A Legend of Frau Holle – Storytelling for Everyone

Northern European Goddess

In some Scandinavian traditions, Frau Holle is known as the feminine spirit of the woods and plants, and was honored as the sacred embodiment of the earth and land itself. It is said that when Frau Holle shakes out her mattresses, white feathers fall to the earth as snow. A feast is held in her honor each winter by many people in the Germanic countries.

GERMAN FOLKTALE

There was once a widow who had two daughters—one of whom was pretty and industrious, while the other was ugly and idle. But she was much fonder of the ugly and idle one, because she was her own daughter; and the other, who was a step-daughter, was obliged to do all the work in the house. Every day the poor girl had to sit by a well, in the highway, and spin and spin till her fingers bled.

Now it happened that one day the shuttle was marked with her blood, so she dipped it in the well, to wash the mark off; but it dropped out of her hand and fell to the bottom. She began to weep, and ran to her step-mother and told of the mishap.

But she scolded her sharply, and was so merciless as to say, “Since you have let the shuttle fall in, you must fetch it out again.”

So the girl went back to the well, and did not know what to do; and in the sorrow of her heart she jumped into the well to get the shuttle. She lost her senses; and when she awoke and came to herself again, she was in a lovely meadow where the sun was shining and many thousands of flowers were growing.

Along this meadow she went, and at last came to a baker’s oven full of bread, and the bread cried out, “Oh, take me out! take me out! or I shall burn; I have been baked a long time!” So she went up to it, and took out all the loaves one after another with the bread-shovel.

After that she went on till she came to a tree covered with apples, which called out to her, “Oh, shake me! shake me! we apples are all ripe!” So she shook the tree till the apples fell like rain, and went on shaking till they were all down, and when she had gathered them into a heap, she went on her way.

At last she came to a little house, out of which an old woman peeped; but she had such large teeth that the girl was frightened, and was about to run away.

But the old woman called out to her, “What are you afraid of, dear child? Stay with me; if you will do all the work in the house properly, you shall be the better for it. Only you must take care to make my bed well, and to shake it thoroughly till the feathers fly—for then there is snow on the earth. I am Mother Holle.”

As the old woman spoke so kindly to her, the girl took courage and agreed to enter her service. She attended to everything to the satisfaction of her mistress, and always shook her bed so vigorously that the feathers flew about like snow-flakes. So she had a pleasant life with her; never an angry word; and boiled or roast meat every day.

She stayed some time with Mother Holle, and then she became sad. At first she did not know what was the matter with her, but found at length that it was homesickness; although she was many times better off here than at home, still she had a longing to be there.

At last she said to the old woman, “I have a longing for home; and however well off I am down here, I cannot stay any longer; I must go up again to my own people.” Mother Holle said, “I am pleased that you long for your home again, and as you have served me so truly, I myself will take you up again.”

Thereupon she took her by the hand, and led her to a large door. The door was opened, and just as the maiden was standing beneath the doorway, a heavy shower of golden rain fell, and all the gold remained sticking to her, so that she was completely covered with it.

“You shall have that because you are so industrious,” said Mother Holle; and at the same time she gave her back the shuttle which she had let fall into the well. Thereupon the door closed, and the maiden found herself up above upon the earth, not far from her mother’s house.

And as she went into the yard the cock cried: “Cock-a-doodle-doo! Your golden girl’s come back to you!”

So she went in to her mother, and as she arrived thus covered with gold, she was well received, both by her and her sister.

The girl told all that had happened to her; and as soon as the mother heard how she had come by so much wealth, she was very anxious to obtain the same good luck for the ugly and lazy daughter.

She had to seat herself by the well and spin; and in order that her shuttle might be stained with blood, she stuck her hand into a thorn-bush and pricked her finger. Then she threw her shuttle into the well, and jumped in after it.

She came, like the other, to the beautiful meadow and walked along the very same path. When she got to the oven the bread again cried, “Oh, take me out! take me out! or I shall burn; I have been baked a long time!” But the lazy thing answered, “As if I had any wish to make myself dirty!” and on she went.

Soon she came to the apple-tree, which cried, “Oh, shake me! shake me! we apples are all ripe!” But she answered, “I like that! one of you might fall on my head,” and so went on.

When she came to Mother Holle’s house she was not afraid, for she had already heard of her big teeth, and she hired herself to her immediately.

