#molly whuppie

[fairytalemovies]

[urisk-factor]

New fursona just dropped, her name is Mally Puppie

[laurasimonsdaughter]

Heist movie where everyone in the team has a fairy tale code name:

Frau Holle, head of the operation, pulls the strings, coordinates from above

The Fairy Godmother, arranges everyone's covers and equipment, supports from the side lines

Jack, world class burglar, bit too impulsive for his own good

Molly Whuppy, world class con artist, has a friendly rivalry going with Jack

Donkeyskin, master of disguise, you won't even know you're talking to her until she chooses to introduce herself

Goldilocks, housebreaking prodigy, cocky young upstart

[xphaiea]

Errol Le Cain • Illustration from Walter de la Mare's Molly Whuppie

[weewoow-20706030]

Bruce has an special lullaby (/song) reserved for each kid.

(2 of these songs I got from @Molliewhuppiemusic on TikTok so go check out her versions if you can)

Dick- Red River Valley (Mollie Whuppie ver.) (After Dick moved to Blüdhaben he would sometimes try singing it to himself after a bad day but it always made him feel worse<3)

Jason- You are my sunshine (Bruce used to only sing the first few lines up until 'please don't take my sunshine away' but when Jason came back from the dead he started singing the next part to him)

Tim- Sleep, My Little One (Mollie Whuppie ver) (Tim broke down sobbing the first time Bruce sung to him because he wasn't used to that kind of affection)

Damian- The Tarzan Lullaby (Damian also cried when he first heard it, specifically at the line 'for one so small, you seem so strong')

[ariel-seagull-wings]

MOLLY WHUPPIE

@softlytowardthesun @the-blue-fairie @princesssarisa @themousefromfantasyland @superkingofpriderock @faintingheroine

Once upon a time there was a man and a wife who had too many children, and they could not get meat for them, so they took the three youngest and left them in a wood. They travelled and travelled and could never see a house. It began to be dark, and they were hungry. At last they saw a light and made for it; it turned out to be a house.

They knocked at the door, and a woman came to it, who said: "What do you want?" They said: "Please let us in and give us something to eat." The woman said: "I can't do that, as my man is a giant, and he would kill you if he comes home." They begged hard. "Let us stop for a little while," said they, "and we will go away before he comes." So she took them in, and set them down before the fire, and gave them milk and bread; but just as they had begun to eat, a great knock came to the door, and a dreadful voice said:

"Fee, fie, fo, fum,

I smell the blood of some earthly one.

Who have you there, wife?" "Eh," said the wife, "it's three poor lassies cold and hungry, and they will go away. Ye won't touch 'em man." He said nothing, but ate up a big supper, and ordered them to stay all night. Now he had three lassies of his own, and there were to sleep in the same bed with the three strangers. The youngest of the three strange lassies was called Molly Whuppie, and she was very clever. She noticed that before they went to bed the giant put straw ropes round her neck and her sisters', and round his own lassies' necks, he put gold chains.

So Molly took care and did not fall asleep, but waited till she was sure everyone was sleeping sound. Then she slipped out of the bed, and took the straw ropes off her own and her sisters' necks, and took the gold chains off the giant's lassies. She then put the straw ropes on the giant's lassies and the gold on herself and her sisters, and lay down. And in the middle of the night up rose the giant, armed with a great club, and felt for the necks with the straw. It was dark. He took his own lassies out of the bed on to the floor, and battered them until they were dead, and then lay down again, thinking he had managed finely.

Molly thought it time she and her sisters were off and away, so she wakened them and told them to be quiet, and they slipped out of the house. They all got out safe, and they ran and ran, and never stopped until morning, when they saw a grand house before them. It turned out to be a king's house: so Molly went in, and told her story to the king. He said: "Well, Molly, you are a clever girl, and you have managed well; but, if you would manage better, and go back, and steal the giant's sword that hangs on the back of his bed, I would give your eldest sister my eldest so to marry."

