POND, FROG, PLOP (MATSUO BASHÓ)

 古池 (FURUIKE YA, OLD LILY POND)

蛙飛び込む (KAWAZU TOBIKOMU, FROG LEAPING IN)
水の音 (MIZU NO OTO, SPLASH OF WATER)

Original, by Matsuo Bashó

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Un viejo estanque
salta una rana ¡zas!
chapaleteo.

Trad. Octavio Paz

El espejo de la fontana,
al zambullirse de la rana,
¡hace chas!

Trad. Ramón María del Valle-Inclán

Kawazu, ie frog, rana, groda, Frosch, béka, grenouille

Limerick:

There once was a curious frog
Who sat by a pond on a log
And, to see what resulted,
In the pond catapulted
With a water-noise heard round the bog.

Translated by Alfred H. Marks

The old pond has no walls;

a frog just jumps in;

do you say there is an echo?

IN A STATION OF THE MÉTRO

1. DERMARK 
I threw 1 in the virtual die and got D as in Dermark. So I'm going to give my own opinion about the poem. 

2. CLOSE READING. 
It's a close reading, one that was furthermore undertaken for pleasure, and to escape from reality. 

3. THE QUOTE 
"One can see it's a fairly short poem, only two lines; it feels like a haiku. A steam-era Left Bank haiku, to be more precise. The image of the first verse, the dark crowd in the Métro de Paris, appears bleak and monotonous, even uninteresting, compared to the second... which is straight out of an ukiyo-e painting." 

4. HAIKU AND UKIYO-E. 
The fact that Pound's poem is a short, few-verses-long traditionally Japanese poem in free verse, and its use of an ukiyo-e aesthetic motif in the second verse, are the first things that set it apart from Western culture, for instance Shakespearean pentameter. The line "A steam-era Left Bank haiku, to be more precise" is interesting because it suggests that poetic forms are universal and a haiku can be written in the Métro de Paris as well as on a country road in preindustrial Japan (Warring States/Sengoku or Edo period). 
Ukiyo-e refers to Japanese artwork, and here I am suggesting that the verse evokes a motif that is commonplace in the ukiyo-e tradition, that of the blossoming branch. Which leads to the second aspect of the close reading that I have delved upon. 

5. BOUGH VS. BRANCH 
The second aspect I have frequently discussed on this course is whether the poem would be different if the petals had been on a "wet, black branch" instead. "Branch", pronounced as it's written and more commonly used today and in the 1910s/20s, is a French loanword with a mouthful of consonants and one single vowel; while "bough", pronounced /baw/, is the old Saxon word and sounds far more archaic, having a vocalic sound that outrings its single consonant. One can see that Pound picked "bough" because of the simple musicality of the latter word.

JUST A LITTLE HAIKU...

Feeling really cold,
which keeps irksome thoughts in check,
I'll soon go to bed...

KLOCKAN ÖVER TOLV

KLOCKAN ÖVER TOLV

En Bellmanssång i haikutappning
igendiktad av Sandra Dermark

Tillägnad
Lars Dermark, omnämnd i sången
C.M. Bellman, för originalidén
Evert Taube, västkustens och 1900-talets store skald, för verserna ur Sjuttonde balladen

Klockan över tolv
har jag druckit utan sans,
levt med sanslöst folk;

jorden är min säng,
månen var min nattlampa:
solen är för stark!

Inget spelar roll,
utom att allt snurrar runt;
vacklar, somnar in...

Farfars ytterrock,
tärd och blek och full av fickor,
döljer allt jag drack;

här i lustig flock
sveper jag glas efter glas i
mig tills soln går upp!

Och så blir jag röd,
kinderna till jordgubbar,
annars skenbart död...

Vore farfar här,
rask som då när jag var barn,
sade han: "Min tös!

Du är vuxen nu,
lât oss dricka, fira det,
'till way after dark!"

"Visst, till ljusan dag!"
svarade jag, "än tills Hel
kallar dig tillbaks!"

Vann jag lotteri,
blev jag laddad på nåt sätt,
unnad' jag mig allt:

En flaska champagne
med diamanter, håret blått,
schweizerur av guld!

Men min strupe vill
läskas, fyllas, väldigt strax:
hit med eau-de-vie!

Ej på gods och guld
tänk, men blott på glädjen, folk:
SKJUT EN KORKKANON!