The first day she forced herself to work diligently, and obeyed Mother Holle when she told her to do anything, for she was thinking of all the gold that she would give her. But on the second day she began to be lazy, and on the third day still more so, and then she would not get up in the morning at all.

Neither did she make Mother Holle’s bed as she ought, and did not shake it so as to make the feathers fly up. Mother Holle was soon tired of this, and gave her notice to leave. The lazy girl was willing enough to go, and thought that now the golden rain would come.

Mother Holle led her, too, to the great door; but while she was standing beneath it, instead of the gold a big kettleful of pitch was emptied over her. “That is the reward of your service,” said Mother Holle, and shut the door.

So the lazy girl went home; but she was quite covered with pitch, and the cock by the well-side, as soon as he saw her, cried: “Cock-a-doodle-doo! Your pitchy girl’s come back to you.” But the pitch stuck fast to her, and could not be got off as long as she lived.

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Source: Jacob and Wilhelm Grimm. Household tales by the Brothers Grimm. Translated by Margaret Hunt. London: George Bell and Sons, 1884.

Frau Holle is a similar pre-Christian goddess/witch to the Slavic forest witch, Baba Yaga.

Baba Yaga & the Kind Hearted Girl – Storytelling for Everyone

Russian Folktale

“Tell us about Baba Yaga,” begged Maroosia.

“Yes,” said Vanya, “please, grandfather, and about the little hut on chicken’s legs.”

“Baba Yaga is a witch,” said old Peter, “a terrible old woman she is, but sometimes kind enough. Baba Yaga is often bad, as in the case of Vasilissa the Very Beautiful, who was only saved from her iron teeth by the cleverness of her Magic Doll.”

“And has Baba Yaga really got iron teeth?” asked Vanya.

“Iron, like the poker and tongs,” said old Peter.

“What for?” said Maroosia.

“To eat up little Russian children,” said old Peter, “when she can get them. She usually only eats bad ones, because the good ones get away. She is bony all over, and her eyes flash, and she drives about in a mortar, beating it with a pestle, and sweeping up her tracks with a broom, so that you cannot tell which way she has gone.”

“And her hut?” said Vanya. He had often heard about it before, but he wanted to hear about it again.

“She lives in a little hut which stands on chicken’s legs. Sometimes it faces the forest, sometimes it faces the path, and sometimes it walks about.

“Now tell us one of the Baba Yaga stories,” said Maroosia.

“Please,” said Vanya.

“I will tell you how one little girl got away from her, and then, if ever she catches you, you will know exactly what to do.”

And old Peter put down his pipe and began.

Baba Yaga and the Kind Hearted Girl

Once upon a time there was a widowed old man who lived alone in a hut with his little daughter. Very merry they were together, and they used to smile at each other over a table just piled with bread and jam. Everything went well, until the old man took it into his head to marry again.

Yes, the old man became foolish in the years of his old age, and he took another wife. And so the poor little girl had a stepmother. And after that everything changed. There was no more bread and jam on the table, and no more playing peek-a-boo, first this side of the samovar and then that, as she sat with her father at tea. It was worse than that, for the girl never did sit at tea.

The stepmother said everything was the little girl’s fault. And the old man believed his new wife, and so there were no more kind words for his little daughter. Day after day the stepmother used to say that the little girl was too naughty to sit at table. And then she would throw her a crust and tell her to get out of the hut and go and eat it somewhere else.

And the poor little girl used to go away by herself into the shed in the yard, and wet the dry crust with her tears, and eat it all alone. Ah me! she often wept for the old days, and she often wept at the thought of the days that were to come.

Mostly she wept because she was all alone, until one day she found a little friend in the shed. She was hunched up in a corner of the shed, eating her crust and crying bitterly, when she heard a little noise. It was like this: scratch—scratch. It was just that, a little gray mouse who lived in a hole.

Out he came, his little pointed nose and his long whiskers, his little round ears and his bright eyes. Out came his little humpy body and his long tail. And then he sat up on his hind legs, and curled his tail twice round himself and looked at the little girl.

The little girl, who had a kind heart, forgot all her sorrows, and took a scrap of her crust and threw it to the little mouse. The mousey-kin nibbled and nibbled, and there, it was gone, and he was looking for another. She gave him another bit, and presently that was gone, and another and another, until there was no crust left for the little girl. Well, she didn’t mind that.

