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Plot Illustration by Edmund Dulac The story tells of a prince who wants to marry a princess, but is having difficulty finding a suitable partner. Something is always wrong with those he meets, and he cannot be certain they are real princesses. One stormy night (always a harbinger of either a life-threatening situation or the opportunity for a romantic alliance in Andersen's stories), a young woman drenched with rain seeks shelter in the prince's castle. She claims to be a princess, so the prince's mother decides to test their unexpected guest by placing a pea in the bed she is offered for the night, covered by 20 mattresses and 20 featherbeds. In the morning the guest tells her hostsn a speech colored with double entendreshat she endured a sleepless night, kept awake by something hard in the bed; which she is certain has bruised her. The prince rejoices. Only a real princess would have the sensitivity to feel a pea through such a quantity of bedding. The two are married, and the pea is placed in the Royal Museum. Sources In his preface to the second volume of Tales and Stories (1863) Andersen claims to have heard the story in his childhood, but the tale has never been a traditional one in Denmark. He may as a child have heard a Swedish version, "Princess Who Lay on Seven Peas", which tells of an orphan child who established her identity after a sympathetic helper (a cat or a dog) informed her that an object (a bean, a pea, or a straw) had been placed under her mattress. Composition Andersen deliberately cultivated a humorous and colloquial style in the tales of 1835, reminiscent of oral storytelling techniques rather than the sophisticated literary devices of the fairy tales written by les prcieuses, E. T. A. Hoffmann, and other precursors. The earliest reviews criticized Andersen for not following such models. In the second volume of the 1863 edition of his collected works Andersen remarked in the preface: "The style should be such that one hears the narrator. Therefore, the language had to be similar to the spoken word; the stories are for children, but adults too should be able to listen in." Although no materials appear to exist specifically addressing the composition of "The Princess and the Pea", Andersen does speak to the writing of the first four tales of 1835 of which "The Princess on the Pea" was one. New Year's Day 1835, Andersen wrote to a friend: "I am now starting on some 'fairy tales for children.' I am going to win over future generations, you may want to know", and, in a letter dated February 1835 he wrote to the poet, Bernhard Severin Ingemann: "I have started some 'Fairy Tales Told for Children' and believe I have succeeded. I have told a couple of tales which as a child I was happy about, and which I do not believe are known, and have written them exactly the way I would tell them to a child." Andersen had finished the tales by March 1835 and told Admiral Wulff's daughter, Henriette: "I have also written some fairy tales for children; rsted says about them that if The Improvisatore makes me famous than these will make me immortal, for they are the most perfect things I have written; but I myself do not think so." On 26 March, he observed that "[the fairy tales] will be published in April, and people will say: the work of my immortality! Of course I shan't enjoy the experience in this world." Publication Andersen in 1836 "The Princess and the Pea" was first published in Copenhagen, Denmark by C. A. Reitzel on 8 May 1835 in an unbound 61-page booklet called Tales, Told for Children. First Collection. First Booklet. 1835. (Eventyr, fortalte for Brn. Frste Samling. Frste Hefte. 1835.). "The Princess and the Pea" was the third tale in the collection, which included "The Tinderbox" ("Fyrtiet"), "Little Claus and Big Claus" ("Lille Claus og store Claus"), and "Little Ida's Flowers" ("Den lille Idas Blomster"). The booklet was priced at twenty-four shillings (the equivalent of 25 Dkr. or approximately US$5 as of 2009), and the publisher paid Andersen 30 rixdollars (US$450 as of 2009). A second edition was published in 1842, and a third in 1845. "The Princess and the Pea" was reprinted on 18 December 1849 in Tales. 1850. with illustrations by Vilhelm Pedersen. The story was published again on 15 December 1862, in Tales and Stories. First Volume. 1862. The first Danish reviews of Andersen's 1835 tales appeared in 1836, and were hostile. Critics disliked the informal, chatty style, and the lack of morals, and offered Andersen no encouragement. One literary journal failed to mention the tales at all, while another advised Andersen not to waste his time writing "wonder stories". He was told he "lacked the usual form of that kind of poetry ... and would not study models". Andersen felt he was working against their preconceived notions and returned to novel-writing, believing it to be his true calling. Charles Boner was the first to translate "The Princess and the Pea" into English, working from a German translation that had increased Andersen's lone pea to a trio of peas in an attempt to make the story more credible, an embellishment also added by another early English translator, Caroline Peachey. Boner's translation was published as "The Princess on the Peas" in A Danish Story-Book in 1846. Boner has been accused of missing the satire of the tale by ending with the rhetorical question, "Now was not that a lady of exquisite feeling?" rather than Andersen's joke of the pea being placed in the Royal Museum. Boner and Peachey's work established the standard for English translations of the fairy tales, which for almost a century "continued to range from the inadequate to the abysmal". Commentaries Andersen blends his childhood memories of a primitive world of