The story involves an upper-class woman, generally a princess or similar high-ranking nobility, saved from a dragon, either a literal dragon or a similar danger, by the virtuous hero (see damsel in distress). She may be the first woman endangered by the peril, or may be the end of a long succession of women who were not of as high birth as she is, nor as fortunate.[2] Normally the princess ends up married to the dragonslayer.
The motifs of the hero who finds the princess about to be sacrificed to the dragon and saves her, the false hero who takes his place, and the final revelation of the true hero, are the identifying marks of the Aarne–Thompson folktale type 300, the Dragon-Slayer. They also appear in type 303, the Two Brothers.[3] These two tales have been found, in different variants, in countries all over the world.[4]
The "princess and dragon" scenario is given even more weight in popular imagination than it is in the original tales; the stereotypical hero is envisioned as slaying dragons even though, for instance, the Brothers Grimm had only a few tales of dragon and giant slayers among hundreds of tales.[5]
History
One of the earliest examples of the motif comes from the Ancient Greek tale of Perseus, who rescued the princess Andromeda from Cetus, a sea monster often described as resembling a serpent or dragon.[6] This was taken up into other Greek myths, such as Heracles, who rescued the princess Hesione of Troy from a similar sea monster. Most ancient versions depicted the dragon as the expression of a god's wrath: in Andromeda's case, because her mother Queen Cassiopeia had compared her beauty to that of the sea nymphs, and in Hesione's, because her father had reneged on a bargain with Poseidon. This is less common in fairy tales and other, later versions, where the dragon is frequently acting out of malice. The homosexual variety of the tale is also found in Greek mythology; similar myths existed in Crissa and Thespiae of a terrifying beast that ravaged the place unless a young man was sacrificed, Alcyoneus in Crisa and Cleostratus in Thespiae to them. In both cases a man who is in love with the youth (Eurybarus and Menestratus respectively) and steps in to take the youth's place and slay the monster.[7]
Susanoo slaying the Yamata no Orochi, by Yoshitoshi.
The Japanese legend of Yamata no Orochi also invokes this motif. The god Susanoo encounters two "Earthly Deities" who have been forced to sacrifice their seven daughters to the many-headed monster, and their daughter Kushinadahime is the next victim. Susanoo is able to kill the dragon after getting it drunk on sake (rice wine).[8]
Another variation is from the tale of Saint George and the Dragon. The tale begins with a dragon making its nest at the spring which provides a city-state with water. Consequently, the citizens had to temporarily remove the dragon from its nest in order to collect water. To do so, they offered the dragon a daily human sacrifice. The victim of the day was chosen by drawing lots. Eventually in this lottery, the lot happened to fall to the local princess. The local monarch is occasionally depicted begging for her life with no result. She is offered to the dragon but at this point a traveling Saint George arrives. He faces and defeats the dragon and saves the princess; some versions claim that the dragon is not killed in the fight, but pacified once George ties the princess' sash around its neck. The grateful citizens then abandon their ancestral paganism and convert to Christianity.
A similar tale to St. George's, attributed to Russian sources, is that of St. Yegóry, the Brave: after the kingdoms of Sodom and Komor fall, the kingdom of "Arabia" is menaced by a sea-monster that demanded a sacrifice of a human victim every day. The queenly stepmother sent the Princess Elizabeth, the Fair, as the sacrifice. Yegóry, the Brave rescues Elizabeth and uses her sash to bind the beast. To mark her deliverance, he demands the building of three churches.[9]
In a tale from Tibet, a kingdom suffers from drought due to two "serpent-gods" blocking the streams of water at the source. Both dragons also demand the sacrifices of citizens from the kingdom, men and women, to appease them, until prince Schalu and his faithful companion Saran decide to put an end to their existence.[10]
When the tale is not about a dragon but a troll, giant, or ogre, the princess is often a captive rather than about to be eaten, as in The Three Princesses of Whiteland. These princesses are often a vital source of information to their rescuers, telling them how to perform tasks that the captor sets to them, or how to kill the monster, and when she does not know, as in The Giant Who Had No Heart in His Body, she frequently can pry the information from the giant. Despite the hero's helplessness without this information, the princess is incapable of using the knowledge herself.
The Marshall (false hero) tells the court how he killed the dragon. Illustration by John Batten for Joseph Jacobs's Europa's Fairy Book (1916).
Again, if a false claimant intimidates her into silence about who actually killed the monster as in the fairy taleThe Two Brothers, when the hero appears, she will endorse his story, but she will not tell the truth prior to them; she often agrees to marry the false claimant in the hero's absence. The hero has often cut out the tongue of the dragon, so when the false hero cuts off its head, his claim to have killed it is refuted by its lack of a tongue; the hero produces the tongue and so proves his claim to marry the princess.[11] In some tales, however, the princess herself takes steps to ensure that she can identify the hero—cutting off a piece of his cloak as in Georgic and Merlin, giving him tokens as in The Sea-Maiden—and so separate him from the false hero.
