The Pomegranate Fairy (Indian folktale)

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The Anar Pari, or Pomegranate Fairy is an Indian folktale collected by Alice Elizabeth Dracott from Simla. The tale is a local form of tale type ATU 408, "The Love for Three Oranges", of the international Aarne-Thompson-Uther Index. As with The Three Oranges, the tale deals with a prince's search for a bride that lives in a fruit, who is replaced by a false bride and goes through a cycle of incarnations, until she regains physical form again. Variants are known across India with other species of fruits.

Summary[edit]

A king has seven sons, six of which are already married. One day, the queen asks her youngest son what is the matter that he is still single, and suggests he finds himself for his wife the Anar Pari, the most beautiful of fairies.

The prince decides to search for this Anar Pari himself, and journeys until he meets a fakir. The holy man promises to turn him into a parrot, so he can fly to a perilous island where the maiden is located, inside a fruit from a pomegranate tree guarded by dragons. The prince is to reach the tree and pluck the middle one from the tree fruits, and fly back without looking behind him, otherwise his efforts will have been for naught.

The prince, in parrot form, flies to the island in the seventh sea, with the garden and the tree in it. He fetches the fruit and makes a turn back to the fakir, but a dragon begins to chase him. Forgetting the fakir's words, he turns behind him and the dragon burns his body to cinder, then retrieves the fruit.

Noticing the prince's delay, the fakir makes himself invisible and goes to the island, where he finds the parrot's remains. He resurrects the prince and advises him again, so that he does not fail this time. The prince tries to steal the fruit one more time, and manages to do it the second time. He flies back to the fakir's hut, where the man turns him into a fly. The dragons make chase and reach the same hut, where they inquire about the parrot and the fruit. Finding nothing, the dragons depart. Safe now, the fakir restores the prince to human shape, advises him to return to his kingdom and open the pomegranate to release the fairy maiden, bidding him good luck.

Back to his kingdom, the prince decides to open the fruit, and a beautiful maiden comes out of it, of such beauty the youth swoons. The fairy maiden rests the prince's head on her lap, waiting for him to come to. Meanwhile, a low caste woman appears to draw water and finds the pair, asking the fairy about the asleep youth and herself.

The fairy confirms she is the Anar Pari and the youth is the prince of this kingdom, spurring the woman's envy. She convinces the fairy to trade clothes with her and for them to see their reflections in the water. The fairy does as asked and is shoved into a well, while the low caste woman takes place. The prince finally wakes up and, finding the woman and not the fairy, takes her to the palace, despite some initial suspicions.

The prince marries the false princess, who fears she might be discovered if he comes to the well. And so he does: he finds a white lotus flower, which no one but him is able to grab. He brings the flower home. The false princess tears it to pieces and throws it in the garden, where a bed of mint sprouts. A cook takes some mint to use in a meal, and the mint begins to wail about the false princess. Scared, the cook throws the mint away, where a creeper springs and grows under the prince's window. The false princess orders the creeper to the destroyed, but a fruit survives and rolls down a jessamine bush.

The gardener's daughter brings the fruit home. The fairy maiden springs out of the fruit and lives with the gardener's family. One day, the gardener's daughter weaves a garland of flowers, and so does the Anar Pari, who she tells the girl to deliver to the prince. The prince notices that the garland is of exquisite quality and suspects the fairy maiden is still alive.

Back to the false princess, fearing for her life, she feigns illness and asks the prince to procure the heart of a beautiful girl as remedy, specially the one that lives in the gardener's hut. The Anar Pari is once again targeted for execution, and asks that, after her death, her members are to be thrown to the four winds and her eyes cast to space. It happens thus, and her eyes become a pair of lovebirds that settle in the forest.

Some time later, the prince goes to the forest to hunt and listens to the birds talking about the Anar Pari's story, and the false bride by the prince's side. The prince begs the princess to come back to him, and the eyes are restored back to the human form of the Anar Pari, beautiful as always. The prince and the fairy maiden marry and punish the false bride. The gardener's family is also visited by the Anar Pari, and she and the gardener's daughter weave flower garlands together.[1]

Analysis[edit]

Tale type[edit]

The tale is classified in the international Aarne-Thompson-Uther Index as tale type ATU 408, "The Three Oranges".[2][3][4] In the Indian variants, the protagonist goes in search of the fairy princess on his sisters-in-law's mocking, finds her and brings her home, but an ugly woman of low social standing kills and replaces her. The fairy princess, then, goes through a cycle of transformations until she regains physical form.[5][6][7]

In an article in Enzyklopädie des Märchens, scholar Christine Shojaei Kawan separated the tale type into six sections, and stated that parts 3 to 5 represented the "core" of the story:[8]

  • (1) A prince is cursed by an old woman to seek the fruit princess;
  • (2) The prince finds helpers that guide him to the princess's location;
  • (3) The prince finds the fruits (usually three), releases the maidens inside, but only the third survives;
  • (4) The prince leaves the princess up a tree near a spring or stream, and a slave or servant sees the princess's reflection in the water;
  • (5) The slave or servant replaces the princess (transformation sequence);
  • (6) The fruit princess and the prince reunite, and the false bride is punished.

