Mostrando entradas con la etiqueta the snow queen fourth story. Mostrar todas las entradas
Mostrando entradas con la etiqueta the snow queen fourth story. Mostrar todas las entradas

lunes, 6 de julio de 2026

Andrea Lynn - THE SNOW QUEEN IV

The best thing that Andrea Lynn says here is that the Fourth Story can stand on its own as a standalone story (instead of a subplot)...

There's this distant princess who is so clever and smart... she would only marry a man who could respect that. She wanted a man who would speak when spoken to, and not just stand there and be grand and stupid, but interesting! 

So one day a man shows up, of course not to impress her, but just because he's heard how clever she is and he wants to listen to her and hear her cleverness... So she's like "this is my guy, this is what I want in a man," and she marries him!

I think that story is so great just on its own.

... there, thinking maybe Kaye was this man that the princess married; ... So they get there, they find out that the prince is not Kaye, but the princess is super generous, and she's like: "I respect what you're doing here; take my golden carriage, good luck on your journey!"

So next she encounters this group of robbers ...

(Nothing said about the prince and princess being in foreign countries on honeymoon)

sábado, 9 de mayo de 2026

ANDREA LYNN - TSQ-IV

 Her favourite Snow Queen character is the Robber Maiden (like so many others'!) but she says the Fourth Story subplot CAN STAND ON ITS OWN - Way to go, Andrea Lynn (she, like Theophannya, does fairytale retellings on social media?) She illustrates other parts of the novella, including the Fifth Story (with a badass Robber Maiden to boot) but no Fourth Story illustrations here...


There's this distant princess who is so clever and smart! She would only marry a man who could respect that she wanted a man who would speak when spoken to, and not just stand there and be grand and stupid, but interesting. 
So one day a (young) man shows up; of course, not to impress her, but just cuz he's heard how clever she is, and he wants to listen to her and hear her cleverness.
So she's like "This is my guy! This is what I want in a man!" and she marries him. I think that story is so great just on its own.
So ... takes Gerda there, thinking maybe Kai was this man that the princess married and she's like "if that's true and he's happy, then, great! I just want to find out!" 
Cuz apparently they're like teenagers now, they're no longer children! 
So they get there, they find out it's not Kai, but the princess is super generous and she's like "I respect what you're doing here, take my golden carriage; good luck on your journey!" 
So next she encounters this group of robbers that's led by a female robber and her daughter; the little robber girl is one of my favorite characters in this story. 
They want to kill her but she's like "no, I want to keep her as my playmate!"
...
(No mention of the prince and princess going abroad on their honeymoon!)
The moral I get from it is that being a woman and being true to who you are, and gentleness and kindness and nurturing, those are all strong powerful things; and Gerda and all of these women are also strong in the traditional way too, because they're not like slaying dragons or whatever; but they're not giving up, they are journeying on, they are facing trial after trial, and the men in this story are ones who when they are redeemed respect that admire that see the beauty and awesomeness of that every woman in this story is interesting and cool. ... 
Am I saying this is a feminist story? Not necessarily; very unlikely that Hans Christian Andersen intended it to be that way, but it is an epic story all about women and so many of the aspects of what we consider to be femininity are shown to be good and something we should aspire to if I was a little little girl reading this I would see myself all over it and I would see lots of role models that I could relate to and aspire to be like I would see lots of different ways that being a woman is important interesting and good and just reading a story where everyone except for Kay and the troll (and the prince)... where it's so filled with women would just make me feel seen and I freaking love that a story about sisters and sisters love and women badassery

THEOPHANNYA - TSQ-IV (AND CINDERELLA)

 This retelling/summary said something of the Fourth Story I had overlooked - it's a gender-flipped Cinderella (but it's also a very close retelling of Shakespeare's Portia subplot, minus the trial at the end!)

... toute l'histoire de cette mystérieuse princesse. 



Il était une fois une princesse qui passait ses journées à se poser une question. "Mais pourquoi je me marie pas en fait ?" 



Le problème avec cette princesse, c'est qu'elle avait des critères bien précis et ne voulait pas d'un mari prétentieux, ennuyeux et solennel. 
Est-ce que c'est vraiment un problème ou est-ce que c'est juste le minimum ? 



Alors pour trouver sa moitié au plus vite, elle annonça que tous ceux qui souhaiteraient l'épouser seront autorisés à se rendre au château pour la rencontrer et celui qu'elle trouvera le plus intéressant deviendra son époux. 



Un peu Cendrillon va...
Et à la suite de cette annonce, des centaines de jeunes hommes se présentèrent au château pour tenter leur chance, mais la princesse les renvoya tous un par un... 


jusqu'au jour où un jeune homme arriva à pied au château et se présenta tout souriant devant elle. Il se démarqua rapidement des autres, car il était le seul à pas se soucier des codes et des apparences. 


La princesse tomba alors sous son charme et accepta d'épouser son prince.
"Pitié, fais-moi entrer au château." "Comment tu veux que je te fasse rentrer dans le château ?"



... qu'il existe un escalier caché qui mène directement à la chambre des époux. Oh bah comme de par hasard tiens... 
Sur le chemin jusqu'à la chambre, Gerda n'arrive pas à contenir sa joie ... en arrivant, elle réalise que le nouveau prince n'est pas son petit Kaï. 



Alors, elle se met à pleurer toutes les larmes de son corps devant le couple royal qui ne comprend rien à ce qui se passe et qui vient de se faire réveiller en plein milieu de la nuit par une mioche qui renifle super fort. 
Bon, heureusement, ils sont super sympas et proposent même à Gerda de rester avec eux au palais pour toujours. Proposition qu'elle décline évidemment ... 


