He ordered a magnificent celebration to be held and all young people who had not yet lost hope of pleasing the princess and winning her favor should be summoned from distant lands and neighboring cities.
A lot of suitors came. They were built in a row, one after another, according to the seniority of the family and the amount of income. First there were kings and crown princes, then dukes, then princes, earls, barons, and finally ordinary nobles.
One groom seemed too fat to her.
- Beer Barrel! - she said. The other is lanky and long-nosed, like a crane in a swamp.
- Long-legged cranes will not find their way. The third growth did not come out.
- You can’t see from the ground - I’m afraid to trample! The fourth she found too pale.
“White as death, skinny as a pole!” Fifth - too ruddy.
After that, the princess was led along the row. so that she can look at the suitors and choose for her husband the one who will most like her heart.
But this time, no one liked the princess.
Genre: literary tale Theme of the work: person, relationship
Main characters: King Thrushbeard, Princess and King
In the kingdom lived a princess who conquered the whole world with her beauty. Her face was beautiful, but her arrogance knew no bounds. Many suitors wooed her, but they all received a refusal, and even insults addressed to them. Her father, who loves his daughter, forgave all her whims, but he was tired of it.
The king ordered to arrange a ball, and invite all noble young people who would like to marry the princess. A huge number of grooms gathered from all the surrounding kingdoms, they were lined up, and the bride went to choose her future husband. But all the suitors received only ridicule. Among the suitors was a young prince, whom any girl would have married, but the princess could find a flaw in this young man too. She did not like the young man's beard, and she immediately pasted on him the nickname "King Thrushbeard".
The father of the princess, seeing how his daughter mocks the invited guests, was angry with her behavior, and swore an oath that he would marry the princess to the first who knocked on the gates of the kingdom, even if it was the last beggar.
A few days later, singing was heard under the windows of the king, seeing the beggar, the king let him into the palace. The musician sang songs, and the king said that he would give him his daughter as a reward. They played a wedding, and the father escorted his daughter out of the palace, sending her with her husband. The poor princess had to do the will of her father. On the way to the house of the beggar - the musician they came across huge forests, water meadows and a magnificent city.
Having learned from the musician that all this belongs to King Thrushbeard, the princess bitterly regretted that she had refused such a noble groom. Finally, they came to a miserable shack, in which the beautiful princess now had to live.
The beggar forced his wife to work, she wove baskets, spun yarn, but she did not succeed. Then he planted her in the square to sell dishes, but here she suffered misfortune. Then her husband got her a dishwasher in the palace. She did all the menial work, collecting leftovers for dinner at home. The palace was preparing for the wedding of the king, and the princess wanted to look at the celebration. She hid behind the door, and then the king saw her, and dragged her to dance. Potsherds of scraps fell from her pockets, and everyone began to laugh at her loudly. Burning with shame, she rushed to run, but someone caught up with her and stopped her. It was King Thrushbeard. He confessed to her that he was a beggar-musician, and he did all this in order to show her how painfully hurt humiliation and resentment. The princess was dressed up, and the wedding began to be celebrated.
What does it teach. You can not make fun of other people's shortcomings.
A picture or drawing of King Thrushbeard
Other retellings and reviews for the reader's diary
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- Summary of Chaucer's Canterbury Tales
Twenty-nine pilgrims were going to Canterbury, to the relics of the saint. They met in a tavern, had supper and talked. The pilgrims did different things in life and were from different classes.
- Summary of the fairy tale Hansel and Gretel by the Brothers Grimm
At the edge of the forest lived with his wife and two children, Hansel and Gretel, a woodcutter. The family did not even have enough money for food. When there was absolutely nothing to eat, the wife suggested that the woodcutter take the children to the forest, give them a piece of bread and leave them there.
One king had a daughter - very beautiful, but so proud and arrogant and such a lover of mocking people that she refused all her suitors one after another. In each of them she found some funny flaw. To one of her suitors, who had a slightly pointed chin, she mockingly gave the nickname Thrushbeard, and he was called from that time King Thrushbeard. In the end, the old king, infuriated by this behavior of his daughter, swore an oath that he would give her for the first beggar who appeared at the palace. And soon, when the violin of a beggar musician sounded under the windows, which attracted the attention of the king, he carried out his threat by giving the violinist his daughter as his wife (in one version, a gilded spinning wheel is used to attract attention).