Molly said she would try. So she went back, and managed to slip into the giant's house, and crept in below the bed. The giant came home, and ate up a great supper, and went to bed. Molly waited until he was snoring, and she crept out, and reached over the giant and got down the sword; but just as she got it out over the bed it gave a rattle, and up jumped the giant, and Molly ran out at the door and the sword with her; and she ran, and he ran, till they came to the "Bridge of on hair"; and she got over, but he couldn't and he says: "Woe worth ye, Molly Whuppie! never ye come again." And she says: "Twice yes, carle," quoth she, "I'll come to Spain." So Molly took the sword to the king, and her sister was married to his son.

Well, the king he says: "Ye've managed well, Molly; but if ye would manage better, and steal the purse that lies below the giant's pillow, I would marry your second sister to my second son." And Molly said she would try.

So she set out for the giant's house, and slipped in, and hid again below the bed, and waited till the giant had eaten his supper, and was snoring sound asleep. She slipped out and slipped her hand below the pillow, and got out the purse; but just as she was going out the giant wakened, and ran after her; and she ran, and he ran, till they came to the "Bridge of one hair," and she got over, but he couldn't, and he said: "Woe worth ye, Molly Whuppie! never you come again." "Once yet, carle," quoth she, "I'll come to Spain." So Molly took the purse to the king, and her second sister was married to the king's second son.

After that the king says to Molly: "Molly, you are a clever girl, but if you would do better yet, and steal the giant's ring that he wears on his finger, I will give you my youngest son for yourself." Molly said she would try. So back she goes to the giant's house, and hides herself below the bed.

The giant wasn't long ere he came home, and after he had eaten a great big supper, he went to his bed, and shortly was snoring loud. Molly crept out and reached over the bed, and got hold of the giant's hand, and she pulled and she pulled until she got off the ring; but just as she got it off the giant got up, and gripped her by the hand and he says: "Now I have caught you, Molly Whuppie, and, if I had done as much ill to you as ye have done to me, what would ye do to me?"

Molly says: "I would put you into a sack, and I'd put the cat inside wi' you, and the dog aside you, and a needle and thread and a shears, and I'd hang you up on the wall, and I'd go to the wood, and choose the thickest stick I could get, and I would come home, and take you down, and bang you till you were dead."

"Well, Molly," says the giant, "I'll just do that to you."

So he gets a sack, and puts Molly into it, and the cat and the dog beside her, and a needle and thread and shears, and hangs her up upon the wall, and goes to the wood to choose a stick.

Molly she sings out: "Oh, if ye saw what I see."

"Oh," says the giant's wife, "what do ye see, Molly?"

But Molly never said a word but, "Oh, if ye saw what I see!"

The giant's wife begged that Molly would take her up into the sack till she would see what Molly saw. So Molly took the shears and cut a hole in the sack, and took out the needle and thread with her, and jumped down and helped the giant's wife up into the sack, and sewed up the hole.

The giant's wife saw nothing, and began to ask to get down again; but Molly never minded, but hid herself at the back of the door. Home came the giant, and a great big tree in his hand, and he took down the sack, and began to batter it. His wife cried, "It's me, man;" but the dog barked and the cat mewed, and he did not know his wife's voice. But Molly came out from the back of the door, and the giant saw her and he after her; and he ran, and she ran, till they came to the "Bridge of one hair," and she got over but he couldn't; and he said, "Woe worth you, Molly Whuppie! never you come again." "Never more, carle," quoth she, "will I come to Spain again."

So Molly took the ring to the king, and she was married to his youngest son, and she never saw the giant again.

Jacobs, Joseph. English Fairy Tales. London: David Nutt, 1890.

[mythosblogging]

A lesser-known fairytale, the tale of Molly Whuppie originates from the British Isles, with versions of the story found in England, Scotland and Ireland. The English version tells of Molly Whuppie, the Scottish of Moal a Chliobain, and the Irish of a similar heroine, the unfortunately named Smallhead.

