Showing posts with label The Master Maid. Show all posts
Showing posts with label The Master Maid. Show all posts

Tuesday, 7 April 2020

Strong Fairy Tale Heroines #7: THE MASTERMAID




This fast-moving Norwegian fairy tale from Asbjørnsen and Moe was translated into English by Sir George Dasent in ‘Popular Tales from the Norse’ (1859). Nineteenth century translations can feel a little stiff nowadays and we tend to read them with too much respect. I decided to tell this story aloud a few months ago, but it came to life for me when I tweaked it a bit and told it in a strong Yorkshire accent (which is where I'm from). Traces of this should be obvious in the version below. This helped me bring out not only the Northern-ness of the tale, but also the sheer fun and naughtiness of the original, such as the bit near the end, where the Mastermaid takes various men to bed with her only to make them stand up all night gripping such suggestive items as a poker or a calf’s tail...

The story begins as if it’s all going to be about a prince, but though he’s an attractive, cheeky lad, he can’t achieve anything without the Mastermaid (the clue’s in her name)! The tale is classed as Aarne–Thompson type 313A, 'the girl helps the hero flee', a category which in my opinion ought to be renamed 'the heroine rescues the boy'. The Mastermaid saves the prince's life four separate times, provides him with invaluable advice, organises his escape, saves him from marrying a troll, and generally sorts everything out with tremendous aplomb.


There was once a king’s son who had a fancy to see the world. Off he set, and after travelling for several days he found a door that was built into the mountain. It was the door to a troll’s house; he spent the night there and hired himself out next day as the troll’s servant.

            In the morning, before the troll went out to graze his herd of goats on the mountain meadows, he told the king’s son to shovel out the stable. ‘I’m an easy-going master,’ he said, ‘when you’ve done that, you can have the rest of the day off, but do your work well, and don’t go poking into any of the other rooms in the house, or I’ll tear your head off.’ 

‘He does seem an easy master!’ said the lad to himself. He thought he’d have plenty of time, so he walked about humming, and then he thought he would take a look into some of the other rooms. What might the troll be hiding? 

In the middle of the first room a big cauldron was boiling and bubbling away with no fire under it! ‘What’s cooking?’ the king’s son wondered, and he looked in, a piece of his hair swung down into the broth and came out with each strand bright as copper.

‘Funny soup, that!’ said the lad, ‘if anyone sipped it, they’d have copper lips!’ and he went into the second room.

Here was another cauldron simmering away with no fire. ‘I’ll try this one too,’ he says and dips a second lock of hair in. Out it comes, shining silver. ‘Expensive soup!’ says he, ‘we’ve nothing like it my father’s castle, but how does it taste?’ and he went into the next room where there was a third cauldron bubbling and steaming. 

The lad dipped another lock of hair in, and this time it came out gleaming gold. ‘Anyone who drank that would get a gilded gullet!’ he said, ‘but if that’s gold, what’ll I find next?’ and he opened the door to the fourth room, and in it a girl was sitting on a bench, the loveliest lass the lad had ever seen. 

‘God in heaven,’ she says, ‘what do you want? And what are you doing here?’

‘I’ve just been hired by the troll,’ he says.

‘Have you any idea what you’ll have to do for him?’ she asks.

‘Oh he’s an easy sort of chap,’ says the king’s son. ‘All I have to do is muck out the stable, nothing hard, and then I can take time off.’ 

‘You think that’s easy? If you set about it the usual way, ten shovelfuls will fly in for every one you chuck out. I’ll tell you what to do: turn the pitchfork around and shovel with the handle, then all the muck will fly out by itself!’

He’d do that, all right, thought the king’s son, and then the two of them sat chattering away, falling in love, till as evening came the lad thought he’d better go out and do his work, and as soon as he turned the pitchfork upside down, all the muck flew out by itself to the dungheap and the stable was as clean as clean.

Troll comes back with the goats. ‘Have you shovelled out t'stable?’ he asks

.
‘I have that, it’s as clean as clean.’

‘I’ll see for myself!’ says the troll, and he came and saw, and he says, ‘You must have been talking to my Mastermaid! You haven’t got enough between the ears to have managed it yourself.’  

‘Mastermaid?’ says the lad, pretending to be thick, ‘what sort of a thing is that? I’d love to see it. Can I see it?’

‘You’ll see soon enough,’ says the troll. 

Next morning the troll gave the lad instructions to go up the mountain and bring down the horse which was grazing up there. ‘When you’ve done that you can take things easy the rest of the day, but don’t go into any of the other rooms, or I’ll wring your head off!’ 

‘Kind master or not,’ thought the king’s son, ‘I’ll talk to the Mastermaid all the same. Yours, is she? What if she’d rather be mine?’ and he went to see her.

‘What work has he given you today?’ she asks.

‘Nowt much,’ says the king’s son. ‘Just go up the mountain to fetch his horse.’

‘And how are you going to do that?’

‘Shouldn’t be hard, should it? I’ll bet I’ve ridden better horses than his!’

‘It won’t be as easy as you think,’ said the Mastermaid, ‘but I’ll tell you what to do. It’ll rush at you as soon as it sees you, breathing fire and flame, but if you take that bridle hanging there by the door and throw it over its head, it’ll calm down and follow you like a lamb.’