Elle se remet donc en route sur la calèche que ses nouveaux amis lui ont offert. Et bé, petite calèche gratos tout ça. Vous remarquerez que toutes les personnes qui ont croisé la route de Guerda ont été super sympa et accueillante avec elle. C'est limite un peu de trop beau non ? Genre on se demande quand est-ce que ça va partir en vrille. 


Chapitre 7: La petite brigande (elle me fait peur) 


Après des heures de marche, Gerda arrive dans une forêt pas très rassurante et la pauvre n'a même pas le temps de descendre de la calèche qu'une bande de brigands surgit, tue son cocher et la kidnappe en plein milieu de la nuit. Ah bah voilà, je vous avais dit que c'était trop beau. Bon, j'en rigole mais c'est une dinguerie ce qui vient de se passer, hein? 



Gerda et les Brigands arrivent ensuite dans un château à moitié en ruine... 
...
(Chapitre final)
... Sur la route, il croise même la petite brigande, qui a rangé son couteau cette fois, et qui leur donne des petites nouvelles de toutes les personnes qui ont aidé Garda à retrouver Kaï parce que oui, elle aurait pas pu le faire toute seule. (NO MENTION OF THE PRINCE AND PRINCESS ON THEIR HONEYMOON SPECIFICALLY)

martes, 5 de mayo de 2026

TV Tropes - the Mad Matchmaker (yours truly)

 The Mad Matchmaker: This fan (in a fandom) is marked by an obsession with romantic relationships in a work that was never intended to be a romance. They're the kind of person who, instead of criticizing the tacked-on romantic subplot, criticize the alien invasion for getting in the way of the sideplot, and when called on it they refuse to take "It's not a soap opera" for an answer. They will pitch a fit - possibly even flounce from fandom - if their One True Pairing is jossed (this was a major pain in the keister with Jaime and Brienne in canon - I simply left GOT --but not entirely-- when Jaime was killed and Brienne survived and was made Lady Commander; my OTP could not even be Together in Death! Luckily all fics I write are AUs!!!). They may be a fanatical fan of one character or one pairing, or they may just have an uncontrollable desire to Pair the Spares - or just the entire goddamn cast with little logical reason. They take crack pairings seriously and will never shut up about it. Either way, there is no situation where romance is too frivolous, inappropriate, or downright creepy for them. Long story short: A fan of romance to the exclusion of all else in non-romantic works.

This is me when it comes to any romantic subplot: Jaimienne, Enjoltaire, the Prince and Princess in the Snow Queen, the Hendon Hall subplot (Miles and Hugh Hendon and Edith)... any romantic subplot is for me put front and centre. And then there's crack/crossover shipping like Elsabela or Courferre (or any other crack pairings of the non-Enjoltaire Amis)...

When it comes to queer pairings (Yukakira, Enjoltaire, Renloras, KunZoisite, Kurofai, Yukitouya, etc) I am a combination of Mad Matchmaker and Yaoi Fangirl

A female otaku who enjoys anime and manga featuring handsome men engaged in homoerotic relationships. The main difference between a Yaoi Fangirl and Guy-On-Guy Is Hot is that the former are interested in homoromantic/homoerotic fiction and/or fanfiction and/or Shipping, whereas the latter enjoy watching live gay men make out. You can pretty much assume that all yaoi fangirls think Guy-On-Guy Is Hot, but not all women who think Guy-On-Guy Is Hot are yaoi fangirls.

The Japanese term used for a yaoi fangirl is fujoshi, which is a reclaimed term based on a homophonic pun. (There are two characters that are pronounced "fu", with one meaning "respectable woman" and the other meaning "fermented or spoiled"; the usage of fujoshi here translates loosely to "rotten girl", i.e. a woman unfit or "spoiled" for marriage as a result of consuming fictional gay content.) The word is often misused to mean "female otaku," causing female otaku who are not fujoshi (and know the meaning of the word) to correct people everywhere. The male equivalent is called a fudanshi (loosely, "rotten man"), but oddly enough, a lot of fudanshis are straight or bi. 

Some Yaoi fans are likely to think that Het Is Ew and many of them tend to be guilty of Die for Our Ship and Ron the Death Eater as a result. They may also indulge in Ukefication. In series where Yaoi Fangirls are seen, at least one joke will be made that involves the Yaoi fangirl's dirty imagination and at least one of the male characters in-universe. This often goes hand in hand with said yaoi fangirl having a (usually rare for females) Nosebleed


sábado, 18 de abril de 2026

LIZ GOTAUCO: THE SNOW QUEEN FOURTH STORY

Liz Gotauco does analyses of fairytales by playing ALL THE ROLES (in different costumes, you'll see) and the Snow Queen is also her favourite! So I add her version of the Fourth Story plus my two Knuts (including that her Clever Princess wears MAKEUP and her Clever Prince has a soul patch, ie FACIAL HAIR --like his moustache in The Fairytaler-- to characterize them as YOUNG ADULTS and contrast them with child/teenage Gerda and Kai!-- On TikTok I nerded to the max by saying that in the Dumas version the Princess is 18 (elle monta sur le trône a l'âge de DIX-HUIT ANS) and her Prince is in his early twenties (DE VINGT À VINGT-ET-CINQ ANS), a detail that maybe canonized their iconography as young adults?