Motifs[edit]

The maiden's appearance[edit]

According to the tale description in the international index, the maiden may appear out of the titular citrus fruits, like oranges and lemons. However, she may also come out of pomegranates or other species of fruits, and even eggs.[9][10] In Stith Thompson and Jonas Balys [lt]'s Oral Tales of India, this motif is indexed as "D211. Transformation: man to fruit".[11]

The transformations and the false bride[edit]

The tale type is characterized by the substitution of the fairy wife for a false bride. The usual occurrence is when the false bride (a witch or a slave) sticks a magical pin into the maiden's head or hair and she becomes a dove.[a]

In other variants, the maiden goes through a series of transformations after her liberation from the fruit and regains a physical body.[b] In that regard, according to Christine Shojaei-Kawan's article, Christine Goldberg divided the tale type into two forms. In the first subtype, indexed as AaTh 408A, the fruit maiden suffers the cycle of metamorphosis (fish-tree-human) - a motif Goldberg locates "from the Middle East to Italy and France".[14] In the second subtype, AaTh 408B, the girl is transformed into a dove by the needle.[15]

Variants[edit]

India[edit]

While organizing the Indic index, Stith Thompson and Warren Roberts noted the close proximity between types 403, "The Black and the White Bride", and 408, "The Three Oranges" - types that deal with the theme of the "Substituted Bride". To better differentiate between them, both scholars remarked that the heroine must be replaced by a female antagonist that is unrelated to her.[16] Thompson's second revision of the international type index listed 17 variants of tale type 408 in India and South Asia.[17] In some of the Indian tales, the heroine does not come out of a fruit, but she is still replaced by the false bride and goes through a cycle of transformations. Despite this, these stories are indexed as the same tale type.[18] Examples include The Apple Princess,[19] Raní Jhajhaní[20] (or Rani Jajhani),[21] Sri Lankan tale The Maehiyallē-gama Princess[22] and Mizo story The Story of Tumchhingi & Raldawna.[23]

Rupsinh and the Queen of the Anardes[edit]

Charles Augustus Kincaid published a tale from Gujarat with the name Rupsinh and the Queen of the Anardes. In this tale, prince Rupsinh loses his parents and his elder brother when he is only a child. His widowed sister-in-law mentions the Queen of the Anardes, which sparks an idea in the young prince: he will journey far and wide to find this Queen. After a long journey, including a stop at the kingdom of Princess Phulpancha, he reaches the kingdom of the Anardes. He learns the Queen and her handmaidens come out of the pomegranates in a garden, dance and return to the fruits. He takes the pomegranate with the queen and brings it to his kingdom. They marry, but a sweeper named Rukhi, "skilled in black magic", disposes of her and takes her place. The Queen of the Anardes becomes a lotus flower, then a mango tree, and reincarnates as the daughter of a banai couple.[24]

Princess Pomegranate[edit]

In a variant from Mirzapur, collected from a teller named Karam-ud-din Ahmad and published by William Crooke with the title Princess Pomegranate (Anar Shahzadi), a king has four sons, three already married and the youngest still single. His sisters-in-law mock him by saying he intends to marry Anar Shahzadi (Princess Pomegranate). Piqued by curiosity, he learns this princess lives in a pomegranate in a garden guarded by lakhs of deos (demons). The prince meets a Deo, who directs him to another Deo, who helps him in his quest: the creature promises to turn him into a crow, so he can fly over the garden and steal the fruit, but warns him about not listening to its Deoni (demoness) guardian. In crow form, the prince steals the pomegranate, but the Deoni tricks him and kills him. The Deo helper finds the dead prince, revives him and transforms him into a parrot, so the youth can try again. On the second try, the prince is successful, and the Deoni chases after him to the Deo's house. To protect the prince, the Deo turns the parrot into a fly and fools the Deoni. Soon after, the prince departs back to his kingdom, and a lovely princess comes out of the pomegranate. A mehtaráni (sweeper woman) tricks her into trading jewels and throws her in a well, then passes herself as the true princess. She is brought to the palace, but the prince's sisters-in-law do not recognize her as the Pomegranate Princess. As for the real one, she becomes a lotus flower in the well, which only the prince can take. The false princess rips its petals apart; where they fall, a pomegranate tree with blooms sprouts on its place, which the false princess orders to be uprooted. A flower is left which is given to the gardener's wife (málin). The real princess comes out of another pomegranate and adopted by the málin. One day, the prince sights the gardener's wife daughter, unaware of her being the true princess, and wants to marry her. However, the false princess feigns illness and asks for the girl's liver as cure. After an initial reluctance on the málin's part, she surrenders her daughter to be killed. However, "by the will of the Almighty", a house appears with the princess inside, guarded by two peacocks. The prince passes by the house, meets the princess and asks for her forgiveness. The pair reconciles and the prince brings Princess Pomegranate home, whom his sisters-in-law confirm to be real one. The sweeper woman is executed.[25]

Anarzadi[edit]