Well, the lad would certainly take her advice, and so they sat chatting and thought how wonderful it would be if they could get away together and escape the troll… and he would have forgotten all about going to fetch the horse if the Mastermaid hadn’t reminded him as evening came on, so he took the bridle and climbed the mountain, and as the horse came rushing at him with blazing eyes and flaming jaws he threw the bridle over its head, and then it was tame and followed him back like a lamb.

Troll comes home. ‘Is horse in’t stable?’

‘Oh aye,’ says the lad. ‘A nice quiet nag, I rode it back and shut it in the stall, I did.’ 

‘I’ll see for myself!’ says the troll. And there was the horse, just as the lad had said. ‘You must have been talking to my Mastermaid!’ said the troll. ‘You could never have worked that out for yourself!’

‘Mastermaid? Mastermaid? You said that yesterday, and still I don’t know what a Mastermaid is. I wish you’d show me, master, indeed I do,’ said the king’s son, thick as a brick. 

‘You’ll find out soon enough!’ said the troll. 

Next day the troll went out with his goats as before. ‘Today it’s off to hell with you, to fetch the fire-tax,’ he said to the lad. ‘You can take it easy the rest of the day! Lucky for you I’m such a kind master.’ Off he went.

‘Oh aye, very kind,’ says the lad, ‘to give me all the dirty jobs. I’d better find the Mastermaid.’ And he went to her. ‘What’ll I do? I’ve never been to hell. I don’t know the way! And I don’t know how much to ask for!’

‘Oh, I can tell you all that. Go to the cliff face below the mountain, take this club with you and knock on the wall with it. Then someone will come out with sparks flying off him. Tell him your errand, and when he asks how much you want, you say, “As much as I can carry!”’  

Well, the lad thought he could do that, and then they sat talking all day long and he would be sitting there still if the Mastermaid hadn’t reminded him to go and fetch the fire tax before the troll came home.





Off he went and knocked at the cliff with the club, and out came someone swarming with sparks, fire flying from his hair and eyes and nose. ‘What do you want?’

‘I’ve come from the troll, for the fire tax!’

‘How much?’

‘Oh, just as much as I can carry.’

‘You’re lucky you didn’t ask for more. Come with me!’ So he led the king’s son into the hill, and there were piles of gold and silver like stones in a rockfall, and the lad took as much as he could carry and went home. 

Troll comes back. ‘Where’s fire tax?’

‘In that sack by wall!’

‘I’ll see for myself!’ said the troll, and he looked in the sack and it was full to the brim with gold and silver. ‘You’ve certainly been talking to my Mastermaid – and if you have, I’ll wring your head off!’

‘Mastermaid?’ said the lad. ‘You keep talking about this Mastermaid. I wish I could see the thing. I really do!’

‘You’ll have your wish,’ said the troll. ‘I’ll take you to see her tomorrow.’

Next day troll takes the king’s son to t’ Mastermaid and says to her, ‘Get on and butcher him, and cook him up in’t big cauldron while I have a nap. When broth’s ready, call me!’ He lay down on’t bench and went to sleep, snoring so loud it shook the mountain. 

The Mastermaid takes a knife, cuts the lad’s finger and lets three drops of blood fall onto a three-legged stool. She piles up all the old rags and worn-out shoes and rubbish she can find, and drops them into the cauldron. She fills up a box with powdered gold, grabs a block of salt and a flask of water. Then she catches up a golden apple and the troll’s two golden hens, and off she goes wi’t king’s son, fast as they can, till they come to t’ sea, jump on board ship and set off over the waves. 

Back home, the troll stretches a bit and stirs.  ‘Is broth ready yet?’

‘Just started to boil,’ said the first drop of blood and the troll goes back to sleep. After a while he stirs again. ‘In’t it ready yet?’

‘Half-cooked!’ says second drop of blood. So the troll goes back to sleep. Hours later he yawns and rubs his eyes. ‘Is it done?’

‘Ready!’ says third drop of blood. So the troll got up and he couldn’t see the Mastermaid, but the cauldron was steaming, and he was clemmed. Hungry! He took the ladle and tried the soup, and it’s nothing but mashed up rags and old leather, and he was so angry he didn’t know what leg to stand on, and he set off after the Mastermaid and the king’s son as fast as he could go. Soon he comes to the edge of the fjord, and he can see the two of them far off on the ship, but he can’t cross the water. So he calls his River-sucker, and the River-sucker lies down at the fjord’s edge and sucks and sucks till the fjord’s almost dry. 


‘Throw out that block of salt!’ cries the Mastermaid, so the king’s son threw out the block of salt behind the ship, and it turned into a mighty mountain too high to climb, that blocked the way. ‘I’ll call for my Mountain-borer!’ yelled the troll, and his Mountain-borer came and bored a hole right through the mountain, but just as the troll was scrambling through it the Mastermaid cried, ‘Pour out the flask of water!’ and the king’s son did, and the tunnel filled with water and the troll was swept away and drowned.

So now the lad wants to take Mastermaid back to his father, but he wants to do it in style. ‘Just wait for me here, while I go on. There’s seven grand horses in my father’s stable, and a carriage. I’ll fettle them up and bring them for you.’

‘Oh no, don’t do that!’ said the Mastermaid, ‘if you go home without me, you’ll forget me, I know you will.’

