Marrying a MonsterThe 440 tale type

Marrying a Monster
The 440 tale type, a supernatural or enchanted frog husband, is most familiar to American and European audiences as the Frog Prince from the Grimm tradition. It starts with a princess who loses her golden ball and promises her own hand in marriage to a frog for its return. The frog gets her ball for her, but she refuses to hold up her end of the bargain. The frog goes to her father who then forces his unwilling daughter to marry the frog. On her wedding night the furious princess is violent with the frog and he transforms into a handsome prince. Tales quite similar to this one are found throughout the world in many cultures. In searching for examples of this tale type, I came across two instances from Korea to contrast with “The Frog and the Princess” of Grimm fame. “The Toad Bridegroom” and “A Frog for a Husband” both fall under the tradition of the 440 tale type and include the subcategories of “B211.7.2 – frog capable of speech,” “B655 – marriage to frog in human form,” and “D395 – transformation of a frog to a person,” and a few others. The 425 tale type starts off similarly to the 440 with a monster for husband, but it deviates in that the bride must search for and recover her husband after he transforms. One such tale is Sean Ó Conaill’s “Bull Bhalbhae”. What all of these stories share is that they are tales of marriage and mating, and that they express interesting views of the mating customs of the societies which hear and retell them.
The story of “The Toad Bridegroom” begins with a poor childless fisherman adopting a toad. As the mother cares for it, the toad grows to be the size of a man, and the father and mother grow to love the toad like a son. The father was not eager to bring the toad home, but the childless mother eagerly tends to the toad, and it is her affectionate servitude which leads to their familial happiness. The toad tells the couple he would like to marry the daughter of a nearby wealthy family, but they are concerned at their own poverty and at his being an animal. It is interesting that in this Korean story the family is significantly more concerned about their low social status in comparison to the bride’s family than they are about his lack of humanity. The toad cares nothing for the class difference and tells his mother to go and ask. The rich man and his wife are insulted and have the mother beaten for even asking. The family does not seem a bit surprised at this beating, which reveals to the audience that there was a very strict class system in place in Korea, and that lower class citizens in Korea at this time could expect to be treated unfairly and even violently by the upper class. Although the toad is clearly supernatural in nature he uses trickery rather than magic to achieve his goals. The toad fools the rich man into thinking that the toad is a messenger of the gods. This use of trickery rather than magic shows a preference for a clever hero over an all powerful one. Under the guise of heavenly messenger the toad tells Mr. Poom that he, his brothers, and his children will all be destroyed if they do not accept the proposal. The threat, and its effectiveness, reveals the male chauvinist structure of Korean values. Most important to a man are his brothers and then his own children, but there is no mention of wives or sisters. Then the rich man tells his three daughters that one of them must marry the toad or the family will be lost, but only the youngest agrees. In a further example of male chauvinism, there is very little focus on the young bride except to acknowledge that her father shames her into the marriage with the threat upon her family’s lives. Even the toad is in included in this as he has no particular preference of a bride except that she needs to be a rich man’s daughter.
On the wedding night the toad has his bride cut off his skin and underneath he is a handsome young man, but in the morning he puts the skin back on. In his toad-skin he goes on a hunt with all the men of his new household, but no one catches anything. So the toad takes off his skin and summons a hundred deer. An inability to catch anything for the household demonstrates that Mr. Poom is an insufficient provider, where as the toad/young man can provide an excess of food. Then he returns to the wealthy man’s house with the deer, reveals his true form, and ascends to heaven with his bride and his parents. So the humble family who shows charity to the strange frog and the selfless young woman who sacrifices her happiness for her family are rewarded for their kindness by spending the rest of their lives in heaven, but the selfish rich man and his elder daughters are left behind. This is not exactly a punishment as they live quite comfortably, but it is certainly the short end of the stick compared with paradise.
