Wikipedia

The Belbati Princess (Indian folktale)

The Belbati Princess is an Indian folktale collected by Cecil Henry Bompas. The tale is a local form of tale type ATU 408, "The Love for Three Oranges", of the international Aarne-Thompson-Uther Index. As with The Three Oranges, the tale deals with a prince's search for a bride that lives in a fruit, who is replaced by a false bride and goes through a cycle of incarnations, until she regains physical form again. Variants are known across India with other species of fruits.

Sources edit

Author Cecil Henry Bompas collected the tale from a Ho source in Santal Parganas.[1] According to Indian anthropologist Sarat Chandra Roy, the tale was "current among the Hos of Singhbhum".[2] In another line of scholarship, the tale is said to resemble tales of Bengal's "cultural orbit", and its appearance in the "tribal belt" is "somewhat unexpected".[3]

Summary edit

In this tale, six of seven brothers are married, save for the youngest, named Lita. When questioned about it, he says he will marry no one save for the Belbati Princess. His sisters-in-law mock him for it, but he departs on a journey to find her. He meets three holy muni on the road his journey, who direct him to a garden with rakshasas that guard the bel tree with the fruit that holds the princess. The third muni warns him the he must seek the biggest bel fruit.

Lita enters the garden and steals one of the smaller ones; the Rakshasas gang up on him and devour the boy. The muni notices the boy's prolonged absence and sends a crow to find his whereabouts, and bids the bird brings the rakshasa's droppings to the muni. The holy man revives Lita and turns him into a parakeet. In this form, Lita flies to the garden, steals the fruit and returns to the muni. The holy man then advises him to open the fruit only by a certain well. In a hurry, Lita rushes to the well and falls to the ground, accidentally cracking open the bel fruit in two. The Belbati Princess comes out of the fruit in a blaze of light that kills Lita. The princess worries about him and asks a passing girl of the Kamar caste for some water to revive him. The Kamar girl, cunningly, says she cannot reach the water in the well, and the princess says she will do it herself. The Kamar girl then complains she will not stand by the boy's corpse, and the Belbati Princess gives her clothes to the girl as a pledge. Seizing the opportunity, the Kamar girl shoves the princess into the well and revives Lita with some water, then marries him.

Some time later, while on a hunt with his brothers, Lita stops for a while near the same well and finds a beautiful flower inside. He takes it home, but the false Belbati Princess cuts off its petals; on the place the petals land, a bel tree sprouts. Some time later, Lita's horse rushes off to the new bel tree, and a fruit falls on its saddle. Lita brings the fruit home and opens it, releasing a girl. Lita lets the girl live with them, but the false wife feigns illness and accuses the new girl of sorcery, wanting to have her killed. Lita fulfills her wishes and delivers the Belbati girl to four Ghasis to be killed. As a last request, the girl asks for her hands and feet to be cut off and places in four sides of her grave. It happens thus, and a palace appears.

At the end of the tale, Lita goes on a hunt and stops to rest at the mysterious palace, where two birds begin to talk to each other about the story of the Belbati princess, who comes to the palace every six months. The first time, Lita fails to hold her; the next time, he secures her. He marries the true Belbati Princess and punishes the Kamarin girl.[4][5][6]

Analysis edit

Tale type edit

The tale is classified in the international Aarne-Thompson-Uther Index as tale type ATU 408, "The Three Oranges".[7][8][9] In the Indian variants, the protagonist goes in search of the fairy princess on his sisters-in-law's mocking, finds her and brings her home, but an ugly woman of low social standing kills and replaces her. The fairy princess, then, goes through a cycle of transformations until she regains physical form.[10][11][12]

In an article in Enzyklopädie des Märchens, scholar Christine Shojaei Kawan separated the tale type into six sections, and stated that parts 3 to 5 represented the "core" of the story:[13]

  • (1) A prince is cursed by an old woman to seek the fruit princess;
  • (2) The prince finds helpers that guide him to the princess's location;
  • (3) The prince finds the fruits (usually three), releases the maidens inside, but only the third survives;
  • (4) The prince leaves the princess up a tree near a spring or stream, and a slave or servant sees the princess's reflection in the water;
  • (5) The slave or servant replaces the princess (transformation sequence);
  • (6) The fruit princess and the prince reunite, and the false bride is punished.