‘How could I forget you after all we’ve been through together and when we love each other so much?’

‘All right’ said the Mastermaid, ‘go if you will, but don’t speak to anyone and whatever you do don’t have a bite to eat – if you do, it’ll be bad luck for both of us.’ He said he wouldn’t, and off he went.

But when he got to his dad’s castle, one of his brothers had just got married and they were all celebrating. They were right glad to see him and asked him to join the feast, but he wouldn’t say nowt, he brushed them off and went to t’ stables to hitch up the horses. Well, this woman comes after him, she’s the bride’s step-sister, and she chucks him an apple, ‘If you won’t stay with us, have a bite of that,’ she cries, and as he were hungry and thirsty he took a bite, and all at once he forgot the Mastermaid and all that had gone on wi’ him and her. ‘I must have gone mad. What do I want these horses for?’ And he went back into t’ castle, and no time at all he was engaged to marry the woman who gi’en him the apple, who was really a troll.

The Mastermaid waited and waited, but as king’s son didn’t come she walked along till she came to a dirty little cottage close by the king’s meadows. In she goes and lights a fire, and then she takes out the box of gold dust and chucks half of it on’t fire so it spits and splutters and gilds the whole cottage inside and out, till it shines like the sun. 

Who should come riding by but the Constable? He was so mithered by the glittering cottage and so smitten by the lovely lass sitting by t’ door, that he asks her to marry him, straight off.

‘I might, if you’ve plenty of brass,’ she says.  

Oh, he had plenty of that! So he comes back that evening with half a sackful, leans it in’t corner and they go to bed. But soon as they’re in bed, the Mastermaid sits up. ‘I forgot to stoke fire,’ says she.

‘I’ll do it!’ says Constable, and he jumps out of bed.

‘Tell me when you’re grabbed hold of poker,’ says the Mastermaid.

‘I’m holding it now!’ says he.

‘Then you hold on to the poker and the poker hold you, and you can chuck coals all over yourself till morning!’ says the Mastermaid. So the Constable stands there all night, flinging fiery coals and embers all over himself till daybreak, and then he could let the poker go and he took to his heels as if the devil was after him. And did he say a word to anyone? Not likely!

Next day an Attorney comes riding past, and when he claps eyes on t’ golden hut and the beautiful maiden, down he goes on his knees and asks to marry her. ‘I might,’ said the Mastermaid, ‘if you’ve plenty of brass, I might…’

The Attorney was rich enough, so he come back that evening with a big sackful and leans it in the corner, and they went to bed. But as soon as they lie down, the Mastermaid sits up. 

‘I forgot to shut porch door,’ said she.

‘Lord, what a time to remember that!’ says Attorney. ‘I’ll do it,’ and he jumps out of bed.

‘Tell me when handle’s in your hand,’ says the Mastermaid. 

‘I’m holding it now,’ calls the Attorney.

‘Right, well you hold door handle and door handle hold you, and rush you this way and that till morning!’ said she. Well, the Attorney never had such a night, as the door rushed him this way and that all night long, almost battering him to death, and as daybreak came he fled home, leaving his money behind. And did he breathe a word to anyone? Not likely!

On the third day, a Bailiff came by, and same thing happens. He wants to marry the Mastermaid and she says she might, if he has enough brass! Oh, the Bailiff had plenty. Back he comes that evening with an even bigger sack than the Attorney – so that was all right, and off they go to bed. But hardly did their heads touch pillow when the Mastermaid sits up.

‘I’ve forgotten to shut the calf away,’ she says. ‘I’ll have to go out and do it now.’

 
‘I’ll do it!’ says Bailiff, and he jumps out of bed.

‘Tell me when you’ve got hold of calf’s tail,’ says the Mastermaid.

‘I’ve got hold of it now!’ cries the Bailiff.

‘Then you hold on to the calf’s tail, and the calf’s tail hold you, and you can run over the whole world till daybreak,’ says the Mastermaid. And off goes the calf, kicking and leaping, and drags the Bailiff up mountains and down dales, and the more he yells the faster it runs, and by daylight he’s so worn out he can hardly limp home.

Now the very next day was the day of the King’s son’s wedding to the sister of his brother’s bride, the woman who gived him the apple. But when they climbed into t’ carriage to drive to the church, one of the axles broke, and it couldn’t be mended, and then Constable, who’d come to t’ wedding, said there was a lass living in a gold cottage down by the meadows, and they ought to ‘see if she’ll lend you her poker, that’ll hold all right!’ So they sent a messenger, and the Mastermaid didn’t say no, and they used poker instead of axle and it worked! 

But as soon as they got going, the floor of the carriage drops out underneath them. So the Attorney says, ‘See if the lass in the gold cottage will lend you her gilded door, I guarantee that won’t break!’

Well, the Mastermaid lends the door. So that’s fettled, but this time when they try to set off again, the horses won’t move. They hitch up six, then eight, then ten, but still the horses won’t stir, and it’s getting late. The Bailiff spoke up. ‘See if the lass in the gold cottage’ll lend you her calf. That beast’ll pull anything!’

Well, the Mastermaid lends them the calf and they unhitch the horses and put it in the traces and what did it do? It shoots away with that carriage over hill and dale, sometimes on the ground, sometimes in the air, and when it reaches the church it goes around and around the steeple like a yarn-winder, and they only just manage to get out. And on t’ way back from the wedding it does the same, only even faster. 