You see, she was so happy seeing the little mouse nibbling and nibbling.

When the crust was done the mousey-kin looked up at her with his little bright eyes, and said, “Thank you,” in a little squeaky voice. “You are a kind little girl, and I am only a mouse, and I’ve eaten all your crust. But there is one thing I can do for you, and that is to tell you to take care.

“Your stepmother is sister to Baba Yaga, the bony-legged witch. So if ever she sends you on a message to your aunt, you come and tell me. For Baba Yaga would eat you soon enough with her iron teeth if you did not know what to do.”

“Oh, thank you,” said the little girl; and just then she heard the stepmother calling to her to come in and clean up the tea things, and tidy the house, and brush out the floor, and clean everybody’s boots.

So off she had to go.

When she went in she had a good look at her stepmother, and sure enough she had a long nose, and she was as bony as a fish with all the flesh picked off. The little girl thought of Baba Yaga and shivered, though she did not feel so bad when she remembered the mousey-kin out there in the shed in the yard.

The very next morning it happened. The old man went off to pay a visit to some friends in the next village. As soon as the old man was out of sight, the wicked stepmother called the little girl.

“You are to go today to your dear little aunt in the forest,” says she, “and ask her for a needle and thread to mend a shirt.”

“But here is a needle and thread,” says the little girl.

“Hold your tongue,” says the stepmother, and she gnashes her teeth, and they make a noise like clattering tongs. “Hold your tongue,” she says. “Didn’t I say you are to go today to your dear little aunt to ask for a needle and thread to mend a shirt?”

“How shall I find her?” says the little girl, nearly ready to cry, for she knew that her aunt was Baba Yaga, the bony-legged witch.

The stepmother took hold of the little girl’s nose and pinched it.

“That is your nose,” she says. “Can you feel it?”

“Yes,” says the poor little girl.

“You must go along the road into the forest till you come to a fallen tree; then you must turn to your left, and then follow your nose and you will find her,” says the stepmother. “Now, be off with you, lazy one. Here is some food for you to eat by the way.”

She gave the little girl a bundle wrapped up in a towel.

The little girl wanted to go into the shed to tell the mousey-kin she was going to Baba Yaga, and to ask what she should do. But she looked back, and there was the stepmother at the door watching her. So she had to go straight on.

She walked along the road through the forest till she came to the fallen tree. Then she turned to the left. Her nose was still hurting where the stepmother had pinched it, so she knew she had to go straight ahead. She was just setting out when she heard a little noise under the fallen tree. “Scratch—scratch.”

And out jumped the little mouse, and sat up in the road in front of her.

“O mousey-kin, mousey-kin,” says the little girl, “my stepmother has sent me to her sister. And that is Baba Yaga, the bony-legged witch, and I do not know what to do.”

“It will not be difficult,” says the little mouse, “because of your kind heart. Take all the things you find in the road, and do with them what you like. Then you will escape from Baba Yaga, and everything will be well.”

“Are you hungry, mousey-kin?” said the little girl

“I could nibble, I think,” says the little mouse.

The little girl unfastened the towel, and there was nothing in it but stones. That was what the stepmother had given the little girl to eat by the way.

“Oh, I’m so sorry,” says the little girl. “There’s nothing for you to eat.”

“Isn’t there?” said mousey-kin, and as she looked at them the little girl saw the stones turn to bread and jam. The little girl sat down on the fallen tree, and the little mouse sat beside her, and they ate bread and jam until they were not hungry any more.

“Keep the towel,” says the little mouse; “I think it will be useful. And remember what I said about the things you find on the way. And now good-bye,” says he.

“Good-bye,” says the little girl, and ran along.

As she was running along she found a nice new handkerchief lying in the road. She picked it up and took it with her. Then she found a little bottle of oil. She picked it up and took it with her. Then she found some scraps of meat.

“Perhaps I’d better take them too,” she said, and she took them.

Then she found a gay blue ribbon, and she took that. Then she found a little loaf of good bread, and she took that too.

“I daresay somebody will like it,” she said.

And then she came to the hut of Baba Yaga, the bony-legged, the witch. There was a high fence round it with big gates. When she pushed them open they squeaked miserably, as if it hurt them to move. The little girl was sorry for them.