Motifs edit

The maiden's appearance edit

According to the tale description in the international index, the maiden may appear out of the titular citrus fruits, like oranges and lemons. However, she may also come out of pomegranates or other species of fruits, and even eggs.[14][15] In Stith Thompson and Jonas Balys [lt]'s Oral Tales of India, this motif is indexed as "D211. Transformation: man to fruit".[16] More specific motifs to the story include "D431.6.1.2. Woman emerges from fruit" and "T543.3. Birth from fruit".[17]

The transformations and the false bride edit

The tale type is characterized by the substitution of the fairy wife for a false bride. The usual occurrence is when the false bride (a witch or a slave) sticks a magical pin into the maiden's head or hair and she becomes a dove.[a]

In other variants, the maiden goes through a series of transformations after her liberation from the fruit and regains a physical body.[b] In that regard, according to Christine Shojaei-Kawan's article, Christine Goldberg divided the tale type into two forms. In the first subtype, indexed as AaTh 408A, the fruit maiden suffers the cycle of metamorphosis (fish-tree-human) - a motif Goldberg locates "from the Middle East to Italy and France".[20] In the second subtype, AaTh 408B, the girl is transformed into a dove by the needle.[21]

Variants edit

India edit

While organizing the Indic index, Stith Thompson and Warren Roberts noted the close proximity between types 403, "The Black and the White Bride", and 408, "The Three Oranges" - types that deal with the theme of the "Substituted Bride". To better differentiate between them, both scholars remarked that the heroine must be replaced by a female antagonist that is unrelated to her.[22] Thompson's second revision of the international type index listed 17 variants of tale type 408 in India and South Asia.[23]

The Bél-Princess edit

In the tale The Bél-Princess, collected by Maive Stokes, a king has seven sons, six of them already married and the youngest still single. The seventh prince dislikes his sisters-in-law, who, in retaliation, say he wants to marry a "Bél-Princess". On hearing this, the prince decides to look for her. On his journey, he meets a sleeping fakir whom he takes care and grooms for six months. After the fakir wakes up, he realizes the prince looked after his hut and thanks him, and in return the prince asks his help in locating the Bél-Princess. The fakir tells the prince she is in a bel-fruit in a tree in a garden guarded by demons in the fairies' country, so he gives him a handful of earth to be blown to create an invisibility spell to cloak him from the demons, and he must not look back after getting the fruit. The prince does as instructed and fetches the fruit, but looks behind him and becomes stone. After a week, the fakir suspects the prince is in trouble and goes to look for him. He restores him to life and warns him again. On the second attempt, the prince fetches the fruit and goes back to the fakir, who turns him into a fly to hide him from the fairies and demons who are pursuing the person who stole the fruit. After the creatures depart, the prince thanks the fakir's help and leaves with a warning: he is to open the fruit only in his father's house, not on the road. Later, on the journey back, he stops to rest for a while and drink some water from a well in his father's garden, and opens the bel-fruit: the Bél-Princess appears before him and he faints at her beauty. As the prince sleeps, a wicked woman comes to fetch water and sights the Bél-Princess, whom she trades clothes and jewels and shoves her down a well, then takes her place by the prince's side. The prince wakes up and sees the false princess beside him, whom he mistakes for the real one and brings her to the palace. As for the true Bél-Princess, she becomes a pink lotus-flower inside the well, which only the prince can fetch. The prince brings it home and the false bride depetals it and throws it outside in the garden. Where the petals fell a bel-fruit sprouts with a large bel-fruit that only the prince can pluck, which he does. The false bride sees the bel-fruit on a table in the palace and throws it away. The bel-fruit cracks open and reveals a baby girl, whom the poor gardener's family adopts. Seven years later, the false bride's cow eats the orchard the gardener's daughter (the reincarnated Bél-Princess) shoos it away. For this, the false bride orders the girl's execution. Two executioners take the girl to the jungle to kill her, but, on seeing her beauty, feel pity for her and decide to spare her. Despite this, the girl takes one of their knives and cuts out her organs: her eyes become a parrot and a mainá bird), her heart becomes a tank, and her body parts become a palace in the jungle: her head its dome, and her arms and legs the pillars of its verandah. Time passes; the prince goes on a hunt and passes by the uninhabited palace that appeared in the jungle, and spends the night on the palace verandah. Suddenly, the parrot and the mynah being to talk to each other about the prince's story, and stop their conversation at a certain point. The next day, the prince decides to return to the palace and spends the night again, him listening to the birds' talk. This goes on for more nights, until, on the fifth, the prince overhears the parrot talking about how the real Bél-Princess was replaced by the wicked woman, how she went through a cycle of transformations, and how the prince can find her again: he is to open every room of the palace, reach the center, lift a trap door and descend the stairs to an underground palace, where she is located. The following day, he follows the parrot's instructions and reaches the underground palace, where he finds the revived Bél-Princess. He reveals the situation to her, how the birds told everything, and tells her he will tells his parents about his true bride. The prince returns home and wants to bring everyone to the palace in the forest for his marriage to the Bél-Princess. The king orders the execution of the false bride, and the royal family joins the prince for their marriage to the true Bél-Princess.[24] Richard McGillivray Dawkins remarked that both The Belbati Princess and The Bél-Princess are "near relatives" of Italian tale The Three Citrons.[25]