“A Frog for a Husband” begins similarly with a childless couple adopting a frog. This time the father is a hard working farmer who supplements his income by fishing. The farmer and his wife are considerably worried about who will care for them when they become too old to work. A defining characteristic of Korean family structure is that the children care for their parents when they get older, so this is a kind of warning against childlessness and an argument for adoption. When he discovers a giant frog in the place of his once excellent fishing spot the farmer curses the monster, but after the frog cajoles him he agrees to take it back to his house. His wife is disturbed by the creature as well until she discovers that the frog is a fountain of entertainment and gossip and then places him in their best room. Once again it is the mother character who welcomes the creature into their home. The frog rewards their kindness with great riches, a new home, and excellent company. This shows how an adopted child is a boon to this older couple rather than a burden. After they live together as a family, the mother begins telling the frog many stories about the beautiful Miss Peach. Miss Peach is the daughter of a wealthy local nobleman named Mr. Poom, and the frog soon asks his adoptive father to ask Mr. Poom for Miss Peach’s hand. Peaches are a soft, delicate, delicious fruit, as well as a clear symbol of spring and fertility. All of these qualities result in a clear metaphor between peaches and the desirable qualities of a young bride. Mr. Poom is pleased to hear of the suitor’s wealth and power, but when he discovers that the suitor is a frog he tells his servants to beat the father. Before the punishment can be carried out there is a sudden and terrible storm, presumably sent by the frog, which changes Mr. Poom’s mind. The frog has already been shown to be a supernatural creature, through his sheer existence and his gifts to the farmer and his wife, but this shows him to be powerful on a godly level. The lesson here seems to be more for Mr. Poom, saying that it is a good plan to notice and react to natural signs of trouble.
Unlike the previous bride Miss Peach has been traded in a regular marriage bargain, so she has no knowledge of the bride groom who awaits her. The bride is sent to her wedding with her eyes covered with wax, which is apparently a Korean tradition, so she does not see the groom until her wedding night. She is furious about the deception, and when asked she viciously cuts off the frog’s skin. Underneath she finds a handsome prince and the prince explains that he is the son of the Star King and he had been punished by his father to live as a frog until he completed three tasks. The tasks were to drink up all the water in the father’s pond, eat up all the fish, and to marry the most beautiful woman in the world. Having completed all of this the prince returns to the star kingdom with his bride, and leaves his foster parents to enjoy the rest of their lives with his gifts. In this version the adopted son does not bring his parents to paradise, but he does set them up with all the earthly comfort they could need. This story shows again how a daughter will be rewarded for submissively following her father’s will.
One has to wonder why there are so many stories about princesses and frogs. Frogs are slimy, gross, and certainly of humble origin. Many people would consider them unwanted pests, and would not want to touch one, let alone marry one. Meanwhile a princess, at least in folk tales, is usually the epitome of what any family would look for in a desirable young bride, in that she is wealthy, chaste, and beautiful. What is most unique about frogs among all animals though, is that they go through a remarkable metamorphosis which can be observed by anyone. There are very few creatures which undergo a metamorphosis once released from the egg or womb, so metamorphosis is normally not something that can be observed without advanced scientific tools. However, unlike the butterfly which hides in a cocoon, the frog transforms from a slimy legless tadpole into a very different looking creature right out in the open. So to a superstitious observer it seems the frog is already a magical creature capable of transformation. If the frog can transform from a water worm to the more handsome frog, why not further into a handsome prince? As people through the ages have been obsessed with appearance, it is no wonder they should be so interested in a creature which can change its own. Of course, this physical metamorphosis is also an excellent metaphor for the changes which occur inside a person as they mature, and a parallel for the physical changes which occur in humans during puberty.
