактах 5-3 в до н.э., добытых в скифских курганах. Сказочный персонаж, словно мифологический герой, воспевался древним населением и запечатлен мастерами той эпохи. Насколько реальна легенда о Царевне-лягушке, можно только догадываться. Вся правда о ней известна древним племенам, восхищавшимся фантастическим созданием.

История создания

Первая публикация легенды о сказочной героине датируется 18 веком. Сказание, передававшееся из уст в уста, называлось «Сказ о лягушке и богатыре». Авторство приписывают античному историку Геродоту. Скифские мифы, записанные им, изобиловали фантастическими сюжетами.

Царевна-лягушка

Царевна-лягушка

Повествование рассказывало о том, как разыскивавший пропавших коней богатырь попал в пещеру и столкнулся с невиданным существом. Полузмея-полуженщина обладала невиданной красотой. Девушка пообещала отдать лошадей, если герой возьмет ее в жены. В их союзе родились сыновья Скиф, Анафис и Гелон. Отец завещал им прохождение испытания. Юноши, опоясавшись его снаряжением и вооружившись луком, должны были выполнить задание. Призом был титул царя. Древние скифские мотивы, главенствующие в легенде, напрямую связаны с пониманием божественного мира древним населением.

За время пересказывания предания сюжет модифицировался. Божественные образы упростились. Существо с телом женщины и змеи превратилось в Царевну-лягушку. Она властвовала над стихиями, чем покорила Ивана-царевича, пришедшего за брошенной стрелой. Шалаш лягушки, куда был приглашен богатырь, мгновенно обратился изысканным шатром. Магический обряд дался Царевне-лягушке без труда, как и шитье бесшовной рубахи с помощью буйных ветров. Способности девушки сродни волшебству и возможностям космических пришельцев. Одежда без швов была «технологией», знакомой богам и представителям высшего разума. В этом символе есть детали оккультизма и намеки на власть над пространством.

Иван-царевич

Иван-царевич

Поразительная красота, которой обладал персонаж легенды, стала причиной зависти братьев царевича и послужила мотивацией для сожжения волшебной шкурки лягушки. Перед тем как исчезнуть, она назвала свое имя и пропала. Вопреки привычной трактовке, герою пришлось разыскивать суженую не в царстве Кощея Бессмертного, а в Подсолнечной стране. Древние люди именовали так Солнечную систему. Помощником Ивана стала Баба-Яга.

Только на третий раз по наставлениям колдуньи ему удалось поймать девушку. Обратный путь молодые держали верхом на ковре-самолете, подаренном Бабой-Ягой. На то, что русская народная сказка имеет глубокие исторические корни, указывают не только скрытый подтекст и символизм. На небесном своде существовали созвездия под названием «Поле», «Лук», «Звезда» и «Змея». Древние звездочеты различали созвездие под названием «Лугаль», что в переводе означает «царь». Звезды Энлиля выступают в роли ветров, сшивших царскую бесшовную сорочку.

Кощей и Баба-Яга

Кощей и Баба-Яга

С развитием астрономии многие созвездия объединили в более крупные сочетания звездных светил. Так обозначения из знакомой сказки пропали с небосвода, а происхождение привычных сказочных образов стало доступно лишь самым заинтересованным читателям.

Каждый автор, интерпретировавший сюжет, привносил в него свои детали, и божественные образы скифов изменились до неузнаваемости. Мифология исчезла из сюжета, название упростилось, и сегодня сказочные персонажи интересуют только маленьких детей.

Сказка «Царевна-лягушка»

Главные герои сказки – царь, его три сына, среди которых Иван-царевич, и Царевна-лягушка. Повествование гласит, что богатырям пришло время жениться. Чтобы выбрать невесту, каждый из них выходил в поле и выпускал из лука стрелу. Стрела первого брата угодила к боярской дочке, стрела второго – к купеческой, а младшему, Ивану, пришлось разыскивать свою на болоте.

Иван-царевич и Царевна-лягушка

Иван-царевич и Царевна-лягушка

Царь-отец испытывал невесток. Лягушка оказалась единственной, кому удалось беспрепятственно пройти все конкурсы правителя. Братья, пораженные этим, подговорили Ивана сжечь шкурку супруги. Поэтому красавица вынуждена была сбежать. Царевичу пришлось отвоевывать возлюбленную и вызволять ее из царства Кощея.

