Om Askepot - kan dette eventyr være profetisk?
Forfatter: Else Marie Kofod
Kendt i hele verden
Historien om Askepot kendes i det meste af verden, både som folkeeventyr og i forskellige former for bearbejdninger. Den er opstået i Nærorienten og har derfra bredt sig til Vesteuropa og Østasien. Den har i mere end 1000 år fascineret børn og voksne, og det gør den stadigvæk.
Historien om Askepot
Det er historien om en ung pige, der mister sin mor. Hendes far gifter sig igen, hvorved Askepot ikke bare får en ny mor, men også to nye søstre. Desværre er stedmoderen og stedsøstrene ikke søde ved Askepot, hun bliver sat til at udføre det usleste arbejde i husholdningen og må leve og arbejde i asken ved ildstedet. På et tidspunkt inviterer prinsen i landet til bal, fordi han gerne vil finde sig en hustru. Askepot får hjælp til at iklæde sig en smuk kjole og til at blive kørt til prinsens slot. Til ballet bliver han forelsket i hende, men da hun skal forlade ballet inden midnat, taber hun sin ene sko i farten. Prinsen får fat på skoen og foranstalter en skoprøvningen blandt landets unge kvinder og finder på den måde frem til Askepot. De bliver gift og lever lykkeligt til deres dages ende.
At blive voksen
Et overordnet tema i eventyret er den dannelsesproces, som Askepot skal igennem for at kunne forvandle sig fra en ung pige til en voksen kvinde. I de fleste af de samfund, hvor eventyrene var en del af den levende fortælletradition, var det at blive gift ensbetydende med, at man nu blev betragtet som voksen. Det var vigtigt at blive gift og stifte eget hjem, hvorfor brylluppet også udgør højdepunktet i mange af eventyrene. For pigens vedkommende indebar ægteskab, at hun skulle forlade sit eget hjem (arnen) og flytte til ægtemandens.
Askepot udsættes for prøvelser
Denne overgang hører med i den række af prøvelser, som eventyrenes helte og heltinder skal igennem, før de kan nå frem til deres mål. I nogle tilfælde får de hjælp, mens de i andre selv må tage initiativet. I de mange versioner af Askepothistorierne er der eksempler på begge tilfælde. I nogle versioner viser Askepot sig som en ressourcestærk person, der selv handler, mens hun i andre passivt lader sig hjælpe.
Askens betydning
Aske, som er det, der bliver tilbage i ildstedet, efter forbrænding, betragtes normalt som noget, der er værdiløst. Men i eventyrene er aske ofte symbol på, at det, der tilsyneladende er simpelt og mindreværdig, i virkeligheden rummer det ædle og værdifulde. Når ordet "aske" derfor indgår som en del af hovedpersonens navn, er det tegn på, at det - på trods af de ydre omstændigheder - er et ordentligt menneske, vi har med at gøre.
Ilden er kilden til liv
Som den, der skal passe ildstedet, har hovedpersonen den laveste sociale status, men samtidig også adgang til ilden som symbol på en vigtig kilde til livet. Ildstedet og køkkenregionerne ligger nederst i huset og er derfor tæt på jorden, og at have jordforbindelse og være ydmyg er egenskaber, som helten eller heltinden må udvise for at kunne opnå den værdighed, der skal til for at blive konge eller dronning. Som en kontrast her til har vi i Askepot de hovmodige og overlegne søstre, der går rundt i de øvre gemakker, hvor de mangler jordforbindelsen og derfor tror, de kan vinde kongeriget.
Selvopofrelse
I en psykologisk udlægning af den udvikling, Askepot gennemgår, kan man se det som det selvopofrende jeg' s udvikling frem til at blive et helt menneske, og - i modsætning hertil - kan man for stedsøstrenes vedkommende se det som det selvoptagne jeg' s mislykkede selvvirkeliggørelse.
Askepot illustreret i "The Blue Fairy book", udgivet af Andrew Long i 1889.