In each of these stories it is the king, or father, to whom the bridegroom appeals to get the princess for a bride. His behavior expresses the patriarchal system which runs these societies, even the frog who makes the initial marriage contract with the princess herself appeals to the king when she refuses to follow through. The frog can also represent an unatt

Kết quả (Anh) 1:

Marrying a MonsterThe 440 tale type, a supernatural or enchanted frog husband, is most familiar to American and European audiences as the Frog Prince from the Grimm tradition. It starts with a princess who loses her golden ball and promises her own hand in marriage to a frog for its return. The frog gets her ball for her, but she refuses to hold up her end of the bargain. The frog goes to her father who then forces his unwilling daughter to marry the frog. On her wedding night the furious princess is violent with the frog and he transforms into a handsome prince. Tales quite similar to this one are found throughout the world in many cultures. In searching for examples of this tale type, I came across two instances from Korea to contrast with "The Frog and the Princess" of Grimm fame. "The Toad Bridegroom" and "A Frog for a Husband" both fall under the tradition of the 440 tale type and include the subcategories of "B 211.7.2-frog capable of speech," "B655-marriage to frog in human form," and "D395-transformation of a frog to a person," and a few others. The 425 tale type starts off similarly to the 440 with a monster for husband, but it deviates in that the bride must search for and recover her husband after he transforms. One such tale is Sean Ó Conaill's "Bhalbhae Bull". What all of these stories share is that they are tales of marriage and mating, and that they express interesting views of the mating customs of the societies which hear and retell them. The story of "The Toad Bridegroom" begins with a poor childless fisherman adopting a toad. As the mother cares for it, the toad grows to be the size of a man, and the father and mother grow to love the toad like a son. The father was not eager to bring the toad home, but the childless mother eagerly tends to the toad, and it is her affectionate servitude which leads to their familial happiness. The toad tells the couple he would like to marry the daughter of a wealthy family nearby, but they are concerned at their own poverty and at his being an animal. It is interesting that in this Korean story the family is significantly more concerned about their low social status in comparison to the bride's family than they are about his lack of humanity. The toad cares nothing for the class difference and tells his mother to go and ask. The rich man and his wife are insulted and have the mother beaten for even asking. The family does not seem a bit surprised at this beating, which reveals to the audience that there was a very strict class system in place in Korea, and that the lower class citizens in Korea at this time could expect to be treated unfairly and even violently by the upper class. Although the toad is clearly supernatural in nature he uses trickery rather than magic to achieve his goals. The toad fools the rich man into thinking that the toad is a messenger of the gods. This use of trickery rather than magic shows a preference for a clever hero over an all powerful one. Under the guise of heavenly messenger the toad tells Mr. Poom that he, his brothers, and his children will all be destroyed if they do not accept the proposal. The threat, and its effectiveness, reveals the male chauvinist structure of Korean values. Most important to a man are his brothers and then his own children, but there is no mention of wives or sisters. Then the rich man tells his three daughters that one of them must marry the toad or the family will be lost, but only the youngest agrees. In a further example of male chauvinism, there is very little focus on the young bride except to acknowledge that her father shames her into the marriage with the threat upon her family's lives. Even the toad is in included in this as he has no particular preference of a bride except that she needs to be a rich man's daughter. On the wedding night the toad has his bride cut off his skin and underneath he is a handsome young man, but in the morning he puts the skin back on. In his toad-skin he goes on a hunt with all the men of his new household, but no one catches anything. So the toad takes off his skin and summons a hundred deer. An inability to catch anything for the household demonstrates that Mr. Poom is an insufficient provider, where as the toad/young man can provide an excess of food. Then he returns to the wealthy man's house with the deer, reveals his true form, and ascends to heaven with his bride and his parents. So the humble family who shows charity to the strange frog and the selfless young woman who sacrifices her happiness for her family are rewarded for their kindness by spending the rest of their lives in heaven, but the selfish rich man and his elder daughters are left behind. This is not exactly a punishment as they live quite comfortably, but it is certainly the short end of the stick compared with paradise. "A Frog for a Husband" begins similarly with a childless couple adopting a frog. This time the father is a hard working farmer who supplements his income by fishing. The farmer and his wife are considerably worried about who will care for them when they become too old to work. A defining characteristic of Korean family structure is that the children care for their parents when they get older, so this is a kind of warning against childlessness and an argument for adoption. When he discovers a giant frog in the place of his once excellent fishing spot the farmer curses at the monster, but after the frog cajoles him he agrees to take it back to his house. His wife is disturbed by the creature as well until she discovers that