Схожие сюжеты используются в итальянской и греческой культуре. Подобные мотивы присутствуют в народных сказках бурятов, башкиров и татар. В России сказка опубликована в сборнике «Народные русские сказки». Автор книги А.Н. Афанасьев был фольклористом и исследователем национальной культуры. В его вариации в образе лягушки предстает Василиса Премудрая, колдунья, обреченная жить в образе животного. В изобразительном искусстве автором, воспевшим образ царевны-колдуньи, стал Васнецов. Полотно «Царевна-лягушка» относится к циклу присущих автору работ на фантастические и сказочные сюжеты.

Экранизации

Кадр из мультфильма "Царевна-лягушка"

Кадр из мультфильма «Царевна-лягушка»

В 1954 году на экраны вышел советский мультфильм под названием «Царевна-лягушка». Главную героиню озвучила Маргарита Куприянова. В анимационной ленте девушка изображалась красавицей, благородной скромницей, способной творить чудеса. В это же году был снят художественный фильм, в котором герои мультика были воплощены талантливыми актерами.

В мультфильме «Царевна-лягушка» 1977 года Анна Каменкова подарила голос героине, изображение которой вторило фольклорным мотивам и было более символичным, чем в первом проекте отечественных мультипликаторов.

Мультфильм «Принцесса и лягушка»

Мультфильм «Принцесса и лягушка»

В 2009 году компания «Дисней» выпустила свою интерпретацию легенды и предложила вниманию зрителей мультфильм «Принцесса и лягушка». От аутентичного сюжета в нем мало что сохранилось, но присущее мультикам этого бренда качественное изображение сделало проект востребованным.

Источник

Автором произведения, актуального по сей день, является Александр Николаевич Афанасьев. Царевна лягушка завоевала свою популярность благодаря своему волшебству и героизму главного героя. Существует множество вариаций данного произведения, но именно Афанасьев смог создать классику, которую невозможно так же прекрасно повторить. 

Биография писателя

Александр Афанасьев (1849-1871) российский писатель, фольклорные произведения которого радуют читателей различных возрастов современности. В раннем детстве лишился матери, получил хорошее образование и любовь к учебе. Все это благодаря отцу. С помощью юридических познаний в Воронежском лицее, будущий ученый обрел перспективный вид основной деятельности. Увы, политические обстоятельства вынудили Афанасьева покинуть основную работу. 

Наиболее плодотворный период деятельности автора была работа в столичном архиве министерства иностранных дел с 1849 по 1862 год. Будучи на должности заведующего дел по печатанию государственных документов.

Серьезно сказалось на Александре Николаевиче ложное политическое обвинение 1862 года. После обыска жилья, его принудили покинуть занимаемую должность. Немного позже устраивается на работу в качестве секретаря московской думы, после — в мировом съезде судей. 

Все эти события негативно сказались на здоровье писателя. Поэтому на 45 году жизни он покидает мир из-за болезни чахотки.

Творческая деятельность 

За все время своей жизни Александр Николаевич Афанасьев написал множество произведений. Это были народные сказки, диссертации, статьи, личные записи и журналы. Наиболее популярные его работы:

  • Елена Премудрая;
  • Царевна лягушка;
  • Ведун и ведьма;
  • множество произведений по поводу истории и мифов древних славян.

На самом деле, у Александра Николаевича огромное количество работ. Чего стоят только русские народные сказки в нескольких томах. Приятный факт состоит в том, что даже малоизвестные произведения до сих пор славятся большим спросом. И все благодаря талантливому ученому, с великолепнейшим писательским талантом.

Источник

Что мы делаем. Каждая страница проходит через несколько сотен совершенствующих техник. Совершенно та же Википедия. Только лучше.

Царевна-лягушка

Из Википедии — свободной энциклопедии

«Царе́вна-лягу́шка» — русская народная волшебная сказка, вариация бродячего сюжета о заколдованной невесте. Сказки с подобным сюжетом известны также в некоторых европейских странах — например, в Италии[1] и в Греции[2], а также у бурятов, башкир, татар[3]. В сборнике «Народные русские сказки» А. Н. Афанасьева находится под номером 267—269. По классификации Аарне-Томпсона сюжету присвоен номер 402.

Сюжет

Царь повелел своим троим сыновьям жениться, а невест выбрать так: стать в чисто поле, выстрелить наугад из лука, — на чей двор стрела попадёт, на девушке той местности и жениться. Стрела младшего, Ивана-царевича попала на болото. Он нашёл свою стрелу возле лягушки, на которой пришлось жениться. С заданиями царя для невесток лягушка, в отличие от жён братьев Ивана Царевича, отлично справляется с помощью колдовства (в одной версии сказки), либо с помощью «мамок-нянек» (в другой). Когда царь приглашает Ивана с женой на пир, она приезжает в облике прекрасной девушки. Иван-царевич тайно сжигает лягушачью кожу, чем навлекает проклятие — Лягушка исчезает. Иван отправляется на поиски, находит её у Кощея Бессмертного и освобождает из заточения.