Skoen og brylluppet
Også den tabte sko og den efterfølgende skoprøvning rummer symboler, der kan henføres til Askepots forvandling fra en ung pige til en voksen kvinde. Skoen har i mange kulturer langt tilbage været knyttet til kærlighed og ægteskab, og skoen har på forskellig vis været anvendt som en slags tryllemiddel, der blev taget i brug for at vække mandens kærlighed/seksualitet. Askepots prøvningen af skoen minder om nogle af de skoritualer, der indgår i forlovelses- og bryllupsskikke. I flere europæiske lande har det været brugt, at brudgommen i forbindelse med bryllupsfesten har taget skoene af bruden umiddelbart inden bruden og brudgommen skulle gå til sengs.
Skoen som seksuelt symbol
Sko opfattes også som et symbol på det kvindelige kønsorgan og dermed jomfruelighed, hvorved skoaftagningsritualet bliver et udtryk for den kommende deflorering på bryllupsnatten. I en psykologisk fortolkning modsvarer den størrelsesmæssige lille sko og tilsvarende lille fod kvindens vagina, og det, at skoen passer, er et billede på, at den rette seksualpartner og dermed ægtemage nu er fundet.
Askepots familiesituation
Askepots udvikling fra ung pige til voksen kvinde og hendes kontakt med det modsatte køn kompliceres ved, at hendes familiesituation ændrer sig, da hendes mor dør, og faderen gifter sig igen. Ud over at være en historie om en dannelsesproces kommer eventyret om Askepot derfor også til at høre til den gruppe af eventyr, der har stedmodermotivet som et centralt element.
Rollebeskrivelser
I folkeeventyrene hersker der ikke tvivl om, hvad der er godt, og hvad der er skidt, hvorfor personkarakteristikken også er sort/hvid. De enkelte personers optræden i eventyrene kan analyseres som en rollebeskrivelse, og det er særligt igennem beskrivelserne af de forskellige rolleindehaveres næsten stereotype handlinger, at eventyrene karakteriserer personerne. I Askepot er det en skildring af stedmoderen, faderen og barnet/den unge pige som rollebeskrivelser. Konflikten i Askepot udspilles imellem døtrene i familien, og stedmoderen tager aktivt del på sine biologiske døtres side.
Den onde stedmoder
Forestillingen om, at kvinder har et moderinstinkt, som alene varetager de biologiske børns interesser, er den mest almindelige i folkeeventyrene. Har hun piger i den giftefærdige alder, griber moderen til alle midler for at få bortgiftet sine egne døtre først. Som i Askepot kan stedbørnenes onde skæbne som regel ikke begrundes med fattigdom og nød. Stedmødrenes negative rolleadfærd skyldes - ifølge folkeeventyrene - udelukkende deres uheldige karakteregenskaber, deres følelseskulde og hjerteløse ondskab. Stedmoderstatussen bringer disse onde individer i en magtposition over stedbørnene, som de misbruger.
Den passive fader
Faderen i stedmoderfortællingerne forholder sig normalt passiv til hendes overgreb overfor hans barn. Hvis han foretager sig noget, kan det lige så godt være til fordel for stedmoderen, frem for at støtte sit eget barn fra første ægteskab. Han er passiv og lader stiltiende tingene ske. Han gifter sig som regel, fordi han selv har lyst. Folkeeventyrenes fremstilling af enkemanden repræsenterer en tydelig afstandtagen fra hans rolle i stedfamilien. Selvom faderen er forholdsvis udramatisk fremstillet og i en række fortællinger mangler helt, er hans rolle i stedfamilierne negativt belastet.
Illustration fra den anden udgivelse af Askepot, 1865.
Stedbarnet er helten
Fortællingens hensigt er at give os forståelse og sympati for stedbarnets onde skæbne. Stedbørnene er folkeeventyrenes helte. Stedmoderen er skildret fra deres synsvinkel, og hendes handlinger og motiver dømmes ud fra, om de gavner eller skader stedbarnet. Dette kategoriske valg af synsvinkel viser klart den tiltænkte funktion, nemlig at varetage stedbørnenes interesser. Eventyret skal vise, hvor uheldigt det er for et barn at få en stedmor, intentionen er aldrig at påpege, at det kan være ubehageligt for en kvinde at få et stedbarn.