Now as they sat down to feast, the king’s son – the bridegroom – thought they ought to invite the lass in the gold cottage, who’d lent them her poker, her door and her calf, ‘Without her, we’d never have got to church in time!’ And the king said this was only fair, and he sent five of his best men down to the gold cottage to invite the lass to dinner.

‘If king’s not good enough to come and see me, he’s not good enough for me to come and see him,’ said the Mastermaid, so the king had to go down himself and invite her to dinner, and the Mastermaid went with him and he put her in the seat of honour, next to the bridegroom. When she’d sat down, the Mastermaid took out the two gold hens and the golden apple she had brought from troll’s house and put them on the table, and the two hens started pecking and fighting over the golden apple. 

‘By heck,’ said the king’s son, ‘look at the way them hens is struggling to get at the apple!’

‘Aye,’ says the Mastermaid, ‘That’s just the way we two struggled to get our freedom, when we were shut in troll’s house under the mountain.’

Then the king’s son remembered everything! He knew who she was, and you can’t think how happy they was, the two of them! As for the troll bride who’d given him the apple, the king told her off to be torn in twenty pieces between twenty horses, and then they could really celebrate, and Constable, Attorney and Bailiff danced all night at the wedding!





More about fairy tales and folklore in "Seven Miles of Steel Thistles" available from Amazon here and here.



Picture credits

The Mastermaid by Charles Folkard
The Prince collects the fire-tax by HJ Ford
The River-Sucker by HJ Ford

 

Friday, 3 August 2012

The Master-Maid: the role of women and girls in fairyland

by Ellen Renner

Recently, during a school visit, an eleven-year-old boy said he found my book Castle of Shadows 'girly' and asked, 'Did I mean it to be that way?'

I was, frankly, horrified. Castle of Shadows is about love and hate, power and powerlessness, politics and science. Charlie, the main character, is the least frilly princess imaginable. In a reversal of the fairy-tale tradition, she is the hero and her helper a boy. When I invited him to imagine the exact same sequence of events with a boy as the main character, my questioner had to admit that there was nothing intrinsically feminine in either plot or themes. It appeared that the thing preventing him from identifying with the story was that fact that it had a girl protagonist who, moreover, was a princess.

He went on to ask many more lively and interesting questions, but the incident remains with me as an example of the truism that, while girls will happily read books where the main character is a boy, the same cannot be said for boys. Which begs the question: Why?

Are girls innately more empathetic? Are there biological and evolutionary reasons which tend to make men see women as 'other', while women sometimes identify so strongly with those they love that they can lose their own sense of self? Or is the reason cultural: the fact that active female protagonists – female 'heroes' – are so hard to find in our stories and cultural myths? If the boy in that school had grown up with stories and cultural myths where 'heroes' are girls as often as boys, would he have had the same reaction to my book?

Castle of Shadows began as a fairy-tale: a missing queen, a forgotten princess, a mad king who neglects both daughter and kingdom, the corrupting desire for power. I was aware of these fairy-tale elements from the moment of inception and also of my own ambivalence towards them. I was particularly wary of having a princess for a main character. Fairy-tale princesses held little charm for me as a child.

I read mythology, folk lore and fairy-tales voraciously, yet certain tales felt inappropriate and even irritating long before I was capable of analysing why that might be. They annoyed me in the same way Barbie dolls did. These were the stories featuring passive girls, usually born or destined to become princesses, like Sleeping Beauty or Cinderella. Girls whose physical attractiveness was the sum of their identity; girls who were not so much protagonists as prizes.

I yearned for heroines I could identify with and aspire to be like. Girls who DID things. Who underwent hardship and suffering and overcame the odds by use of their own wit or courage. And I found Gerta in Andersen's The Snow Queen and the brave sister in the Grimms tale, The Six Swans. I found Gretel in Hansel and Gretel; Janet in Tam Lin; and the redoubtable, spendidly named Molly Whuppie – the female Jack who bests her giant. Molly may marry and disappear into  'happy-ever-after', but you know she will go on dominating life just the same.






I had a more complicated reaction, no doubt because of the darker themes of forced marriage and the bestial interpretation of male sexuality, to tales such as Mossy Coat, The Black Bull of Norroway, and East of the Sun, West of the Moon, but I still admired the courage and cleverness of the heroines. In these tales, a young woman is forced to perform nearly impossible tasks in order to recover a lost fiancé or husband, and sometimes their children. She succeeds with the help of magical advisers and gifts.



Similar, but missing out the forced marriage aspect, are versions of The Master-Maid as told by Andrew Lang in The Blue Fairy Book. This tale and its variants, including Sweetheart Roland, Nix-Nought-Nothing and The Battle of the Birds, are classified, by those who enjoy such things, as 'girl helps hero flee' (Arne-Thompson type 313). It's a strange classification, since the heroes in these stories are less interesting than the heroines. The 'helpers' are the true protagonists. These heroines have no advisers, are given no gifts. They succeed by dint of their own magical abilities, courage and cleverness. These are witches, one and all; daughters of ogres or giants, who wield far more power than than their mortal lovers.

