Der Prinz aus dem Orient: The Prince from the Orient (German Edition)

Hamlet by Shakespeare, First Edition
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It contrasts a good boy with two bad boys, who set their dog on his sheep and cause a lamb to be drowned. The king rewards him with the best estates in his kingdom.

New Aquisitions

When the two bad boys attempt to replicate the process, the fairy sends wolves to strangle them and destroy their flock. A miller who refuses to yield to requests from the fairies suffers damage to his mill-wheel and the loss of cattle, sheep and pigs. The story clearly illustrates the powers for good and evil that the fairies in their various guises were believed to have, but it can be more generally understood as demonstrating the fact that mean-spiritedness creates injury and disharmony while generosity is rewarded in unexpectedly full measure.

As far as I can tell, this was the last appearance of a tale by A. Grimm in English. And long after the magic table had been broken to pieces, and the golden donkey had died, as all donkies must, and Thomas had been buried, and the cudgel itself destroyed, the people of that village continued to warn their children of the cudgel. And the children, when they heard tell the story, grew afraid of the cudgel, and became good children, tractable and obedient.

It has elements that connect it with the quest tales of medieval romance, the Gothic horror tale and the Arabian Nights. The hero, Adelbert, is instructed by his teacher to ask his father for a guitar, at which the latter is enraged. Adelbert then, following a dream, climbs a tower from which beautiful music emerges, discovers a black guitar and rides away with it.

He overcomes a dragon by playing the guitar, and the same process allows him to defeat a knight in black armour whom he meets in a tournament. The knight, who is called Otto, tells him a bizarre story about an abducted girl, and the two men engage in fearful adventures searching for her. One night Adelbert enters the pyramid of Cheops, brings a mummy to life and is given a small staff and instructions to travel up river to where it rushes over rocks. The staff when thrown down changes into a snake, which leads them to a cave. The guitar once more helps them, they rescue the abducted girl, Rosablanka, and take her back home, where she is married to Otto.

Adelbert is reconciled with his father and founds a monastery. Later he mounts his horse, playing his guitar, ascends into the sky and vanishes. The story contains several elements that recur in other longer tales by Grimm — the problematic relationship between father and son, the prophetic dream, the magical token or talisman here the black guitar and the arduous journeys in the Orient.

This book, together with its steel engravings by J. Sonderland, was swiftly taken up by Cundall and published in with the title Tales from the Eastern-Land. It was successful enough to be reprinted by Henry G. Bohn in Another edition was published by George Routledge and Sons in , so as far as Britain was concerned this was A. The tales, which all have male protagonists, are full of incident and adventure and modelled on the longer tales from the Arabian Nights.

Haschanascha is black-skinned, and this the hero, Jussuf, finds off-putting, but he can only escape being sacrificed to the sacred serpent of his captors by agreeing to marry her. It takes a long time for Jussuf to accept the values of Haschanascha, but when he finally rejects the butterfly Haschanascha loses her black skin, and Jussuf is married to her. The colour symbolism here applied to human beings reflects the cultural attitudes of the times, and it is reinforced by the frequency with which slaves, in these stories, are referred to as black-skinned too.

But it is a feature that makes for uncomfortable reading today.

It is certainly not the case that black is always viewed in negative terms. They were translated by Madame de Chatelain , who introduced British children to a considerable amount of other German material as well as writing books of her own. Both stories were published in the magazine The Playmate. The stork tells how, when he alighted on a ship on his flight back from Africa, he saw the cook slit open a monstrous fish from which a little man escaped. This is a newly invented tale showing the fox in his typical role of trickster. Finally, the cabbage is used to substitute for the king when rebels determine to execute him.

In it three brothers go to a castle in quest of a pen that writes by itself, a wheel than can spin itself and a bird that can speak all languages. All fail to find their way back, but are ultimately rescued by their youngest brother. If this were a traditional tale, it would probably include princesses to be rescued or married at the conclusion, but Rudolphi provides no such romantic element.

Der Prinz aus dem Orient: The Prince from the Orient: Alina Lidia Gorna: Books

The first tells how a little girl goes in search of strawberries in winter for her sick friend. She meets a man wearing clothing of swansdown, who directs her to a land where it is summer. Before she can return home she has to make a gift to the King of the Swans and presents him with some of her strawberries. Then, blindfolded, she flies back home, and her friend is restored to health by the strawberries. When she is older the King of the Swans gives her a gold crown of strawberry leaves with rubies, diamonds and amethysts.

In it a little girl, Adelaide, falls through an aperture into an isolated old building and gets wet. A woman with two children finds her dry clothes, and she plays happily with other children there. When she wants to go home, she takes a crystal as a remembrance and is given a basket made of green stone in the shape of acanthus leaves. She is directed along a dark passage and told to follow the star at the end.

There she meets her brother, with whom she had been playing at the outset of the story. She is now wearing a dress shining like stars, which is a token of the truthfulness of her experience when she tells her parents about it. Later she sees the scar on her hand that had been caused by her accident, and she remembers being chided for being so curious and decides not to be so curious in the future.

This ending is rather odd, as Adelaide has gained precious gifts and no lasting injury from her adventure. The idea that she should desist from being inquisitive is simply part of contemporary notions of undesirable behaviour. Children were trained to be docile and obedient rather than following their own whims and desires.