the frog is a fountain of entertainment and gossip and then places him in their best room. Once again it is the mother character who welcomes the creature into their home. The frog rewards their kindness with great riches, a new home, and excellent company. This shows how an adopted child is a boon to this older couple rather than a burden. After they live together as a family, the mother begins telling the frog many stories about the beautiful Miss Peach. Miss Peach is the daughter of a wealthy local nobleman named Mr. Poom, and the frog asks his adoptive father soon to ask Mr. Poom for Miss Peach's hand. Peaches are a soft, delicate, delicious fruit, as well as a clear symbol of spring and fertility. All of these qualities result in a clear metaphor between peaches and the desirable qualities of a young bride. Mr. Poom is pleased to hear of the suitor's wealth and power, but when he discovers that the suitor is a frog he tells his servants to beat the father. Before the punishment can be carried out there is a sudden and terrible storm, presumably sent by the frog, which changes Mr. Poom's mind. The frog has already been shown to be a supernatural creature, through his sheer existence and his gifts to the farmer and his wife, but this shows him to be powerful on a godly level. The lesson here seems to be more for Mr. Poom, saying that it is a good plan to notice and react to natural signs of trouble.Unlike the previous bride Miss Peach has been traded in a regular marriage bargain, so she has no knowledge of the bride groom who awaits her. The bride is sent to her wedding with her eyes covered with wax, which is apparently a Korean tradition, so she does not see the groom until her wedding night. She is furious about the deception, and when asked she viciously cuts off the frog's skin. Underneath she finds a handsome prince and the prince explains that he is the son of the Star King and he had been punished by his father to live as a frog until he completed three tasks. The tasks were to drink up all the water in the father's pond, eat up all the fish, and to marry the most beautiful woman in the world. Having completed all of this the prince returns to the star kingdom with his bride, and leaves his foster parents to enjoy the rest of their lives with his gifts. In this version the adopted son does not bring his parents to paradise, but he does set them up with all the earthly comfort they could need. This story shows again how a daughter will be rewarded for submissively following her father's will.One has to wonder why there are so many stories about princesses and frogs. Frogs are slimy, gross, and certainly of humble origin. Many people would consider them unwanted pests, and would not want to touch one, let alone marry one. Meanwhile a princess, at least in folk tales, is usually the epitome of what any family would look for in a desirable young bride, in that she is wealthy, chaste, and beautiful. What is most unique about frogs among all animals though, is that they go through a remarkable metamorphosis which can be observed by anyone. There are very few creatures which undergo a metamorphosis once released from the egg or womb, so the metamorphosis is normally not something that can be observed without advanced scientific tools. However, unlike the butterfly which hides in a cocoon, the frog transforms from a slimy legless tadpole into a very different looking creature right out in the open. In comparison to a superstitious observer it seems the frog is already a magical creature capable of transformation. If the frog can transform from a water worm to the more handsome frog, why not further into a handsome prince? As people through the ages have been obsessed with appearance, it is no wonder they should be so interested in a creature which can change its own. Of course, this physical metamorphosis is also an excellent metaphor for the changes which occur inside a person as they mature, and a parallel for the physical changes which occur in humans during puberty. In each of these stories it is the king, or father, to whom the bridegroom appeals to get the princess for a bride. His behavior expresses the patriarchal system which runs these societies, even the frog who makes the initial marriage contract with the princess herself appeals to the king when she refuses to follow through. The frog can also represent an unatt

Kết quả (Anh) 2:

Marrying a Monster
tale The 440 type, a supernatural or enchanted frog husband, is familiar to American and European nhất as the Frog Prince Audiences from the Grimm tradition. It starts with a princess who loses her Artist golden ball and promises the her own hand in marriage to a frog for its return. The frog gets her Artist ball for the her, but to hold up her Artist SHE Refusés end of the bargain. The frog goes to the her father who then your forces his daughter to marry the frog unwilling. On her wedding night the princess is furious with the frog and he Violent Into a handsome prince transforms. Tales quite similar to this one are found in many cultures throughout the world. In searching for examples of this tale type, I came across two instances from Korea to contrast with "The Frog and the Princess" of Grimm fame. "The Toad Bridegroom" and "A Frog for a Husband" cả fall under the tradition of the type and include the tale 440 subcategories of "B211.7.2 - frog capable of speech," "B655 - marriage to frog in human form," and "D395 - transformation of a frog to a person," and vài others. The tale type 425 starts off similarly to the 440 with a monster for husband, but it deviates in rằng bride search for and recover her Artist phải husband after he transforms. One such 'tale is Sean Ó Conaill's "Bull Bhalbhae". What is all of những stories share tales of marriage mà chúng for mating, và chúng interesting views of the mating express Customs of the societies mà hear and retell added.