This dragon-slaying hero appears in medieval romances about knights-errant,[12] such as the Russian Dobrynya Nikitich. In some variants of Tristan and Iseult, Tristan wins Iseult for his uncle, King Mark of Cornwall, by killing a dragon that was devastating her father's kingdom; he has to prove his claim when the king's steward claims to be the dragon-slayer.[13]Ludovico Ariosto took the concept up into Orlando Furioso using it not once but twice: the rescue of Angelica by Ruggiero, and Orlando rescuing Olimpia. The monster that menaced Olimpia reconnected to the Greek myths; although Ariosto described it as a legend to the characters, the story was that the monster sprung from an offense against Proteus. In neither case did he marry the rescued woman to the rescuer. Edmund Spenser depicts St. George in The Faerie Queene, but while Una is a princess who seeks aid against a dragon, and her depiction in the opening with a lamb fits the iconography of St. George pageants, the dragon imperils her parents' kingdom, and not her alone. Many tales of dragons, ending with the dragon-slayer marrying a princess, do not precisely fit this cliché because the princess is in no more danger than the rest of the threatened kingdom.
An unusual variant occurs in Child ballad 34, Kemp Owyne, where the dragon is the maiden; the hero, based on Ywain from Arthurian legend, rescues her from the transformation with three kisses.[14]
Mythological comparativist Julien d'Huy ran an analytical study of the antiquity and diffusion of the snake- or dragon-battling mytheme in different cultural traditions.[15]
Scholarship suggests a connection between the episode of the dragon-slaying by the hero and the journey on an eagle's back, akin to the Mesopotamian myth of Etana.[16]
In the 1959 animated film Sleeping Beauty, Walt Disney concluded the tale by having the wicked fairyMaleficent transform herself into a dragon to withstand the prince, converting the fairy tale to one with the princess and dragon theme.[17]
In Ian Fleming's Dr. No, both the book and film versions feature a tank in the shape of a dragon that protects Dr. No's island from superstitious intruders. James Bond and Honeychile Rider are menaced by the "dragon", destroy it, have their friend Quarrel killed and are captured by the crew of the Dragon tank. Ann Boyd's 1967 book The Devil with James Bond explores the theory of the updating of the Princess and dragon genre.[citation needed]
A feminist subversion of the concept for young readers is Robert Munsch's The Paper Bag Princess, in which a princess outwits a dragon to save a prince (her betrothed, whom she proceeds not to marry upon him insulting her makeshift clothing instead of thanking her).
In Jay Williams's tale The Practical Princess, a dragon demands that a king should sacrifice his daughter to him so that he will leave the rest of the kingdom alone. But the princess saves herself by making a "princess dummy" out of straw and filling it with boiling pitch and tar. The princess dresses the straw dummy in one of her own gowns, then goes to the dragon's cave where she offers herself as a sacrifice. The unwitting dragon swallows the dummy whole, and the pitch and tar explode inside the dragon's stomach, killing him. Afterwards, the princess observes, "Dragons are not very smart."
In the Isaac Asimov short story Prince Delightful and the Flameless Dragon, it is revealed that Dragons used to be slain as part of a passage from princehood to adulthood, though after a while, they became a protected species. Contrary to popular myth, they do not eat princesses as they tend to smell of cheap perfume and give indigestion.
In animated television series Wander Over Yonder episode, "The Hero", Sir Brad Starlight, the bumbling knight who believes in fairy tales, sets off to rescue the princess from the dragon king. However, it turns out that the princess and the dragon king are in love with each other and are engaged to marriage; as the dragon himself is actually a good guy and the princess herself does not need to be rescued.[18]
Interpretations
In his study on the historical roots of the wondertale, Russian scholar Vladimir Propp interpreted the dragonslaying tale (ATU 300) as an inversion of the ancient ritual of a maiden sacrifice to a river to ensure good crops. Propp speculated that, in regards to this practice, the hero would be seem as a "profaner" of the ritual, but, as time passed, the maiden sacrifice was discarded and the hero was elevated.[19]
Diversions
In some stories, mostly in more recent literary works, the cliché involving princesses and dragons is somehow twisted to create a more exciting or humorous effect. For example, in The Paper Bag Princess, the princess came to realize that her prince was even more obnoxious than the dragon, and refused to go with him, preferring to skip off into the setting sun alone instead. In some versions, the princess may also befriend, tame, personally defeat, or even be turned into a dragon herself. Indeed, there are a few examples when a curse or spell transforms a princess into a dragon or similar creature (e.g. an alligator, giant bird, or fictional reptile species). In such stories, the transformed princess usually aids her sweetheart in a battle against a force of evil. In The Swan Princess, for example, Princess Odette is transformed into a swan, and she helps her lover triumph in a battle against the sorcerer Rothbart, who has the power to transform himself into a hideous beast (a manifestation of a lion, wolf, bear and bat).