Hævn
Fordi synsvinklen er stedbarnets løses konflikterne i forhold til stedbarnet ikke for familien som helhed. Oftest sejrer stedbarnet, og den hævn, de får over deres nye mødre, kan være streng. I de tilfælde stedmødrene har egne børn, kan hun også straffes indirekte igennem de biologiske børns ulykke. Den lykkelige slutning på konflikterne i stedfamilier med voksne børn indebærer, at stedfamilierne opløses, og den uheldige familiestruktur elimineres. Herefter indgår stedbarnet som regel i en ny familiekonstellation, idet hun gifter sig. Eventyr om børns retfærdige og grusomme hævn over deres onde stedmødre, kan ses som et digterisk udtryk for det faktum, at stedforældre fundamentalt set er uønsket. Det kommer tydeligst til udtryk i de eventyr, hvor stedmoderen bogstaveligt talt får kappet hovedet af.
Hvor er Askepot blevet så udbredt?
Når denne næsten evigtgyldige historie, der alene i Europa er optegnet i mere end 500 versioner, har opnået så stor en udbredelse, kan det skyldes, at den behandler udviklingsmæssige grundkonflikter som nye familiestrukturer, søskendejalousi, konflikter imellem mor og datter og oplevelsen af at være mindreværdig og blive uretfærdig behandlet. I nutiden vil konflikten desuden kunne identificeres med skilsmissefamilien og sammenbragte børn.
I 1600-tallet opstod interesse for folkeeventyr
I Europa blev interessen for folkeeventyr for alvor vakt fra slutningen af 1600-tallet, først i Frankrig, hvor Charles Perrault udgav en samling med folkeeventyr i 1697, og siden i Tyskland, hvor brødrene Grimm i1812 udgav en tilsvarende tysk samling. Godt 10 år efter udkom den første danske udgave, nemlig Matthias Winthers Danske Folkeeventyr fra 1823. Winther fortæller i sit forord, hvordan han havde hørt eventyrene blive fortalt af en ærlig bondemand eller en gammel matrone, når han en lang vinteraften sad ved arnen i en bondestue. Som Perrault og brødrene Grimme havde han, som han også skriver, pyntet lidt på dem.
Forside på John Marshall's udgave af Askepot fra 1819.
1800-tallets Askepot
I løbet af 1800-tallet blev der indsamlet omkring 40 versioner af Askepot eller Askepot lignende fortællinger i Danmark. De fleste blev dels indsendt til N. F. S. Grundtvigs søn, Svend Grundtvig, som i midten af århundredet iværksatte en stor indsamling af folkeminder, dels indsamlet af Danmarks største folkemindesamler, Evald Tang Kristensen. Eventyroptegnelserne findes i dag i Dansk Folkemindesamlings arkiv.
Askepot er blevet et ikon
Siden 1800-tallet er historien om Askepot blevet bearbejdet litterært, dramatisk, musikalsk og digterisk. Askepot er blevet et ikon på drømmen om social opstigning.
citat fra:
http://www5.kb.dk/da/nb/fag/dafos/Temaer/Laesehjoernet/Laesehjoerne-artikler/Askepot/index.html
ABOUT Cinderella - CAN THIS ADVENTURE BE PROPHETIC?
Author: Else Marie Kofod
Known throughout the world
The story of Cinderella is known in most of the world, both as a folk tale and in various forms of adaptations. It originated in the Near East and has spread from there to Western Europe and East Asia. It has fascinated children and adults for more than 1,000 years, and it still does.
The story of Cinderella
It's the story of a young girl who loses her mother. Her father remarries, giving Cinderella not only a new mother but also two new sisters. Unfortunately, the stepmother and step-sisters are not sweet at Cinderella, she is put to do the ugliest work in the household and has to live and work in the ashes by the fireplace. At one point, the prince in the country invites to the ball because he wants to find himself a wife. Cinderella gets help to put on a beautiful dress and to be driven to the prince's castle. For the ballet, he falls in love with her, but when she has to leave the ballet before midnight, she loses one of her shoes on the go. The prince grabs the shoe and arranges a shoe test among the country's young women, thus finding Cinderella. They get married and live happily ever after.