In The Master-Maid, the king's youngest son goes off into the world to seek his fortune and takes employment with an evil giant. The giant sets him three impossible tasks which the prince is only able to complete by following the advice of the Master-Maid. 'Master' here means skilled, and the young woman is obviously a magician employed as a servant by the giant. Their relationship is never explained. (In some versions, she is the Giant's daughter.) The giant, suspecting her involvement, orders her to kill the prince and cook him for his supper. Master-Maid pretends to obey, but when the giant falls asleep, she puts her plan into action:

So the Master-Maid took a knife, and cut the Prince's little finger, and dropped three drops of blood upon a wooden stool; then she took all the old rags, and shoe-soles, and all the rubbish she could lay hands on, and put them in the cauldron; and then she filled a chest with gold dust, and a lump of salt, and a water-flask which was hanging by the door, and she also took with her a golden apple, and two gold chickens; and then she and the Prince went away with all the speed they could ...

Of course, the giant wakes, is fooled for a short time by the three drops of blood, who answer his calls in the Master-Maid's voice. He tastes the mess in the cauldron; the game is up and he gives chase. This pursuit was always my favourite part, but I prefer the version in The Battle of the Birds, taken from The Well at the World's End, Folk Tales of Scotland retold by Norah and William Montgomerie:

 ...the giant jumped out of bed and, finding the Prince and his bride had gone, ran after them.
In the mouth of the day, the giant's daughter said her father's breath was burning her neck.
'Quickly, put your hand in the grey filly's ear!' said she.

'There's a twig of blackthorn,' said he.
'Throw it behind you!' said she.
No sooner had he done this than there sprang up twenty miles of blackthorn wood, so thick that a weasel could not go through.


The giant is delayed while he chops the wood down, but he's soon after them again:

'In the heat of the day, the giant's daughter said: 'I feel my father's breath burning my neck. Put your hand in the filly's ear, and whatever you find there, throw it behind you!'

He found a splinter of grey stone, and threw it behind him. At once there sprang up twenty miles of grey rock, high and broad as a range of mountains. The giant came full pelt after them, but past the rock he could not go.

He is delayed again as he digs through the rock, but the lovers' respite is brief and she once more instructs him to reach into the filly's ear:
  
This time he found a thimble of water. He threw it behind him, and at once there was a fresh-water loch, twenty miles in length and breadth.
The giant came on, but was running so quickly he did not stop till he was in the middle of the loch, where he sank and did not come up.





The giant defeated, the lovers reach the Prince's home, but their trouble is not over. The Master-Maid warns him: '... if you go home to the King's palace you will forget me, I forsee that.' But the stubborn Prince insists. And as though he were a mortal venturing into the fairy realm, she instructs him not to speak to anyone there, and especially not to eat any food, or else he will forget her. Of course, he eats and forgets. In the second half of the tale, she must use all her magic to cancel the spell and win back her beloved.
  
Most tales about the winning back of a lover or husband put the blame for his forgetfulness onto women: the mother and daughter troll; the hag and the enchantress. Only in darker versions of Sweetheart Roland do we find the heroine killing both rival witch and straying betrothed. In all other cases, it is only the rival women who are killed. From The Master-Maid:

So the Prince knew her again, and you may imagine how delighted he was. He ordered the troll-witch who had rolled the apple to him to be torn in pieces between four-and-twenty horses, so that not a bit of her was left ...

This is the first mention in the story that the young lady is a troll. It seems rather stiff punishment for proffering an apple to a man who takes your fancy, but such are the rules of fairy-tales.

As for hags, in these as in most fairy-tales, elderly women come in for harsh treatment, which doubtless says much about the social attitudes of the times in which they were written. The Master-Maid needs somewhere to live in order to win back her man, and when she spies a little hut in a small wood near the King's palace, she more or less moves in:

The hut belonged to an old crone, who was also an ill-tempered and malicious troll. At first she would not let the Master-Maid remain with her; but at last, after a long time, by means of good words and good payment, she obtained leave.

The crone is less pleased when the Master-maid starts redecorating:

The old crone did not like this either. She scowled, and was very cross, but the Master-maid did not trouble herself about that. She took out her chest of gold, and flung a handful of it or so into the fire, and the gold boiled up and poured out over the whole of the hut, until every part of it both inside and out was gilded. But when the gold began to bubble up the old hag grew so terrified that she fled as if the Evil One himself were pursuing her, and she did not remember to stoop down as she went through the doorway, and so she split her head and died.

Such is the fate of hags and crones. They are either trolls to be killed or, more rarely, advisers whom the heroine would be wise to listen to.

The best of all hags must be Baba Yaga, as powerful as she is terrifying; who eats stupid girls but offers the wise and brave ones power and life. Lucy Coats has done an excellent post on Baba Yaga and my favourite fairy-tale heroine, Vasilisa.

I can't leave hags behind without mentioning a modern fairy-tale, the brilliant 'Howl's Moving Castle', in which Diana Wynne Jones takes the motif of the fairy-tale hag and turns it on its head from the inspired moment in the book when she transforms her protagonist into an aged crone, which she remains for much of the novel. Wynne Jones knows, as all women do, that there is little difference between heroine and crone. Time's slight-of-hand – a malicious magic – and the princess becomes the hag.

In most fairy-tales, the heroine's ultimate reward is marriage, whereupon her adventures cease. But then, so do the hero's.