Låt oss nu i frid
svälja sista klunken ned,
innan Ragnarök!

HAIKU FOR A SWEDISH SUMMER

HAIKU FOR A SWEDISH SUMMER
Sandra Dermark
Gothenburg, 9th of August 2015

Lindens still in bloom,

I walk by so reassured

Such a soothing scent

EVEN MORE HAIKU

I have written more haiku in my spare time. For those who liked my previous haiku... and for those who never have read them.

EASTER BUNNY
At the crack of dawn,
parks and gardens scoured in spring,
looking for bright eggs...

FLAG OF SWEDEN
Shining bright, the cross
spreads so vast on cobalt blue
like the summer sun.

MARÍA CALZADA
Wished for a haiku,
but what should I write about?
Just that it's for you...

LIEUTENANT EDWARD COURTENAY (from Downton Abbey)
Chlorine clouds his eyes,
the world he knows turns all dark,
thus, his fair wrists bleed...

THE PURPLE WEDDING (Joffrey and Margaery)
Thus, he drank her health,
then, the royal groom collapsed...
only one did mourn!

THE RED WEDDING (Edmure and Roslin)
"Rains of Castamere"
echoes through the wedding feast:
all the Starks are slain...

YGRITTE
Tangle kissed by fire,
how you taught me everything:
"You know nought, Jon Snow"...

MALEFICENT (THE NEW FILM, REVIEW)
What said the real tale?
I've enjoyed the daring deeds
of the wingless fay...

TO LIZA
We love anime,
literary classics, lore,
dreams and fantasy...

MORE HAIKU

LUNA LOVEGOOD
Eerie reverie,
outsider living elsewhere,
rabbit in the moon...

RENLY BARATHEON & LORAS TYRELL
Rainbow fades away,
without sunshine withers now
Renly's little rose...

PIPPI LÂNGSTRUMP
Freckles, blazing braids,
always showing a new skill,
freedom is her wealth...

GOTTFRIED WILHELM VON LEIBNIZ
Reasoning anew,
he found out that we all live
in the best of worlds...

JAIME LANNISTER & BRIENNE TARTH
"I was such a fool",
the bear-maiden showed me thus,
without my right hand.

STRUWWELPETER
If you're faint of heart,
cast aside these dramatic
cautionary tales...

PERSEPHONE
Springtime comes again,
now carefree, but I'll return
queen of dire halls...

STANNIS BARATHEON & MELISANDRE
That throne's mine by right...
with my faith and concubine,
flames on heart of steel...

THE RINGSTETTEN SAGA, ARC I
Who could ever say
we learnt everything in those
thirty years of war?

THE RINGSTETTEN SAGA, ARC II
Lost and far from home,
he was pleased with her, and she,
glad, set the youth free...

THE RINGSTETTEN SAGA, ARC III
One wish for each child:
student, courtier, officer,
flawed at heart all three.

RETURNING TO AN OLD FRIEND

Let's take leave of Westeros and return to the kingdom of the Clever Princess once more!
Here comes the analysis by Roni Natov:

Roni Natov, 2014: Here, the princess "has read all the newspapers in the world and has forgotten what was written in them", suggesting that the world has not yet penetrated, both for good and for bad. She is still somewhat innocent and also somewhat ignorant. Her husband, the prince, came to her a commoner with boots that squeak, but became prince because he was not intimidated by her stature. 
This section (the Fourth Story) dramatizes Andersen's attacks on royalty and servitude. Here, among royalty, Gerda (the heroine) learns to differentiate between fantasies and reality. Interestingly, dreams whirl about as strange shadows that "have come to fetch their royal masters". 
From royalty and privilege Gerd is thrown into the underworld...  Like bait, she is dressed from head to toe in the silk and velvet gifts of the princess and the prince, as she enters the dark forest... Immediately, the coachman, the servants, and the soldiers who had accompanied her from the royal castle are killed by highway robbers.

Another, more thorough analysis:

"a princess of surpassing cleverness and beauty":

The Princess

The princess is a supplementary character who only appears in one of the chapters of the Snow Queen story - but she is nonetheless an admirable and inspirational female character, whose story hints at a much longer and grander untold narrative.