To grow up
An overarching theme in the fairy tale is the formation process that Cinderella must go through in order to transform from a young girl into an adult woman. In most of the societies where fairy tales were part of the living storytelling tradition, getting married meant that one was now considered an adult. It was important to get married and start your own home, which is why the wedding is also the highlight of many of the adventures. In the case of the girl, marriage meant that she had to leave her own home (the hearth) and move to the husband's.
Cinderella is subjected to trials
This transition is part of the series of trials that the heroes and heroines of the fairy tales must go through before they can reach their goal. In some cases they get help, while in others they have to take the initiative themselves. In the many versions of the Cinderella stories, there are examples of both cases. In some versions, Cinderella shows herself as a resourceful person who acts on her own, while in others she passively lets herself be helped.
The meaning of the ashes
Ash, which is what is left in the fireplace, after incineration, is usually considered something that is worthless. But in fairy tales, ashes are often a symbol that what appears to be simple and inferior actually contains the noble and valuable. Therefore, when the word "ashes" is included as part of the protagonist's name, it is a sign that - despite the external circumstances - he is a proper human being that we are dealing with.
Fire is the source of life
As the one who has to look after the fireplace, the main character has the lowest social status, but at the same time also access to the fire as a symbol of an important source of life. The fireplace and the kitchen regions are located at the bottom of the house and are therefore close to the ground, and having a ground connection and being humble are qualities that the hero or heroine must exhibit in order to achieve the dignity needed to become king or queen. In contrast, in Cinderella we have the arrogant and superior sisters who walk around the upper chambers, where they lack the ground connection and therefore think they can win the kingdom.
Self-sacrifice
In a psychological interpretation of the development that Cinderella undergoes, one can see it as the development of the self-sacrificing self to become a whole human being, and - in contrast - one can see it as the step-sisters' self-absorbed self's failure self-realization.
askepot1Askepot illustrated in "The Blue Fairy book", published by Andrew Long in 1889.
The shoe and the wedding
The lost shoe and the subsequent shoe test also contain symbols that can be attributed to Cinderella's transformation from a young girl to an adult woman. In many cultures, the shoe has long been associated with love and marriage, and the shoe has in various ways been used as a kind of magic potion that was used to arouse the man's love / sexuality. Cinderella's testing of the shoe is reminiscent of some of the shoe rituals that are part of engagement and wedding customs. In several European countries, it has been used that the groom in connection with the wedding party has taken the shoes off the bride immediately before the bride and groom should go to bed.
The shoe as a sexual symbol
Shoes are also perceived as a symbol of the female genitalia and thus virginity, whereby the ritual of shoe removal becomes an expression of the coming defloration on the wedding night. In a psychological interpretation, the size of the small shoe and the corresponding small foot correspond to the woman's vagina, and the fact that the shoe fits is a picture that the right sexual partner and thus spouse has now been found.
Cinderella's family situation
Cinderella's development from young girl to adult woman and her contact with the opposite sex is complicated by the fact that her family situation changes when her mother dies and the father remarries. In addition to being a story about a formation process, the fairy tale about Cinderella will therefore also belong to the group of fairy tales that have the stepmother motif as a central element.
Role descriptions
In folk tales, there is no doubt about what is good and what is bad, which is why the personal characteristics are also black and white. The individual characters 'behavior in the fairy tales can be analyzed as a role description, and it is especially through the descriptions of the various role holders' almost stereotypical actions that the fairy tales characterize the characters. In Cinderella, it is a depiction of the stepmother, the father and the child / young girl as role descriptions. The conflict in Cinderella takes place between the daughters in the family, and the stepmother takes an active part in her biological daughters' side.
The evil stepmother
The notion that women have a maternal instinct that only looks after the interests of biological children is the most common in folk tales. If she has girls at the age of marriage, the mother takes every means to get her own daughters divorced first. As in Cinderella, the evil fate of stepchildren can usually not be justified by poverty and need. The negative role behaviors of stepmothers are - according to folk tales - due solely to their unfortunate character traits, their emotional guilt and heartless malice. The stepmother status brings these evil individuals into a position of power over the stepchildren that they abuse.