violence, death, and inexorable fate, with his social climber's private romance about the serene, secure and cultivated Danish bourgeoisie, which did not quite accept him as one of their own. The nervousness and humiliations Andersen suffered in the presence of the bougeoisie were mythologized by the storyteller in the tale of "The Princess and the Pea", with Andersen himself the morbidly sensitive princess who can feel a pea through 20 mattresses. Unlike the folk heroine of his source material for the story, Andersen's princess has no need to resort to deceit to establish her identity; her sensitivity is enough to validate her nobility. For Andersen, "true" nobility derived not from an individual's birth but from their sensitivity. Andersen's insistence upon sensitivity as the exclusive privilege of nobility challenges modern notions about character and social worth. The princess's sensitivity, however, may be a metaphor for her depth of feeling and compassion. The Princess and the Pea was not uniformly well-received by critics: "[the story] seems to the reviewer not only indelicate but indefensible, in so far as the child might absorb the false idea that great ladies must always be so terribly thin-skinned." The princess's sensitivity has been interpreted as poor manners rather than a manifestation of noble birth, a view said to be based on "the cultural association between women's physical sensitivity and emotional sensitivity, specifically, the link between a woman reporting her physical experience of touch and negative images of women who are hypersensitive to physical conditions, who complain about trivialities, and who demand special treatment". Researcher Jack Zipes notes that the tale is told tongue-in-cheek, with Andersen poking fun at the "curious and ridiculous" measures taken by the nobility to establish the value of bloodlines. He also notes that the author makes a case for sensitivity being the decisive factor in determining royal authenticity and that Andersen "never tired of glorifying the sensitive nature of an elite class of people". Adaptations "The Princess and the Pea" was adapted to the musical stage in 1959 as Once Upon a Mattress, with comedienne Carol Burnett playing the play's heroine, Princess Winnifred the Woebegone. The musical was revived in 1997 with Sarah Jessica Parker in the role. A television adaptation of "The Princess and the Pea" starred Liza Minnelli in a Faerie Tale Theatre episode in 1984. The story has been adapted to two films, one full-length animation film in 2002 (link), and a 6-minute IMAX production in 2001 (link). Also, the story has been adapted to a board game from Winning Moves, and a spoof by Jon Scieszka as "The Princess and the Bowling Ball" in The Stinky Cheese Man and Other Fairly Stupid Tales. Similar tales in world culture Tales of extreme sensitivity are infrequent in world culture but a few have been recorded. The 11th-century Kathasaritsagara by Somadeva tells of a young man who claims to be especially fastidious about beds. After sleeping in a bed on top of seven mattresses, and newly made with clean sheets, the young man rises in great pain. A crooked red mark is discovered on his body, and upon investigation a hair is found on the bottommost mattress of the bed. An Italian tale called "The Most Sensitive Woman" tells of a woman whose foot is bandaged after a jasmine petal falls upon it. The Grimms included a "Princess on the Pea" tale in an edition of their mrchen, but removed it when they discovered it belonged to Danish literary tradition. A few folk tales feature a boy discovering a pea or a bean assumed to be of great value. After the boy enters a castle and is given a bed of straw for the night he tosses and turns in his sleep, attempting to guard his treasure. Some observers are persuaded that the boy is restless because he is unaccustomed to sleeping on straw, and is therefore of aristocratic blood. References Notes ^ a b c d e f g h i j Tatar 2008, pp. 7077. ^ a b Wullschlager 2000, pp. 159160. ^ a b c d de Mylius, Johan (2009). "The Timetable Year By Year, 1835: The First Collection of Fairy-Tales". H.C. Andersens liv. Dag for dag. (The Life of Hans Christian Andersen. Day By Day.). The Hans Christian Andersen Center. http://www.andersen.sdu.dk/liv/tidstavle/vis_e.html?aar=1835. Retrieved 2009-02-08. ^ a b c Opie 1974, p. 216. ^ a b c Wullschlager 2000, p. 144. ^ Andersen 2000, p. 135. ^ a b Wullschlager 2000, p. 290. ^ Willschlager 2000, pp. 290291. ^ Wullschlager 2000, p. 151. ^ Toksvig 1934, p. 179. ^ Zipes 2005, p. 35. Bibliography Andersen, Hans Christian (2000) , The Fairy Tale of My Life: An Autobiography, New York: Cooper Square Press, ISBN 0-8154-1105-7 Opie, Iona; Opie, Peter (1974), The Classic Fairy Tales, Oxford and New York: Oxford University Press, ISBN 0-19-211559-6 Tatar, Maria (2008), The Annotated Hans Christian Andersen, New York and London: W. W. Norton & Company, ISBN 978-0-393-06081-2 Toksvig, Signe (1934) , The Life of Hans Christian Andersen, London: Macmillan and Co Wullschlager, Jackie (2000), Hans Christian Andersen: The Life of a Storyteller, Penguin Group, ISBN 0-713-99325-1 Zipes, Jack (2005), Hans Christian Andersen, New York and London: Routledge, ISBN 0-415-97433-X External links "Prinsessen p rten" Original Danish text "The Princess and the Pea" English translation by Jean Hersholt Archived audio version of the story Categories: 1835 short stories Fairy tales Fictional princesses Fictional princes Works by Hans Christian AndersenHidden categories: Articles containing Danish language text The e-commerce company in China offers quality products such as Blue Laser Projector Manufacturer , China Blue Laser Projector, and more. For more , please visit Rgy Laser today!
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