As for my own heroine, the princess Charlotte, I grew to know her better as I wrote the book. Like the Master-Maid and Molly Whuppie, she is girl who knows her own mind. She is, like all girls, the heroine of her own life, not merely a prize or a helper, and her story needed to reflect that reality. Castle of Shadows is no fairy-tale. Charlie resembles the real life queen, Elizabeth the First, far more than she ever will Cinderella or Sleeping Beauty. In the passing of time, she will grow to become a wise and powerful crone. And like that monarch (for Charlie is a queen now too), she may be destined never to know what happens in the land of 'happy-ever-after'.


Ellen Renner was born in the USA, in the Ozark Mountains of Missouri, but came to England looking for adventure, married here, and now lives in an old house in Devon with her husband and son. Her first book, ‘Castle of Shadows’ (2010) is set in an alternate world similar to nineteenth century England, in a city not unlike London.  Young Charlie (Charlotte) is the Princess of Quale.  Years ago her mother the Queen – a notable scientist – mysteriously vanished. Her eccentric father the King spends all his time building ever more elaborate card-castles.  Neglected and hungry, bullied by the housekeeper, Charlie runs wild and scrambles at will over the roofs of the castle, her only friend the gardener’s boy, Toby – until the day when the suavely intelligent Prime Minister, Alistair Windlass, begins to take an interest in her.  But is he a true friend, or does he have some other motive for turning Charlie back into an educated, well-dressed, 'proper' princess?  

‘City of Thieves’ continues Charlie’s story, with further focus on her friend Toby and his efforts to escape both the family of thieves who claim him as their own, and the machinations of the sinister yet strangely attractive Windlass.  Quale is in deadly danger – and Charlie and Toby are forced to take opposite sides.

The plotting is delightfully complex: more twists and turns than a chain-link fence.  These are books hard to categorise – a fantasy world with no magic, a hint of steam-punk, lots of interesting politics, some fearsome inventions, and brilliant characters you really care about.  Ellen’s writing is reminiscent of Joan Aiken’s.  If only one could introduce characters from one author’s books to another’s!  How I’d love to see tough, passionate Charlie meet Aiken’s irrepressible gamine, Dido Twite...


Picture credits:
'The Black Bull of  Norroway', by John Lawrence, from 'The Blue Fairy Book',
1975'Molly Whuppie' by unknown 19th century (?) illustrator at this link: http://nota.triwe.net/lib/tales16.htm
'East of the Sun, West of the Moon' by Henry Justice Ford

'The Giant in The Master Maid' by John D Batten

'Mollie Whuppie and her Sisters' by Errol le Cain

Friday, 11 February 2011

Fairytale Reflections (20) Ellen Renner

Ellen Renner was born in the USA, in the Ozark Mountains of Missouri, but came to England looking for adventure, married here, and now lives in an old house in Devon with her husband and son.  I’m totally impressed, because besides being a very good writer, Ellen can fence with a sword (something I've always wanted to do) and is also a weaver who can start from scratch with a hank of sheep’s wool, spin it on a wheel, and then either knit it or weave it onto cloth on her loom.  On top of which, she rides a motorbike.  (Not on top of the loom, of course. I mean, 'in addition.') 

Ellen's first book, ‘Castle of Shadows’ (2010) is set in an alternate world similar to nineteenth century England, in a city not unlike London.  Young Charlie (Charlotte) is the Princess of Quale.  Years ago her mother the Queen – a notable scientist – mysteriously vanished. Her eccentric father the King spends all his time building ever more elaborate card-castles.  Neglected and hungry, bullied by the housekeeper, Charlie runs wild and scrambles at will over the roofs of the castle, her only friend the gardener’s boy, Toby – until the day when the suavely intelligent Prime Minister, Alistair Windlass, begins to take an interest in her.  But is he a true friend, or does he have some other motive for turning Charlie back into an educated, well-dressed, 'proper' princess? 

Alistair Windlass is a remarkably complex villain - if indeed he is a villain and not a patriot, two definitions which the book demands we consider, along with what they might mean...  All of Ellen's characters are refreshingly multi-layered.  The heroine Charlie is hot-headed, loyal and brave, but increasingly the weight of sovereignty imposes its limitations upon her. In a moving passage from Ellen’s second book, ‘City of Thieves’, Charlie climbs to the high ridge of the castle roof to put herself to the test:

The sky was pearl-coloured and cold. Dew lay on the leads, shimmering between water and frost.  The rooks screamed, hoarse with excitement at the freshness of the day.  Charlie filled her lungs with silvery air. 

She took her time climbing to the ridge, pausing to watch the rooks wheel overhead and to look, when she was high enough, for the distant glimmer that was the sea.  When she reached her enemy and stood staring at its long metal backbone, she couldn’t tell whether she was shaking from fear, excitement or cold.

She knew what she was going to do.  She had thought it out during the climb.  She did not want to die. She needed to do this, but she no longer trusted in the magic of her feet and head to keep her safe.  She knew now, as she had not before, that she could die.  She knew it with her body and not just her mind.  The knowledge brought sadness.  She had lost something, and it wouldn’t come bac
k.

‘City of Thieves’ continues Charlie’s story, with further focus on her friend Toby and his efforts to escape both the family of thieves who claim him as their own, and the machinations of the sinister yet strangely attractive Windlass.  Quale is in deadly danger – and Charlie and Toby are forced to take opposite sides.