The princess becomes the wife of a beggar violinist, but she is unable to manage the household, and the mule is unhappy with her. He makes her cook, then weave baskets and spin yarn, but she can't handle any of the jobs. Finally, he assigns her to trade pottery at the market. But one day a drunken hussar breaks her dishes, galloping at full speed on his horse. At home, her husband scolds her for the losses she has suffered and says that she is not fit for any decent work, so she will have to be sent to the neighboring royal castle as a dishwasher.
One night, the poor woman learns that there will be a ball in the castle on the occasion of the prince's marriage. She sneaks upstairs to peer through the loosely closed doors at the dance. The servants toss the leftovers to her and she collects them in her pockets to take home. And so, when she sadly looks from behind the backs of the servants at the dancing couples, the prince, the owner of the castle, unexpectedly approaches her and invites her to dance. Blushing with embarrassment, the poor thing refuses and tries to slip out of the hall, but at this time, to her complete shame, the leftovers begin to pour out of her pockets. The prince, however, catches up with her and admits that he is the very King Drozdoorod, over whom she once laughed so mercilessly, and besides, her impoverished musician husband, whom he pretended to be after her refusal, and also the hussar who broke her pots, and that he started this whole masquerade in order to break her pride and punish her arrogance. (Grimm's Fai/y Tales, Routledge, 1948, London, 244.)
The name Trushbeard bears a structural resemblance to Bluebeard, but Bluebeard is a killer and nothing more; he is incapable of transforming his wives, just as he is incapable of transforming himself. He embodies the deathlike, ferocious aspects of the animus in its most diabolical form; you can only run from it. An animus in this form is often seen in mythology. (See also "Wonder Bird" and "Robber Groom").
This circumstance raises an important difference between anima and animus. A man in his primitive quality - a hunter and a warrior - is accustomed to kill, and the animus, having a masculine nature, seems to share this predisposition with him. On the contrary, woman's destiny is to serve life, and indeed the anima draws man into life. Other characteristic anima, namely its wholly deadly aspect, does not often appear in fairy tales; rather, one can say that the anima represents the archetype of life for a man.
The animus in its negative form seems to be the opposite of this attitude. He takes a woman away from life and thus "kills" life for her. It has to do with the realm of spirits and the land of death. Sometimes the animus can appear directly as a personification of death, for example, in the French tale from the collection of Diederich called "The Wife of Death", the content of which is presented below (Franzosische Volks-marchen, S 141).
A certain woman refuses all her suitors, but accepts Death's offer when he appears. While the mule is away on business, she lives alone in his castle. The brother of this woman comes to visit her to look at the gardens of Death, and the two of them take a walk through them. After that, the brother decides to free his sister, bringing her back to life again, and then she discovers that while she was absent, five thousand years have passed.
In a gypsy tale with the same name, something like this is told:
One evening, at the door of a solitary hut where a lonely poor girl lives, an unfamiliar traveler appears with a request for an overnight stay. Within a few days, he receives shelter and food from the girl and, in the end, falls in love with her. They marry, and soon she has a dream in which her husband appears before her all white and cold, from which it is clear that he is the King of the Dead. Shortly thereafter, the husband is forced to part with her for a while in order to return to his mournful occupation. When he finally reveals to his wife that he really is none other than Death, she dies from a blow, stricken with horror. (Zigeunermarchen, S. 117).
Thanks to the animus, we often have a sense of separation from life. We feel exhausted and unable to move on. This shows the pernicious side of the influence of the animus on a woman. It blocks the channels that connect it with life.
In his desire to isolate the woman from the outside world, the animus may take the form of a father. In Thrushbeard, there is no one next to the princess except her father, so the inaccessibility of the princess, who refuses all suitors without exception, is obviously somehow connected with the fact that she lives alone with her father. The contemptuous, derisive, critical attitude she takes towards suitors is typical of women who are controlled by the animus. Such an attitude completely breaks all ties with people.
The arrogance of the daughter in such a situation only apparently arouses the anger of the father, but in reality the father often binds the daughter to himself and creates obstacles in the way of the prospective suitors. Whenever in the background you can find such an attitude in yourself, you involuntarily become convinced of the ambivalence so characteristic of the psychology of parents when, on the one hand, they protect their children from meeting real life, and on the other, they show dissatisfaction that they are unable to start an independent life, leaving home. (The relationship of mothers with their sons very often develops along the same lines.) As compensation for this situation, the father complex that develops in the daughter tries to hurt the powerful father by forcing the girl to opt for obviously unworthy admirers.