The Marriage of Bael Kaniya edit

Ethnologist Verrier Elwin collected a tale from the Ghotul Pata, Bandopal, from North Bastar State, with the title The Marriage of Bael Kaniya. In this tale, the wife of a Muria Raja spends time with her brother-in-law, the raja's younger brother, until one day they quarrel. The younger brother leaves home and travels to another country where a woman named Jal-Kaniya lives with her Rakshasa husband. Jal-Kaniya's sister, Bael-Kaniya, lives in a bel-fruit in a garden protected by tigers, bears and snakes. The young prince greets Jal-Kaniya and announces he wishes to marry Bael-Kaniya, but is warned of the dangers that lie ahead in his journey. Jal-Kaniya then hides the youth from her Rakshasa husband, for fear of him devouring the human. The Rakshasa husband comes and senses a human smell, then Jal-Kaniya shows him the prince. By his nature, the Rakshasa opens his mouth to devour the boy, when the chelik shrinks himself, enters the Rakshasa's mouth and cuts him open from the inside. Jal-Kaniya laments her husband's death, for he was the only one that could help the prince reach the garden where Bael-Kaniya lives. The chelik revives the Rakshasa and they journey to the garden with provisions to distract the animals guarding it: the creature throws a goat to the tiger, fruit to the bear and milk to the snake, plucks Bael-Kaniya's fruit and brings to the prince, advising him to open it when he returns home. The prince takes the bel-fruit and journeys home, but, after three days, decides to open the fruit. He stops by a tank and opens it: a motiari appears from the fruit and combs his hair. She goes to cook some food for him, and he is fast asleep. The tale then explains the tank is where cheliks and motiaris of Tarbhum (the underworld) come to dance and fetch water. The Tarbhum chelik finds the Bael-Kaniya and goes to report to his monarchs, then comes back to kidnap the fruit maiden and bring her to Tarbhum. The tale then continues as another tale type, as the human prince starts a journey to the underworld to rescue Bael-Kaniya.[26] Georgy A. Zograf [ru] translated the tale to Russian as "Женитьба на Бэл-кании" ("Marriage to Bel-Kaniya").[27] According to Zograf, the heroine's name, "Bael-Kaniya", translates to "the girl from the bel tree".[28]