In Greek mythology, Andromeda is the daughter of Cepheus, the king of Aethiopia, and his wife, Cassiopeia. When Cassiopeia boasts that she is more beautiful than the Nereids, Poseidon sends the sea monster Cetus to ravage the coast of Aethiopia as divine punishment. Queen Cassiopeia understands that chaining Andromeda to a rock as a human sacrifice is what will appease Poseidon. Perseus finds her as he is coming back from his quest to decapitate Medusa, and brings her back to Greece to marry her and let her reign as his queen. With the head of Medusa, Perseus petrifies Cetus to stop it from terrorizing the coast any longer.
The damsel in distress is a narrative device in which one or more men must rescue a woman who has been kidnapped or placed in other peril. The "damsel" is often portrayed as beautiful, popular and of high social status; they are usually depicted as princesses in works with fantasy or fairy tale settings. Kinship, love, lust or a combination of those motivate the male protagonist to initiate the narrative.
The StoryTeller is a live-action/puppet television series that originally aired in 1987 and which was created and produced by Jim Henson.
Mystic Knights of Tir Na Nog is a fantasy-adventure television series set in a fantasy version of ancient Ireland, created by Saban Entertainment. It was loosely based on actual Irish mythology. The name is derived from Tír na nÓg, one of the Otherworlds of Irish mythology. It was Saban's first fantasy series to involve knights, dragons, and wizards. It aired on the Fox Kids Network from September 12, 1998 to May 7, 1999.
Baš Čelik, meaning "head of steel", from Turkish baş for "head" and çelik for "steel", is a Serbian fairy tale, collected by Vuk Karadžić. It is similar to the Brothers Grimm's "The Crystal Orb".
In Greek mythology, Cepheus was the name of two rulers of Aethiopia, grandfather and grandson.
The false hero is a stock character in fairy tales, and sometimes also in ballads. The character appears near the end of a story in order to claim to be the hero or heroine and is usually of the same sex as the hero or heroine. The false hero presents some claim to the position. By testing, it is revealed that the claims are false, and the hero's true. The false hero is usually punished, and the true hero takes their place.
"The Brave Little Tailor" or "The Valiant Little Tailor" or "The Gallant Tailor" is a German fairy tale collected by the Brothers Grimm. "The Brave Little Tailor" is a story of Aarne–Thompson Type 1640, with individual episodes classified in other story types.
The Sea-Maiden is a Scottish fairy tale collected by John Francis Campbell in Popular Tales of the West Highlands, listing his informant as John Mackenzie, fisherman, near Inverary. Joseph Jacobs included it in Celtic Fairy Tales.
The Three Dogs is a German fairy tale. Andrew Lang included it in The Green Fairy Book, listing his source as the Brothers Grimm. A version of this tale appears in A Book of Dragons by Ruth Manning-Sanders.
The Knights of the Fish is a Spanish fairy tale collected by Fernán Caballero in Cuentos. Oraciones y Adivinas. Andrew Lang included it in The Brown Fairy Book. A translation was published in Golden Rod Fairy Book. Another version of the tale appears in A Book of Enchantments and Curses by Ruth Manning-Sanders.
"The Bold Knight, the Apples of Youth, and the Water of Life" is a Russian fairy tale collected by Alexander Afanasyev in Narodnye russkie skazki. The tale and is variants are numbered 171-178 in the first volume of the three-volume collection.
Prâslea the Brave and the Golden Apples is a Romanian fairy tale collected by Petre Ispirescu in Legende sau basmele românilor.
Grateful dead is both a motif and a group of related folktales present in many cultures throughout the world.
A dragonslayer is a person or being that slays dragons. Dragonslayers and the creatures they hunt have been popular in traditional stories from around the world: they are a type of story classified as type 300 in the Aarne–Thompson classification system. They continue to be popular in modern books, films, video games and other forms of entertainment. Dragonslayer-themed stories are also sometimes seen as having a chaoskampf theme—in which a heroic figure struggles against a monster that epitomises chaos.
The stoor worm, or Mester Stoor Worm, was a gigantic evil sea serpent of Orcadian folklore, capable of contaminating plants and destroying animals and humans with its putrid breath. It is probably an Orkney variant of the Norse Jörmungandr, also known as the Midgard Serpent, or world serpent, and has been described as a sea dragon.
Assipattle and the Stoor Worm is an Orcadian folktale relating the battle between the eponymous hero and a gigantic sea serpent known as the stoor worm. The tale was preserved by 19th-century antiquarian Walter Traill Dennison, and retold by another Orcadian folklorist, Ernest Marwick, in a 20th-century version that integrates Dennison's texts with tidbits from other oral storytellers.