In another tale, the animus appears first in the form of an old man who later turns into a youth, which is a way of telling us that the old man, the father figure, is only a temporary aspect of the animus and that the youth is hidden behind this mask.
A more striking example of the isolating effect of the animus is provided by the tale in which the father literally locks his beautiful daughter in a stone chest. Subsequently, the poor young man frees her from captivity, and together they flee. In the Turkmen tale The Magic Horse, a father gives his daughter to a deva, an evil spirit, in exchange for answering a riddle. In the Balkan tale "The Girl and the Vampire" (Balkanmarchen, ibid.), a young man, who is actually a vampire, deceives the girl away and places her in a grave in a cemetery. She escapes through an underground passage into the forest and prays to God for some box in which she could hide. In order to become inaccessible to the vampire, the girl has to endure all the inconveniences of being in a completely sealed space in order to, in effect, protect herself from the animus.
The menacing effect of the animus and the female defensive reaction to it are usually difficult to separate, so closely they are merged, and this once again reminds us of the dual nature that the activity of the animus has. The animus is capable of either turning a woman into a creature paralyzed in her actions, or, conversely, making her very aggressive. Women become either masculine and self-confident, or, on the contrary, demonstrate in their behavior a tendency to absent-mindedness, as if their soul was somewhere else during communication, which, perhaps, makes them charmingly feminine, but somewhat similar to a somnambulist ; and the whole point is that such women make wonderful journeys at these moments with an animus-lover, completely immersed under its influence in daydreams, which they hardly realize.
If we return to the tale cited above, then the prince who appears there opens the box with the girl languishing in it, releases her to freedom, and they marry. The images of a tightly sealed box and a stone chest are intended to convey the state of being cut off from life experienced by a woman possessed by an animus. In contrast, if you have an aggressive animus and try to be at ease, then the animus always plays a decisive role in your actions. However, some women do not want to be aggressive and overly demanding, and as a result do not give vent to their animus. They simply do not know how to deal with the animus, and therefore, in order to avoid possible complications with it, they prefer to be emphatically polite and extremely restrained in their manifestations, withdrawing into themselves and becoming, in a sense, their own prisoners. This state of affairs is also not normal, but it stems from the woman's opposition to her animus. In a Norwegian tale, a certain woman is forced to wear a wooden cape. Such a burdensome garment, made of tough natural fabric, gives a visual expression of the constraint in the relationship of the individual with the world, as well as the burden that such protective armor becomes for a person. In this sense, the motive of unexpectedly falling into a trap - as it is realized, for example, in the episode when the witch on the seashore pushes Ring into a barrel - indicates not only that the person has become a victim of evil spells, but also that as a result of the action these charms he received a kind of protection. Historically, the animus - like anime - has a pre-Christian appearance. Thrushbeard (Drosselbart) is one of the names of Wotan, as well as "Horsebeard" (Rossbart).
In the tale of King Thrushbeard, things get off the ground when an enraged father decides to pass off his daughter to the first poor man he comes across. In versions of this tale, for example, a girl can be captivated by the beautiful singing of a beggar singer outside the window, and in the Scandinavian parallel, the heroine is enchanted by the sight of a gilded spinning wheel in the hands of a beggar. In other words, the animus has a charming and attractive power for the heroine of these tales.
Spinning yarn has to do with wishful thinking. Wotan is the lord of desires, who expresses the very essence of this kind of magical thinking. Cf.: "Desire turns the wheels of thought." Both the spinning wheel and the spinning itself are inherent in Wotan, and it is no coincidence that in our fairy tale the girl is forced to spin in order to financially support her husband. The animus thus took possession of her proper female activity. The danger of the animus taking over the actual female activity is that it causes the woman to lose her ability to think realistically. The consequence of this is lethargy and apathy that take possession of her, therefore, instead of thinking, she lazily “spins” her dreams and unwinds the thread of desires, fantasies that embody her, or even worse, weaves conspiracies and intrigues. The king's daughter in Thrushbeards is immersed in precisely this kind of unconscious activity.
