The Maiden of the Tree of Raranj and Taranj
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| The Maiden of the Tree of Raranj and Taranj | |
|---|---|
| Folk tale | |
| Name | The Maiden of the Tree of Raranj and Taranj |
| Aarne–Thompson grouping | ATU 408, "The Love for Three Oranges" |
| Region | Iraq |
| Related | Arab Folktales, by Inea Bushnaq (1986) |
The Maiden of the Tree of Raranj and Taranj is an Iraqi folktale published by author Inea Bushnaq in Arab Folktales. It is classified as 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.
In this tale, a childless king prays to Allah to have a son. The queen does the same: if her prayers are answered, she shall have fat and honey flow through the kingdom. Their prayers are answered, but the queen forgets to fulfill her promise, until the young prince has a dream in which a person tells the boy to remind his mother of her promise. The fountains are built. One day, an old woman fetches some fat and honey in her bowl. From his window, the prince shoots an arrow at the woman's bowl, which breaks apart. The old woman curses the prince to burn with love for the "Maiden of the Tree of Raranj and Taranj".
The prince becomes obsessed with finding the maiden, and wanders the world until he reaches a crossroads before him, with a Path of Security and a Path of Obscurity opening up before him. He meets an old man by the crossroads and tells him he seeks the Maiden of the Tree of Raranj and Toranj. The old man points to the Path of Obscurity, and warns the prince she is hidden in a tree in a garden watched over by djinns. He also advises the prince to tether his horse to a tree, climb on the horse from the Djinns and ride straight ahead, paying no heed to the howling beasts, eventually, he will find the tree, but he must exchange the fodder between two animals lying before the tree (grass and hay for a ram, raw flesh for the lion), and gives him a ring.
The prince follows the old man's instructions to the letter, enters the garden and plucks three fruits, then makes his way back to his horse. He rides back home, but thinks about what lies within the golden fruit of the Tree of Raranj and Taranj, and cuts open the first one: out comes a maiden like a houri who asks for water. The prince reaches for his waterskin, but the maiden sinks to the ground and dies. He walks further ahead and cuts open the second fruit, releasing another maiden that asks for water and to whom he gives his waterskin. Yet, the maiden still dies.
Lastly, he reaches his homeland and cuts open the last fruit near the river: out comes a maiden who drinks from the river. The prince leaves her by the side of the river and returns home to bring a carriage and jewels fitting for a prince's bride. While he is away, the Maiden of the Raranj and Taranj climbs up a tree to hide, and sees a slavewoman with skin the colour of carob fruit coming to draw water. The slavewoman sees the fruit maiden's visage in water and mistakes it for her own.
The fruit maiden laughs at the slavewoman, who spots the maiden atop a tree and approaches her, then sticks a pin in her head, turning her into a white dove. The prince returns and finds the slavewoman atop the tree, who lies that an evil djinn turned her into that state. Still, he takes her as his bride. Time passes, and the fruit maiden, in dove form, flies to the kitchen to ask about the prince. The cook replies the prince is lying with an ugly woman, and the dove cries tears of precious gems (coral and pearls). The cook pockets the gems and lets the dinner burn.
The prince notices his food has burned thrice now, and questions the cook about it, so the cook informs him about the bird. The following day, the prince lies in wait for the bird and captures the white dove just as it is crying tears of gems. He pets the bird and removes the pin form its head, restoring the Maiden of Raranj and Taranj to human form. The royal crier bids people bring firewood, and the slavewoman is burnt, while the prince marries the true fruit maiden.[1]
Analysis
Tale type
The tale is classified in the international Aarne-Thompson-Uther Index as tale type ATU 408, "The Three Oranges".[2][3][4] 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:[5]
- A prince is cursed by an old woman to seek the fruit princess;
- The prince finds helpers that guide him to the princess's location;
- The prince finds the fruits (usually three), releases the maidens inside, but only the third survives;
- 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;
- The slave or servant replaces the princess (transformation sequence);
- The fruit princess and the prince reunite, and the false bride is punished.
Motifs
The maiden's appearance
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.[6][7] According to Walter Anderson's unpublished manuscript, variants with eggs instead of fruits appear in Southeastern Europe.[8]
The transformations and the false bride
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 some tales, the fruit maiden regains her human form and must bribe the false bride for three nights with her beloved.[10]
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"[12] (especifically, it appears in Greece and Eastern Europe).[13] In the second subtype, AaTh 408B, the girl is transformed into a dove by the needle.[14]
Separated from her husband, she goes to the palace (alone or with other maidens) to tell tales to the king. She shares her story with the audience and is recognized by him.[15]