According to the Raven:

"In this kingdom in which we are now sitting, lives a Princess, who is so immoderately clever; but then she has read all the newspapers that are in the world, read and forgotten them again, so clever is she. Lately she was sitting on her throne, when she began to sing, and the theme of her song was "Why should I not marry?" "Well there is something in that, she said, and so she determined to get married; but she must have a husband who knew how to answer when spoken to, not one who could only stand there and look grand, for that is too stupid."

What a fantastic introduction to a character! And what a refreshing change from the fairytale standard of princesses being first and foremost beautiful! The Princess decides on her own that she wants to get married, and she then goes on to specify what kind of a husband she is looking for - one who is intelligent, unabashed by royalty, unafraid of her power and one who "feels at home' with her.

The Raven then goes on to describe the meeting of the princess and her husband-to-be:

"He was gay (merry) and well behaved, but had not come at all to pay court to the Princess, but only to hear how clever she was. He had every reason to be satisfied with her, and she no less so with him."

Again, what a refreshing subversion of the princess trope! The princess' chosen husband is bright-eyed and merry; a poorly dressed "little person" - a wanderer with creaking boots and a knapsack on his back. No dragonslayer he - but one who can match the princess' intellect, rather than impress her with feats of arms.

As well as being clever, the Princess is later shown to be generous and sympathetic, willing to help Gerda into her new golden carriage herself without formality. Though her part is small in the overall story, and she and the Prince go away to "live in foreign places", one feels sure that such a great character must be the heroine of her own legend.

Another analysis:
..."At the court of the newly married prince and princess, she (Gerd) still remains trapped in a nebulous world of make-believe.
Hearing the story of how the prince had gained the hand of his princess because he was the only one who loved her unselfishly, provides Gerd's undertaking with new courage, energy, and direction."

Snippets of translation:
"she's read every newspaper in the world [···] he liked what he heard, and she liked him too"
"she pleased him, and he pleased her".
"Now in this kingdom there lives a princess who is immensely clever; she has read all the newspapers in the world and forgotten what was written in them, and that is the part that proves how intelligent she is. [···] He said that he hadn't come to propose marriage, but only to find out whether she was as clever as everybody said she was. He was satisfied that what he heard was true, and the princess was satisfied with him"
"He had every reason to be satisfied with her, and she no less so with him."
"She has read all the newspapers in the world and forgotten them again: that's how clever she is. [···] He was dashing and handsome, and he was not there to court the princess, but to hear her wisdom. This he liked, and she liked him."

The whole story:

In this kingdom where we are now, there lives a Princess who is very clever. She has read all the newspapers in the world, and forgotten them again, so clever is she. One day she was sitting on her throne, which is not such an amusing thing to do either, they say; and she began humming a tune, which happened to be:

"Why should I not be married, oh why?"

"Why not indeed?" said she. And she made up her mind to marry, if she could find a husband who had an answer ready when a question was put to him. She called all the court ladies together, and when they heard what she wanted they were delighted.

'"I like that now," they said. "I was thinking the same thing myself the other day."

The newspapers all came out immediately with borders of hearts and the Princess's initials. They gave notice that any young man who was handsome enough might go up to the Palace to speak to the Princess. The one who spoke as if he were quite at home, and spoke well, would be chosen by the Princess as her husband. Yes, yes, you may believe me, it's as true as I sit here,' said the crow. 'The people came crowding in; there was such running, and crushing, but no one was fortunate enough to be chosen, either on the first day, or on the second. They could all of them talk well enough in the street, but when they entered the castle gates, and saw the guard in silver uniforms, and when they went up the stairs through rows of lackeys in gold embroidered liveries, their courage forsook them. When they reached the brilliantly lighted reception-rooms, and stood in front of the throne where the Princess was seated, they could think of nothing to say, they only echoed her last words, and of course that was not what she wanted.

'It was just as if they had all taken some kind of sleeping-powder, which made them lethargic; they did not recover themselves until they got out into the street again, and then they had plenty to say. There was quite a long line of them, reaching from the town gates up to the Palace.

It was on the third day that a little personage came marching cheerfully along, without either carriage or horse. His eyes sparkled like yours, and he had beautiful long hair, but his clothes were very shabby.

When he entered the Palace gates, and saw the life-guards in their silver uniforms, and the lackeys on the stairs in their gold-laced liveries, he was not the least bit abashed. He just nodded to them and said, "It must be very tiresome to stand upon the stairs. I am going inside!" The rooms were blazing with lights. Privy councillors and excellencies without number were walking about barefoot carrying golden vessels; it was enough to make you solemn! His boots creaked fearfully too, but he wasn't a bit upset.