Another role that an animus can play is that of a poor servant. With the unexpected courage shown by him despite his modest appearance, we are faced with a Siberian tale.
There lived a lonely woman who had no one but her servant. The woman's father, from whom she got the servant, had already died, and rebellion woke up in the servant. However, when she needed to sew a fur coat for herself, he agreed to go and kill the bear for this. After he coped with this task, the woman began to give him more and more difficult assignments, but each time the servant coped with them. And it turned out that although the servant looked poor, he was actually very rich.
The animus gives the impression of a poor man and often does not reveal the great treasures at his disposal. Acting in this role of a poor man or a beggar, he makes a woman believe that she herself has nothing. This is the punishment for prejudice against the unconscious, namely the impoverishment of conscious life, which develops into a habit of criticizing others and oneself.
Having married the princess, the violinist, as if inadvertently, tells her about the wealth of Thrushbeard, and the princess bitterly regrets that she once refused him. Feeling remorse for something you failed to do at one time is very characteristic of a woman who is at the mercy of the animus. Lamenting over what could have been, but missed by us, is a surrogate for guilt. Unlike genuine guilt, such mourning is completely fruitless. We fall into despair due to the fact that our hopes have completely collapsed, which means that life, in general, has failed.
In the early stages of her family life, the princess is unable to do housework, and this can be seen as another symptom of the influence of the animus, the same is usually evidenced by the apathy, inertia and lifeless, dull, frozen look that appears in a woman. Sometimes this looks like a manifestation of purely female passivity, but it must be taken into account that a woman in such a trance-like state is not receptive - she is under the narcotic influence of the inertia of the animus, and is truly “imprisoned in a stone chest” for this time.
Living with her husband in a shack, the princess is forced to clean the house, and in addition, weave baskets for sale, which humiliates her and increases her sense of inferiority. In order to temper the arrogant ambition of a woman, the animus often forces her to lead a life that is far below her real capabilities. As a result, if she is not able to adapt to what does not coincide with her high ideals, then in complete desperation she plunges into some purely prosaic activity. An example of this extreme thinking is: "If I can't marry a god, I'll marry the last beggar." At the same time, the boundless pride that feeds such a way of thinking does not disappear anywhere, fueled by secret dreams of glory and fame. Thus humility and arrogance are mutually intertwined.
The immersion of a woman in some purely prosaic activity is also a kind of compensation, which should convince her to become feminine again. Animus pressure can have various consequences: it can, in particular, make a woman feminine in a deeper sense, but on the condition that she admits the very fact of her own possession by the animus and does something in order to find its application in real life. If she finds a field of activity for him - by undertaking, say, some special study or doing some male work - this can give work to the animus and at the same time help to revive her emotional life and return to proper female activity. The worst case is when a woman is the owner of a powerful ani-Nryca and just for this reason does nothing to get rid of it; as a result, she is literally chained in her inner life by the opinions of the animus, and although she can carefully avoid any work that looks in the slightest masculine, it does not add to her femininity, but rather the opposite.
Since the princess could not cope with any of the tasks assigned to her, her husband sends her to sell clay pots in the market. Vessels of all kinds are a feminine symbol, and the princess is thus compelled to sell her femininity at a low price—too cheap and in bulk. The more a woman is possessed by the animus, the more she feels separated from men by some invisible wall, and the more painful it is for her to try to establish friendly relations with them. And although she may receive some compensation by taking the lead in love affairs, there can be neither true love nor real passion in such a relationship. If she really had good contact with men, then it would not be necessary for her to be so emphasized self-confident. She has adopted this demeanor through a vague awareness that something is wrong in her relationship with men, and is making desperate attempts to make up for what has been lost due to the alienation from men imposed on her by the animus. However, this imperceptibly leads her to a new disaster. A new attack from the animus must inevitably follow, and in our fairy tale this is exactly what happens: a drunken hussar smashes all her pots to smithereens. The trick of the hussar symbolizes a rough emotional outburst. A berserk, out-of-control animus blows everything to smithereens, making it clear that this kind of public display of her feminine nature doesn't work.
Living with a beggar husband leads, among other things, to her final humiliation. This happens when the girl tries at least out of the corner of her eye to admire the luxury of the royal court celebrating Thrushbeard's wedding. Peeping through a gap in a door indicates, according to the I Ching (Book of Changes), that there is a too narrow and too subjective view of things. With such a blinkered look, we are not able to see what we really have. The inferiority of a woman who thinks that she should admire others and secretly envy them lies in the fact that she is not able to appreciate her real merits.
