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The Frog Prince: A Fairy Tale for Consenting Adults, by Stephen Mitchell
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In this brilliant jewel of a book, the best-selling author of Tao Te Ching: A New English Version expands and deepens the classic fairy tale in the most surprising and delightful ways, giving new emphasis to its message of the transcendent power of love.
The Frog Prince tells the story of a meditative frog's love for a rebellious princess, how she came to love him in spite of herself, and how her refusal to compromise helped him become who he truly was. This is a magical book that moves (amphibiously) from story to meditation and back, from the outrageous to the philosophical to the silly to the sublime. Profound, touching, written in prose as lively and unpredictable as a dream, The Frog Prince tickles the mind, opens the heart, and holds up a mirror to the soul.
- Sales Rank: #1114336 in Books
- Published on: 1999-10-12
- Released on: 1999-10-12
- Original language: English
- Number of items: 1
- Dimensions: 7.17" h x .76" w x 4.92" l,
- Binding: Hardcover
- 192 pages
From Publishers Weekly
The prolific author of popular adaptations of world classics (Tao Te Ching), translator (Rilke's Letters to a Young Poet) and commentator on religious texts (The Gospel According to Jesus), Mitchell here puts his talents to a slighter test with a modern retelling of the fairy tale "The Frog Prince." The story is familiar: a princess drops her golden ball down a well, a besotted frog rescues it and, in return, the princess promises to love the frog and let him eat from her plate, drink from her cup and sleep in her bed. Though the princess comes to regret her promise, the frog persists, and after a series of trials, he turns into a handsome prince. Mitchell's adaptation drapes this skeleton tale (which he calls the "Condensed Version") in philosophical asides and spiritual insights. Setting the story in an alternate 16th century plagued with Unusual Phenomena ("Magic was afoot everywhere. Things were getting out of hand"), in a castle on the river Loire, the author conjures up some inspired fantastic scenarios, particularly when he writes about magic as if it were historical reality. But his frequent digressions sometimes seem intended to stretch the narrative ("What makes a woman fall in love with a frog? Many women, since time immemorial, staring up at the bedroom ceiling in the dead middle of the night, have asked themselves the same question"), and references to the Tao Te Ching and the tenets of Eastern religions are incongruous. Insubstantial though it may be, however, the tale is gracefully told, and sympathetic readers will find it an appealing tribute to the original. 5-city author tour. (Nov.)
Copyright 1999 Reed Business Information, Inc.
From Booklist
Famed for his fine translations of the Hebrew scriptures and the German poet Rilke, Mitchell has lately turned to a unique combination of fiction and commentary. His second work, after Meetings with the Archangel (1998), in this mode retells a familiar fairy tale to emphasize its parablistic qualities. In a small French kingdom near the end of the Renaissance, one of the dreaded and by then infrequent "Unusual Phenomena" --the bases of the stories of talking animals that pepper the period's literature--occurs. A princess drops a gold ball in a well, from which a male frog emerges to address her in perfect French. They strike a bargain: should the frog retrieve the ball, the princess will love and befriend him and allow him to eat from her plate, drink from her cup, and sleep in her bed--in effect, marry him. She agrees because she has already begun to love him and feels certain he is an enchanted prince. He retrieves the ball, and things develop toward the happy ending of the "Condensed Version," as Mitchell refers to the common, six-minute bedtime story redaction of what he expands into a psychological and philosophical novella. Replete with amusing metaphysical explanations, such as the solemn assertion that a "hairline crack . . . in reality" was responsible for Unusual Phenomena, and droll historical ones, such as saying that only the frog could recover the ball because no person in Europe knew how to dive at that time, this is thoroughly delightful entertainment as well as a serious examination of how love can and does transform frogs and princesses alike. Ray Olson
From Kirkus Reviews
There are two kinds of women: those who marry princes and those who marry frogs. The frogs never become princes, but . . . a prince may very well, in the course of an ordinary marriage . . . turn into a frog. So begins this latest from translator (Neruda, Rilke, the Book of Job, etc.) and novelist Mitchell, whose first fiction was Meetings with the Archangel (1998), a spiritual autobiography in the manner of G.I. Gurdjieffs Meetings with Remarkable Men. Like Gurdjieff, as might be expected, Mitchell is his own man when it comes to writing a fable like this one, which at first glance might seem YA but quickly becomes worldly-wise, clearly aimed only at anyone who wants to come along as he tells his story in his own self-pleasing way. It takes place after a crack in reality occurs in the 16th century and a certain princess, who resists her feelings for a frog prince, is struck . . . deeper down, beneath the level of consciousness, in the dark and fertile soil of her heart, [where] love had planted itself like a mustard seed. Mustard-seed parables are not a dime a dozen, and Mitchells is a miracle of the Now. The reader moves through it with eyes wide upon the concrete and the fantastic at once. -- Copyright �1999, Kirkus Associates, LP. All rights reserved.