The Life of August Wilhelm Schlegel

Only Cundall published them, and there were no reprints. Since then Rudolphi has disappeared from print in both Britain and Germany. According to one authority, his lyrics were, next to those of Heine and Emanuel Geibel, the most often set to music of his period. Certainly, Reinick had a deft touch as a popular writer, but the field in which he excelled — lyric poetry — does not lend itself easily to translation, and there are thus very few English versions of his poems. With his stories and fairytales it is a different matter. The title story and six others are credited to Reinick, but no indication is given of the translator.

The stories are quite varied in character and length. Three are fairytales involving magic or the supernatural, one is a nursery tale, one an animal story, one a humorous anecdote and one a moral tale.

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Three days later her dead body is washed ashore. Here a prince is enchanted by a water fairy into a goldfish and then caught by a fishergirl, Elizabeth. She rejects his invitation to join him in his watery kingdom and throws a stone at him when he is back in the water. After a cry his gold skin rises to the surface of the water and Elizabeth takes it, thinking she will be able to sell it for much-needed money. Later, unknown to Elizabeth, it is announced that the prince has returned and is looking to choose a wife.

Coincidentally, Elizabeth attempts to sell the fish-skin there, but is robbed of it by a splendidly attired lady, who claims it is hers and wants to marry the prince. She is the water fairy in disguise, but the prince rejects her and chooses Elizabeth instead. In it a discharged soldier follows a white butterfly to a mill in the forest, which he finds inhabited only by a hen, a cat, a dove and an ass.

He declares himself to deserve death, and his eyes are bandaged in readiness for being shot, but once the order has been given to fire he finds himself confronted with the miller, his wife, maid and man, who are the real occupants of the mill and have been under a spell, which he has broken. The story ends with the soldier marrying her and revitalizing the forest mill. The German original has four more paragraphs, attributing the spell to Oberon, the king of the elves, and explaining that it can only be undone when the one who has killed the dove is ready to give his own life for it.

Their reliance on coincidence or a deus ex machina to provide a happy resolution to injustice is wearisome to the modern reader, though it probably reassured the philanthropic or Evangelical readers of the day. Reinick London, Another version was published in the United States a few years later with the title The Root-Princess.

Leypoldt; New York: F. Christern, The scene is transferred from an urban indoor setting to a hidden valley somewhere off the road from Nuremberg to Leipzig. A coach laden with boxes of toys crashes down a ravine into a stream which has the property of bringing to life everything that falls into it. The Nutcracker thus becomes acquainted with the tiny people no more than a span in height who live in the Root Valley. The Nutcracker marries the Root Princess, but antagonizes the Root people by his arrogance and power politics.

Eventually, everything is swept away in a storm. The Root people represent a kind of natural, orderly way of life that is innocent and vulnerable to the desire for power of the mechanical, even machine-like invader. The Root Princess falls prey to the Nutcracker and, later, a human bird-catcher, but she is rescued and warns the Root people of the danger, at which they all disappear into the crevices of the surrounding rocks and have never been seen again.

While on one level this is a simple fantasy for children, reflecting beliefs about the disappearance of the fairies in the face of human encroachment, it can also be interpreted politically as referring to the self-aggrandizement of Napoleon and his sweeping away of the numerous petty principalities which existed in Germany up to the beginning of the nineteenth century. For the most part, his stories were printed only once in English.

Prinz Eugen Und Das Osmanische Reich Mehr Als Nur Feinde Doku Deutsch

Reinick was of interest to the Victorians as one more German fairytale writer, but he did not become a classic like the Brothers Grimm or Hoffmann. Another translation, by J. The title has an ironic significance, since these tales were written by a leading German army surgeon in his leisure hours during the Franco-Prussian War, especially during the protracted period of the siege of Paris.

He sent the sheets of paper on which they were written back to his wife and children, and they were published in book form when he returned. He concluded his preface to the collection with words that embody the feelings of a passionate German patriot:. So now the little book shall go out into the world as a memorial of that great and glorious time, although the only modest connection with that time that it can claim for itself is this: that it has grown up out of the love of that for which we fought and struggled; out of love for the German nation and German life.

God bless our glorious Fatherland!

Im Kampf gegen Dänen und Sachsen. Die Reisen in den Orient.

Der Prinz aus dem Orient: The Prince from the Orient (German Edition) [Alina Lidia Gorna] on *FREE* shipping on qualifying offers. A new, original. Editorial Reviews. About the Author. Born an artist in Poland, Alina Lidia Gorna graduated Der Prinz aus dem Orient: The Prince from the Orient (German Edition) - Kindle edition by Alina Gorna. Download it once and read it on your Kindle.

In the twenty-two tales we can see Volkmann-Leander using and adapting fairytale structures and motifs with which he must have been familiar from the Brothers Grimm, Bechstein and Hans Andersen, but which he imbues more strongly with his own social and personal values.

These are very much concentrated in the family — in the mutual respect and attachment of husband and wife, the care of parents for children, the preciousness of inner emotions that are often hard to articulate in words. As we see here, many of the tales have a readily discernible, but not obtrusively didactic symbolic meaning. An old beech tree has the reputation that if anyone has a dream beneath it, not thinking about what he might dream, it will come true. The husband, when he was a poor travelling journeyman, had had a dream of domestic bliss under the beech and, under pressure, told the daughter of the innkeeper that his dream concerned marrying her and some day becoming the landlord himself.

He regards it as merely a dream, but his wife takes it as a sign that they really do belong together. I love you so much, so much, far more than you know; and I have been in such misery all these days lest I ought not to love you, and lest God had not destined us for each other. On his journey he encounters an old man being severely beaten by two repulsive naked men and manages to drive them away. The old man is the King of Dreams, the naked men are the servants of the King of Reality.