ZIPES, Jack David (2002): Breaking the magic spell: radical theories of folk and fairy tales / Jack
Zipes. Rev. and expanded ed. Lexington: University Press of Kentucky.
p.xvii
Sleeping Beauty
Keep sleeping:
I’m not a prince,
I have no sword
nor have I time
to cut the hedge
to climb the wall
to give a kiss
or marry you…
Tomorrow
I must tart work early
(or I’ll be fired).
My dreaming must wait
till Sunday
My thinking till vacation
Time
Keep sleeping
and dream another hundread year
until the right one
appears
Josef Wittmann
WITTMANN, Josef (1975) «Dornröschen» Neues vom Rumpelstilzchen. Ed. Hans Joachim
Gelberg. Weinhem:Beltz und Gelberg, pág. 31.
p.xviii
Sleeping Beauty
once upon a time
or twice upon a time
or more time and
still some more
the spell cast by the thirteen fairy
(not invited)
and now
all the dead princes
Sleeping Beauty behind the hedge of roses
unclear voices noises
beyond that quite clearly
music: a kiss: I
write a poem and the cook
gave the kitchen boy such a smack
that he screamed
Jochen Jung
JUNG, Jochen (1976) «Dornröschen» Bilderbogengeschichten, Märchen, Sagen, Abenteuer.
Ed. Jochen Jung. Munich: Deutscher Taschenbuch Verlag.
p.xix
Sleeping Beauty
How can you dare to wake
my father the king.
Hiss generals would rise up
with him.
How can you dare to wake
my mother the queen.
She’d have to pace forever
from grave to grave.
How can you dare to wake
me the sleeping beauty.
My tears would stream again.
Come back in a hundred years, my prince
In a hundred years the cannons will have rusted.
In a hundred years peace will be here.
Come softly like the wind.
Blast open the hedge but nor with hand grenades,
don’t drive tanks up to the gates.
In a hundred years the hedge will part by itself.
Then I’ll be able to love you.
Verra Ferra-Mikurra
FERRA-MIKURRA, Verra (1976) «Dornröschen» Neues vom Rumpelstilzchen. Ed. Hans
Joachim Gelberg. Weinhem:Beltz und Gelberg, pág. 149.
p.5
In this century at least, so many people know fairy tales only through badly truncated and
modernized versions that it is no longer really fairy tales they know.
Over the last three centuries our historical reception of folk and fairy tales has been so
negatively twisted by aesthetic norms, educational standards and market conditions that we
can no longer distinguish folk tales from fairy tales nor recognize that the impact of these
narratives stems from their imaginative grasp and symbolic depiction of social realities.
p. 6
Folk and fairy tales are generally confused with one another and taken as make-believe
stories with no direct reference to a particular community or historical tradition.
