The Bee and the Orange Tree

The Bee and the Orange Tree (L'Orangier et l'Abeille) is a French literary fairy tale by Madame d'Aulnoy.

Synopsis

After many childless years, a king and queen had a daughter, whom they named Aimée. Unfortunately, a ship she was on, wrecked. As fate would have it, she drifted ashore in her cradle. There, an ogre couple found her, and the ogress resolved to raise Aimee, instead of eating her, resolving that the infant would make a good wife for her son when she grew up. The ogress summoned a hind from the woods to nurse the baby. After fifteen years, the king and queen gave up hope of locating the princess and the king told his brother to send his best son to be the heir to the throne. The brother chose his second son.

Meanwhile, Aimee grew up among the ogres. A little ogre had fallen in love with her, but the thought of marrying him revolted her. She regularly walked along the shore after storms, to protect things swept ashore from the ogres, and one day she found a man. She saved the man, who happened to be her cousin, although neither of them knew the truth or could speak each other's language. She managed to make him understand that he had to hide in a cave. After some time hiding and feeding him, she wished to show her friendship and gave him a locket she wore. This had her name on it, and the prince deduced from her looks that she was indeed his cousin, the princess Aimee.

The little ogre decided it was time for them to marry, and horror-struck, Aimee fled to the prince. When she returned, she injured her foot on a thorn and could no longer walk. The prince wondered why she did not come, and when he tried to find her, he was captured.

Now, every night, the ogres all put on golden crowns before they went to bed. The princess snuck in that night, took a crown from the head of a little ogre, and put it on the prince's head. The ogre woke up, seized on the sleeping little ogre who no longer had a crown, and ate him. Again the next night, the princess stole a crown from one of the ogres to place on the Prince's head. This time, the ogress ate the crown-less ogre.

The princess remembered the magic wand that the ogress had used to summon the hind. With it, she gave herself the power to speak the prince's language. He told her who she was, and the princess decided to steal the ogres' camel so they could ride away to safety. She used the wand to enchant a bean to hide their escape. It spoke whenever the ogress asked anything. Finally, however, the ogress realized they had fled. The ogre used his seven-league boots to follow.

When the ogre caught up, the princess turned herself into a boatwoman, the prince into a boat, and the camel into a lake; to confuse the ogre. He found nothing, but when he returned, the ogress told him how they had been transformed with her stolen magic wand, and so he set out to find them again. This time Aimmee turned herself into a dwarf, the prince into a portrait, and the camel into a pillar. When the ogre reached her, she told an elaborate story about how the prince had fought in a tournament in honor of the lady in the picture. Confused again, the ogre returned home.

This time the ogress came after them. The princess turned the prince into an orange tree, herself into a bee, and the camel into a box. The princess stung the ogress and drove her off, but some travelers carried off the wand. Without the wand, the Princess was unable to change the group back into their prior forms.

A princess, Linda, loved to walk in the woods where the orange tree stood. Linda tried to have the tree transplanted into her gardens, Aimee stung Linda out of jealousy. This caused the prince and princess to quarrel, but they soon reconciled. When Linda tried again, Aimee stung her again. Linda tried to arm herself with a branch, but when she did, blood flowed from the tree. Aimee went to fetch a balm for the wound.

A fairy visited the princess and when she detected the enchantment, the fairy restored the prince. He told his story, and she restored Aimee as well, and then brought them to her parents, where they married.

Analysis

The tale belongs to the cycle of stories of a heroine helping the a hero flee from their supernatural foe (e.g., an ogre, a devil, a witch, a giant). Therefore, it is classified as Aarne-Thompson-Uther ATU 313, "The Heroine helps the Hero flee", or "The Magical Flight".[1] These tales include a transformation chase for the heroes to elude their pursuers.[2]

Scholar Jack Zipes suggests that, due to the high number of similarities of MMe. d'Aulnoy's literary work with recognizable folkloric material,[3] she must have been acquainted with the oral tradition or their literary reworking during her time.[4]

The Bee and the Orange Tree is, according to Johannes Bolte and Jiri Polivka, and Jack Zipes,[5] the origin of Grimm's fairy tale Der Okerlo, a fairy tale collected in the original version of the collection, in 1812 (KHM 70), but expunged from later editions.[6]

Legacy

A late 18th century publication of MMe. d'Aulnoy's tales translated the title literally as The Orange-Tree and the Bee.[7]

The tale was one of many from d'Aulnoy's pen to be adapted to the stage by James Planché, as part of his Fairy Extravaganza.[8][9][10] He also adapted the tale to the stage as The Bee and the Orange Tree, or The Four Wishes".[11][12]