The legend has similarities to other fairytales, in particular Jack and the Beanstalk as the heroine is also given shelter by a giant’s wife, steals three items from the giant, and narrowly escapes with her life.

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[dramamomma56]

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[the-antonian]

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[laurasimonsdaughter]

What if Disney adapted Great Klaus and Little Klaus?

I think it would need to have less horse murder, and grandmother murder, and tricking innocent bystanders into being murdered, and tricking your vengeful neighbour into agreeing to be murdered. Just, less murder across the board

Reading this fairy tale again makes me very annoyed that I cannot remember where I have seen its various elements before. It's called a literary fairy tale and it was written by Hans Christian Andersen, but I'm certain I know the motifs from other stories. The trick with the innkeeper and the grandmother reminds me of the Juniper Tree and the trick with trading places to be in the sack sort of shows up in Molly Whuppie, but I'm certain I've seen the actual drowning switcheroo before. Just like the skinning an animal and murdering a family member.

None of which are particularly pleasant motifs, mind you. This would probably make a pretty good trickster tale, if it was a little less vicious. I don't mind murderous fairy tales, but I like to be able to root for someone, and neither Little Claus nor Big Claus are in any way sympathetic to me

[feminist-fairy-tales]

Mollie managed to slip into the giant's house, and crept in below the bed. The giant came home, and ate up a great supper, and went to bed. Molly waited until he was snoring, and she crept out, and reached over the giant and got down the sword; but just as she got it out over the bed it gave a rattle, and up jumped the giant, and Molly ran out at the door and the sword with her; and she ran, and he ran, till they came to the "Bridge of one hair"; and she got over, but he couldn't and he says, "Woe worth ye, Molly Whuppie! never ye come again."

So, I was working on a sketch for this fairy tale request from someone who bought a print, but I was really taken with the fairy tale and also so happy that someone had requested a fairy tale I wasn't familiar with - so I ended up painting it!

Mollie Whuppie is a Scottish folk tale, part of the 'Hansel and Gretel' type of fairy tale (abandoned children). You can read the full story here.

[writingabomination]

Some fairy tale recommendations if you're looking for some strong ladies:

Tatterhood: Two sisters, one pretty, one badass, and a journey to beat up some trolls (or witches, depends on your version).

Molly Whuppie: A female giant killer.

Hansel and Gretel: The first story about a girl destroying evil to save a boy you read.

The Snow Queen: Frozen might be popular, but Gerda doesn't need Disney to make her a determined young lady.

Goldylocks: Because, when you think about it, is about a little girl who BREAKS INTO A HOUSE.

[fromtheboundlesssea]

Fox_Maiden: Just thought of this one, but I think Celia Sand would be like a Molly Whuppie who is basically a Scottish gender-flip Jack and the Beanstalk heroine. She outwits a giant, saves her sisters, and gets all the wealth. Or, she would be a like a female Robin Hood.

Lol. I think Oberyn would be more of a Robin Hood character with Celia and the older Snakes running about to make sure he doesn’t land in jail. Lol

[ariel-seagull-wings]

SEVEN THINGS I WOULD LIKE TO SEE IN FUTURE CINDERELLA ADAPTATIONS

@princesssarisa @the-blue-fairie @themousefromfantasyland @faintingheroine @amalthea9 @softlytowardthesun @angelixgutz @superkingofpriderock

01° An understanding that Cinderella, Aschenputtel and Cendrillon are mean spirited nicknames made by the stepsisters to mock the heroine, not a real name. Extablish a birth name for the heroine, and make her demand to be called by it as a way of demanding her humanity back. And please, choose a different name tham Ella: that name only makes sense in english speaking countries. In portuguese sounds just like the pronoun "ela" (she) and its spanish version "ella", so it becomes generic and confusing.