Constantly feeling hungry, she willingly picks up scraps thrown to her by servants, and then, to her greatest shame, her greed and insignificance are put on public display - at the moment when food begins to fall out of her pockets onto the floor. She is ready to receive vital necessities on any terms and cannot assume that she is rightfully entitled to them. A king's daughter picking up scraps thrown at her by servants? A greater disgrace is hard to imagine. And she, indeed, at this moment is ashamed and despises herself, but humiliation in this case is just what is needed, because, as we will see later, the heroine then realizes that she is, after all, the royal daughter. And only then does she discover that Thrushbeard, the loss of which she regretted, is in fact her husband.
In the tale under consideration, the animus—as Thrushbeard, the rampaging hussar, and the beggar husband—acts in three roles, which Wotan is known to love to do. The latter is said to ride on a white horse, leading a cavalry of the furious horsemen of the night, who are sometimes depicted holding their heads in their hands. This legend, which is sometimes still heard from the lips of ordinary peasants, is based on the ancient idea of Wotan as the leader of the dead warriors marching to Valhalla. As evil spirits, they still hunt in the dense forests, and to see them is to accept death, which immediately pours the deceased into their ranks.
Often Wotan wanders under the guise of a beggar or an unknown traveler in the night, and always his face is slightly covered, because he has only one eye. The stranger enters, says a few words, and then disappears - and only later it becomes clear that it was Wotan. He calls himself the master of the earth, and psychologically this is true: the archetypal Wotan still remains the unknown master of the earth. (See "Wotan" by C. G. Jung Civilization in Transition. C. W. 10.)
Wotan's name brings to mind another of his characteristic features: he takes on a theriomorphic form, namely with a horse. Wotan's horse is called Sleipnir, he is white or black, has eight legs, and is as fast as the wind. This indicates that, although the animus is more like an archaic divine spirit, it is also closely related to our instinctive, animal nature. In the unconscious spirit and instinct are not opposites. On the contrary, new shoots of the spirit often make themselves known at first by the rapid influx of sexual libido or instinctive impulses, and only later develop on a different plane. This happens because new sprouts of the human spirit are generated by the spirit of nature itself, which inherits the inexhaustible richness of the meaning inherent in the structure of any of our instincts. In women, the spirit has not yet differentiated and retains its archaic (emotional and instinctive) characteristics, so women are usually excited when they really really think.
The animal aspect of the animus appears before us in the well-known fairy tale "Beauty and the Beast", but this motif is relatively rare in fairy tales. A far less well-known example is the Turkmen fairy tale called “Magic Horse”.
I'm going to shake the old days and make an analysis of another fairy tale and the morality that follows from it. Previously, I did not have several such debriefings:
- Cinderella
- Mermaid
(if I find among them an analysis of my favorite fairy tale by the Brothers Grimm "The Goose" with the talking horse Fallada, I will also post it).
In the meantime, by the will of fate, it was "King Thrushbeard" that got into the lens of the members of the forum (one knight was compared with him :), and it turned out that the knight does not like this fairy tale as much as I do. As for me, it is probably difficult to pick up a fairy tale, inspires me with greater disgust :) It is with this humiliation that the heroine is subjected to by her family and Thrushbeard, who conspired with them :)
Actually, for those who are "not in the tank" the plot is simple and uncomplicated: there is a princess, arrogant and mocking, who makes fun of all her suitors, including this Thrushbeard. There is a father-king, angry with his daughter for this, to the point that he marries her to the "first comer" beggar. which the two closest people subject to public humiliation. These humiliations are diverse and selective ... you see, in the hope of morality "don't be proud and respect people", but I'm afraid the morality comes from this completely different ...
Let me explain why I hate this story so much.
Yes, undoubtedly, the princess is obliged to marry according to the royal families, it's like that. But instead of explaining to her daughter her task, the father-king "plays democracy" - he allows his daughter to choose a husband from princes. In other words, he doesn’t care if the daughter chooses a more or less successful and wealthy prince in the sense of the kingdom. And the daughter is used to this: she examines the ranks of candidates and she does not like a single asshole sinful overseas prince. And what - was bound to please at first sight? Or, if it was her duty, was it explained to her by her parent? So, the father initially deceives the daughter-princess.