Perseus and Andromeda is an oil painting by Lord Frederic Leighton. Completed in 1891, the year it was displayed at the Royal Academy of Arts, it depicts the Greek mythological story of Andromeda. In contrast to the basis of a classical tale, Leighton used a Gothic style for the artwork. The painting is in the collection of National Museums Liverpool at the Walker Art Gallery.
In Greek mythology, Alcyoneus is a young and handsome man from Crissa, the only son of Diomos and Meganeira. He features in a short myth where he is chosen to be the sacrificial victim for a beast called Sybaris that terrorised Delphi and the surrounding area, a prototypical example of the hero slays a monster and saves a princess tale. His tale survives in the writings of second-century author Antoninus Liberalis, and might originate from an older work by Nicander of Colophon.
In Greek mythology, Cleostratus is a teenage boy from Thespiae, a town in Boeotia, who is chosen to be offered to a dragon in a yearly sacrifice to the monster, until he is saved by his lover Menestratus. His and Menestratus's myth is known thanks to the Description of Greece, a second-century work by Greek traveller and geographer Pausanias. Cleostratus' myth is an early example of the hero-tale where the hero saves a damsel or princess from a vicious dragon.
↑ Weiss, Michael. "Slaying the Serpent: Comparative Mythological Perspectives on Susanoo's Dragon Fight". In: Journal of Asian Humanities at Kyushu University (JAH-Q). Volume 3. Spring 2018. pp. 1-20.
↑ Hapgood, Isabel Florence. A Survey of Russian Literature, with Selections. New York: Chautauqua Press. 1902. pp. 16-17.
↑ "The Prince with the Golden Mouth". In: Jewett, Eleanore Myers, and Siddhi-kür. Kalmükische märchen. Wonder Tales From Tibet. Boston: Little, Brown, and company, 1922. pp. 112-132.
↑ Max Lüthi, Once Upon A Time: On the Nature of Fairy Tales, p 54, Frederick Ungar Publishing Co., New York, 1970
↑ Anne Wilson, Traditional Romance and Tale, p 46, D.S. Brewer, Rowman & Littlefield, Ipswitch, 1976, ISBN0-87471-905-4
↑ Francis James Child, The English and Scottish Popular Ballads, v 1, p 306, Dover Publications, New York 1965
↑ d'Huy, Julien. (2016). Première reconstruction statistique d'un rituel paléolithique: autour du motif du dragon. Nouvelle Mythologie Comparée / New Comparative Mythology.
↑ Annus, Amar. "Review Article. The Folk-Tales of Iraq and the Literary Traditions of Ancient Mesopotamia". In: Journal of Ancient Near Eastern Religions. 9 (2009): 91. 10.1163/156921209X449170.
↑ John Grant and John Clute, The Encyclopedia of Fantasy, "Sleeping Beauty" p 874 ISBN0-312-19869-8
↑ Propp, Vladimir. Theory and History of Folklore. Translated by Ariadna Y. Martin and Richard P. Martin and several others. Edited, with an Introduction and Notes, by Anatoly Liberman. Theory and History of Literature, Volume 5. Minneapolis: University of Minnesota Press, 1984. pp. 105-106, 107.
↑ "Cesarino the Dragon Slayer". In: The Pleasant Nights. Volume 2. edited by Beecher Donald, by Straparola Giovan Francesco and Waters W.G., 361-93. Toronto; Buffalo; London: University of Toronto Press, 2012. http://www.jstor.org/stable/10.3138/9781442699533.30.
Further reading
Bauman, R. (1970). "A Sixteenth Century Version of The Dragon-Slayer". In: Fabula 11 (Jahresband): 137–143, Available From: De Gruyter https://doi.org/10.1515/fabl.1970.11.1.137 [Accessed 9 October 2020]
Hart, Donn V., and Harriett C. Hart. "A Philippine Version of "The Two Brothers and the Dragon Slayer" Tale." In: Western Folklore 19, no. 4 (1960): 263-75. doi:10.2307/1497353.
Marjanić, Suzana. (2010). "Dragon and Hero or How to Kill a Dragon – on the Example of the Legends of Međimurje about the Grabancijaš and the Dragon (Zmaj i junak ili kako ubiti zmaja na primjeru međimurskih predaja o grabancijašu i pozoju)". In: Studia mythologica Slavica. 13. 127. 10.3986/sms.v13i0.1644.
Rebel, Hermann. "When Women Held the Dragon's Tongue." In: When Women Held the Dragon's Tongue: And Other Essays in Historical Anthropology. pp.131–80. Berghahn Books, 2010. www.jstor.org/stable/j.ctt9qcq7b.10.
This page is based on this Wikipedia article Text is available under the CC BY-SA 4.0 license; additional terms may apply. Images, videos and audio are available under their respective licenses.