But nothing daunted, he went straight up to the Princess, who was sitting on a pearl as big as a spinning-wheel. Poor, simple boy! all the court ladies and their attendants; the courtiers, and their gentlemen, each attended by a page, were standing round. The nearer the door they stood, so much the greater was their haughtiness; till the footman's boy, who always wore slippers and stood in the doorway, was almost too proud even to be looked at.

 He was a picture of good looks and gallantry, and then, he had not come with any idea of wooing the Princess, but simply to hear her wisdom. He admired her just as much as she admired him!

Then they went into the garden, into the great avenue where the leaves were dropping, softly one by one; and when the Palace lights went out, something rushed past them, throwing a shadow on the walls; horses with flowing manes and slender legs; huntsmen, ladies and gentlemen on horseback.

'Oh, those are only the dreams! They come to take the thoughts of the noble ladies and gentlemen out hunting. That's a good thing, for you will be able to see them all the better in bed. But don't forget, when you are taken into favour, to show a grateful spirit.'
They came now into the first apartment; it was hung with rose-coloured satin embroidered with flowers. The apartments became one more beautiful than the other; they were enough to bewilder anybody. They now reached the bedroom. The ceiling was like a great palm with crystal leaves, and in the middle of the room two beds, each like a lily hung from a golden stem. One was white, and in it lay the Princess; the other was red, and there lay he, he was young and handsome. The Princess peeped out of her lily-white bed, and asked what was the matter.

Now, they are travelling in foreign countries.

Summary in even fewer words:

Fourth Story: The Prince and the Princess

[···] the boy who had passed the test set by the princess of that land, and so had married her and was now the prince. [···] into the palace and up to the bedroom where the prince and princess slept, [···] But the prince was someone else. However, the prince and princess were sympathetic and sent [···] on [···] way in a golden carriage, with plenty of beautiful warm clothing and dainty provisions.

Fifth Story: The Little Robber Girl

In a dark wood robbers attacked the carriage and killed the postilions, the coachman, and the footmen.

(No reference in the Seventh Story in this version)