I ask: Are the prince and princess young adults in this version? She wears makeup and he has facial hair (soul patch)

Liz Gotauco's reply: I interpreted it that way (partly becasuse I only have so many ways to distinguish characters). 

Sandra Dermark: They are my favourite characters because I identify with them, and they're normally portrayed as young adults (Dumas says the princess is 18 and the prince is 20-25).

Liz Gotauco: Oh good! That was my intention

Sandra Dermark: Why did you want to portray them as young adults? Tradition or some other reason?

Liz Gotauco: Since my channel emphasizes the saucy side of fairytales, adult characters provide more opportunities and the costumes are more fun, also they're depicted in bed together! And I love them too!

I ADD: Same bedchamber, different beds. And her bed is WHITE, some critics have analysed that she may still be a virgin... 

----------

Gabriela C. Chávez: I LOVE the princess (in The Snow Queen)

Artsavannah: (quoting Liz Gotauco as the Clever Princess) I want a good brain in a good body LMAO

Kayleigh: I'm with the princess

Sandra Dermark: Me too <3 my favourite part of my favourite fairytale, starring my favourite characters!! I identify with her, very clever, polyglot enough to read every newspaper in the world, but critical enough to forget everything but the culture sections - and in pursuit of intellectual equals <3 

Other nerds on TikTok saw themselves in my favourite Snow Queen characters and diagnosed them with ADHD (I have both ADHD and autism), by noting that both the Prince and Princess avoid "tiresome" (kedelig, translated as both "dull" and "boring" in more recent translations) things like a partner who only looks good and is not interesting or intelligent (Princess) or standing still for hours beside a door as a royal guard (Prince). This is called thaasophobia (THAY-ah-so-PHOBIA; the fear of boredom / idleness / sitting or standing still - NOT TO BE CONFUSED WITH thalassophobia, the fear of deep waters / the ocean) and is very common in people with ADHD including yours truly. 

Artemis: Also I think maybe that princess has the same flavour of ADHD that I do, LOL

Sandra Dermark: Me too - and her prince has the same flavour too. If you read the original Andersen  story, both loathe boredom (kedelig things, like a bad brain in a good body or sitting still for hours)!

Maybe Andersen used this thaasophobia to characterize my favourite characters as young adults, rich, and intelligent... maybe they also had ADHD / enneatype 7 / ENFP personalities with the ensuing thaasophobia? There are many characters in fairytales and YA literature from the nineteenth century whom you can diagnose with conditions like your own...

Anyway: on to the Liz Gotauco version of the Fourth Story!

***************************

(Edmund Dulac TSQ-IV illustration)



NARRATOR: ...about a nearby princess who was so clever she read every single newspaper in the world, but was smart enough to forget every single word once she'd finished. HEAR THAT, JOURNALISM?! YA BURNT!! Recently, the princess had decided to marry...



PRINCESS: I'll only marry a man who knows how to hold a conversation. Oh, also, he's got to be handsome! I want me a man with a brain, but I want that brain in a (singsong) good bo-dy!

MALE CROW: Anyway, a huge crowd of suitors came to woo her, but they were all dumbstruck by the glamour of the princess and her court...

[...]

MALE CROW: On the third day of wooing, a young person walked up. He had a great head of hair, but his clothes indicated someone of lower means... [...] Carries a knapsack!

[...]

MALE CROW: What I do know is; the boy arrived, looked at the long-ass line, and declared: 


"PRINCE" (imagined as Kai, b/w, in knitted cap and without facial hair): Well, this seems like a huge waste of time!

MALE CROW: Then he just walked on in ahead of everyone else! His boots were creaking, which everyone knows is humiliating, but he didn't give a shit! The confidence on that young man! [...] Anyway, the boy walked right up to the princess on her throne, which is a huge round pearl by the way, and she looked INCREDIBLE! I would marry that woman myself if I wasn't a crow!

[...]

MALE CROW: Ehhh, let's get back to the story! Anyway, that cool cat knew THE PERFECT THING TO SAY!

"PRINCE" (imagined as Kai, b/w, in knitted cap and without facial hair): I'm not here to woo you... but I would love to hear the wise words of the cleverest princess in the world!

[...]

GERDA: [...] Could you help me get into the palace?

[...] 

NARRATOR: So the crow's girlfriend, whom I am creatively calling Girlfriend Crow, helped Gerda sneak into the castle through a back door. [...] Girlfriend's got a good job, she is loyal, she is crafty, [...] Anyway, they all conferenced in the palace hallway.

FEMALE CROW: [...] Hold the lamp and we'll sneak in this hallway, and no one will know we're here.

(An armed shadow rider crops up behind them).

GERDA: Um, actually, we appear to be being followed by a bunch of ghosts on horses!

FEMALE CROW: No worries, girl! Those are just the prince's and princess' dreams! Good thing too, 'cause we are totally gonna sneak in and watch those motherfuckers sleep.

NARRATOR: They reached the royals' bedroom, and it was a magical little place. The princess and her maaan each had a bed that hung from the ceiling in the shape of a lily. [...] (The beds' colours --his is scarlet and hers is white-- are not mentioned). 


PRINCE (real prince, with long hair and soul patch): Aoow, strange girl in my bed!

[...]

PRINCE: Who the fuck's Kai?

PRINCESS: What the hell is going on here!?

[...]

PRINCESS: Oh, you poor thing!

PRINCE: I'm honestly not sure how you could have possibly mistaken (hand on his chest) me for your friend, but you know, I feel for you.

PRINCESS: Okay, before we deal with all of that, I have to give it to these two crows for bringing you to us! Would you two like an elevated position here at court?