02° There is an Algonquin variant titled The Rough Face Girl where the heroines hard work by the fire affects her apearance, giving burning scars to her hands and face that make her even more of a social outcast. I would like for more adaptations that explore this aspect that brings physical consequences to Cinderella: make her hands rough and red, give her burning scars in some point, make her loose the shoe because she walks with a lame leg, make her need glasses because she looses nights of sleep with works like knithing and embroidering little points and choosing grain. This will make her be less impossibly perfect, more a flash blood and bone human being, and make us more cheerful to her leaving the abusive home.

03° Adapt a variant where the abuse and discrimination comes from blood related family and male parental figures. The stepmother and stepsisters are just one small type of villain. In an italian version her father denies her existence because she doesn't fits his standards of a beautifull daughter. In the british tale Tattercoats she is rejected by her grandfather who blames her for "killing her mother" in childbirth. In the czech tale Popelka the heroine and her three birth sisters start in a Molly Whuppie like story abandoned by their own father in the woods, and when Popelka helps the sisters to kill two ogress and seize their castle, they refuse to share the new wealth with her and bully her into servitude. A birth mother and sisters also are the antagonists in the other czech variant The Three Sisters. This is meaningfull to show that lots of times, just because someone is related by blood to you, doesn't mean they wont be abusive.

04° When it comes to the Prince's relatives, usually he has a widowed father and one or other adaptation give him a living mother and father and maybe even a sibling. Sometimes the father hopes his son to find Cinderella and marry her, other times he is antagonistic because he favors a political marriage with a foreign Princess, but true love defeats his purpose after all. I would like for adaptations to give more spotlights to a female relative of the Prince like his mother and/or sister presenting the royal and married life for Cinderella, and for them to be showed bonding with Cinderella, who would find in them the mother and sister she didn't had back at home.

05° Usually in Cinderella tales and adaptations the heroine just wants one night out to enjoy a fun dance, after being exploited into hard work all her life, while the Prince falling in love with her is a bonus coincidence. Some people highlight this as a way of even defending the character from people who acuse Cinderella of being "a weak antifeminist character".

But i would like to see a different aproach: I want to see a Cinderella who indeed longs to find love and get married. People need to understand the historical context in wich most variants of this tale were written, where marriage was the only way for lots of women to leave home and find financial stability. And considering that she is lonely living in a house that only has abuse and neglect for her, its understandable that she would desire to marry someone who loves her and to form a new family that could provide safety and comfort for her. In a (explicit or simbolic) queer retelling this desire to form a new home and family can be specially meaningfull.

06° The story tends to be adapted in a very chaste way. Wich works. But to make things different, without necessarily needing to present constantly explicit scenes or afirm freudian cliches like "shoe is simbol of virginity", even in a subtle way i would like adaptations to explore sensuality. Like Cinderella and the Prince feel the scent of one another when dancing, and thinking of that scent they feel desire, and are curious to know what sex is like. Show country side peasant woman humorously gossiping about their wedding nights! A irish variant called Fair, Brown and Trembling, has a Henwife as a Fairy Godmother figure. Give the Henwife a Wife of Bath like bawd sense of humour. Give Cinderella a speach a la the Gallop apace speach of Shakespeare's Juliet, show her as woman who has carnality. This can help audiences to see the character outside of a Madonna X Whore complex, and treat women's sexual desire as something natural.

07° If an adaptation shows how life is after she gets married, I hope it explores her learning how to be a Princess, not in the sense of "learn how to dress and bow" but in the sense of teaching her about the laws and economy of the land, diplomacy with other countries, to learn new languages. And I want to see her doing her best to learn yet suffering difficulties to learn these new informations and insecure if she can rule as well as her husband and in-laws. And them her tutors understand her dificulties and find new methods to teach her in her own learning time, while also encouraging her not to be afrayed in telling how she feels and what she thinks, and to find her own way to rule wisely and attend the subjects needs.

What about you? What are things you would like to see in future Cinderella adaptations and retellings?

[gosagacious]

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