Let's move on: the princess laughs at all the candidates and makes fun of their shortcomings (fat, too tall, etc.) - note that this is her only crime, and of course, it is very bad that she laughs at young men in love. But that's enough ... they are princes, they just came to marry by calculation - do they love? For me personally, this is a big question.
The father-king, as usual, is angry (although he himself gave his daughter the right to choose, albeit in words) and threatens to give the princess for the first person he meets. And - believe me, if he fulfilled his promise, there would be no complaints about him: the king is angry and free to dispose of his daughter's fate as he sees fit. But what does he really do? Conspires with Thrushbeard secretly to appear in the form of a beggar. For the king will never give his daughter to any beggar, of course ... This is the second deception of the princess and public humiliation: all the subjects of the castle, who are not aware of father's royal intrigues, see how the princess leaves the palace by the hand with the beggar. Question: will they respect such a queen (of a neighboring state) when the deception is revealed?
Further, everything is generally hard to read: the "in love" Thrushbeard leads the girl through his own lands and, boasting, answers her questions:
- Whose forest covered the vault of heaven?
- King Thrushbeard owns it. And if you were his wife - That would be yours.
"Give me back my freedom, I would become Thrushbeard's wife," the unprivate princess replies.
At first glance, one cannot help wondering why the princess, who refused all the princes (with a full set of forests, lands, castles), is so sorry for the groom she rejected. Mercantilism of nature? Why does she say this to a beggar who could be offended (in fact, she secretly rejoices - she dreams of him herself!) Just a girl, in modern terms, lost her royal status and immunity, ended up with an unfamiliar physiognomy in foreign lands (also - lands rejected candidate for his own hand), so he laments what to do now
Well, her further ordeals make up the plot of the fairy tale. Thrushbeard for them and plays a beggar. While she lives with him in a hut and learns to work - everything is more or less decent: she married a beggar - and accepted the life of a beggar, here the rules of the game are accepted without options. But her husband, with his sadistic inclinations and offended pride, is not enough... he needs her public disgrace in front of the whole kingdom. The husband made pots and sends her to the market to sell them - I am silent about the fact that if there were those on the market who knew the princess by sight, it would be a terrible humiliation to see her as a merchant. But then the husband dresses up as a drunken hussar - and runs into her pots. Like, and as a merchant you are worth nothing, you can not save the goods!
Then he attaches her to his own royal kitchen - a dishwasher. Moreover, given that he is a beggar and has nothing to eat, the girl is forced to collect scraps from the royal table. For Thrushbeard, this is, in fact, a role-playing game: he, the king, is happy to "play" a beggar in a hut: it's cool! And for a princess who takes everything at face value?))) And now let's think about it: more than one miserable princess works in the kitchen, there are a lot of servants who see her situation. Do you think they will then obey such a queen, who was humiliated before their eyes? Even if she is then dressed in silk and velvet?
Well, the moment of their “wedding” (because I can’t call it a wedding except in quotation marks) - the girl’s parents, elegant guests are invited, and everyone knows about the wedding - except for the bride, of course. And then, when the groom-Thrushbeard pulls out the bride-dishwasher from the crowd, her apron strings break off, and the last shame follows as a bonus - leftovers from her pots fly at the guests. Everything is wonderful: except that even if you later change the bride into a wedding dress, she will never wash off these leftovers in the eyes of the guests. Will a girl forgive such a disgusting dirty thing to her husband and father? They would have stripped her publicly and put her on the table ... it would not have been worse. Strychnine would be in their glasses of wine for this!
Well, as for the simple morality "get rid of pride" - sorry, people, but in this particular context, the sin of pride looks much less disgusting than the punishment that follows it. Will the princess really "with tears of repentance" beg her husband to forgive her? She...his...forgiveness...facepalm!
As for the end of the tale - well, in the film "King - Drozdovik" they softened it, and the girl, who, again in modern terms, was "publicly lowered" in front of the guests, rebelled, turned her back to Thrushbeard and said - "Well, no, I went to his hut - to wait for his beggar", and Thrushbeard disguises himself as a beggar and goes again to persuade the recalcitrant princess to return to her castle. In the cartoon "The Capricious Princess" the end is good: but Thrushbeard is kind there, he does not humiliate the princess, he simply leads her on foot to his castle, scaring her with a bear, forcing her to ask for milk from an old woman and all that. That Thrushbeard does not at all resemble the man who forced the princess into marriage by force.