The story of "The Toad Bridegroom" begins with a poor fisherman Adopting Childless a toad. As the mother cares for it, the toad the size of Grows to be a man, and the father and mother to love the toad grow like a son. The father was not eager to bring the toad home, but The Childless mother eagerly tends to the toad, and it is her Do ask for their affectionate familial Servitude mà leads to happiness. The toad Tells the couple he marry the daughter muốn Wealthy family of a nearby, but chúng Concerned at Their Own Poverty and at his being an animal. It is interesting in this Korean mà the family story is significantly more chúng Concerned about low social status in comparison to the bride's family about his chúng coal Lack of humanity. The toad cares nothing for the class difference and Tells his mother to go and ask. The rich man and his wife are insulted and beaten for thậm có Asking mother. The family does not Seem a bit surprised at this beating, reveals to the Audience mà there was a very strict mà class system in place in Korea, và Lower Class Citizens in Korea at this time could expect to be Treated unfairly and violently by thậm the upper class. Although the toad is supernatural in nature Clearly he uses trickery to Achieve his magic thay goals. The toad fools thinking Into the rich man is a toad rằng messenger of the gods. This use of trickery magic shows a preference thay for a clever hero over an all powerful one. Under the guise of heavenly messenger the toad Tells Mr. Poom mà he, his brothers, and His children will all be destroyed if chúng do not accept the proposal. The threat, and its effectiveness, reveals the structure of Korean male chauvinist values. Most Important to a man are his own brothers and then his children, but there is no mention of wives or sisters. Then the rich man his Tells Daughters mà three added phải marry one of the toad or the family will be lost, but only the Youngest agrees. In example of male chauvinism a Further, there is very little focus on the young bride her Artist mà except to acknowledge the her father Shames Into the marriage with the threat upon the her family's lives. Even the toad is in included in this as he has no Particular preference of a bride except That She needs to be a rich man's daughter.
On the wedding night the toad has his bride cut off his skin and Underneath he is a handsome young man, he puts in the morning but the skin back on. In His toad-skin he goes on a hunt with all the men of his new regular household, but no one catches anything. So the toad takes off his skin and summons a hundred deer. An inability to catch anything for the regular household mà demonstrates Mr. Poom is an đủ provider, where as the toad / young man can cung an excess of food. Then he returns to the Wealthy man's house with the deer, reveals his true form, and ascends to heaven with his parents and His bride. So the humble family who shows charity to the strange frog and the selfless young woman who sacrifices her Artist for the her family happiness are rewarded for spending the rest by chúng kindness of chúng lives in heaven, but the selfish rich man and His Daughters are left behind elder . This is not a punishment Exactly as They Live quite comfortably, but it is certainly the short end of the stick sánh with paradise.