1. Vivian Robinson, 1977: The world of the Fourth Story "represents riches or materialism, power, and artificiality. Here, Gerda (the heroine) sees the effects of court authority, the security of a place within the hierarchy of power."
2. Wolfgang Lederer, 1986: "A virgin who will not surrender her virginity except to an exceptional man, one who can prove himself a real man by virtue of passing some special, difficult, and usually dangerous test. Over and over again this is the predicament of the virgin who wants to emerge from the flower stage (i.e. childhood) and to become a woman: she needs a man strong enough, courageous enough to overcome her own ferocious resistance and to help her conquer her fear of her own sexuality. In fact the demands of the riddle princess are well justified in both biological and psychological terms: a man fit to become a husband/father should be strong and clever, he should have proven himself (against other men, against nature, against his own fears and terrors) before a maiden may securely entrust herself and her eventual children to him. And if she is to trust him to be strong, he must at least be stronger than she, and must have proven it.[...] Her suitor must merely be able to talk to her without being overawed. She does not kill the man who fails; she merely exposes him to the ridicule of failure - but that alone would be enough to discourage many a man. It does not discourage the young lad in his creaky boots. [...] Both the boy and his shoes are tough and strong and unafraid to creak (to arouse ridicule) [...] She was thus sitting on a priceless jewel [...] We have no difficulty here in interpreting the "pearl" here both in parte and pro toto: it is her own jewel the princess is sitting on, and again: she herself is the jewel, the priceless pearl the young man wishes to win. [...] When they enter the bedroom, the chaste nature of the "arrangement" is confirmed. [...] The separate beds, shaped like lilies, and the fact that the bed of the princess is still white indicate that she is still a virgin. Is she then one of the "virgins" in the old, matriarchal sense - that is, a woman who remains sovereign over all men, who "gives herself" never more than sexually, who never commits herself and never belongs to anyone, and whose husband remains, at best, a consort? Or, more likely, is she herself still virgo intacta and the marriage unconsummated?[...] The riddle princess who yearns for but fears womanhood and who therefore sets impossible tasks and obstacles for the men who woo her. This constitutes a delay and a hesitation; a moratorium in which many a maiden has remained well beyond the fading of her charms, and beyond all hope."
3. Francesca Matteoni, 2007 : "The Fourth Story displays ideas of knowledge and fulfillment."
4. Wendy Donawa, 2003: "An opulent and learned court, the princess of which is so accomplished that she has read all newspapers in the world and forgotten them again. The courtiers, although elaborately ritualistic, are kindly too, in their own way[...] But there is something effete and bloodless about this court too, its inhabitants so elaborately learned, but shielded from the untidy vigour of daily life. So impotent are they that at night the sleeping courtiers cannot even dream without assistance from the animal dream world. The court’s refinement is not really Leah’s logopoeia, a dance of the intellect; it doesn’t have the energy and sinew to be a poetics, a making, at all. It is not a house of being; it cannot be provoked. And how might this courtly image speak to our curricular concerns? Any educational movement, to have vigor and longevity, must have intellectual and theoretical underpinnings, but what of ever-more-refined, subtle and self-referring conceptual ramifications that eventually seal themselves off from the active domains in which they should be embedded? “To be heard in the halls of high theory,” says Patti Lather (1996: 526), “one must speak the language of those who live there.” But to work with teachers in the difficult world of practice is to become aware of a current of impatience with academia’s insistence on strong theoretical curricular grounding. Let the wordspinners stay trapped in the palace of discourse with its elaborate protocols of tenure and promotion, say those in the field; let them stay trapped with the princess who has read all the newspapers in the world and forgotten them again. The provisional nature of “civilization” and the insufficiency of pure theory is shown by the next episode in the tale. [...] If the court is an elegant dream, the robbers’ castle is the cannibalistic shadow stuff of nightmare. Against the orderly refinement and decorum of the court, Andersen sets actual, animating sources of power: violence, savagery, appetite and drive unfettered by law or scruple."
5. Megan Croutch, 2013: "[···] another fascinating female character: a princess who is so clever that “she has read all the newspapers in the whole world, and has forgotten them again.” This princess decides to get married, but explicitly states that her prince will be someone intelligent and articulate, a man “who knew how to give an answer when he was spoken to--not one who looked only as if he were a great personage, for that is so tiresome.” She ends up choosing a suitor who had no intention of marrying her, but merely entered the castle in order to hear the princess’ wisdom. She chooses a husband who admires her brain, someone who, unlike the actual suitors, did not seek to win her but merely to hear her and enjoy her intellect.
   The transition from the princess’ castle to the robbers’ woods marks the apparent shift from civilization to barbarism, from Disney-style aspirations to Grimm, violent reality." 
6. Lisa Lieberman, 2008: "The prince and princess who took pity on her were completely out of touch with reality. They thought they were doing Gerda a favor by outfitting her with a golden coach complete with a coachman and footmen and outriders, all wearing golden crowns. The minute she left the palace grounds in this lavish get-up, robbers attacked the entourage, stabbed the servants, and looted the gold."
7. Unknown Danish essayist, 2005: "(The young man) seems to be more rational than emotional. [...] There is not much real nature at the palace either. The bedchamber is riddled with flowers, but they are all artificial. [...] Like in "The Nightingale", we're speaking of a copy, an imitation, of real nature. Truly in precious metals, but does not even catch up with the original. [...] But the lifestyle lived at the palace is, despite lovely appearances, not suitable for a Romantic like Gerda. [...]  (In the end) we are made aware that the royals are "travelling abroad"; they have repressed the natural elements so effectively, that they have either disappeared or are simply no longer needed. [...] Andersen does not support any of the sides (courtiers/highwaypeople). The explanation is that neither the residents of the royal castle nor those of the highwaymen's stronghold have had a spiritual dimension to lean on. The princess and her consort, who worshipped Reason and for whom love was something rather provisional ("She started to chant that old song, which starts: Why shouldn't I wed?") are nearly completely secularized. The closest thing they have to spirituality is that they have a room of pink satin, with artificial flowers decking the walls, and that the golden carriage they offer Gerda shines like the sun. The link to innocent faith, that could have [...] given life at the palace a little meaning, is nowhere to be found."
8. Anonymous blogger explains that supporting characters use power in different ways: "a clever princess who contrives to marry a man who is her intellectual equal".
9. Oxford Fairytale Companion: "an assertive princess".
10. Caitlore, 2013: "[···] a lonely Princess.  Men come from all over to win her hearts, but have no such luck. [There was one suitor] who went to the princess not to woo her, but to hear wisdom. The Princess and "Kai" [Actually, NOT Kai] were taken with each other, and so he stayed."
11. Laura Athena, in January 2013, has consecrated a shrine to the female cast of "The Snow Queen", devoting one of the altars to my favourite supporting character, whom she defines as: "a princess of surpassing cleverness and beauty":
    
    The princess is a supplementary character who only appears in one of the chapters of the Snow Queen story - but she is nonetheless an admirable and inspirational female character, whose story hints at a much longer and grander untold narrative.
    