“How lucky,” she says, “that I picked up the bottle of oil!” and she poured the oil into the hinges of the gates.

Inside the railing was Baba Yaga’s hut, and it stood on chicken’s legs and walked about the yard. And in the yard there was standing Baba Yaga’s servant, and she was crying bitterly because of the tasks Baba Yaga set her to do. She was crying bitterly and wiping her eyes on her petticoat.

“How lucky,” says the little girl, “that I picked up a handkerchief!” And she gave the handkerchief to Baba Yaga’s servant, who wiped her eyes on it and smiled through her tears.

Close by the hut was a huge dog, very thin, gnawing a dry crust.

“How lucky,” says the little girl, “that I picked up a loaf!” And she gave the loaf to the dog, and he gobbled it up and licked his lips.

The little girl went bravely up to the hut and knocked on the door.

“Come in,” says Baba Yaga.

The little girl went in, and there was Baba Yaga, the bony-legged witch, sitting weaving at a loom. In a corner of the hut was a thin black cat watching a mouse-hole.

“Good-day to you, auntie,” says the little girl, trying not to tremble.

“Good-day to you, niece,” says Baba Yaga.

“My stepmother has sent me to you to ask for a needle and thread to mend a shirt.”

“Very well,” says Baba Yaga, smiling, and showing her iron teeth. “You sit down here at the loom, and go on with my weaving, while I go and get you the needle and thread.”

The little girl sat down at the loom and began to weave.

Baba Yaga went out and called to her servant, “Go, make the bath hot and scrub my niece. Scrub her clean. I’ll make a dainty meal of her.”

The servant came in for the jug. The little girl begged her, “Be not too quick in making the fire, and carry the water in a sieve.” The servant smiled, but said nothing, because she was afraid of Baba Yaga. But she took a very long time about getting the bath ready.

Baba Yaga came to the window and asked,—

“Are you weaving, little niece? Are you weaving, my pretty?”

“I am weaving, auntie,” said the little girl.

When Baba Yaga went away from the window, the little girl spoke to the thin black cat who was watching the mouse-hole.

“What are you doing, thin black cat?”

“Watching for a mouse,” says the thin black cat. “I haven’t had any dinner for three days.”

“How lucky,” says the little girl, “that I picked up the scraps of meat!” And she gave them to the thin black cat.

The thin black cat gobbled them up, and said to the little girl, “Little girl, do you want to get out of this?”

“Catkin dear,” says the little girl, “I do want to get out of this, for Baba Yaga is going to eat me with her iron teeth.”

“Well,” says the cat, “I will help you.”

Just then Baba Yaga came to the window.

“Are you weaving, little niece?” she asked. “Are you weaving, my pretty?”

“I am weaving, auntie,” says the little girl, working away, while the loom went clickety clack, clickety clack.

Baba Yaga went away.

Says the thin black cat to the little girl: “You have a comb in your hair, and you have a towel. Take them and run for it while Baba Yaga is in the bath-house. When Baba Yaga chases after you, you must listen; and when she is close to you, throw away the towel, and it will turn into a big, wide river.

It will take her a little time to get over that. But when she does, you must listen; and as soon as she is close to you throw away the comb, and it will sprout up into such a forest that she will never get through it at all.”

“But she’ll hear the loom stop,” says the little girl.

“I’ll see to that,” says the thin black cat.

The cat took the little girl’s place at the loom.

Clickety clack, clickety clack; the loom never stopped for a moment.

The little girl looked to see that Baba Yaga was in the bath-house, and then she jumped down from the little hut on chicken’s legs, and ran to the gates as fast as her legs could go.

The big dog leapt up to tear her to pieces. Just as he was going to spring on her he saw who she was.

“Why, this is the little girl who gave me the loaf,” says he. “A good journey to you, little girl.” and he lay down again with his head between his paws.

When she came to the gates they opened quietly, quietly, without making any noise at all, because of the oil she had poured into their hinges.

Outside the gates there was a little birch tree that beat her in the eyes so that she could not go by.

“How lucky,” says the little girl, “that I picked up the ribbon!” And she tied up the birch tree with the pretty blue ribbon. And the birch tree was so pleased with the ribbon that it stood still, admiring itself, and let the little girl go by.

How she did run!