"A Frog for a Husband" begins similarly with a Childless Couple Adopting a frog. This time the father is a hard working farmer who supplements his income by fishing. The farmer and his wife are worried about who will care considerably for added khi chúng too old to work trở. A defining characteristic of Korean family structure is rằng children care for parents khi có chúng get older, than this is a kind of warning với childlessness and an argument for adoption. When he discovers a giant frog in the place of his once excellent fishing spot the farmer curses the monster, but after the frog agrees he cajoles photographing to take it back to his house. His wife is disturbed by the creature as well off until SHE discovers rằng frog is a fountain of entertainment and gossip and then photographing trong best places room. Once again it is the mother who welcomes the creature character Into có home. The frog rewards with great kindness chúng riches, a new home, and excellent company. This shows how an Adopted child is a boon to this older couple rather than a Burden. After They Live together as a family, the mother begins telling the stories about the many beautiful frog Miss Peach. Miss Peach is the daughter of a local nobleman named Wealthy Mr. Poom, and the frog asks his soon to ask Mr. adoptive father Poom for Miss Peach's hand. Peaches are a soft, delicate, delicious fruit, as well as a clear symbol of spring and Fertility. All of These qualities result in a clear metaphor for the desirable qualities giữa peaches of a young bride. Mr. Poom is pleased to hear of the suitor's wealth and power, but he discovers là khi is a frog suitor he Tells HIS Servants to beat the father. Before the punishment can be Carried out there is a sudden and terrible storm, presumably sent by the frog, mà changes Mr. Poom's mind. The frog has to be Shown được a supernatural creature, through his sheer Existence and His gifts to the farmer and his wife, but this shows him to be powerful on a godly level. The lesson here seems? To be more for Mr. Poom, Saying That it is a good plan for React to natural to notice signs of trouble.
Unlike the previous bride Miss Peach Đã traded in a regular marriage bargain, compared She has no knowledge of the bride groom who awaits her Artist. The bride is sent to the her wedding with the her eyes covered with wax, apparently a Korean tradition mà, compared SHE see the groom does not purchase until the her wedding night. She is furious about the deception, and khi Asked SHE viciously off the frog's skin cuts. Underneath finds a handsome prince SHE and the prince explains he is the son mà of the Star King and he had được Punished by his father to live as a frog off until he completed three tasks. The tasks là to drink up all the water in the father's pond, eat up all the fish, and to marry the Most Beautiful Woman in the World. Having completed all of this the prince returns to the kingdom with his star bride, and leaves his foster parents to enjoy the rest of chúng lives with his gifts. In this version does not bring the Adopted son his parents to paradise, but he does set up with all the earthly added comfort chúng could need. This story shows how a daughter sẽ again rewarded for the her father's will submissively sau.
One has to wonder why there are so many stories about princesses and frogs. Frogs are slimy, gross, and certainly of humble origin. Many would như add unwanted pests người, and would not want to touch one, let alone marry one. Meanwhile a princess, folk tales at nhất print, the epitome of what is Thường any family would look for in a young desirable bride, print That She is Wealthy, chaste, and beautiful. What is unique about frogs nhất Among all animals though, is go through a Remarkable mà chúng can be Observed by Metamorphosis mà anyone. There are very few What mà Creatures undergo a Metamorphosis once released from the egg or womb, compared to Metamorphosis is not something có thể thường Observed without advanced scientific tools. Tuy nhiên, unlike the butterfly in a cocoon mà hides, the legless frog tadpole transforms from a slimy Into a very khác looking creature out in the open right. Compared to a superstitious observer it seems? The frog is already a magical creature capable of transformation. If the frog can transform from a water worm to the more handsome frog, why not a handsome prince Further Into? As người through the ages được obsessed with appearance, it is no wonder considering chúng nên mà interested in a creature can change riêng. Of course, this is also an excellent physical Metamorphosis metaphor for the changes occur inside a person mà chúng as mature, and a parallel for the physical changes occur in Humans khi mà puberty.
In each of những stories it is the king, or father, Appeals to Whom the bridegroom to get the princess for a bride. His behavior expresses the patriarchal system runs những mà societies, even level the frog who Makes the initial contract marriage with the princess herself Appeals to the king to follow through When She Refusés. The frog can đại diện am also an unatt