    "In this kingdom in which we are now sitting, lives a Princess, who is so immoderately clever; but then she has read all the newspapers that are in the world, read and forgotten them again, so clever is she. Lately she was sitting on her throne, when she began to sing, and the theme of her song was "Why should I not marry?" "Well there is something in that, she said, and so she determined to get married; but she must have a husband who knew how to answer when spoken to, not one who could only stand there and look grand, for that is too stupid."

    
    What a fantastic introduction to a character! And what a refreshing change from the fairytale standard of princesses being first and foremost beautiful! The Princess decides on her own that she wants to get married, and she then goes on to specify what kind of a husband she is looking for - one who is intelligent, unabashed by royalty, unafraid of her power and one who "feels at home' with her.
    Andersen then goes on to describe the meeting of the princess and her husband-to-be:
    
    

    "He was merry and well behaved, but had not come at all to pay court to the Princess, but only to hear how clever she was. He had every reason to be satisfied with her, and she no less so with him."

    
    Again, what a refreshing subversion of the princess trope! The princess' chosen husband is bright-eyed and merry; a poorly dressed "little person" - a wanderer with creaking boots and a knapsack on his back. No dragonslayer he - but one who can match the princess' intellect, rather than impress her with feats of arms.
    
    
    As well as being clever, the Princess is later shown to be generous and sympathetic, willing to help Gerda into her new golden carriage herself without formality.Though her part is small in the overall story, and she and the Prince go away to "live in foreign places", one feels sure that such a great character must be the heroine of her own legend.
12. Feminist Fangirl, winter 2013: [...] "a helpful princess who heads a side plot in which she will only marry a prince as intelligent as her (!!!)"
13. Anglophone Wikipedia: "The Princess (Prinsessen), who desires a prince-consort as intelligent as she, and who finds Gerda in her palace. She helps Gerda in her search for Kai by giving her warm, rich clothing, servants, and a golden coach. The Prince (prinsen), formerly a poor young man, who comes to the palace and passes the test set by the princess to become prince."
14. The Snow Queen, Italian comic book review by Pietro Lombardo: "The two ruling young people personify humility and inner modesty. The two young rulers also symbolize humble and lovely parents, who make, out of their children (Gerda), people with an identity and self-reliance of their own. ".
15. Elspeth, on the fusion fic with Susan Richards Storm as the Clever Princess and Reed Richards as her consort: "[Thanks! I wish I could say I took Sue's characterization straight from canon in this (because a Sue who could canonically write love letters in Latin would rock), but I actually took most of it from the original fairytale, where the Princess is the smartest person in three kingdoms (so smart that she's "read all the newspapers in the world") and wants a prince who is her equal.But since Sue is married to Reed, she must have married him for his brains rather than, say, charm or tact or looks ­­ because Reed's not bad looking, but Sue is definitely out of his league:­­ hence making the Princess her.]"
16. THE SNOW QUEEN STORY SUMMARY
    
    
    4. The Prince and Princess 
    
    
    In the kingdom there lived a very clever Princess. The Princess decided she should get married, but she wanted to find someone who wouldn’t just stand around and be boring, or be intimidated by the grand castle. She wanted someone who was clever and cheerful. Many people came for her hand but they all became frightened and tongue-tied when they entered the castle. 
    
    
    Then a young man came with long hair, intelligent eyes and poor clothes. He strode in to the palace and wasn’t at all shy. He was bright and interested in learning the Princess’ wisdom. They liked each other right away and he became the Prince. 
    
    
    ...into the palace that night...
    
    
    Shadows along the wall swished past and  it was the dreams of the Prince and Princess. They came to the bedroom and the Prince and Princess were each in a bed that looked like a lily.
    
    
    ...the leaves to peek at the Prince, and seeing his red neck...
    ...the dreams swept through the room, he woke and turned his head...
    