The Story of the Girl Belavati edit

In an Orissan tale collected by author Upendra Narayan Dutta Gupta with the title The Story of the Girl Belavati, a king has an only son who wants to find a suitable bride. One night, he saddles a Pakshiraj horse in the stables and departs. On the road, he meets a Kamaruni (one from the blacksmith caste) girl who warns him of the danger ahead: an Apuja (an unpropitiated) goddess. The prince journeys on and meets the Thakurani goddess, waiting with a bloodthirsty smile on her face, but she is stopped from devouring the prince since he is on a horse, the animal that is her favourite Vahana. She congratulates the prince and gives him instructions as a boon: he is to go straight ahead into Asura country, sweep their houses and prepare dishes of rice and curry to gain their favour. Following the deity's instructions, the prince enters the Asuras' lands and prepares food for them, which goes on for some time. Now properly ingrained, the prince asks the Asuras for Belavati, and one of them gives him a bael fruit, which is to be opened only at the prince's home. The prince thanks the Asuras and rides back home, but, wanting to see the face of his beloved, he stops by a well behind his father's palace and opens up the fruit: a maiden of dazzling beauty appears before him, so beautiful he faints. Belavati tries to wake him up. Suddenly, a Kundabhusundi (fat ugly woman) woman appears, beats the fruit maiden to death and throws her body into the well, then puts on her clothes to pass herself as Belavati. The prince wakes up and, noticing the ugly woman beside him, resigns that Belavati was ugly and marries her. As for the true Belavati, she becomes two Padma (lotus) flowers inside the well that a gardener (Mali) takes to gift to the prince. The false bride asks the prince to destroy the flowers, which he does. A bael tree sprouts where the petals fall, bearing bael fruits. The same gardener plucks one and brings it home to his wife. The gardener's wife tries to cut it open, but a voice inside the fruit begs to be cut in a certain way, for she is Belavati and wishes to become their adopted daughter and bring them wealth. It is done so. After Belavati joins the gardener's family, their fortune increases. One day, however, Belavati goes to make ablutions in a tank and is spotted by the Kundabhushundi, who lies to the prince that the gardener's girl made faces at her and wishes to see her punished. Since the Kundabhusundi is the king's daughter-in-law, the king orders the gardener to bring his daughter at once to court to be promptly executed. Belavati is brought to the king and impaled. The following morning, a temple to Mahadeva sprouts in the place where the girl was executed. The king sends a Brahman to make the Puja to the deity and bring him a bael-leaf. One day, while the Brahman is going to worship at the temple, he overhears a pair of birds (Sua, a parrot, and Sari, another type of talking bird), commenting about the tale of the prince and Belavati, and how the prince married the wrong person. The Brahman writes their tale in the walls of the temple, and listens closely to the birds' conversation: in order to restore the true Belavati, the king is to offer himself before the temple with a piece of straw between his teeth and a straw rope around his neck, and ask for forgiveness. The Brahman quickly goes to report to the king, and the monarch arrives at the temple to prostrate himself before the God. By doing so, Belavati reappears in all her previous glory to him. The king then brings her home, executes the Kundabhusundi, and marries his son to the girl Belavati in a grand ceremony.[29][30]

Shan people edit

In a tale collected by anthropologist Mrs. Leslie Milne from the Shan people with the title The Story of a Fairy and a Prince, a king has seven sons, the six eldest already married and the seventh and youngest still single. The youngest prince tells his father he will only marry a fairy, and the king sets a deadline for him: he must find a wife in seven days, on penalty of death. The prince journeys and meets three hermits, who direct him to garden guarded by an ogre where a bale-fruit tree is located. The prince releases the fairy from the fruit and places her on top of a tree, while he returns with a retinue. While he is away, a servant woman named Mai-pom-san-ta sees the fairy's reflection on the water and mistakes it for her own, then finds the girl atop the tree. The servant tries to talk to the fairy, but, as the prince instructed her, she remains silent. Thus, the servant kills the fairy by beating her, takes her clothes and passes herself off as the prince's true bride. The fairy then becomes a lotus flower in a pool of water that is taken by an old woman, a gardener's wife, to her house. Whenever the couple is not at home, the fairy comes out of the lotus tree to perform chores, then returns to it. Later, the fairy princess is ordered to be killed: her eyes become a pair of green parrots. The prince loses his way in a forest and overhears the conversation between the birds about how the real princess will descend from the skies in seven days' time to bathe in a certain pond. The prince lies in waiting and finds the fruit princess again. This time, she stays with him, and he punishes the false bride.[31][c]