MALE CROW: Does it come with a pension?

PRINCE: Oh, trust me, the benefits are very good.

MALE CROW: We'll take it!

NARRATOR: The prince gave Gerda his bed for the night. And the next day they dressed that girl head to foot in silks and velvets, and invited her to stay at the palace for a while.

GERDA: All I want is a pair of boots, and a small horse-drawn carriage, so I can find my friend!


PRINCESS: All right, but I'm also gonna throw in a nice warm muff for the cold... The carriage is gonna be made of gold, with the palace (coat of) arms on it, you'll gonna get a whole slew of footmen, and oodles of cakes and cookies stored in the seat. That's how we do it here!!

NARRATOR: [...] and Forest Crow escorted Gerda out of the palace to her new ride. [...] Everybody was so sad to part from one another that they fucking cried. And with that, Gerda rode off to find her Kai into the thick creepy forest in a bright golden carriage, completely open to any band of thieves that might take a fancy to it. [...] So Gerda and her royal posse are riding the golden horse-drawn carriage through the forest.

(Edmund Dulac TSQ-V illustration)


NARRATOR: And the sight of such a glamourous ride attracted the attention of a band of robbers. They were not about to let a literal golden opportunity like this pass them up! Those bastards attacked Gerda's posse, murdering the footmen and the driver. They pulled Gerda out of her carriage [...]



ROBBER MAIDEN: [...] I'll strip her of her pretty dress and accessories, and she'll sleep in my bed, but first we're going to take a carriage ride together! Drive us, minions!!

NARRATOR: As they rode in the carriage together, [...] They reached the robbers' place, which was this huge cottage-gothic castle, [...] 

***************** (7TH STORY)

GERDA: Oh robber girl, you're so silly! Tell me about all the other people we met in this story, that you definitely know!



ROBBER MAIDEN (as an adult, in red, with a ribbon on her hat): Well, the prince and the princess are travelling...

*****************

One of the best retellings ever! Kudos to Liz Gotauco, six stars out of five!! ******





SARA BOERO: IL VESTITO MASCHILE DELLA SIRENETTA

Finally Sara Boero did her analysis of the Little Mermaid and she focused on the queer elements in the tale and what she calls "un vestito maschile per andare a cavallo" (vestito maschile: mandsdragt / man's suit). But she notes that most Italian translations like Ippocampo (translator?) have "un vestito da amazzone," a dress for an amazon (female rider) with a skirt, for riding sidesaddle, which is the polar opposite of what Andersen says - and Boero also highlights that the many excursions on horseback and mountaineering that they do together (the prince and the Little Foundling exploring the land kingdom, both of them in breeches) are something two young men, whether a couple, friends, or brothers, would rather do in Andersen's nineteenth century. And she even says that these excursions would definitely be something that Andersen himself and Edward Collin (his patrons' son and secret lover, the inspiration for the prince) would have done together - there are no mountains in Denmark, but they would definitely ride around the countryside together, scale dunes, etc. 

Poi a questo punto in effetti la Sirenetta e il principe fanno un sacco di cose carine insieme, passano delle belle giornate come nel film, vanno a cavallo e lui le fa fare un vestito maschile per andare a cavallo insieme. E questo è interessante perché in tante traduzioni, anche quella Ippocampo, trovate scritto tipo "un vestito da amazzone", "un vestito (femminile) per cavalcare", ma nel testo originale lui scriveva qualcosa di intraducibile che suona un po' come un vestito da paggetto, diciamo. Comunque il punto è che la foggia di questo outfit non è il femminile, ha il pantalone, il pantaloncino adatto per andare a cavalcare. E torna al tema dell'identità sessuale. Ancora anche le attività in cui la coinvolge il principe sono molto maschili, escursioni, scalate in montagna, eccetera. Sembrano più appuntamenti tra due uomini per l'epoca, magari chissà appuntamenti realmente accaduti ad Andersen. Nel film Disney questa parte è davvero carina. È tutta quella sezione in cui Ariel cerca di farsi conoscere da Eric anche senza la voce. La vediamo prendere le redini del carro e fare dei salti spericolati. eh manifesta quella voglia di scoperta e di esplorazione che è la motivazione forte del personaggio e anche la meraviglia che prova la Sirenetta a trovarsi finalmente nel mondo degli umani. È bellissimo nei film Disney tutto il tema dell'uso degli oggetti, solo fantasticato mentre era sott'acqua e poi messo alla prova insieme a Eric in superficie. Super carino. 

My comment, questions to Sara Boero:
Davvero è da Andersen originale "en mandsdragt", un vestito maschile - peccato capitale che tante traduzioni italiane dicano un vestito DA AMAZZONE colla gonna (è anche peccato capitale che Ariel nella stessa scena nel film indossa un vestito da amazzone! La voldrevo vedere col pantaloncino!). Sto pensando a Cristina di Svezia ed a Giovanna d'Arco, colleziono delle illustrazioni della Sirenetta col mandsdragt/vestito maschile (in alcune, il setting è medievale e lei porta anche una capigliatura da paggetto alla Giovanna d'Arco, in altre versioni il setting è nell'Età Moderna e lei porta il codino alla Mozart come lo stesso principe).
Da dove hai tratto, Sara, che è un vestito maschile nell'originale? Dall'originale danese o da una traduzione (inglese? Italiana?)
E chi è il traduttore della versione Ippocampo?

But where does Sara Boero get her "vestito maschile / da paggetto" from? The original Danish or an English or Italian translation? And who did the Ippocampo translation with the amazon's dress?

