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The oral tradition of the folktale had come long before the written form since initially
tales were either told or enacted dramatically. This tradition has passed on from generation to
generation, spreading across different continents with striking similarities as well as differences
in plots, characters, motifs, etc. All these folktales have been derived from common human
experiences and beliefs, which is why they can be seen as appearing separately in different
origins. These tales tend to take on the local colour and flavor of the cultural context in which
they appear, often dealing with serious human issues such as psychological conflicts, patriarchal
domination, the basic human condition, etc. The characters and motifs of these tales are usually
simple and archetypal with the setting being in an unreal world of marvelous creatures and
indefinite localities. The antithetical, contradictory elements present in these tales are ultimately
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resolved and the irreconcilable binary oppositions are related to the reconcilable ones. The tales
Charles Perrault’s original tale is French ‘La Belle au bois dormant’ had been derived
from the Italian ‘Sun, Moon and Talia’ by the poet Giambattista Basile which in turn was based
upon one or more folktales. Perrault’s narrative tells the story of a beautiful princess who is
cursed to sleep for a hundred years before the prince charming wakes her up with a magical kiss.
The same storyline recurs in Sri Dakshinaranjan Mitra Majumdar’s ‘Ghumanta Puri’ but
appropriated accordingly so as to make the folktale culturally palpable to Bengali readers. This
paper attempts to make a comparative study of the above two mentioned works so as to highlight
the variations of one tale in different cultural contexts and make a structural analysis of those
various versions. By applying Levi Strauss’ method of comparative structural analysis, the
following themes can be derived collectively from the two different versions:
The story of a princess who is rescued from a curse and then married by a prince.
The story of a prince who rescues and awakens a princess and her kingdom from
The story of the defeat of evil forces by good through the breaking of the
princess’ curse by the savior prince and his making her his queen
The story of the struggle and victory of the brave hero and virtuous princess over
Besides these, oppositions such as life-death, magical fairies-human heroes, struggle-victory, etc.
are also dealt with. Based on these, following analysis-graphs can be constructed:
Princess cursed by
evil fairy
entire kingdom
Princess threatened
to be killed by
wicked mother-in-law
from suffering
kingdom
In the above graph, a basic simplified structure of the Perrault version can be arrived at. If
we read the columns horizontally, then we will arrive at a diachronic study of events and details
within the folktale in a linear sequence. However, if we read the columns vertically, then we will
be able to arrive at a synchronic study of the bundles of mythemes with equivalent functions. All
these columns have particular functions as particular units which needs to be unraveled and
analyzed. The first column has the common feature of suffering and deprivation on the princess’
part. The second column reflects a complete inversion of this: the rescue and redemption of the
princess. The third column shows misery and disharmony in the kingdom while the fourth
depicts the reinstating of harmony and order in the kingdom. Therefore, it can be concluded that
Princess married by
his queen
in kingdom
In the above graph, a structural-analysis of Majumdar’s version of the folktale has been
made. The original tale has been culturally appropriated to suit the Bengali reading public. If
read synchronically, column one which depicts deprivation and passivity is inverted by column
two which depicts fulfillment and activity. Column three depicts suffering and misery while
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column four depicts redemption and joy. Thus, once again, column two is to column one what
column four is to column three. Now the differences between the two versions can be made out
clearly as follows:
Perrault Majumdar
princess
of magic wands
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Thus, it can be observed that although the original folktale has two different versions in
two different ethnographic contexts yet the basic message or purpose of the story survives
through all this. Despite the variations in details and opposition in elements, the basic mythical
structure of the tale remains preserved in both the versions. The basic pattern underlying the two
versions is same, with the differences highlighting the different cultural setups in which the tale
has been narrated and modified. The commonalities in the themes can be easily interpreted
because of the essential relationship or connection between the bundles of mythemes. The
mythemes have a sort of binary relationship with each other, the reconcilable pair related to the
irreconcilable pair so as to provide a solution to the latter. The motifeme of ‘damsel in distress
rescued by the brave hero’ is manifested in both the versions of the tale by the themes and
abstract messages constructed by the motifs present in them. Meaning is significantly produced
out of the tension or interplay between the binary elements and the structure of the tale repeats
elements but not in an identical manner. The binary elements of curse, deprivation, denial
followed by redemption, joy and fulfillment are repeated in both the tales but in different
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contexts. This reflects the static, two-dimensional nature of the myth where the structure is
discontinuous but repetitive and the narrative follows a linear, continuous timeline. The situation
is inverted in a spiral-like development of the narrative-structure, with the hero liquidating the
situation of lack and creating a new situation miraculously. The difference in the two versions
stem from ethnography, religious concepts and rituals, values, social systems, styles within
specific culture areas. However, the moral framework embedded within these folktales remain
almost similar— the ultimate judgment of reward for the virtuous and punishment for the
sinners. The pedagogical and ethical concerns of the writers found fruit in the simple, lucid