In another tale from the Shan people with the title Nang Maag Bin ("Princess Fruit Bale"), published in the Journal of the Burma Research Society, the king of the land of Mong Hsing Hko sends his son, the prince, to learn the princely arts. The prince becomes apprenticed to a hermit, who tells the prince that in a certain garden guarded by giants, a bale tree rests which yields a bale fruit with a princess inside. The hermit gives the prince a potion of invisibility, he goes to the garden and steals the bale fruit. The hermit advises the prince to open the fruit back in his kingdom. However, on the way back, the princess inside the fruit begins to talk to the prince, and they fall in love with each other. Just near the entrance to his kingdom, the prince opens the fruit, and a beautiful princess with fine clothes comes out of it. The prince leaves the princess atop a tree near a well, and goes to the city to meet his father and bring him to meet his bride. Meanwhile, a rich man's ugly maid goes to fetch water for her master, sees the princess's visage in the water, and gives up doing the task, breaking the pots. The maid returns to fetch water with two bottles and discovers the fruit princess atop the tree. The maid pulls the girl from the tree, kills her and throws her body in a well, then takes her place, passing herself off as the princess. The prince returns to fetch his bride and, upon seeing the ugly maid, mistakes her for his true bride, bringing her to the palace. The fruit princess goes through a cycle of transformations: lotus flower, then a mango tree, which the false bride wants destroyed. Despite trying to destroy the princess, a mango survives and is washed down a stream to the king's gardener's house. The gardener and his wife take the mango and bring it home. Whenever they are not at home, the princess comes out of the mango to prepare the food and make the bed, then returns to it. The gardener couple discover her, discard the mango and keep her as their adopted daughter. One day, she weaves a flower wreath in a way that tells her whole story, and the gardener's wife delivers it to the prince. Later, the prince rides an elephant to the gardener's house and finds his bride there, which he takes home with him. After the true fruit princess comes to the palace, the ugly maid tries one last trick to destroy her rival: she places some finger and toenails in her hair - a mark of a witch -, and the fruit princess is executed by the king. Before she dies, she prays to God that her body becomes a large rest-house, her eyes two parrots, her limbs a golden mango tree, whose fruit is sweet to good people and sour to people with evil intent. It happens thus, and her soul becomes one of seven angels of a distant silver mountain. The prince visits the rest-house with a retinue, and, when he is alone, a parrot reveals the location of the true princess. The prince goes there, spies on the angels coming down to bathe in a lake and doffing their clothes. The prince hides the clothes of the fruit princess, which strands her on Earth while the other angels depart. Despite her desire to join with her sisters, she decides to return with the prince to his kingdom. The false bride is swallowed by the ground, and the prince and princess reign in happiness.[33]

Nepal edit

In a Nepalese tale titled The Bel Girl, a farmer couple has four sons, three married and the youngest still unmarried who is doted on by his family and sisters-in-law. One day, he catches a bird in a hunt and asks his sister-in-law to cook it for him. The bird is cooked and he eats it, then starts convulsing due to too much red pepper seasoning in the bird. The sister-in-law dislikes his reaction to her cooking and mockingly tells him to look for a "bel girl" to cook his food. The youngest brother decides to look for this bel girl, and enters the forest just outside their house. He walks deeper until he finds a mound he cleans up: the mound is a sage, so deep in meditation a mound grew over his body. The youth stays by the sage's side and feeds him with fruits and milk, and the sage, in gratitude, offers him directions to get the bel fruit: he is to reach a pond near a Shiva temple, pluck one bel fruit from a nearby tree and fly back to the sage's location, never looking back on the garden, lest he becomes stone. The sage turns the youth into a parrot, who flies in to steal the bel fruit and makes a turn towards the sage, but a voice suddenly talks about the bird plucking more than one fruit and he turns into stone. After a long while, the sage, suspecting something, walks towards the pond and finds the petrified parrot, which he revives. The parrot flies back to the tree and steals another bel fruit, this time not looking back. The sage turns the youth to human form and advises him not to break the fruit. The youth journeys back and accidentally trips over a stone, letting the bel fruit fall to the ground and crack in two: a beautiful girl comes out of the fruit. He brings the girl home and marries her, as the tale ends.[34]