The plotting is delightfully complex: more twists and turns than a chain-link fence.  These are books hard to categorise – a fantasy world without magic, with a hint of steam-punk, lots of interesting politics, some fearsome inventions, and brilliant characters you really care about.  It’s already been said, and I agree, that Ellen’s writing is reminiscent of Joan Aiken’s.  If only you could introduce characters from one author’s books to another’s!  I’d love to see tough, passionate Charlie meet Aiken’s irrepressible gamine, Dido Twite.  And while on the subject of strong heroines, Ellen has chosen in her Fairytale Reflection to consider the female role in fairytales, as exemplified by -

HELPERS, HEROINES AND HAGS



Recently, during a school visit, an eleven-year-old boy said he found Castle of Shadows 'girly' and asked, 'Did I mean it to be that way?'

I was, frankly, horrified. Castle of Shadows is about love and hate, power and powerlessness, politics and science. Charlie, the main character, is the least frilly princess imaginable. In a reversal of the fairy-tale tradition, she is the hero and her helper a boy. When I invited him to imagine the exact same sequence of events with a boy as the main character, my questioner had to admit that there was nothing intrinsically feminine in either plot or themes. It appeared that the thing preventing him from identifying with the story was that fact that it had a girl protagonist who, moreover, was a princess.

He went on to ask many more lively and interesting questions, but the incident remains with me as an example of the truism that, while girls will happily read books where the main character is a boy, the same cannot be said for boys. Which begs the question: Why?

Are girls innately more empathetic? Are there biological and evolutionary reasons which tend to make men see women as 'other', while women sometimes identify so strongly with those they love that they can lose their own sense of self? Or is the reason cultural: the fact that active female protagonists – female 'heroes' – are so hard to find in our stories and cultural myths? If the boy in that school had grown up with stories and cultural myths where 'heroes' are girls as often as boys, would he have had the same reaction to my book?

Castle of Shadows began as a fairy-tale: a missing queen, a forgotten princess, a mad king who neglects both daughter and kingdom, the corrupting desire for power. I was aware of these fairy-tale elements from the moment of inception and also of my own ambivalence towards them. I was particularly wary of having a princess for a main character. Fairy-tale princesses held little charm for me as a child.

I read mythology, folk lore and fairy-tales voraciously, yet certain tales felt inappropriate and even irritating long before I was capable of analysing why that might be. They annoyed me in the same way Barbie dolls did. These were the stories featuring passive girls, usually born or destined to become princesses, like Sleeping Beauty or Cinderella. Girls whose physical attractiveness was the sum of their identity; girls who were not so much protagonists as prizes.

I yearned for heroines I could identify with and aspire to be like. Girls who DID things. Who underwent hardship and suffering and overcame the odds by use of their own wit or courage. And I found Gerta in Andersen's The Snow Queen and the brave sister in the Grimms tale, The Six Swans. I found Gretel in Hansel and Gretel; Janet in Tam Lin; and the redoubtable, spendidly named Molly Whuppie – the female Jack who bests her giant. Molly may marry and disappear into  'happy-ever-after', but you know she will go on dominating life just the same.



I had a more complicated reaction, no doubt because of the darker themes of forced marriage and the bestial interpretation of male sexuality, to tales such as Mossy Coat, The Black Bull of Norroway, and East of the Sun, West of the Moon, but I still admired the courage and cleverness of the heroines. In these tales, a young woman is forced to perform nearly impossible tasks in order to recover a lost fiancé or husband, and sometimes their children. She succeeds with the help of magical advisers and gifts.



Similar, but missing out the forced marriage aspect, are versions of The Master-Maid as told by Andrew Lang in The Blue Fairy Book. This tale and its variants, including Sweetheart Roland, Nix-Nought-Nothing and The Battle of the Birds, are classified, by those who enjoy such things, as 'girl helps hero flee' (Arne-Thompson type 313). It's a strange classification, since the heroes in these stories are less interesting than the heroines. The 'helpers' are the true protagonists. These heroines have no advisers, are given no gifts. They succeed by dint of their own magical abilities, courage and cleverness. These are witches, one and all; daughters of ogres or giants, who wield far more power than than their mortal lovers.

In The Master-Maid, the king's youngest son goes off into the world to seek his fortune and takes employment with an evil giant. The giant sets him three impossible tasks which the prince is only able to complete by following the advice of the Master-Maid. 'Master' here means skilled, and the young woman is obviously a magician employed as a servant by the giant. Their relationship is never explained. (In some versions, she is the Giant's daughter.) The giant, suspecting her involvement, orders her to kill the prince and cook him for his supper. Master-Maid pretends to obey, but when the giant falls asleep, she puts her plan into action:

So the Master-Maid took a knife, and cut the Prince's little finger, and dropped three drops of blood upon a wooden stool; then she took all the old rags, and shoe-soles, and all the rubbish she could lay hands on, and put them in the cauldron; and then she filled a chest with gold dust, and a lump of salt, and a water-flask which was hanging by the door, and she also took with her a golden apple, and two gold chickens; and then she and the Prince went away with all the speed they could ...

