Қорқыныш үйренуге шыққан жас жігіттің әңгімесі

German fairy tale

"The Story of the Youth Who Went Forth to Learn What Fear Was" or "The Story of a Boy Who Went Forth to Learn Fear" (link=no) is a German folktale collected by the Brothers Grimm in Grimm's Fairy Tales (KHM 4). The tale was also included by Andrew Lang in The Blue Fairy Book (1889). It is classified as its own Aarne–Thompson index type 326. It refers to tales of a male protagonist's unsuccessful attempts to learn how to feel fear. This tale type did not appear in any early literary collection but is heavily influenced by the medieval adventure of Sir Lancelot du Lac called Les Merveilles de Rigomer in which he spends a night in a haunted castle and undergoes almost the same ordeals as the youth.

The tale was published by the Brothers Grimm in the second edition of Kinder und Hausmärchen in 1819. The first edition (1812) contained a much shorter version titled "Good Bowling and Card Playing" (link=no). Their immediate source was Ferdinand Siebert from the village of Treysa near Kassel; the Brothers Grimm also knew several variants of this widespread tale. as told by Ferdinand Siebert from the area of the Schwalm. In the first edition of "Gut Kegel und Kartenspiel" (translated "Good Bowling and Card Playing") from 1812, the story is limited to the castle and begins with the king's offer to win his daughter when she turned 14. The hero is not a fool but merely a bold young man who, being very poor, wishes to try it. The full story was only published in the journal "Wünschelruthe Nr. 4" in 1818, and one year later in the "Kinder und Hausmärchen" second edition from 1819.

Fear was a major topic for Søren Kierkegaard, who wrote Frygt og Bæven in 1843; he uses the fairy tale to show how fear within one's belief system can lead to freedom. Hedwig von Beit interprets cats as the forerunners of the later ghost: They suggest a game which the ghost plays in some variation too, and are trapped like him. Spirits of the dead appear in animals, and bowling games in fairy tales often consist of skull and bones. The underworldly aspect of the Unconscious appears, when consciousness treats it in a disapproving fashion, just as the naive not actually courageous son does in compensation to the behavior of the others. He naively treats ghosts like real enemies, and does not become panicky, so that the unconscious conflicts can take shape and can be fixated on. The woman shows him the part of life, which he is unconscious of. In many variants he is frightened of looking backward, or of his backside, when his head is put on him the wrong way round, which is interpreted as a view or glimpse of death or the netherworld. The East German writer Franz Fühmann opined in 1973, that the hero apparently felt he lacked a human dimension. Peter O. Chotjewitz wrote, one had never taught him words for feelings, which he now connects with his supposed stupidity. Bruno Bettelheim's understanding of the fairy tale is that to attain human happiness one has to derepress one's suppressions. Even a child would know repressed, unjustified fears, which appeared at night in bed. Sexual fears would mostly be detested. In 1999, Wilhelm Salber noted the effort, how anxieties are deliberately built up and destroyed using ghosts and animals, to avoid proximity to real life, and only compassion brings movement into it. Egon Fabian and Astrid Thome view the fairy tale as an insight into the psychological need to perceive fear, which otherwise is sought externally and remains internally inaccessible as primal fear ("Urangst"). Maria Tatar wrote in 2004 that although the hero of this story is a youngest son, he does not fit the usual character of such a son, who normally achieves his goals with the aid of magical helpers. Accomplishing his task with his own skill and courage, he fits more in the mold of a heroic character. The act of cutting down the corpses to let them warm themselves is similar to the test of compassion that many fairy tale heroes face, but where the act typically wins the hero a gift or a magical helper, here it is merely an incident, perhaps a parody of the more typical plot. The tale is part of the collective of not uncommon stories in which a swine herd, a veteran or a vagrant prince – always someone from "far away" – wins a king's daughter and inherits the father ("half the kingdome" etc.) as in for example the devil with the three golden hairs. It is the story of a matrilineal inheritance in which daughters, and not sons inherit. If the story moves along into a patrilineal society, one needs a strong explanation to understand the solution – here the rare gift, never to be frightened and an unusually resolute wife. The Child Ballad The Maid Freed from the Gallows has been retold in fairy tale form, focusing on the exploits of the fiancé who must recover a golden ball to save his love from the noose, and the incidents resemble this tale (e. g. spending three nights in a house, a body split in half and a chimney, and an incident on a bed).