Meanwhile the thin black cat sat at the loom. Clickety clack, clickety clack, sang the loom; but you never saw such a tangle as the tangle made by the thin black cat.

And presently Baba Yaga came to the window.

“Are you weaving, little niece?” she asked. “Are you weaving, my pretty?”

“I am weaving, auntie,” says the thin black cat, tangling and tangling, while the loom went clickety clack, clickety clack.

“That’s not the voice of my little dinner,” says Baba Yaga, and she jumped into the hut, gnashing her iron teeth; and there was no little girl, but only the thin black cat, sitting at the loom, tangling and tangling the threads.

“Grr,” says Baba Yaga, and jumps for the cat, and begins banging it about. “Why didn’t you tear the little girl’s eyes out?”

“In all the years I have served you,” says the cat, “you have only given me one little bone, but the kind little girl gave me scraps of meat.”

Baba Yaga threw the cat into a corner, and went out into the yard.

“Why didn’t you squeak when she opened you?” she asked the gates.

“Why didn’t you tear her to pieces?” she asked the dog.

“Why didn’t you beat her in the face, and not let her go by?” she asked the birch tree.

“Why were you so long in getting the bath ready? If you had been quicker, she never would have got away,” said Baba Yaga to the servant.

And she rushed about the yard, beating them all, and scolding at the top of her voice.

“Ah!” said the gates, “in all the years we have served you, you never even eased us with water, but the kind little girl poured good oil into our hinges.”

“Ah!” said the dog, “in all the years I’ve served you, you never threw me anything but burnt crusts, but the kind little girl gave me a good loaf.”

“Ah!” said the little birch tree, “in all the years I’ve served you, you never tied me up, even with thread, but the kind little girl tied me up with a gay blue ribbon.”

“Ah!” said the servant, “in all the years I’ve served you, you have never given me even a rag, but the kind little girl gave me a pretty handkerchief.”

Baba Yaga gnashed at them with her iron teeth. Then she jumped into the mortar and sat down. She drove it along with the pestle, and swept up her tracks with a broom, and flew off in pursuit of the little girl.

The little girl ran and ran. She put her ear to the ground and listened. Bang, bang, bangety bang! she could hear Baba Yaga beating the mortar with the pestle. Baba Yaga was quite close. There she was, beating with the pestle and sweeping with the broom, coming along the road.

As quickly as she could, the little girl took out the towel and threw it on the ground. And the towel grew bigger and bigger, and wetter and wetter, and there was a deep, broad river between Baba Yaga and the little girl.

The little girl turned and ran on. How she ran!

Baba Yaga came flying up in the mortar. But the mortar could not float in the river with Baba Yaga inside. She drove it in, but only got wet for her trouble.

She turned home, and went flying back to the little hut on chicken’s legs. Then she got together all her cattle and drove them to the river.

“Drink, drink!” she screamed at them; and the cattle drank up all the river to the last drop. And Baba Yaga, sitting in the mortar, drove it with the pestle, and swept up her tracks with the broom, and flew over the dry bed of the river and on in pursuit of the little girl.

The little girl put her ear to the ground and listened. Bang, bang, bangety bang! She could hear Baba Yaga beating the mortar with the pestle. Nearer and nearer came the noise, and there was Baba Yaga, beating with the pestle and sweeping with the broom, coming along the road close behind.

The little girl threw down the comb, and grew bigger and bigger, and its teeth sprouted up into a thick forest—so thick that not even Baba Yaga could force her way through. And Baba Yaga, gnashing her teeth and screaming with rage and disappointment, turned round and drove away home to her little hut on chicken’s legs.

The little girl ran on home. She was afraid to go in and see her stepmother, so she ran into the shed.

Scratch, scratch! Out came the little mouse.

“So you got away all right, my dear,” says the little mouse. “Now run in. Don’t be afraid. Your father is back, and you must tell him all about it.”

The little girl went into the house.

“Where have you been?” said her father, “and why are you so out of breath?”

The stepmother turned yellow when she saw her, and her eyes glowed, and her teeth ground together until they broke.

But the little girl was not afraid, and she went to her father and climbed on his knee, and told him everything just as it had happened. And when the old man knew that the stepmother had sent his little daughter to be eaten by Baba Yaga, he was so angry that he drove her out of the hut, and ever afterwards lived alone with the little girl as merry as before.