In a tale from Braj, Uttar Pradesh, translated to Russian with the title "Анарзади" ("Anarzadi"), a king has four sons. After he dies, the elder prince assumes the throne and looks after his younger siblings, to his wife's jealousy. One day, the elder brother's wife mockingly tells the youngest prince to search for Anarzadi, the girl from the pomegranate. Moved by her words, he decides to take up a quest to find her and return with the maiden as his wife. His first stop is with a sadhu, a wise man, who welcomes him in his abode and promises to help him find the Anarzadi. The prince gets a set of keys from the sadhu and opens every door in the sadhu's home: inside the last door, he finds human skeletons that begin to mock the boy, since they were also youths in search of Anarzadi and have fallen prey to the false sadhu. However, the skeletons also advise the prince to approach an oven in the back of the sadhu's home and, pretending not to know how to heat it up, convinces the sadhu to teach him, then shove the monster inside it. The prince follows the skeletons' words and throws the false sadhu in the oven, burning him. He then journeys on until he meets a real sadhu, who is relieved that the boy survived the false sadhu, who was a Rakshasa. The real sadhu promises to help the prince, and gives him advice to find the Anarzadi: he is to go to a garden, pluck a flower from the pomegranate tree and flee; there will be a peri taking a bath nearby in a pond who will call him, but he is to pay no heed to her. The prince does as instructed, but the peri calls for him and he dies on the spot. Ten days later, the real sadhu suspects something must have happened to the prince, and finds him in the garden. He revives the youth and advises him again, but warns him to go straight home and not rest for anything. The prince, the second time, steals the pomegranate flower and hides it in his chest, then goes back home. Suddenly, he feels thirsty and drinks some water from a well, then lies down to rest under a tree. The flower falls from his chest to the ground and turns into a human girl, Anarzadi. Anarzadi walks around a bit and finds a Chamar girl near a well, then asks her to fetch some water. The Chamar girl says the nobles drink from that well and she cannot fetch any. Anarzadi goes to fetch water herself, when the Chamar girl rips out her jewels and dress, then shoves her down the water. The Chamar then waits for the prince to wake up and introduces herself as Anarzadi. The prince takes the false Anarzadi with him, while the true one becomes a rose in the well. Some time later, the prince go to fetch water and try to get the flower, but only the prince grabs it and places it on his head. The false bride notices the flower and, realizing it is the true maiden, pretends to be ill and asks for the rose, then crushes it in the garden. From the petals, a pomegranate tree sprouts, which the false bride want to be chopped down. A flower survives which the prince hides in the stables, where it turns into the real Anarzadi. The prince marries her. The Chamar girl, then, kills some horses in the stables, brushes the blood on Anarzadi's lips and points her as a witch. The prince falls for the trick and orders her execution: she is quartered in the forest, but a pomegranate tree sprouts from her blood. Some time later, a poor Brahmin's son cuts down the tree and releases Anarzadi, who declares she will live with the Brahmin's son as his sister, and weave beautiful kerchiefs for him to sell. The Brahmin's son sells the kerchief to the palace and the prince wishes to see their maker. The poor boy brings the prince to his hut and he meets Anarzadi, who tells him the whole story. The prince discovers he has been deceived by the Chamar girl and begs for Anarzadi's forgiveness. Anarzadi forgives him, but first he is to execute and bury the false bride in the palace. It is done so and the prince takes Anarzadi as his true wife to the palace.[26]

The Magic Tree[edit]

Ethnologist Verrier Elwin collected a tale from the Baiga with the title The Magic Tree, which he compared to the Ho tale of The Belbati Princess. In this tale, the youngest of five Baiga brothers leaves home to search for a bride for himself, since his four elder brothers are already married. The youth traverses the jungle of Kajli-ban-pahar and meets a Dewar in his hut, to whom he explains the reason for his quest. The Dewar asks the boy to work for him for four days, and later tells him where he can find his bride: there is a garden where twenty-one sisters live, the youngest named Anarjodi, who is the most beautiful; the girl lives inside a fruit of the anar tree in the same garden, comes out of the fruit to bathe, then enters the fruit again. The Dewar advises the boy to hide behind the anar tree until nightfall, beat its trunk with a stick, and pluck her fruit which will fall. The youth tries to follow the Dewar's instructions in the first night, but he knocks down other fruits. The next night, he beats the tree trunk and Anarjodi's fruit falls to the ground, which he takes with him back to the Dewar's house, all the while being chased by the girl's twenty sisters. The girls stop before the Dewar's house, for fear of the man, and return to the garden. The Dewar then advises the youth to open the fruit only at home, and gives some ashes to summons his aid if the need be. The boy departs with the fruit, but, on the road, he begins to feel thirsty, and stops by a well. He then opens the fruit and Anarjodi comes out of it, so beautiful the boy faints. Anarjodi goes to fetch some water to revive him, and caresses his head on her lap. Suddenly, a bee steals a flower from Anarjodi's hair, in which resides her jiv, and tosses it in the well, causing the girl to disappear. The boy wakes up and, not finding the girl, summons the Dewar with the ashes and the fruit appears in his hand, which he brings home. Later, the youth builds a house for himself, and opens the fruit again, and this time Anarjodi appears to him. Some time later, while the youth and his brothers are away, a one-eyed Chamarin girl enters his house, plucks the flower from Anarjodi's hair and places it in a fence, causing her to disappear, and takes her place. When the youth returns, he does not notice the difference, for "she was in every way like Anarjodi". His brothers decide to pay him a visit and recognize the false Anarjodi as the one-eyed Chamarin girl. The youth summons the Dewar again with the ashes, and the true Anarjodi appears to him, then they send the Chamarin girl to be executed. Later, a local king learns of Anarjodi's beauty and tries to marry her by force, but the youth uses the ashes on the king and his army to transform them into animals. Lastly, a Brahmin sadhu passes by the youth's house right in the moment where the couple are in the throes of passion, and curses them to die the next time they touch each other. It happens thus, and Anarjodi and the youth die in each other's arms. His brothers find the dead couple and bury them together.[27]