    
    The Princess woke and asked what was the matter.
    
    
    ...how kind human beings were!  In the morning the Prince and Princess gave lovely clothes to wear and asked to stay with them. They gave a muff and boots and a coach of gold with coachmen and horsemen. Then they waved goodbye...
    
    
    
    
    ...asked her about the Prince and Princess. “They’re traveling in foreign lands,” said the robber girl.
17. Khac Ti Ang Thuyet, June 2014
    Thesis on Andersen female characters (Excerpt)
    
    
    ...has supposedly married a clever and beautiful princess...
    She (Gerta) is helped by the prince and princess, who give her a carriage and horse and a little pair of boots so that she might drive out again into the wide world...
    the princess gives Gerda a pair of boots and a muff, a carriage and a horse, together with a coachman, footman and outrider, facilitating her journey;
    ...a clever princess who gave her (Gerta) a golden carriage and a horse.
    
    
    These stories provide
    
    
    all we need in the way of awesome images of very strong female characters, whether
    
    
    good or evil: in the Fourth Story, the clever princess. They are very free in their
    
    
    world. They are determined and strong-willed. They are able to make choices and
    
    
    decide their own destinies. They can do what they like to make their own dreams
    
    
    come true.
    
    
    
    
    The princess is a supplementary character who only appears in one chapter of the
    
    
    Snow Queen story, yet she is an admirable and inspirational female character. She is
    
    
    clever and intellectual.
    
    
     In this kingdom where we are now, there lives a Princess who is 
    
    very clever. She has read all the newspapers in the world and forgotten them 
    
    again, so clever is she. One day she was sitting on her throne, which is not such 
    
    an amusing thing to do either, they say. And she began humming a tune, which 
    
    happened to be: “Why should I not be married?”[...]. And she made up her mind 
    
    to marry, if she could find a husband who had an answer ready when a question 
    
    was put to him, not one who could only stand there and look grand, for that is too 
    
    stupid. 
    
    
     (Andersen, 1997, 226)
    
    
    This is a refreshingly different way to introduce a character, and we find nothing so
    
    
    witty, ironic, sophisticated in Grimms’ fairy tales' (18)
    
    
    emphasis on a fairy-tale princess’ beauty rather than, as here, her intelligence and wit
    
    
    – though in fact we do not know what this princess looks like. She decides on her own
    
    
    that she wants to get married, and she then goes on to consider what kind of husband
    
    
    she is looking for – one who is intelligent, “unabashed of royalty,” and who “feels at
    
    
    home with her” (Andersen, 1997, 126). The man actually chosen by the princess is not
    
    
    a prince but a wanderer, one with creaking boots and a knapsack on his back.
    
    
    However, he is “a picture of good looks and gallantry, and then he had not come with
    
    
    any idea of wooing the Princess, but simply to hear her wisdom, he admired her just
    
    
    as much as she admired him” (Andersen, 1997, 129). He does not slay any dragon, but
    
    
    he can match the princess’s intellect with his own rather than impressing her with
    
    
    victories. Just as our looks may fade; our wealth and status might also be diminished:
    
    
    only our intellect and wisdom can last. The princess is not only clever; she is generous
    
    
    and sympathetic as well. She is willing to help Gerda with her new golden carriage.
    
    
    At the end of the tale, the princess and her husband go away “to live in foreign
    
    
    countries”. They are free, totally not bound by the traditional social roles.
    
    
    
    
    (18) This would be true even if we only heard the author, or the Raven, or the princess speaking there, but in fact we hear all three in this complex passage that combines three narrative-discursive levels. 
    
    
    Just like the princess, the robber girl is a very inspirational and admirable
    
    
    female character. Her reward is her “complete freedom”.
    
    
    
    
    
    

A laconic commentary on the Fourth Story of "The Snow Queen": This is the Judgement of Paris, Rococo style. With the difference that the right goddess (id est, Athena) is the one who gets the prize.

A little haiku on the same subject:

Beauty, wealth, or wit?
Since I chose the third option,
we have found ourselves.

ONESHOTS

As you wait for the next installment of The Ringstetten Saga, I would like to entertain you with a series of oneshots. Starting with some haikus I wrote at 16:

Skies are blue today
warm and cool and wonderful
not a single cloud

I cannot restrain
all those feelings surge within
pleased now with myself

Lead me to the light
since you understand me so
may we never part