The story can also be titled The Boy Who Wanted to Know What Fear Was and The Boy Who Couldn't Shudder. Jack Zipes, in his notes to the translated tales of Giuseppe Pitrè, notes that the Italian folklorist collected three variants, and compares them to similar tales in Italian scholarly work on folklore, of the late 19th century, such as the works of Laura Gonzenbach and Vittorio Imbriani. He also analyses the variant collected by Laura Gonzenbach (The Fearless Young Man), and cites a predecessor in The Pleasant Nights of Straparola. Variants in Latin American countries relocate the setting from a haunted castle to a haunted house or haunted farm. "Sop Doll" is an American variant collected from the Southern Mountains.

There are numerous literary adaptations mentioned in the encyclopedia of fairy tales by Heinz Rölleke: Wilhelm Langewiesch in 1842, Hans Christian Andersen's "Little Claus and Big Claus" (1835), Wilhelm Raabes "Der Weg zum Lachen" (1857) and Meister Author (1874), Rainer Kirsch's "Auszog das Fürchten zu lernen" (1978), Günter Wallraffs "Von einem der auszog und das Fürchten lernte" (1979) and fairy tale renditions by Ernst Heinrich Meier, Ludwig Bechstein's ("Das Gruseln" in the 1853 book "Deutsches Märchenbuch" in chapter 80, also "") and Italo Calvino's "Giovannino senza paura" ("Dauntless Little John"), the first story in his 1956 Italian Folktales. In his 1876 opera Siegfried, Richard Wagner has his title character Siegfried begin fearless, and express his wish to learn fear to his foster father Mime, who says the wise learn fear quickly, but the stupid find it more difficult. Later, when he discovers the sleeping Brünnhilde, he is struck with fear. In a letter to his friend Theodor Uhlig, Wagner recounts the fairy tale and points out that the youth and Siegfried are the same character. Parodies like to play with the title and give Hans an anticapitalist meaning or sketch him as an insecure personality. Gerold Späths Hans makes a global career and forgets that he looked for the meaning of fear. Rainer Kirsch sketched a film version, in which the hero is murdered by fanning courtiers and thus learns fear too late. Karl Hoches hero finds capitalism to be entertaining, only the women's libber doesn't. In Janoschs story the man only thinks of bowling and card games, plays night after night with the headless ghost and the princess dies at some point. In his autobiography "Beim Häuten der Zwiebel" Günter Grass uses the term 'How I learnt to fear' several times for the title and descriptions of the fourth chapter about his war mission, which he survives seemingly like a naive fairy tale hero. The character of the Boy from the webcomic No Rest for the Wicked is based on the protagonist of this story. The story has also been adapted for television. Jim Henson's The Storyteller featured an adaptation of the tale in the first season, second episode as "Fearnot". Shelley Duvall's TV show Faerie Tale Theatre adapted it as "The Boy Who Left Home to Find Out About the Shivers" In the German cartoon Simsala Grimm the story is featured in the tenth episode of the first season: unlike in the original story, here the youth learns fear when he has to kiss the princess, since he has never been kissed before and fears doing it wrong and embarrassing himself. The episodic games of American McGee's Grimm on Gametap debuted with "A Boy Learns What Fear Is" on 31 July 2008. The MC Frontalot song "Shudders", from his album Question Bedtime, is based on this story. The title is often varied for example by the band Wir sind Helden in their song "Zieh dir was an: Du hast dich ausgezogen, uns das Fürchten zu lehren "(translated "Dress yourself, you have undressed yourself to teach us fear ", figuratively meaning "put something on, you've put yourself out to teach fear. ").