Princess Fireflower[edit]

In a tale collected by William Crooke from Mirzapur with the title Princess Fireflower and published in the Indian Antiquary, a raja has two sons, the elder married and the younger still unmarried. One day, he complains to his sister-in-law about her not making him food, and she mockingly tells him to seek the "Princess Fireflower" (in the original, Aṅgârkall Râni, or "the flower of blazing charcoal"). Moved by her words, the prince decides to seek the maiden, and travels to the forest of Brindaban Khakharapur, where he meets a fakir. The fakir hears the prince's story, and agrees to help him: he will turn the youth to a parrot, so he can fly over to the island where the princess is; he is to avoid the demons (deos), pluck a flower and fly back to him, and not look back. It happens thus and the prince steals a flower; the demons tell him to turn around, he does and is burnt to death by the creatures. Noticing his prolonged absence, the fakir flies to the island, resurrects the prince and turns him into a crow this time. The prince seizes this second chance, grabs the flower and flies back to the fakir's hut, where he is turned into a cat to trick the demons that followed him. Fooled by the fakir, the demons depart; the fakir restores the prince and gives him a red-lead box (sindurdan), which he is to open back at his kingdom. The prince reaches the confines of his kingdom and opens the box: a "twelve year old" girl comes out of it. The prince wants to bring her some water, but she offers to bring him some, and goes to a well. At the well, a Rajá's handmaid is also fetching water, and suggests she and Princess Fireflower trade clothes and see their reflections in the water. The young princess falls for the trick and is shoved in the well, while the handmaid takes her place. A month later, a blaze appears by the well, and the prince goes to investigate. He finds a flower bed in the well and brings it home in a handkerchief. One day, he accidentally drops it into the ground, and his son with the false princess finds the flower, then gives it to his mother. The false princess throws it into a dung heap, where a mango tree sprouts. The false princess wants the tree felled down, but the prince orders it to be removed to another location, and let no one but him touch its fruits. His orders are carried out. The tree is preserved, and yields fruits. One day, a mango falls and the gardener's wife finds it and brings it home. The princess leaves the mango and is adopted by the gardender's family. One day, the false princess learns of this and orders the keeper of the elephants to crush the princess at the gardener's house. She is brought to the forest to the executed, but a Dom tells the executioner to spare her. The princess is let go and creates a palace in the forest with her powers, with two parrots perched at the entrance. Some time later, the Rajá and his younger son journey through the woods, find Princess Fireflower's palace, and hear the birds talk about her lifestory and the handmaid's deception. Princess Fireflower confirms the story and marries the prince, while the handmaid is punished.[28]

The Story of the Corn Queen[edit]

In a Raj Gond collected by ethnologist Christoph von Fürer-Haimendorf with the title The Story of the Corn Queen, Sri Shembu Mahadeo creates twelve tribes of men, and live on wild fruits, wild roots and leaves. This worries Sri Shembu, who wants to find the Corn Queen to nourish mankind. The deity summons Raja Bikram and bids him find the Corn Queen. One night, feeling thirsty, Raja Bikram orders his wives to fetch him water, but they refuse. The man admonishes them and says he will look for the Corn Queen as his newest wife, and on the mere mention of her name the water flows from his cup to his mouth. Raja Bikram journeys to many worlds, where people and plants are of a single colour (a yellow world, then red, black, white, brass, copper, silver and lastly gold). Raja Bikram stops to rest under a banyan tree, and protects a nest of Gurulupang bird chicks from a snake that has always menaced it. The next morning, the bird parents appear and, in gratitude, they carry the king over the ocean to the place where he can find the Corn Queen. The birds advise him to cut off the jawari stalk of corn, then open it only at home, after he makes a puja. The king makes his way home and decides to cut open the sheath of corn before he enters his town, and finds a girl of six months and a year old inside the corn. He places her under a tree and returns to his hometown to bring back a retinue. Meanwhile, Lali, a servant girl, goes to meet the Corn Queen and tricks the girl to trade clothes with her, then shoves her inside a well, then takes her place. As for the true Corn Queen, she turns into a red flower inside the well, which the gardener brings to plant in the garden and it turns into a sandalwood tree. Every night, the true Corn Queen comes out of the tree and dances in the courtyard, mocking Raja Bikram for falling for the trick Lali played on her. One day, Lail listens to the song, meets the Corn Queen, falsely console her, and the next morning lies that the sandalwood tree is cursed and must be destroyed. The king orders the tree to be felled down and burnt, but a splinter survives which a Brahmin brings home to scent his bathwater. The splinter turns into a taro plant from which the Corn Queen also appears to repeat her mocking song and dance at night. Lali discovers the Corn Queen's newest incarnations (wild spinach and roselle), and the Raja's men uproot the roselle, causuing some of its seeds to become a fig tree and others a jawari millet. One night, Raja Bikram hears her song and goes to meet the real Corn Queen in the courtyard, begging for her forgiveness. The Corn Queen asks him to pick up the millet and open its beat its seeds with sticks. The next morning, the Raja beats Lali in public and punishes her, then does as the Corn Queen instructed, resurrecting her back to the form he found her when he opened the ear of corn. On the presence of the Corn Queen among their people, a bountiful harvest appears in their land. However, Raja Bikram and the other Gonds worry about their fabulous wealth and plentiful harvest, then the king banishes her from his country. The Corn Queen warns that, if she leaves, the land will grow poor. Despite her warning, it happens thus, and the girl departs, taking their prosperity and wealth with her.[29]