See also edit

Footnotes edit

  1. ^ "The motif of a woman stabbed in her head with a pin occurs in AT 403 (in India) and in AT 408 (in the Middle East and southern Europe)."[18]
  2. ^ As Hungarian-American scholar Linda Dégh put it, "(...) the Orange Maiden (AaTh 408) becomes a princess. She is killed repeatedly by the substitute wife's mother, but returns as a tree, a pot cover, a rosemary, or a dove, from which shape she seven times regains her human shape, as beautiful as she ever was".[19]
  3. ^ Scholar Christine Goldberg, in her monograph about tale type ATU 408, grouped the Shan tale with other variants from India.[32]

References edit

  1. ^ Bompas, Cecil Henry (1909). Folklore of the Santal Parganas. London: David Nutt. p. 451.
  2. ^ Roy, Sarat Chandra (1926). "AEtiological Myths about the Paddy Plants". Man in India. 6: 147.
  3. ^ Senagupta, Pallaba; Basu, Arpita; Basu, Śarmishṭhā (2006). Folklore of the Kolhan. Asiatic Society. p. 66.
  4. ^ Bompas, C. H. (1902). "Folklore of the Kolhan". Journal of the Asiatic Society of Bengal. 71 (3): 71–74.
  5. ^ Bompas, Cecil Henry (1909). Folklore of the Santal Parganas. London: David Nutt. pp. 461–464.
  6. ^ Senagupta, Pallaba; Basu, Arpita; Basu, Śarmishṭhā (2006). Folklore of the Kolhan. Asiatic Society. pp. 18–22.
  7. ^ Aarne, Antti; Thompson, Stith. The types of the folktale: a classification and bibliography. Folklore Fellows Communications FFC no. 184. Helsinki: Academia Scientiarum Fennica, 1961. pp. 135-137.
  8. ^ Thompson, Stith; Roberts, Warren Everett (1960). Types of Indic Oral Tales: India, Pakistan, And Ceylon. Helsinki: Suomalainen Tiedeakatemia. p. 60.
  9. ^ Uther, Hans-Jörg (2004). The Types of International Folktales: A Classification and Bibliography, Based on the System of Antti Aarne and Stith Thompson. Suomalainen Tiedeakatemia, Academia Scientiarum Fennica. pp. 241–243. ISBN 978-951-41-0963-8.
  10. ^ Thompson, Stith; Roberts, Warren Everett (1960). Types of Indic Oral Tales: India, Pakistan, And Ceylon. Helsinki: Suomalainen Tiedeakatemia. p. 60.
  11. ^ Mayeda, Noriko; Brown, W. Norman. Tawi Tales; Folk Tales From Jammu. American Oriental Society New Haven, Connecticut, 1974. p. 537.
  12. ^ Goldberg, Christine (1997). The Tale of the Three Oranges. Suomalainen tiedeakatemia. pp. 140–141.
  13. ^ Kawan, Christine Shojaei. "Orangen: Die drei Orangen (AaTh 408)" [Three Oranges (ATU 408)]. In: Enzyklopädie des Märchens Online, edited by Rolf Wilhelm Brednich, Heidrun Alzheimer, Hermann Bausinger, Wolfgang Brückner, Daniel Drascek, Helge Gerndt, Ines Köhler-Zülch, Klaus Roth and Hans-Jörg Uther. Berlin, Boston: De Gruyter, 2016 [2002]. p. 347. https://www-degruyter-com.wikipedialibrary.idm.oclc.org/database/EMO/entry/emo.10.063/html. Accessed 2023-06-20.
  14. ^ Aarne, Antti; Thompson, Stith. The types of the folktale: a classification and bibliography. Folklore Fellows Communications FFC no. 184. Helsinki: Academia Scientiarum Fennica, 1961. p. 135.
  15. ^ Uther, Hans-Jörg (2004). The Types of International Folktales: A Classification and Bibliography, Based on the System of Antti Aarne and Stith Thompson. Suomalainen Tiedeakatemia, Academia Scientiarum Fennica. p. 241. ISBN 978-951-41-0963-8.