My husband, after reading a fairy tale, gave out: "I would be afraid to keep the girl in the queens after this: most likely, she will begin to avenge her shame, and my ill-wishers will find a loophole for her, who saw this shame and took advantage of the situation." This is an accurate and very unpleasant, well-predicted result. Alas...
The proud royal daughter laughed at all her suitors. Her father was tired of this behavior, for which he drove the princess out of the castle and forced him to become the wife of the first tramp he came across. History describes what this led to. Moral of the story: don't laugh at other people's faults.
Fairy tale King Thrushbeard download:
Fairy tale King Thrushbeard read
A certain king had a daughter that was too beautiful, but also too proud and arrogant, so that no suitor was on her shoulder. She refused one suitor after another, and even ridiculed everyone.
So one day the king, her father, arranged a big feast and invited to the feast both from near and from distant countries all those who had a desire to marry. All visitors were put in a row according to their dignity and position: first there were kings, then dukes, princes, counts and barons, and then ordinary nobles.
The king led the princess through the rows of suitors, but she did not like anyone, and she found something to notice about everyone.
One, in her opinion, was too fat, and she said: "He's like a wine barrel!"
The other is too lanky: "Long and thin, like flax in a meadow."
The third is too short: "Short and fat, like a sheep's tail."
The fourth is too pale: "Like death walking!"
And the fifth is too red: "What a garden beet!"
The sixth is not direct enough: “Like a warped tree!”
And so in everyone she found something to ridicule, and in particular she mocked one good-natured king, who was one of the first in the row of suitors. This king's chin was somewhat cut off; so she noticed this, began to laugh at him and said: “He has a chin like a thrush’s beak!” And so they began to call him King Thrushbeard from that time on.
And the old king, seeing that his daughter was doing nothing but ridiculing good people and rejecting all suitors gathered for the festival, became angry with her and swore that he would marry her to the first poor man who appeared at his doorstep.
Two days later, some wandering singer began to sing under his window, wanting to earn alms. As soon as the king heard his song, he ordered the singer to be called to his royal chambers. He entered the king in his dirty rags, began to sing in front of the king and the queen, and, having sung his song, began to bow and beg.
The king said: "Your song has pleased me so much that I want to give you my daughter in marriage."
The princess was frightened; but the king said to her firmly: "I swore that I would give you in marriage to the first beggar I met, and I will keep my oath!"
No subterfuge helped, the king sent for the priest, and the princess was immediately married to the beggar.
When this was done, the king said to his daughter: “Now it is not fitting for you, like a beggar, to live any longer here, in my royal castle, go through the world with your husband!”
The poor singer led her out of the castle by the hand, and she had to roam the world on foot with him.
By the way they came to a large forest, and the princess asked:
Oh, whose dark wonderful forest is this?
Thrushbeard owns that edge of the forest;
If you were his wife, he would be yours.
Then they had to walk across the meadow, and the princess again asked:
Oh, whose glorious green meadow is this?
Thrushbeard owns that large meadow; If you were his wife, he would be yours.
Oh, poor thing, I didn't know. Why did I refuse him!
Then they passed through a large city, and she asked again:
Whose city is this, beautiful, big?
Thrushbeard owns all that side. If you were his wife, he would be yours!
Oh, poor thing, I didn't know. Why did I refuse him!
“Well, listen! - said the singer. - I do not like that you constantly regret your refusal and wish yourself another husband. Or do you not like me?"
Finally they came to a very small hut, and the princess exclaimed:
Oh, Lord, whose house is this,
Small and cramped and trashy looking?
The singer answered her: “This is your house and mine, and we will live in it.” She had to bend down to enter the low door. "Where are the servants?" the queen asked. "Servants? What is this for? - answered the singer. - You have to do everything for yourself. Make a fire right now and cook something for me to eat, I'm very tired.
But the princess, as it turned out, did not understand anything about the economy: she did not know how to make a fire, or cook anything; her husband himself had to get down to business in order to achieve at least some sense.
After sharing their modest meal, they went to bed; but the next morning the husband got his wife out of bed early so that she could tidy up the house.