“And the little mouse?” said Ivan.

“The little mouse,” said old Peter, “came and lived in the hut, and every day it used to sit up on the table and eat crumbs, and warm its paws on the little girl’s glass of tea.”

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Source: Old Peter’s Russian Tales by Arthur Ransome, Thomas Nelson and Sons Ltd., London, 1916.

Note: British author and journalist, Arthur Ransome, lived in Russia gathering these charming Old Peter tales; he witnessed the Bolshevik Revolution in 1917; and was recruited by Britain as a spy in 1918.

Barbie and the Heroine’s Journey – Storytelling for Everyone

By Kate Farrell

Wonder why the movie Barbie is a “particular ripple in the universe” as Greta Gerwig, its director, describes it? How did the movie hit deeper than the average chick flick and become a runaway box office success, breaking records worldwide?

Neither its political message of feminism nor its massive brand marketing are adequate explanations for the film’s widespread appeal.

To my discerning eye, Barbie, in its plot, characters, and tropes is the universal story of the heroine’s journey based on ancient folk and fairy tales. Beyond the plastic and tinsel pink, this layer of cultural bedrock persists in the film’s compelling understory.

I’m not alone in finding a mythical layer to this über commercial movie: Others have compared it to the Sumerian myth of Inanna or to the 17th century Milton’s poem, Paradise Lost (a retelling of Genesis). And in a BBC interview, Gerwig revealed that the sources of Barbie include medieval and Renaissance poetry.

Fragments of metaphor and archetypes, cinematic images of pop culture, all create a compelling mosaic that reassembles the shape of the feminine quest. What are those essential elements that draw us in?

To break it down to its most basic element: The feminine quest is all about mothers.

Most of the foundational folk and fairy tales begin with mothers: loving mothers, evil stepmothers, godmothers, magical mother figures, mothers-in-law.

When Barbie stops the dance in the nightly disco and says, “…ever think about dying?” she’s asking what the human mother, Gloria, is feeling. It’s a bleed over from the human world to Barbie Land as the human mother mourns her death or her loss of influence over her teenage daughter, Sasha. Barbie “feels” the mother’s grieving and must find the mother/daughter characters on the human side to resolve it.

It’s almost incredible that the movie begins with the first motif of the heroine’s journey found in most fairy tales: that the “good mother” dies. If you recall “Snow White” or “Cinderella” or “Vasilisa the Brave,” you’ll recognize that losing the loving, birth mother is the first challenge in these stories. And it is the rite of passage for all modern daughters, to separate from their mothers in order to discover their independence.

In the ancient tales of the feminine quest, you’ll also recall the “fairy godmother,” the older, magical mother, or the spiritual mother who appears to assist, mentor, or challenge the heroine. When Barbie meets the real Ruth Handler, the creator of the Barbie doll, on the park bench, she sees her inner beauty and her mother/daughter love—Ruth named Barbie for her daughter. Later, when Barbie meets the “ghost” of Ruth in another dimension, we see the magic of transformation, from doll to living woman, given by the old, ghost mother.

These are but a few parallels of the heroine’s journey found in this blockbuster movie!

Bay Area Writers: To learn how you can incorporate motifs and tropes, characters and plot lines of the heroine’s journey in your creative work, register for my upcoming 2-session workshop!

Mechanics Institute: Writing the Heroine’s Journey with Kate Farrell
Location: Meeting Room, 4th floor, Mechanics’ Institute, 57 Post St., San Francisco

TWO-Session Workshop, On-site
September 23, 2023, Saturday 11:00 – 2:00 pm 
October 7, 2023, Saturday 11:00 am– 1:00 pm
Cost: $40 Member, $50 Non-member, Limited Enrollment
Registration NOW Open! CLICK HERE!

You’ll learn how to use elements of the feminine quest in your journaling or creative writing for any genre—fiction, nonfiction, memoir, poetry and more!

Deconstructing the foundational Greek myth of “Psyche and Eros” as the basis for our discussion and writing, we’ll translate its archaic challenges into those facing modern women.

Hope to see you there, so sign up soon!