SARA BOERO RISPONDE:

Ciao! Originariamente anni fa avevo scoperto che nell'originale danese il vestito è maschile dall'edizione commentata di Maria Tatar (in inglese). Allora ero andata a cercarmi l'originale danese e sì, la parola è quella che indichi tu (mandsdragt), che da come avevo capito è un "completo semplice da uomo" d'epoca (quindi può essere sensato tradurre "da paggio", per rendere l'idea). In molte edizioni inglesi ho visto che viene tradotto proprio come "da paggio", in italiano ho sempre visto solo "da amazzone" o "per cavalcare", mi sembra che non venga mai evidenziato (nelle traduzioni italiane) che il vestito è maschile: la traduzione dell'Ippocampo è di Alda Manghi e Marcella Rinaldi. Mi sembra un peccato, sì, è un dettaglio importante!

SANDRA DERMARK RISPONDE:

Un dettaglio IMPORTANTISSIMO, IL PIÙ importante, la mia scena preferita è QUESTA del vestito da paggio, le escursioni e le scalate in montagna... Ed è anche peccato che ARIEL non indosse il vestito da paggio! E come lo traduce l'edizione di Minalima e chi la ha tradotto?

Anch'io ho l'edizione commentata di Maria Tatar (in spagnolo) e adoro i suoi commentari, sopratutto quelli sulla Regina delle Nevi (sopratutto la Quarta Storia, perchè mi identifico un sacco colla Principessa Intelligente che ha letto tutti i giornali del mondo, ma si annoia e si sente sola ed ha tutto un iter di candidature per trovare il suo uguale intellettuale - è il mio personaggio di fiaba preferito)! E anch'io ho quella di Minalima in inglese! Quando avevo più soldi collezionavo le diverse versioni di Andersen per comparare le traduzioni e le illustrazioni... Nel mio Facebook ho per esempio una galleria dove comparo il vestito maschile (mandsdragt) della sirenetta/trovatella in diverse versione, alcune più medievale (col bob alla Giovanna d'Arco) e altre più settecentesche (col codino alla Mozart)...

SARA BOERO:

La versione Ippocampo è la Minalima italiana, traduzioni di Alda Manghi e Marcella Rinaldi.



sábado, 17 de enero de 2026

SHATTERED FABLES - TSQ-IV (AND FROZEN AND OTHELLO)

Since The Midnight Archives is on hiatus, I have moved to another podcast in the same genre: Shattered Fables. Notably, the Fourth Story/Clever Princess subplot is centre stage and COMPLETELY GUTTED here, as a critique of courtly/intellectual society and analyzing this character's strengths and flaws, hinting that she may be neurodivergent (like Yours Truly) being a collection of data, but not integrated or experienced... and adding the what if...? her silver-tongued prince were actually a dishonest psychopath ready to betray her once he won her over - like Hans in Frozen - or mind-controlled by such a psychopath - like Othello, by Iago -, Andersen gives his subplot a happy ending, but peel the paint and discover what could have been!

the world of intellect and society represented by the prince and the princess. 

A new prince has just come to the kingdom, and this prince has married a princess who is terribly clever. She had read all the newspapers in the world and forgotten them again. She was that clever. She announced that she would marry any man who could speak well for himself. Not just someone who looked important. Suitors came in droves, but they were all intimidated by her intelligence and the grandeur of the court, but one young man, a poor boy, came along who was not intimidated. He was witty and charming, and he spoke as well as the princess. They fell in love and were married. And ... this clever young prince might be Kai. He had arrived alone in simple clothes just as Kai might have.

This seems promising, but look at the subtext. This is a story about social climbing through intellect. The princess is not valued for her goodness, but for her cleverness. The prince is not valued for his character, but for his wit. This is Andersen commenting on the world of the salons and the courts that he had so desperately wanted to join. A world where cleverness was a currency, where a sharp silver tongue could win you a princess. He is also subtly continuing the theme of the cold heart. The princess's defining trait is that she has read everything and forgotten it. Her knowledge is vast, but it is not integrated. It is a collection of data, not wisdom from experience (could she be autistic, being a human Wikipedia?). It is another form of the flawless snowflake. 

 ... to help ... sneak into the palace to see if the prince is Kai... has a position at court and can get them in through a back door. They sneak in at night. The palace is grand and imposing. They creep through the halls, up the grand staircase. They finally reach the royal bedchamber. The prince and princess are asleep. Gerda creeps closer. She holds up her lamp. She sees the prince's neck. And it is not Kai. Her hope is utterly crushed. She lets out a little cry. 

The prince and princess wake up. They are not angry. They are kind (DK: gode). They listen to her story. They are moved by her loyalty and her courage. They represent the best of the civilized world. They are intelligent, compassionate, and generous. They give Gerda new clothes, warm boots, a muff, and a magnificent golden coach to help her on her journey. 
They are good people, but they are part of a system. They are insulated by their wealth and their status. They can offer charity, but they cannot truly understand the brutal world that Gerda must travel through. The golden coach is a perfect symbol of this. It is a wonderful gift, a piece of their gilded world. But in the wilderness, in the lawless places Gerda is heading, a golden coach is not a help. It is a target. And so Gerda leaves the palace dressed like a little lady riding in a golden coach with a postillion and footman. She is leaving the realm of civilized society and she is about to enter the third and most terrifying stage of her journey, the world of the robbers. 