The Coconut Lady[edit]

In an Indian tale titled The Coconut Lady, the youngest of seven princes, prince Alok, wishes to have a wife for himself, since a wife prepares food best for their husband, and Alok is eating food prepared by his sisters-in-law. One day in his travels, he meets a sadhu and confides in him about his lack of a wife. The sadhu agrees to help the youth, and advises him to bring a coconut from a coconut palm. Prince Alok finds a coconut palm and knocks down one fruit, then plans to get another one, but the first one jumps back into the fruit. The prince returns empty-handed to the sadhu, who sends him again to get only one. This time the prince obeys and brings the coconut, which the sadhu reveals will grant him a beautiful wife. The prince makes a return home and stops by a potter's house to rest for the night. While he is asleep, the coconut turns into a beautiful lady with a red saree. The potter's wife, wanting to change her poor social status, admires the coconut lady and convinces her to trade clothes with her. The coconut lady does as asked, and the potter's wife drags her outside to drown her at a well, then takes her place, pretending to be the fruit maiden. Prince Alok wakes up and, on seeing the wrong woman, brings her to the palace with him. Back to the coconut lady, she goes through a cycle of transformations: a beautiful flower appears in the well, which the prince bring home with him. The false bride crushes its petals and throws it out the window, where an amaranthus tree sprouts. The false bride wishes to have its leaves used for food, and the cook prepares to roast them, but the leaves begin to talk. The cook, scared, gets rid of the leaves in the garden, where a coconut tree sprouts. A cattle-herding boy takes one of the coconuts with him; the lady springs out of it and is adopted by his mother. One day, Alok's horse grazes near the cattle-herding family, and the Coconut Lady, instead of chasing the animal away, pets it, leaving an impression of a golden handprint. The horse returns to its master, and Alok, noticing the handprint, goes to the cattle-herders' house to verify it. There, he finds the Coconut Lady, beautiful as ever, who reveals the whole truth to him, and asks him to punish the potter's wife, who took her place. Prince Alok immures the woman in the palace as her punishment, and marries the Coconut Lady.[30]

The Areca-Nut Princess[edit]

In a Kannada tale from Karnatak translated as Areca-Nut Princess or The Arecanut Princess, a king has five sons, four of them married save the youngest, who rejects his prospective brides and travels to find the Areca-nut king's daughter. On his journeys, he meets three saints who each gifts him a lemon, a stick, coal and a tumeric. They also warn him not to place the areca nut on the ground. The prince reaches the garden of the Areca-nut king's tree, plucks an areca nut (inside of which the princess is). However, the garden is protected by guardians: a Rakshasa (at which he throws the lemon to defeat it), and lions, tigers and all manners of creatures. The animals attack and kill the prince. The third saint goes to the garden to rescue and revive the prince, and gifts him the same objects as before. The revived prince throws the objects at the animals of the garden, plucks the arecanut and rushes back. He stops at the edge of a city and sleeps beside a well. When he dozes off, the nut falls to the ground and releases the Arecanut Princess. At the same time, a lowly Kumbara girl is fetching water, when she sights the Arecanut Princess, changes clothes and jewels with her, and shoves her down a well, then enters the areca nut. The prince wakes up and takes the nut back to his palace, and lives with the false princess. Meanwhile, the true princess survives and goes through a cycle of reincarnations: she becomes a flower in the well which the prince takes home. The false bride recognizes it as a form of the princess and buries it; a sandalwood tree sprouts, which the false bride wants chopped down and burnt down. The woodcutter fulfills the orders and cuts it down, but bring home with him a piece of the sandalwood tree. In the woodcutter's house, the Arecanut Princess comes out of the piece of wood, is discovered and adopted by the woodcutter. Some time later, the prince goes on a hunt and eavesdrops some girls commenting on the story of the Arecanut Princess. On hearing this, the prince learns of the whole truth, punishes the false bride and marries the true Arecanut Princess.[31][32][33] According to folklorist Jawaharlal Handoo, the tale was provided by a researcher from Mysore University, and is "widespread in South Karnataka, Tamil Nadu and Kerala".[34]