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Learn more about Kate Farrell and STORY POWER: https://katefarrell.net/

Ye Xian – Storytelling for Everyone

Chinese Cinderella

Illustrations of Stephanie Pui Mun Law

The Beginning of Ye Xian’s Story

The protagonist of the tale, Ye Xian, is the motherless daughter of a cave-dwelling chieftain in an uncertain region of Southern China called Wudoung. The other primary characters of Ye Xian’s tale all fall into a very similar role to that of the European “Cinderella”: There is the cruel stepmother, one of two wives of Ye Xian’s father; an unkind stepsister called Jun-li, whose age varies depending on the translation; a supernatural wish granting figure; and—of course—the royal man who will whisk Ye Xian away from her difficulties. 

Ye Xian is mentally and physically juxtaposed with her stepsister Jun-li. While Jun-li is considered unpleasant to look upon and is an incredibly envious girl, Ye Xian is described as stereotypically beautiful, kind, and clever.

With the death of her father, Ye Xian is forced to become the servant to her stepfamily, as much to destroy her beauty as to degrade her. Furthermore, since her father was a Chinese chieftain without male heirs, this allowed another man to take control of the tribe, thus regulating Ye Xian and her family to poverty.

Ye Xian’s Magical Protector

Ye Xian’s only relief comes from her acquaintance with a very large and talkative fish living in the river near Ye Xian’s home. The fish, as it turns out, is a guardian sent from the sky by her ever-present mother, and helps Ye Xian through her dark home life. That is, until Jun-li spies on Ye Xian with the fish and Ye Xian’s stepmother stabs it with a dagger and eat it for her and Jun-li’s dinner.

However, just as the fairy godmother of the better known maiden Cinderella has extraordinary magic, so does Ye Xian’s magical fish. Its role in Ye Xian’s future does not end with this mishap.

Following the murder of her only friend, Ye Xian is visited by the spirit of an old ancestor who informs her that while the shell of her friend might be gone, its spirit is still alive. Through the burial of the fish bones in the four corners of her bedroom, Ye Xian can still harness the power of her spirit guide as one would a genie—whatever Ye Xian wishes for will come true.

A Happy Ending for Ye Xian

As the festival to celebrate the coming of the New Year arrives, Ye Xian is left alone in her cave home as her stepmother fears Ye Xian’s beauty is still capable of outshining Jun-li. With the aid of the fish wishing bones, Ye Xian manages to attend the great gathering in secret, dressed in a beautiful, feathered silk dress and a pair of golden slippers.

Ye Xian is the star of the party, praised for her outstanding beauty and grace. But the presence of her stepfamily threatens her identity. When she fears they might have recognized her, she flees and leaves behind one of her valuable golden shoes. 

Through a series of intelligent trades, the golden slipper ends up in the hands of the king of the To’Han islets, a large kingdom encompassing numerous islands. The shoe’s small size intrigues the man, as small feet were (until recently) considered a sign of ideal female beauty, and demands to find the shoe’s owner. No woman, of course, is able to properly fit her foot in the shoe.

The story ends as one would expect: Despite all odds, Ye Xian makes her way to the location where the slipper is kept—on display in a pavilion—convinces the king that it is her shoe, and tells him the circumstances of her life. The king becomes captivated by her, and rescues her from her horrid stepfamily, setting her up in To’Han as both his wife and queen.

Shortly afterwards, the wicked Stepmother and her daughter were killed in an avalanche of flying rocks. The villagers buried them in a grave marked ‘The Tomb of the Regretful Women.’

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Source: First published in the Tang dynasty compilation Miscellaneous Morsels from Youyang written around 850 CE by Duan Chengshi. The Ye Xian, a story similar to the fairy tale Cinderella, appears in Chapter 21. The story was allegedly told by Duan’s servant Li Shiyuan, a native from what is now Nanning. It is set during the late 3rd century BCE. The exact location is unknown, but the most likely candidate is Guangxi, where the shoe eventually found its way to a king from an island.

Note: Long before the European Cinderella fairytale cycle, there was Ye Xian, the tale of a young Chinese girl living sometime between the Qin and Han Dynasties of China (221-206 BCE and 206 -220 CE, respectively). Ye Xian or YehShen is a Chinese fairy tale that is similar to the European Cinderella story, but predates it and is one of the most well-known of the Cinderella tale type (ATU 510A).

https://www.ancient-origins.net/news-myths-legends/fish-wish-your-heart-makes-2200-year-old-tale-chinese-cinderella-003506

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The Power of Baba Yaga – Storytelling for Everyone

Slavic Folklore

In Slavic myths, Baba Yaga is the wild woman or dark lady of magic and there are many folktales about her.

