The Wonderful Musician

The wonderful musician is a fairy tale (ATU 38, 151). It is in the Children's and Household Tales of the Brothers Grimm in place 8 (KHM 8).

Content

A violinist wanders through the forest. Out of boredom, he wants to bring fiddle a friend. But the wolf, who comes to learn of his games, he does not want to. He lets him put his paws in a hollow tree and weighted it with a stone. It leaves him waiting and moves on. Similarly, it's a fox, which he binds the paws of two Hazel crowns and a bunny that he can bounce with a cord around the neck is a aspen, until it is firmly seated. The wolf is loose and freed the others. You want to tear the game man. But in the meantime has found a woodcutter who is listening charmed and takes him with the ax before the animals in protection. A man was looking for the minstrel. He plays again thanks and goes on.

Origin

The tale is in Grimm Children 's and Household Tales from the second edition of 1819 instead of 8 (instead of the hand with the knife from the first edition ). Your comment quoted from Lorsch near Worms, compares Orpheus and a similar tale among the Saxons in Transylvania, as Haltrich # 50 noticed. The reason cruel behavior of the game 's they explain incompleteness of tradition.

For pinching unholder beings see KHM 4, 20, 91, 99, 114, 161, 196 Hans -Jörg Uther calls the medieval beast epic Roman de Renart as an early example of self-harm an animal through cunning of another ( oath on iron). See The custom things in Ludwig Bechstein's New German fairy tale.

Interpretation

Remarkable are the description that he thought back and forth, up for his thoughts there was nothing left, the diminutives " Little Vixen ", " Bunny " (cf. KHM 126: Riesechen, birds ), and the torture of animals. The forest is in fairy tales often full of primitive impulses interpreted as unconscious, after which the minstrel but here does not carry a " request ".

Eugen Drewermann indicates the fiddler who attracts animals, only to send her away from himself, as an attempt to deny his original impulses, perhaps to be more human. This leads to an abstraction of feeling and sensation, which deepens the rift between art and life and makes it lifeless.