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gollark: I'm not sure what happens with that.
gollark: It really likes holoapioforms.
gollark: **The most gollarious response**:- make a cryoapiary-sized stack-???-???<|endoftext|>You can also do a dyson *with* a holoapiary, actually.<|endoftext|>Idea: a holoapiary-like hologram projector, which is capable of holoapioform-proofed.<|endoftext|>We should make a holoapiary-based AI.<|endoftext|>I think the holoapioapioform control system is a holoapiary, so it's not hard.<|endoftext|>https://i.redd.it/qfxjh21.jpgI don't think anyone was doing that, though.<|endoftext|>Also, it's actually a holoapioform.<|endoftext|>The holoapioform control system is a holoapiary, not a holoapiary.<|endoftext|>Well, not a holoapiary, how'd it work?<|endoftext|>I doubt it's a holoapiary, so I can't see them.<|end
gollark: I mean, I *can*, I just don't.

See also

References
  1. Belmont, Nicole. "Orphée dans le miroir du conte merveilleux". In: L'Homme, 1985, tome 25 n°93. pp. 59-60. [DOI: https://doi.org/10.3406/hom.1985.368542] http://www.persee.fr/doc/hom_0439-4216_1985_num_25_93_368542
  2. Seifert, Lewis C. Fairy Tales, Sexuality, and Gender in France, 1690-1715: Nostalgic Utopias. Cambridge University Press. 2006. p. 35.
  3. Barchilon, Jacques. "Adaptations of Folktales and Motifs in Madame D'Aulnoy's "Contes": A Brief Survey of Influence and Diffusion." Marvels & Tales 23, no. 2 (2009): 353-64. Accessed June 23, 2020. http://www.jstor.org/stable/41388930.
  4. Zipes, Jack (ed.). The Oxford Companion to Fairy Tales. Oxford University Press. 2015. p. 33. ISBN 978-0-19-968982-8
  5. The Original Folk and Fairy Tales of the Brothers Grimm: the Complete First Edition. [Jacob Grimm, Wilhelm Grimm; translated by] Jack Zipes; [illustrated by Andrea Dezsö]. Princeton University Press. 2014. p. 501. ISBN 978-0-691-16059-7
  6. Bolte, Johannes; Polívka, Jiri. Anmerkungen zu den Kinder- u. hausmärchen der brüder Grimm. Zweiter Band (NR. 61-120). Germany, Leipzig: Dieterich'sche Verlagsbuchhandlung. 1913. pp. 77-79.
  7. d'Aulnoy, Marie-Catherine. Queen Mab: containing a select collection of only the best, most instructive, and entertaining tales of the fairies; viz. 1. Graciosa and Percinet. 2. The Fair One with Golden Locks. 3. The Blue Bird. 4. The Invisible Prince. 5. The Princess Verenata. 6. The Princess Rosetta. 7. The Golden Bough. 8. The Orange-Tree and the Bee. 9. The Little Good Mouse. Written by the Countess d'Aulnoi; adorned with curious cuts, to which are added, a fairy tale, in the ancient English style, by Dr. Parnell ; and Queen Mab's song.The fifth edition. London: James Barker [Great Russell Street], Thomas Vernor and Hood [Poultry], 1799. pp. 292-336
  8. Feipel, Louis N. "Dramatizations of Popular Tales." The English Journal 7, no. 7 (1918): p. 444. Accessed June 25, 2020. doi:10.2307/801356.
  9. Buczkowski, Paul. "J. R. Planché, Frederick Robson, and the Fairy Extravaganza." Marvels & Tales 15, no. 1 (2001): 42-65. Accessed June 25, 2020. www.jstor.org/stable/41388579.
  10. MacMillan, Dougald. "Planché's Fairy Extravaganzas." Studies in Philology 28, no. 4 (1931): 790-98. Accessed June 25, 2020. www.jstor.org/stable/4172137.
  11. Adams, W. H. Davenport. The Book of Burlesque. Frankfurt am Main, Germany: Outlook Verlag GmbH. 2019. p. 74. ISBN 978-3-73408-011-1
  12. Planché, James (1879). Croker, Thomas F.D.; Tucker, Stephen I. (eds.). The extravaganzas of J. R. Planché, esq., (Somerset herald) 1825-1871. 3. London: S. French. pp. Vol 3, pp. 43-78.
  • Duggan, Anne E. "Nature and Culture in the Fairy Tale of Marie-Catherine D'Aulnoy." Marvels & Tales 15, no. 2 (2001): 149-67. Accessed June 23, 2020. www.jstor.org/stable/41388595.
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