The coach drives into a dark forest. The gold glitters in the gloom and it attracts attention. Robbers see it. 
"Gold, gold," they cry. They attack the coach. They kill the postillion, the coachman, and the footmen.  
... into the robbers's den. This is the absolute antithesis of the princess's palace. The robbers's castle is a ruin, full of smoke and grime. Ravens and crows fly out of the holes in the walls. Great bulldogs leap around a fire where deer are roasting on a spit. The little robber girl has a menagerie (a zoo) of captive animals, a hundred pigeons and a reindeer all tied up. She and Gerda lie down to sleep on a bed of straw. 

The civilized world of the prince and princess for all its kindness could not help her. Their knowledge derived from newspapers was useless. True knowledge, the knowledge of the wild places and the hidden things comes from the outcasts, the victims, the captive animals who see things from a different perspective. 

This section of the story (Fifth Story, Robber Maiden) is a brutal refutation of the Romantic idea of the noble savage. The robbers are not Romantic rebels. They are damaged, dangerous people. Criminals. Their world is not free. It is a prison of violence. Andersen is showing his readers the real cost of poverty and social collapse. He is rubbing their noses in the ugliness that their comfortable Victorian homes were designed to ignore. Imagine being a wealthy Copenhagen (or Gothenburg) mother in 1844 (when The Snow Queen was released), reading this story to your children by the fire. You have just read about the kind prince and princess, a world you understand. Now you are confronted with the robber maiden, a child who sleeps with a Bowie knife, a child who expresses love by biting. This is not escapism. This is social commentary disguised as a fairy tale. 

... the distraction of worldly society, the palace, and the horror of worldly violence, the robbers's den. ... the limitations of civilized society, the palace, ... the casual murder of the coachman, ...

The danger of a society that values cleverness over kindness.

(Nothing said about the honeymoon of the prince and princess in the finale in this version!)

(Mind blown! The Fourth Story subplot, this "world of intellect and high society," - a satire of social climbing? Is the prince lying? When he wins her through his clever liveliness, is he being honest or not? --Think of Hans in Frozen! Disney split the prince in half; the dashing and charming, witty and extraverted Hans --a psychopath-- and the modest and sincere Kristoff in worn deerskins, more introverted but a diamond in the rough. Or if he is sincere, he could be mind-controlled by a psychopath, a court being a nest of snakes --Othello, Iago, I am looking at you!--)
Also the fact that she has read a lot but has not integrated anything, all vast theory and no wisdom, a vast collection of data but no experience (she's not only a human Wikipedia, but a female Cassio --another favourite character-- "mere prattle without practice"), resounds with me... both due to this (neurodivergence?) and other factors (youth, wealth, isolationism), they are both intelligent, altruistic, generous, and compassionate, but insulated, out of touch with the outside world ("ivory tower" syndrome) - though they have the best intentions, their knowledge gleaned from newspapers, for all its kindness, is useless in the criminal underworld - that Rococo carriage is a TARGET, it attracts the robbers' attention, they massacre the entourage.
This subplot is called "the world of intellect and society," "the distraction of worldly society," and "the limitations of civilized society..." beyond the adventure story's romantic (with a lower-case r, related to love) subplot, there is a critique of a society that distracts and that is detached from the outside world, an ivory tower, a collection of data and vast knowledge ("mere prattle without practice") but not integrated and bereft of experience, and therefore useless in a hostile outside world, despite its best intentions. There are connections to both Othello and Frozen, to the dark side of this high society that values cleverness over both kindness (something negative) and appearances (something positive), cleverness above all, where cleverness is a currency, a commodity, and where a little silver-tongued clever liveliness can win you a mate who may be your intellectual equal... but peel the paint and have your mind blown - the Clever Princess was lucky, but she could have been, like Anna her Disney counterpart, deceived by a snake in the grass! Or, like Desdemona, murdered by a husband who is sincere, but mind-controlled by a snake in the grass! Read between the lines...

lunes, 12 de enero de 2026

THE LADY EDITOR AND HER FIANCÉ (TSQ-IV IN THE WIZARDING WORLD)

By hannahsoapy 

Fourth story, the Lady Editor and her fiancé

“In the land we are now in there lives a wonderful Lady who lives in a castle, and she is called the Editor. She is extraordinarily clever, because she has read all the articles in the world and forgotten them again – that is how very clever she is! Lately, she was humming a song that went like this: ‘oh, why should I not be married?’ 

 

‘That is a song not without its meaning,’ the Lady Editor decided, and then she was determined to be married, but she wanted a husband who was good to talk to, and not one who was only pretty, for that is very boring and tiresome. So, she gathered up all of her writers and she told them what she wished, and they were all delighted.”

 “Well, the next magazine went out with hearts on all the borders, and an invitation to all men who wished to come to the castle and speak to the Lady Editor, and whoever she felt spoke best she would marry. There was an excellent response to the advert – I could not keep track of how many men came, but it was at least twice as many the number of claws I have! But none of them impressed the Lady Editor; they all talked well enough outside, but as soon as they got inside all they could do was repeat the last word the Lady Editor said, and to hear that again was not very interesting.”

“The third day after the advert had gone out, a man came walking up – not by Apparition or Portkey like the others – and he had bright shiny eyes, beautiful long hair, and shabby clothes.”

He was not abashed or intimidated by the suitors that were lounging about; he merely nodded at them and went right in, boldly going right up to the Lady Editor at her copy machine.”

 

“And did he get the Lady Editor?” 