Of course, the giant wakes, is fooled for a short time by the three drops of blood, who answer his calls in the Master-Maid's voice. He tastes the mess in the cauldron; the game is up and he gives chase. This pursuit was always my favourite part, but I prefer the version in The Battle of the Birds, taken from The Well at the World's End, Folk Tales of Scotland retold by Norah and William Montgomerie:

 ...the giant jumped out of bed and, finding the Prince and his bride had gone, ran after them.
In the mouth of the day, the giant's daughter said her father's breath was burning her neck.
'Quickly, put your hand in the grey filly's ear!' said she.

'There's a twig of blackthorn,' said he.
'Throw it behind you!' said she.
No sooner had he done this than there sprang up twenty miles of blackthorn wood, so thick that a weasel could not go through.


The giant is delayed while he chops the wood down, but he's soon after them again:

'In the heat of the day, the giant's daughter said: 'I feel my father's breath burning my neck. Put your hand in the filly's ear, and whatever you find there, throw it behind you!'

He found a splinter of grey stone, and threw it behind him. At once there sprang up twenty miles of grey rock, high and broad as a range of mountains. The giant came full pelt after them, but past the rock he could not go.

He is delayed again as he digs through the rock, but the lovers' respite is brief and she once more instructs him to reach into the filly's ear:
  
This time he found a thimble of water. He threw it behind him, and at once there was a fresh-water loch, twenty miles in length and breadth.
The giant came on, but was running so quickly he did not stop till he was in the middle of the loch, where he sank and did not come up.





The giant defeated, the lovers reach the Prince's home, but their trouble is not over. The Master-Maid warns him: '... if you go home to the King's palace you will forget me, I forsee that.' But the stubborn Prince insists. And as though he were a mortal venturing into the fairy realm, she instructs him not to speak to anyone there, and especially not to eat any food, or else he will forget her. Of course, he eats and forgets. In the second half of the tale, she must use all her magic to cancel the spell and win back her beloved.
  
Most tales about the winning back of a lover or husband put the blame for his forgetfulness onto women: the mother and daughter troll; the hag and the enchantress. Only in darker versions of Sweetheart Roland do we find the heroine killing both rival witch and straying betrothed. In all other cases, it is only the rival women who are killed. From The Master-Maid:

So the Prince knew her again, and you may imagine how delighted he was. He ordered the troll-witch who had rolled the apple to him to be torn in pieces between four-and-twenty horses, so that not a bit of her was left ...

This is the first mention in the story that the young lady is a troll. It seems rather stiff punishment for proffering an apple to a man who takes your fancy, but such are the rules of fairy-tales.

As for hags, in these as in most fairy-tales, elderly women come in for harsh treatment, which doubtless says much about the social attitudes of the times in which they were written. The Master-Maid needs somewhere to live in order to win back her man, and when she spies a little hut in a small wood near the King's palace, she more or less moves in:

The hut belonged to an old crone, who was also an ill-tempered and malicious troll. At first she would not let the Master-Maid remain with her; but at last, after a long time, by means of good words and good payment, she obtained leave.

The crone is less pleased when the Master-maid starts redecorating:

The old crone did not like this either. She scowled, and was very cross, but the Master-maid did not trouble herself about that. She took out her chest of gold, and flung a handful of it or so into the fire, and the gold boiled up and poured out over the whole of the hut, until every part of it both inside and out was gilded. But when the gold began to bubble up the old hag grew so terrified that she fled as if the Evil One himself were pursuing her, and she did not remember to stoop down as she went through the doorway, and so she split her head and died.

Such is the fate of hags and crones. They are either trolls to be killed or, more rarely, advisers whom the heroine would be wise to listen to.

The best of all hags must be Baba Yaga, as powerful as she is terrifying; who eats stupid girls but offers the wise and brave ones power and life. Lucy Coats has done an excellent post (Fairytale Reflections 7) on Baba Yaga and my favourite fairy-tale heroine, Vasilisa.

I can't leave hags behind without mentioning a modern fairy-tale, the brilliant 'Howl's Moving Castle', in which Diana Wynne Jones takes the motif of the fairy-tale hag and turns it on its head from the inspired moment in the book when she transforms her protagonist into an aged crone, which she remains for much of the novel. Wynne Jones knows, as all women do, that there is little difference between heroine and crone. Time's slight-of-hand – a malicious magic – and the princess becomes the hag.

In most fairy-tales, the heroine's ultimate reward is marriage, whereupon her adventures cease. But then, so do the hero's.


As for my own heroine, the princess Charlotte, I grew to know her better as I wrote the book. Like the Master-Maid and Molly Whuppie, she is girl who knows her own mind. She is, like all girls, the heroine of her own life, not merely a prize or a helper, and her story needed to reflect that reality. Castle of Shadows is no fairy-tale. Charlie resembles the real life queen, Elizabeth the First, far more than she ever will Cinderella or Sleeping Beauty. In the passing of time, she will grow to become a wise and powerful crone. And like that monarch (for Charlie is a queen now too), she may be destined never to know what happens in the land of 'happy-ever-after'.




Picture credits: 
'Ellen Renner' - courtesy of the Western Morning News
'Girl beside a Stream'  by Arthur Rackham, Sheffield City Art Gallery
'Molly Whuppie' retold by Walter de la Mare, illustrated by Errol le Cain
'East of the Sun, West of the Moon' by Henry Justice Ford
'The Giant in The Master Maid' by John D Batten
'Mollie Whuppie and her Sisters' by Errol le Cain