  16. ^ Thompson, S.; Balys, J. (1958). The oral tales of India. Bloomington: Indiana University Press. p. 101..
  17. ^ Senagupta, Pallaba; Basu, Arpita; Basu, Śarmishṭhā (2006). Folklore of the Kolhan. Asiatic Society. p. 67.
  18. ^ Goldberg, Christine. [Reviewed Work: The New Comparative Method: Structural and Symbolic Analysis of the Allomotifs of "Snow White" by Steven Swann Jones] In: The Journal of American Folklore 106, no. 419 (1993): 106. Accessed June 14, 2021. doi:10.2307/541351.
  19. ^ Dégh, Linda. American Folklore and the Mass Media. Indiana University Press. 1994. p. 94. ISBN 0-253-20844-0.
  20. ^ Goldberg, Christine. "Imagery and Cohesion in the Tale of the Three Oranges (AT 408)". In: Folk-Narrative and World View. Vortage des 10. Kongresses der Internationalen Gesellschaft fur Volkserzahlungsforschung (ISFNR) - Innsbruck 1992. I. Schneider and P. Streng (ed.). Vol. I, 1996. p. 211.
  21. ^ Shojaei-Kawan, Christine (2004). "Reflections on International Narrative Research on the Example of the Tale of the Three Oranges (AT 408)". In: Folklore (Electronic Journal of Folklore), XXVII, p. 35.
  22. ^ Thompson, Stith; Roberts, Warren Everett (1960). Types of Indic Oral Tales: India, Pakistan, And Ceylon. Helsinki: Suomalainen Tiedeakatemia. pp. 58–59, 60.
  23. ^ Aarne, Antti; Thompson, Stith. The types of the folktale: a classification and bibliography. Folklore Fellows Communications FFC no. 184. Helsinki: Academia Scientiarum Fennica, 1961. p. 137.
  24. ^ Stokes, Maive (1880). Indian fairy tales, collected and tr. by M. Stokes; with notes by Mary Stokes. London: Ellis and White. pp. 138–152.
  25. ^ Dawkins, Richard McGillivray. Modern Greek in Asia Minor: A study of the dialects of Siĺli, Cappadocia and Phárasa, with grammar, texts, translations and glossary. London: Cambridge University Press. 1916. p. 272.
  26. ^ Elwin, Verrier. Folk-tales of Mahakoshal. [London]: Pub. for Man in India by H. Milford, Oxford University Press, 1944. pp. 24-28.
  27. ^ Георгий Зограф, ed. (1971). Сказки Центральной Индии [Tales from Central India] (in Russian). Мoskva: Главная редакция восточной литературы издательства «Наука». pp. 205–209.
  28. ^ Георгий Зограф, ed. (1971). Сказки Центральной Индии [Tales from Central India] (in Russian). Мoskva: Главная редакция восточной литературы издательства «Наука». p. 357 (notes to tale nr. 48).
  29. ^ Dutta Gupta, Upendra Narayan (1975) [1922]. Folk Tales of Orissa. Bhubaneswar: G. Gupta. pp. 161–178.
  30. ^ Gupta, G. "Introducing the Folk Tales of Orissa". In Sri C. R. Das (ed.). Folk Culture & Literature. Vol. I. Orissa, India: Institute of Oriental and Orissan Studies. p. 13.
  31. ^ Milne, Leslie (1910). Shans at Home. London: John Murray. pp. 275–282.
  32. ^ Goldberg, Christine (1997). The Tale of the Three Oranges. Suomalainen tiedeakatemia. p. 142 (entry "Ind 12"). ISBN 9789514108112.
  33. ^ Pearn, B.R. (1932). "Three Shan Legends". Journal of the Burma Research Society. 22: 23–28.
  34. ^ Some Folk Tales of Nepal. Department of Culture, Ministry of Information and Broadcasting, HMG for Nepal National Commission for UNESCO, Ministry of Education, HMG. 1968. pp. 37–39.
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