Other tales[edit]

Researcher Noriko Mayeda and Indologist W. Norman Brown reported an Indian tale collected by Sharda. In this tale, a king has seven sons and arranges for the princes to leave home to another kingdom to fetch their wives. The youngest prince, however, suggests that someone should stay and defend the kingdom in case an attack happens. The elder princes agree, go to the distant kingdom, and return with their respective brides. Counting the number of princes and brides, the youngest prince learns that, since he stayed, they could not bring a wife for him. Later, his sisters-in-law mockingly say the seventh prince would want for wife only the girl named "Anarkali" ('Pomegranate Blossom'). The prince decides to search for her, and finds a sadhu's hut, which he tidies up. The sadhu comes and thanks the prince. In gratitude, after hearing his story, the sadhu gives him a stick for him to use against a pomegranate tree to pick a fruit and leave. It happens thus, and the prince plucks a pomegranate, then takes the fruit to open it by a well: the maiden Anarkali comes out of the fruit, so beautiful is she that he swoons. She hurries to a nearby river to draw water to revive him, and meets a dhoban, a washerwoman. The dhoban tells Anarkali they first have to exchange clothes. The fairy falls for the ruse, and is shoved into the river, and the dhoban takes her place by the prince's side. Fooling the prince, the dhoban says she prefers they live away from his brothers. Back to the fairy, the remains of the fruit turn into a lotus flower by the well, which only the prince can catch. The false bride tears apart the flowers; where the petals fell, rivers spring up and many pomegranate trees. One of the pomegranates releases a fruit that is found by the gardener's wife. She releases a reborn Anarkali, and adopts her as her daughter. Some time later, she prepares flowers garlands, which draw the attention of the dhoban. The false princess orders the gardener's adoptive daughter to be brought before her. It happens thus, and the dhoban kills Anarkali, chops her body and buries them in the forest, where pomegranate trees sprout. Later, the prince is on a hunt and comes across a pair of parrots perched on one of the pomegranate trees: the birds are discussing Anarkali's story, and reveal the dhoban is the prince's wife, not the maiden. The prince asks the birds how he can find the maiden again, and they tell him to open one of the fruits of the trees. He does as instructed and again Anarkali appears to him. Now reunited with his true bride, he marries her and executes the dhoban.[35]

Pakistan[edit]

Pakistani writer and poet Shafi Aqeel published a Pakistani Punjabi tale which was translated into English as Pomegranate Princess by writer Ahmad Bashir. In this tale, a king has seven sons of marriageable age, and sends an emissary to find suitable wives for them. The emissary stops at an inn, where he meets another king's emissary with a similar mission: to find seven suitable husbands for the king's seven daughters. Rejoicing at this fortunate coincidence, the respective kings arrange marriages between both their houses, but only six of the seven princes marry six of the seven princesses, save the youngest prince. His sisters-in-law, wanting to couple their cadette to the young prince, try to goad him during their marriage celebration, but, on his refusal, they mockingly tell him to marry Princess Pomegranate. On hearing their words, the youngest prince decides to journey and look for this princess, and finds a dead garden and a mendicant sleeping nearby in a hut. The mendicant lies in deep sleep, and the prince waters and takes care of the garden. After six months, the mendicant wakes up and, on seeing the now lush garden, thanks the prince for his good work. The prince asks the mendicant to help him find Princess Pomegranate, and produces a ball which he throws on the ground, then advises the prince to follow the ball and fetch the fruit from the tree wherever it lands, and to open the fruit only when he is back home. The prince follows his instructions, plucks a large fruit, and goes back home. Before he goes back to his kingdom, he doubts the presence of the princess inside the fruit, and opens it: he releases Princess Pomegranate, but her beauty is so radiant and dazzling the prince faints. The princess places his head on her lap and tries to wake him up. Suddenly, the gardener's widowed daughter sights the pair and deduces the beautiful girl is the princess the prince went on a quest for. Princess Pomegranate goes for a drink in a nearby well, and the gardener's daughter convinces her to see her reflection down in the water. She changes clothes with the fruit princess and shoves her down a well, then takes her place by the prince's side. When the prince wakes up, he notices an ugly woman in a splendid dress, and mistakes her for the true Princess Pomegranate. Back to the real one, a red flower appears in the well, and the false bride wants it to be made into a paste for her feigned headache. It is done so, but the past enhances her false illness, so she throws the flower through the window. A patch of "succulent greens" sprouts, which the false bride wishes to be removed, thus the prince summons people to come and pluck the greens. The false bride tries to cook some of the green, which begin to talk back at her so she throws them in the garden. A bed of flowers and a pomegranate tree also sprout where they fell, which the false princess also wants removed. People come to pluck the flowers and a little boy fetches one pomegranate which he takes home to feed his mother with. When they cut it open, the true Princess Pomegranate appears again and wants to be adopted by the boy's mother. Time passes, and the mother sells Princess Pomegranate's beautiful handmade handkerchiefs. The prince notices the handwork and falls in love with its maker, and arranges their marriage. He recognizes his new bride as the real Princess Pomegranate, who tells him the whole story, and punishes the false bride by dropping her into the same well.[36]