He was courteous and spoke very well, and in fact had not known of the advert at all, having only come to seek the Lady Editor’s wisdom. She pleased him, and he pleased her.”

 to the residence of the Lady Editor, but when it was in view ... it was not so much a castle as a large stone building shaped like a rook, which she supposed ... might indeed look a bit like a castle. (THE LADY EDITOR IS LUNA!! WHO IS HER FIANCÉ?)

Surrounding the house was a dilapidated, but somehow charming fence made of wooden rails, and Victoire observed all sorts of odd and unique plants within the garden.

There were two signs tacked onto the gate, and once she was close enough, Victoire could make out that they said: ‘Editor of the Quibbler – L. Lovegood’ and ‘Pick Your Own Mistletoe.’

 

Well, Victoire had no idea what mistletoe had to do with anything, but she did recognize the Quibbler, and the name Lovegood. She had met Luna Lovegood on several occasions, but did not recall her very well, or remember whether or not she was a magazine editor.

Victoire took a deep breath and opened the gate, and then strode as quickly as she could up the little path to the door, and firmly rapped her knuckles against it before she could think twice. The door was opened promptly, and on the other side of it stood a man with sandy brown hair and freckled, tanned skin, with clothes rumpled from his midafternoon nap, and holding a teapot.

 The man was rather befuddled by this answer, and so he did the only thing he could think to do, which was invite her inside and get her seated on the sofa with a cup of tea. Then he sat in an armchair and they sat both sipping their tea silently and feeling very awkward.

 

“Victoire!” a voice cried from behind in delight, “I knew you’d be here soon!”

 

Victoire nearly spilt her tea, she turned so quickly, and who was there but Luna Lovegood! Her hair was tied up in a colorful kerchief, and her overalls and shirt were covered in paint stains, and she beamed brightly at Victoire.

 “You knew I was coming?” Victoire asked, puzzled. 

 

“Well, of course,” Luna said, “your name was on the calendar.” She gestured at a large calendar tacked to the wall, and Victoire saw that on today’s date, written in sparkly rainbow ink, it said, ‘Victoire – afternoon tea’.

 

“If you’re Victoire,” said the man in the armchair, “who’s Teddy?”

 

“Victoire, meet Rolf,” Luna said, waving a hand at the man, “he is my betrothed.”

 

Rolf smiled, and turned quite pink.

 

“Teddy is my – he’s my best friend,” Victoire told him. “He went out on his sledge and disappeared last Yule.”

 

“Oh no, that won’t do,” Luna cried, moving to sit next to Victoire on the sofa. “We must hear the whole story, or else how will we help you look for him?”

 

“You’re going to help me?” Victoire was surprised, because Luna was a grownup, and she had thought for certain that she would be sent back home right away, and not be allowed to go on searching for Teddy. She had set out on her journey unintentionally, but now was determined to see it through.

 

“I think that you are the only one who can find him,” Luna told her, with all the seriousness of a prophecy. Victoire gulped and began her story right away.

 

She did as she was asked and started right at the beginning, leaving no part out, and when she was done Luna looked thoughtful.

 

“You must go to the land of Wiltshire,” Luna said firmly, and Rolf and Victoire looked at her in surprise. 

 

“Wiltshire?”

 

“That is where the Prince of Snow lives,” Luna told them.

 

“The Prince of Snow has taken Teddy?” Victoire exclaimed. “But why?”

 

“The family resemblance, I suspect.”

 

Victoire did not know what to make of that, and turned to look at Rolf to see if he had understood what Luna meant, but he only shrugged, just as equally in the dark as she was.

 

“It is decided, then,” Luna nodded. “You will stay here tonight, and in the morning we shall send you off to Wiltshire.”

 (I AM A LITTLE DISAPPOINTED - IN MY AUS LUNA DIVORCES ROLF, AND NEVILLE DIVORCES HANNAH, AND LUNA AND NEVILLE REMARRY)

Fifth story, the robber girl

 

The next morning, Luna and Rolf gave Victoire a broom, a knapsack full of provisions, and some warm clothes, because she had started her journey in fine weather, but now it was beginning to be chilly.

 Seventh story, what happened in the Manor of Ice, and afterwards

 Victoire had hoped to see Luna upon her return, but she and Rolf had gone abroad together, to look for the Crumple-Horned Snorkack. 

TSQ-IV GOOD OMENS - PRINCESS PEPPER AND PRINCE ADAM

 

By augenblickgotter

FOURTH STORY. The Prince and Princess

“In the kingdom where we now are there lives a Princess, who is extraordinarily clever; for she has read all the newspapers in the whole world, and has forgotten them again--so clever is she. She was lately, it is said, sitting on her throne--which is not very amusing after all--and read from her paper that tells her everything to know, 'Have you chosen who to be married?' 

'That type of patriarchal old fashioned thinking is meaningless,' said she, and so then she was determined not to marry unless she found a clever good man; but she would have a husband 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 then had all the ladies of the court drummed together; and when they heard her intention, all were very pleased, and said, 'We are very glad to hear it; it is the very thing we were thinking of.' 

“The newspapers appeared forthwith with a proclamation from the Princess; and therein you might read that every smart young man was at liberty to come to the palace and speak to the Princess; and he who spoke in such wise as showed he felt himself at

home there, that one the Princess would choose to talk to about why marriage was nonsense.

People came in crowds; there was a crush and a hurry, but no one was successful either on the first or second day. They could all talk well enough when they were out in the street; but as soon as

they came inside the palace gates, and saw the guard richly dressed in silver, and the lackeys in gold on the staircase, and the large illuminated saloons, then they were abashed; and when they stood before the throne on which the Princess was sitting, all they could do was to repeat the last word they had uttered, and to hear it again did not interest her very much. It was just as if the people within were under a charm, and had fallen into a trance till they came out again into the street; for then--oh, then--they could chatter enough. There was a whole row of them standing from the town-gates to the palace“They grew hungry and thirsty and looked one missed meal  from devouring each other.