For a day or two they lived in this way, surviving somehow, and then all their supplies came to an end. Then the husband said to the princess: “Wife! Things cannot go on like this, so that we sit here with folded arms and earn nothing. You should start making baskets."
He went and cut willow branches and brought home a whole bunch of them. She began to weave, but the strong willow broke the princess's tender hands. “Well, I see that this business is not going well with you,” said the husband, “and it’s better for you to take up the yarn; maybe you can spin better than weave ... "
She immediately set to work on the yarn, but the stiff thread began to eat into her soft fingers, so that they all became bloodied ... “Well, if you please," her husband said to her, "you are not fit for any work, you are not a godsend for me! Well, let’s even try - we’ll start selling pots and earthenware: you will have to go to the market and start trading in this product. - "Oh my god! she thought. “What if people from my father’s kingdom come to the market and see me sitting there with goods and trading?” They'll laugh at me!"
But there was nothing to be done; she had to put up with it because of a piece of bread.
At the first appearance of the princess at the market, everything got away with it well: everyone bought goods from her very willingly, because she herself was so beautiful ... And they gave her the price she requested; and many even gave her money and did not take pots from her at all.
After that they lived for some time on their profits; and when everyone had eaten, the husband again bought a large supply of goods and sent his wife to the market. So she sat down with her goods on one of the corners of the bazaar, arranged the goods around herself and began to sell.
As if it were a sin, some drunken hussar on a horse turned around the corner, rode into the very middle of her pots and smashed them all to smithereens. The princess began to cry, and for fear she did not even know what to do. “What will happen to me! - she exclaimed. “What will I get from my husband for this?”
She ran to her husband and told him about her grief. “And who told you to sit on the corner with your fragile goods? Nothing to roar about! I also see that you are not fit for any decent work! So: I was in the castle with our king in the kitchen and asked if they needed a dishwasher. Well, they promised me that they would take you to this position; at least they will feed you for free.”
And the princess had to be in the dishwashers, and serve as a cook, and do the most menial work. In both of her side pockets, she tied up a pot and in them she brought home what was left of the royal table - and they ate this together with her husband.
It happened one day that in the castle above it was appointed to celebrate the wedding of the eldest prince; and now the poor princess also went upstairs and, together with the rest of the servants, stood at the door of the hall to look at the wedding.
Candles were lit, guests began to arrive, one more beautiful than the other, one richer and more magnificent than the other, and the poor princess, sadly thinking about her fate, began to curse her pride and arrogance, thanks to which she fell into such a heavy humiliation and poverty.
The servants, passing by her, from time to time threw to her crumbs and the remains of those delicious dishes from which the smell came to her, and she carefully hid all this in her pots and was about to carry it home.
Suddenly, the prince came out of the hall door, dressed in velvet and satin, with golden chains around his neck. And when he saw that the beautiful princess was standing at the door, he seized her by the hand and wanted to dance with her; but she resisted and was extremely frightened, recognizing in him King Thrushbeard, who wooed her and was ridiculed and rejected by her. However, her unwillingness did not lead to anything: he forcibly pulled her into the hall ...
And suddenly the cord on her belt, on which her pots for food were tied to her pockets, burst, and these pots fell out, and the soup spilled over the floor, and the scraps of food scattered everywhere.
When all the guests saw this, the whole hall resounded with laughter; ridicule was heard from everywhere, and the unfortunate princess was so ashamed that she was ready to sink into the ground.
She rushed to the door, intending to run away, but someone caught her on the stairs and again drew her into the hall; and when she looked round, she saw before her again King Thrushbeard.
He said to her affectionately: “Don't be afraid! I and the singer who lived with you in a miserable little house are one and the same person: out of love for you, I put on this mask. I also went to the market in the form of a drunken hussar who broke all the pots for you. All this was done in order to humble your pride and punish your arrogance, which prompted you to ridicule me.
Then the princess wept bitterly and said: "I have been very unfair to you and therefore unworthy to be your wife." But he answered her: “Consolation, the time has passed for you, and now we will celebrate our wedding.”
The court ladies approached her, dressed her in the richest outfits, and her father appeared right there, and the whole court; everyone wished her happiness in her marriage union with King Thrushbeard. Here the real fun began: everyone began to sing and dance, and to drink for the health of the young! ..
And what, friend, would it not be bad for you and me to be there?