The passive father
The father in the stepmother tales usually relates passively to her abuse of his child. If he does something, it might as well be for the benefit of the stepmother, rather than supporting his own child from the first marriage. He is passive and tacitly lets things happen. He usually gets married because he wants to. The folk tales' portrayal of the widower represents a clear distancing from his role in the stepfamily. Although the father is relatively undramatically portrayed and in a number of narratives completely lacking, his role in the stepfamilies is negatively impacted.
Cinderella3Illustration from the second edition of Cinderella, 1865.
The stepchild is the hero
The purpose of the story is to give us understanding and sympathy for the evil fate of the stepchild. The stepchildren are the heroes of folk tales. The stepmother is portrayed from their point of view, and her actions and motives are judged on whether they benefit or harm the stepchild. This categorical choice of point of view clearly shows the intended function, namely to look after the interests of the stepchildren. The fairy tale should show how unfortunate it is for a child to have a stepmother, the intention is never to point out that it can be uncomfortable for a woman to have a stepchild.
Revenge
Because the point of view is the stepchild's, the conflicts in relation to the stepchild are not resolved for the family as a whole. Most often, the stepchild wins, and the revenge they get over their new mothers can be severe. In cases where the stepmothers have children of their own, she can also be punished indirectly through the accident of the biological children. The happy ending to the conflicts in stepfamilies with adult children means that the stepfamilies dissolve and the unfortunate family structure is eliminated. After this, the stepchild is usually part of a new family constellation, as she marries. Fairy tales about children's just and cruel revenge on their evil stepmothers can be seen as a poetic expression of the fact that stepparents are fundamentally unwanted. This is most clearly expressed in the fairy tales where the stepmother literally gets her head cut off.
Where has Cinderella become so widespread?
When this almost eternal story, recorded in Europe alone in more than 500 versions, has become so widespread, it may be because it deals with developmental basic conflicts such as new family structures, sibling jealousy, conflicts between mother and daughter and the experience of being inferior and be treated unfairly. In the present, the conflict will also be identifiable with the divorced family and children brought together.
In the 17th century, interest in folk tales arose
In Europe, interest in folk tales was seriously aroused from the late 17th century, first in France, where Charles Perrault published a collection of folk tales in 1697, and then in Germany, where the Grimm brothers published a similar German collection in 1812. Just over 10 years later, the first Danish edition was published, namely Matthias Winther's Danish Folktale from 1823. Winther tells in his preface how he had heard the fairy tales told by an honest farmer or an old matron when he sat by the fireplace in a long winter evening. farmhouse. Like Perrault and the Brothers Grimme, he had, as he also writes, embellished them a little.
17th century arose interest in folk tales
In Europe, interest in folk tales was seriously aroused from the late 17th century, first in France, where Charles Perrault published a collection of folk tales in 1697, and then in Germany, where the Grimm brothers published a similar German collection in 1812. Just over 10 years later, the first Danish edition was published, namely Matthias Winther's Danish Folktale from 1823. Winther tells in his preface how he had heard the fairy tales told by an honest farmer or an old matron when he sat by the fireplace in a long winter evening. farmhouse. Like Perrault and the Brothers Grimme, he had, as he also writes, embellished them a little.
Cinderella 2 Front page of John Marshall's edition of Cinderella from 1819.
19th Century Cinderella
During the 19th century, about 40 versions of Cinderella or Cinderella-like tales were collected in Denmark. Most were partly sent to N. F. S. Grundtvig's son, Svend Grundtvig, who in the middle of the century launched a large collection of folklore, partly collected by Denmark's largest folklore collector, Evald Tang Kristensen. The fairy tale records can be found today in the archives of the Danish Folkeminde Collection.
Cinderella has become an icon
Since the 19th century, the story of Cinderella has been processed literary, dramatic, musical and poetic. Cinderella has become an icon of the dream of social ascension.
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