But from the palace they got nothing whatever, not even a glass of water. Some of the cleverest, it is true, had taken bread and butter with them:

but none shared it with his neighbour, for each thought, 'Let him look hungry, and then the Princess won't have him.'”

“Uhm, this is a lot of meandering filler of a backstory..."

“When did he come? Was he among the

number?”

“Patience, patience; we are just come to him. It was on the third day when a little personage without horse or equipage, the young person came calmly right up to the palace; his eyes shone like glass before them, his hair was nice like gold, a...”

 “He had a little knapsack at his back,” 

When he came into the court-yard of the palace, and saw the body-guard in silver, the lackeys on the staircase, he was not the least abashed; he nodded, and said to them,

'It must be very tiresome to stand on the stairs; for my part, I shall go in.' The saloons were gleaming with lustres--privy councillors and excellencies were walking about barefooted, and wore gold keys; it was enough to make any one feel uncomfortable. His boots creaked, too, so

loudly, but still he was not at all afraid.”

“And did he get the Princess?”

And on he went boldly up to the Princess, who was sitting at her desk with her notes that tell her all. All the ladies of the court, with their attendants and attendants' attendants, and all the cavaliers, with their gentlemen and gentlemen's gentlemen, stood round; and the nearer they stood to the door, the prouder they looked. It was hardly possible to look at the gentleman's gentleman, so very smartly did he stand in the doorway before stepping in and saying hello

It is said he spoke as well. He was humbled and nicely behaved; he had not come to woo the Princess, but only to hear her wisdom. She found him smart and pleased it was the first that had been so before her. He apologized and she said not to worry, he did not want to marry either for he was young like her, and they had much to talk of as friends.”

She took it out of the kitchen, where there is bread enough. You are hungry,

no doubt. It is not possible for you to enter the palace, for you are barefooted: the guards in silver, and the lackeys in gold, would not

allow it; but do not cry, you shall come in still. ... A little back stair that leads to the bedchamber, and she knows where she can get the key to it.

And they went into the garden in the large avenue, where one leaf was falling after the other; and when the lights in the palace had all gradually disappeared, 

They were now on the stairs. A single lamp was burning there; and on the floor

“I think there is somebody just behind us,” and something rushed past: it was like shadowy figures on the wall; horses with

flowing manes and thin legs, huntsmen, ladies and gentlemen on horseback.

 

“They are only dreams, They come to fetch the thoughts of the high personages to the chase; 'tis well, for now you can observe

them in bed all the better.”

They now entered the first saloon, which was of rose-colored satin, with artificial flowers on the wall. Here the dreams were rushing past,

but they hastened by so quickly that one could not see the high personages. One hall was more magnificent than the other; one might

indeed well be abashed; and at last they came into the bedchamber. The ceiling of the room resembled a large forest with leaves of glass,

of costly glass; and in the middle of the room was a large tall posted bed surrounded topped with a canopy of gauze to see through.  He bent back one of canopy sides, and saw 

a boyish face.

he called him quite loudly by name, held the lamp towards him--the dreams rushed back again into the chamber--he awoke,

turned his head, and--

 

The Prince was only like him as he was a young boy too. But his hair was not sunshine golden, but golden as a wheat in the field.

And beside him the Princess roused too. She was very lovely to a man, with very dark curling long hair and eyes and skin just as dark.

She was startled but saw nothing to fear in a little boy and two Ravens staring at her, and asked what was the matter.

“Poor little thing!” said the Prince and the Princess. They praised the Ravens very much, and told them they were not at all angry with them,

but they were not to do so again and next time ask them if they were little Azira.  However, they should have a reward.

“Will you fly about here at liberty,” asked the Princess; “or would you like to have an occupation as court ..., with all the broken

bits from the kitchen?”

 

 

The Prince and Princess told Crowley how sorry they were for all his searching, and he should very much rest here that night.

They both got up and let ... sleep in the bed, which he could not say no to.

He folded his little hands and thought, “How good men ... are! I mean, at least they tried.” And he then fell asleep and slept soundly. 

The next day he was dressed from head to foot in silk and velvet which he also couldn't say no to.

They offered to let him stay at the palace, and lead a happy life; but he begged to have a horse, and for a small pair of shoes; then, he said, he would again go forth in the wide world 

 

Shoes and a muff were given him; and a small horse stopped before the door.

It was black, but the tack and saddle had emblems of the Prince and Princess on them, and the saddlebags were filled with supplies. The Prince and the Princess assisted him into the saddle themselves, and wished him all success. 

 

“Farewell! Farewell!” cried Prince and Princess; and Crowley felt sadness at the parting.

 Thus passed the first miles; ... as long as he could see the rider, and bid him well.

"Mind how you go!" he cried after the horse and rider.

Initially, I had the Prince and Princess be Newt and Anathema, but I changed it to Pepper and Adam. It's funnier with the book princess obsessed with marriage and having Pepper in that role. It also makes the ravens earnest mistake more believable AND adds more kid protagonists to the story like a fairy tale.

....

SEVENTH STORY - 

 what Happened Afterward.

, and inquired for the Prince and Princess.

 

“They are gone abroad,” said the other. "Going to see the world."

 

"Oh, I always wanted to see the world," Azira said.