  • На дореволюционной открытке

    На дореволюционной открытке

  • Иллюстрация И. Билибина

  • Иллюстрация Д. А. Брюханова

  • Памятная монета Банка России

У других народов

Сюжет о царевне-лягушке перешел из русских сказок с некоторыми изменениями в сказочный фольклор ряда других народов России, например башкир и татар. Похожая сказка – опубликованная в 1930 году в сборнике «Легенды и сказки Азербайджана» под названием «Царевич и лягушка», записана инспектором нухинского городского училища В.А.Емельяновым в 1899 году, в городе Нухе (ныне Шеки, Азербайджан)[4]. В азербайджанской версии сказки принцы не стреляют из лука, чтобы выбрать невесту, они бросают девушкам яблоки. И действительно, такой обычай существовал у монголов, живших на территории современного Азербайджана в 17 веке[5]. В заключительном сюжете многослойной бурятской сказки «Ута-Саган-батор», опубликованной впервые в 1903 году, также приводится аналогичный сюжет[3]. При этом в качестве помощниц лягушки в исполнении задания свёкра (шитьё шёлковой рубашки), выступают чёрная собака и белая корова с чёрным пятном на лопатке[6].

Главная героиня

Титульный персонаж этой сказки — прекрасная девушка, оборотень, обычно обладающая познаниями в колдовстве и принуждённая жить какое-то время в облике лягушки. Этот образ рассматривался в науке как архетип тотемной супруги, на которой должен был жениться первобытный охотник для того, чтобы охота выдалась удачной[7]. Невесты, превосходящие умом и знаниями жениха, довольно распространены в русских сказках.

Адаптации

Иллюстрация Виктора Васнецова

  • 1939 — фильм «Василиса Прекрасная»
  • 1954 — мультфильм «Царевна-Лягушка»
  • 1971 — кукольный мультфильм-спектакль по мотивам сказки «Царевна-лягушка»
  • 1977 — мультфильм «Василиса Прекрасная»
  • 1994 — «Кащей Бессмертный» — панк-опера группы «Сектор Газа» по мотивам сказки
  • 2015 — спектакль «Царевна-лягушка» Архангельского театра драмы имени М. В. Ломоносова

Туризм

Проект «Сказочная карта России» объявил в 2017 г. город Шадринск Курганской области местом рождения Царевны-лягушки и Елены Прекрасной[8]. Связано это с тем, что опубликованная Афанасьевым версия сказки была предоставлена ему шадринским краеведом А. Н. Зыряновым, который предположительно записал её в Шадринском уезде[9].

См. также

  • Король-лягушонок / Принцесса и лягушка
  • Царь и три его сына
  • Дева в беде

Примечания

  1. ↑ Italo Calvino, Italian Folktales p 438 ISBN 0-15-645489-0
  2. ↑ Georgias A. Megas, Folktales of Greece, p 49, University of Chicago Press, Chicago and London, 1970
  3. ↑ 1 2 Бурятские народные сказки. Баир Дугаров. Мир бурятской сказки. М. Современник, 1990, с. 13
  4. ↑ А. В. Багрия, 1930.
  5. ↑ Челеби Э., 1983.
  6. ↑ Бурятские народные сказки. Ута-Саган-батор. — М.: Современник, 1990.
  7. ↑ Описание Царевны-лягушки.
  8. ↑ Царевну-лягушку прописали в Шадринске
  9. ↑ Шадринская Царевна-лягушка.

Литература

  • Сюжет № 402. «Царевна-лягушка» // Сравнительный указатель сюжетов. Восточнославянская сказка
  • «Царевна-лягушка» // Сказочная энциклопедия / Составитель Наталия Будур. — М.: ОЛМА-ПРЕСС, 2005. — С. 545. — 608 с. — 5000 экз. — ISBN 5-224-04818-4.
  • «Царевич и лягушка» // Фольклор Азербайджана и прилегающих стран / Азербайджанский государственный научно-исследовательский ин-т, Отд-ние языка, литературы и искусства (под ред. А. В. Багрия). — Баку: Изд-во АзГНИИ, 1930. — Т. 1. — С. 30–33. — 303 с.
  • Челеби Э. Описание крепости Шеки/О жизни племени ит-тиль // Книга путешествия. (Извлечения из сочинения турецкого путешественника ХVII века). Вып. 3. Земли Закавказья и сопредельных областей Малой Азии и Ирана. — Москва: Наука, 1983. — С. 159.


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