Tibet[edit]

In a Tibetan tale, Drolmakyid the Fairy, after an old woman curses him to search for the titular Fairy Drolmakyid, the prince finds an orange and brings it with him. He peels the orange and a beautiful maiden appears. They hire a servant girl (a witch in disguise), who shoves Drolmakyid down in a lake and replaces her as the prince's wife. The fairy goes through a cycle of transformations: golden lotus flower, then to walnut tree, then human again by leaving a single walnut and working as a mysterious housekeeper for a poor family.[37][38][39][40]

See also[edit]

Footnotes[edit]

  1. ^ "The motif of a woman stabbed in her head with a pin occurs in AT 403 (in India) and in AT 408 (in the Middle East and southern Europe)."[12]
  2. ^ As Hungarian-American scholar Linda Dégh put it, "(...) the Orange Maiden (AaTh 408) becomes a princess. She is killed repeatedly by the substitute wife's mother, but returns as a tree, a pot cover, a rosemary, or a dove, from which shape she seven times regains her human shape, as beautiful as she ever was".[13]

References[edit]

  1. ^ Dracott, Alice Elizabeth (1906). Simla Village Tales, or Folk Tales from the Himalayas. England, London: John Murray. pp. 226–237.
  2. ^ Aarne, Antti; Thompson, Stith. The types of the folktale: a classification and bibliography. Folklore Fellows Communications FFC no. 184. Helsinki: Academia Scientiarum Fennica, 1961. pp. 135-137.
  3. ^ Thompson, Stith; Roberts, Warren Everett (1960). Types of Indic Oral Tales: India, Pakistan, And Ceylon. Helsinki: Suomalainen Tiedeakatemia. p. 60.
  4. ^ Uther, Hans-Jörg (2004). The Types of International Folktales: A Classification and Bibliography, Based on the System of Antti Aarne and Stith Thompson. Suomalainen Tiedeakatemia, Academia Scientiarum Fennica. pp. 241–243. ISBN 978-951-41-0963-8.
  5. ^ Thompson, Stith; Roberts, Warren Everett (1960). Types of Indic Oral Tales: India, Pakistan, And Ceylon. Helsinki: Suomalainen Tiedeakatemia. p. 60.
  6. ^ Mayeda, Noriko; Brown, W. Norman. Tawi Tales; Folk Tales From Jammu. American Oriental Society New Haven, Connecticut, 1974. p. 537.
  7. ^ Goldberg, Christine (1997). The Tale of the Three Oranges. Suomalainen tiedeakatemia. pp. 140–141.
  8. ^ Kawan, Christine Shojaei. "Orangen: Die drei Orangen (AaTh 408)" [Three Oranges (ATU 408)]. In: Enzyklopädie des Märchens Online, edited by Rolf Wilhelm Brednich, Heidrun Alzheimer, Hermann Bausinger, Wolfgang Brückner, Daniel Drascek, Helge Gerndt, Ines Köhler-Zülch, Klaus Roth and Hans-Jörg Uther. Berlin, Boston: De Gruyter, 2016 [2002]. p. 347. https://www-degruyter-com.wikipedialibrary.idm.oclc.org/database/EMO/entry/emo.10.063/html. Accessed 2023-06-20.
  9. ^ Aarne, Antti; Thompson, Stith. The types of the folktale: a classification and bibliography. Folklore Fellows Communications FFC no. 184. Helsinki: Academia Scientiarum Fennica, 1961. p. 135.
  10. ^ Uther, Hans-Jörg (2004). The Types of International Folktales: A Classification and Bibliography, Based on the System of Antti Aarne and Stith Thompson. Suomalainen Tiedeakatemia, Academia Scientiarum Fennica. p. 241. ISBN 978-951-41-0963-8.
  11. ^ Thompson, S.; Balys, J. (1958). The oral tales of India. Bloomington: Indiana University Press. p. 101..
  12. ^ Goldberg, Christine. [Reviewed Work: The New Comparative Method: Structural and Symbolic Analysis of the Allomotifs of "Snow White" by Steven Swann Jones] In: The Journal of American Folklore 106, no. 419 (1993): 106. Accessed June 14, 2021. doi:10.2307/541351.
  13. ^ Dégh, Linda. American Folklore and the Mass Media. Indiana University Press. 1994. p. 94. ISBN 0-253-20844-0.
  14. ^ Goldberg, Christine. "Imagery and Cohesion in the Tale of the Three Oranges (AT 408)". In: Folk-Narrative and World View. Vortage des 10. Kongresses der Internationalen Gesellschaft fur Volkserzahlungsforschung (ISFNR) - Innsbruck 1992. I. Schneider and P. Streng (ed.). Vol. I, 1996. p. 211.