These stories may come from people who lived in the forests of northern Russia and Finland many years ago. For centuries, they had stone statues named Yaga or Golden Babas. Often the statues had their own little huts, built on tree stumps, full of gifts. They were statues of a local goddess that people asked for advice. She also had the power to decide what happened to people, a bit like Baba Yaga.

The word Baba can mean any woman old enough to marry. In the stories, however, Baba Yaga is often described as a frightening, wild, old witch with a terrible appetite for eating people. The story of “Baba Yaga and Vasilisa the Fair” is one of the well-known tales and has much in common with other folk tales, such as Cinderella.

Why is Baba Yaga important—Witch or Wise Woman?

Baba Yaga may stand for a person’s fate. When someone enters the hut, they live or die depending on what they say and do. Some also say that Baba Yaga stands for the dark side of wisdom, and the character of Vasilisa stands for the light side.

However she came about, she is more than just an ugly old witch, for she has power—people should fear and respect her.

In many ancient societies, older women were seen as the keepers of wisdom and tradition for the family or tribe. No longer having to care for children, they became mother to the rest of the community.

It was believed that these wise women understood the mysteries of birth and death. They were healers and looked after the dying. Sometimes they were thought to have the power of life and death itself. The word witch once meant wise.

Later, from the 12th century, when people began to believe in the use of magic power for evil, people began to fear and hate these wise women with their potions and advice. Many were put to death and the picture of the wise woman or ‘witch’ changed, to become the frightening, ugly, evil old hag, casting wicked spells, as in the stories today.

Baba Yaga is interesting because, although she is described as a terrifying old witch, she is still wise and powerful; wild, cruel but sometimes also kind. Baba Yaga makes a link between the wise women of early myths and the witches of folk and fairytales.

How does Baba-Yaga live?

Like most witches, Baba Yaga can fly but she does not use a broomstick. Instead, she sits in a giant mortar (a bowl for grinding food) with her knees almost touching her chin. She drives very fast across or above the forest floor, and uses the pestle (the grinder) as a rudder held in her right hand. She sweeps away her tracks with a broom made out of silver birch held in her left hand. Wherever she appears, a wild wind begins to blow, the trees groan and leaves whirl through the air.

Her home is a hut deep in a birch forest, in a place that is difficult to find, unless a magic thread, feather or doll shows the way. The hut has a life of its own. It stands on large chicken legs and can move about. Its windows act as eyes and the lock is full of teeth.

A post fence surrounds the hut. The posts are made of human bones and topped with skulls whose blazing eye sockets light up the forest. Very often the hut is guarded by hungry dogs, evil geese, swans or a black cat.

The hut can spin around and moves through the forest. It makes blood-curdling screeches. Most of those who go in never leave, as Baba Yaga washes them, feeds them and then places them on a giant spatula, before putting them in her oven.

In many stories, the fate of those entering her hut is in their own hands. A guest may, or may not, fit into the oven, depending on how they fit on the spatula. Although she eats as much as ten men, Baba Yaga is very skinny and bony, like a skeleton. Her nose is very long and hooked.

Why do people seek help from Baba Yaga?

It may seem strange that anyone would look for Baba Yaga or enter her hut. However, she is wise and is all knowing, all seeing and tells the whole truth to those who are brave enough to ask.

She rules over the elements (fire, air, earth and water). Her faithful servants are the White Horseman, the Red Horseman and the Black Horseman. She calls them, ‘My Bright Dawn, my Red Sun and my Dark Midnight’ because they control daybreak, sunrise, and nightfall.

Some of her other servants are her soul friends (three bodiless pairs of hands, which suddenly appear to carry out her wishes) and her herdsman, the sorcerer Koshchey the Deathless.

Often a hero or heroine enters her hut looking for wisdom, knowledge, truth or help, like Vasilisa. Baba Yaga aids the heroes and heroines, by giving advice, finding weapons and making tasks easier.

Like many myths and folk tales, these stories also have a moral: If you are good and wise, listen to your elders, and use your intuition you will be rewarded. But if you are cruel and unkind, like the wicked stepmother and her daughters, you might meet a bad end.

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Source: https://www.historicmysteries.com/baba-yaga/