  15. ^ Shojaei-Kawan, Christine (2004). "Reflections on International Narrative Research on the Example of the Tale of the Three Oranges (AT 408)". In: Folklore (Electronic Journal of Folklore), XXVII, p. 35.
  16. ^ Thompson, Stith; Roberts, Warren Everett (1960). Types of Indic Oral Tales: India, Pakistan, And Ceylon. Helsinki: Suomalainen Tiedeakatemia. pp. 58–59, 60.
  17. ^ Aarne, Antti; Thompson, Stith. The types of the folktale: a classification and bibliography. Folklore Fellows Communications FFC no. 184. Helsinki: Academia Scientiarum Fennica, 1961. p. 137.
  18. ^ Goldberg, Christine (1997). The Tale of the Three Oranges. Suomalainen tiedeakatemia. pp. 140–148. ISBN 9789514108112.
  19. ^ Mayeda, Noriko; Brown, W. Norman (1974). Tawi Tales; Folk Tales From Jammu. Connecticut: American Oriental Society New Haven. pp. 227–230.
  20. ^ Wadia, Putlibai (1887). "Folk-Lore of Western India VIII. Raní Jhajhaní". Indian Antiquary. 16: 188–194.
  21. ^ Bruyere, Loys. "Contes Arabes et Orientaux III: Les Contes de Miss Putlibai Vadia". In: Revue de Traditions Populaires. Année 4, Tome 4, Numéro 10. Paris: Société des traditions populaires, 1889. pp. 534-536.
  22. ^ Parker, Henry (1910). Village Folk-Tales of Ceylon. Vol. 2. pp. 142–145.
  23. ^ Chhangte, Cherrie Lalnunziri (2015). The Blaft book of Mizo myths. Chennai, India: Blaft Publications Private Limited. pp. 1–6.
  24. ^ Kincaid, C. A. Folk Tales Of Sind And Guzarat. Karachi: The Daily Gazette Press, 1925. pp. 90-101.
  25. ^ North Indian Notes and Queries. Vol. II. Edited by William Crooke. 1893. pp. 211-212.
  26. ^ "Сказки народов Индии" [Tales of the Peoples of India]. Ленинград: Художественная литература, 1976. Tale nr. 22 (in Russian).
  27. ^ Elwin, Verrier; Hutton, J. H. (1939). The Baiga. London: John Murray, Albemarle Street W. pp. 498–501.
  28. ^ Crooke, William (1893). "Folktales of Hindustan. 6. Princess Fireflower". Indian Antiquary. 22: 289–292.
  29. ^ Fürer-Haimendorf, Christoph von. The Raj Gonds of Abilabad. Vol. 1: Myth and Ritual. The Aboriginal Tribes of Hyderabad, Vol. III. London: Macmillan, 1948. pp. 370-379.
  30. ^ Hower, Edward (1991). The Pomegranate Princess: And Other Tales from India. Detroit: Wayne State University Press. pp. 61–65.
  31. ^ Handoo, Jawaharlal (1977). "Morphological Analysis of Oral Narrative". International Journal of Dravidian Linguistics: IJDL. 6 (2). Department of Linguistics, University of Kerala: 285–289.
  32. ^ Islam, Mazharul (1985). Folklore, the Pulse of the People: In the Context of Indic Folklore. Concept Publishing Company. pp. 102–104.
  33. ^ Beck, Brenda E.F. (1987). "Frames, Tale Types and Motifs: The Discovery of Indian Oicotypes". In Peter J. Claus; Jawaharlal Handoo; D. P.S (eds.). Indian Folklore. Vol. 2. Mysore: Central Institute of Indian Languages. pp. 30–32.
  34. ^ Handoo, Jawaharlal (1977). "Morphological Analysis of Oral Narrative". International Journal of Dravidian Linguistics: IJDL. 6 (2). Department of Linguistics, University of Kerala: 278.
  35. ^ Mayeda, Noriko; Brown, W. Norman. Tawi Tales; Folk Tales From Jammu. American Oriental Society New Haven, Connecticut, 1974. pp. 538-542.
  36. ^ Aqeel, Shafi. Popular Folk Tales of the Punjab. Translated by Ahmad Bashir. Oxford University Press, 2008. pp. 19-27. ISBN 9780195475791.
  37. ^ Elswit, Sharon. The East Asian story finder: a guide to 468 tales from China, Japan and Korea, listing subjects and sources. McFarland, 2009. pp. 82-83. ISBN 978-0-7864-3945-4.
  38. ^ Komissarov, Sergei Alexandrovich. "Волшебное сокровище. Сказки и легенды Тибета" [The Magic Treasure: Tibetan Fairy Tales and Legends]. Составление, предисловие и комментарий С.А. Комиссарова. Новосибирск: Наука, 1997. pp. 55-68.
  39. ^ Folk Tales From China (Fifth Series). Peking: Foreign Languages Press. 1960. pp. 1–27.
  40. ^ Goldberg, Christine (1997). The Tale of the Three Oranges. Suomalainen tiedeakatemia. p. 142 (entry "Ind 16"). ISBN 9789514108112.
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