Most helpful customer reviews
11 of 12 people found the following review helpful.
Captivating
By John S. Ryan
To my mind this is one of Stephen Mitchell's best works. It's an excellent example of the sort of thing he does best: he "listens" his way into a traditional text or story, and then says what it "wants" to say in lucid, liquid English prose-poetry.
In this case his story is the traditional "Condensed Version" of the story of the princess and the frog prince. Mitchell has remarked somewhere that the characters in this old Grimm's fairy tale were crying out to be deepened -- and so his retelling of the story deepens them into, respectively, a self-possessed Tao-Te-Ching-quoting princess and a meditative but seriously lovestruck frog.
The tale itself is transformed into a parable of love and spiritual transformation -- or were Mitchell's insights already present in the original tale just waiting for someone to bring them out? (Does it even make sense to suggest that these meanings were "in" the story _rather than_ "in" Mitchell's elaboration of it?)
Be that as it may, Mitchell's interpretive rendering is as lovely and captivating as anything he's ever written. I won't spoil anything, but Mitchell reminds the reader very early on about a point we often forget about the original tale: the frog doesn't turn into a prince when the princess kisses him, but only when she hurls him into a wall.
(The lesson here is not, of course, that if you don't like your lover as he is, you should throw him really hard against a load-bearing structural member and hope he changes into something you like better! It's that real love requires an unwillingness to settle for less than each other's best, together with a complemetary willingness to undergo difficult-but-necessary transformations oneself. But you'd probably figured that out already.)
The tale is notable as much for its style as for its substance (if these two aspects of Mitchell's work can be clearly differentiated at all). The narrative is filled with little frame-breaking devices, excursions into spiritual insight (and sometimes into just plain fun), and small touches that add texture to the physical and "historical" background of the story. As the events in question take place in Renaissance-period France, Mitchell works in not only some fine detail about e.g. the exquisite trappings of the royal palace but also some gentle twitting of French culture.
The insights themselves are, as is usual with Mitchell, the narrative center of gravity. I won't spoil these either, but they come from sources as diverse (or are they?) as the _Tao Te Ching_ and Spinoza, Japanese haiku and Rainer Maria Rilke. The sources will be no surprise to any readers familiar with the rest of Mitchell's ever-growing oeuvre, but they're worked into the story remarkably well.
Oh, and if you like this, see whether you can find a used copy of Mitchell's 1990 book _Parabales and Portraits_. It's currently out of print, but it's excellent in general and in particular it contains a one-page prose poem entitled "The Frog Prince" with which the present work is thematically unified.
0 of 0 people found the following review helpful.
and a gift I share with only my favorite people. A truly wonderful book
By James Neumerski
This is a fairy tale, and a gift I share with only my favorite people. A truly wonderful book.
4 of 5 people found the following review helpful.
One of My All Time Favorites
By Dottie Randazzo
I totally loved this book. It is up there in my personal top 10. I just wish that the book didn't have printed on the cover "A Fairy Tale for Consenting Adults". I think it is a good story for anyone 16 years of age or older to read. It has a message that I think that they would understand and benefit from. Really, really, really good.
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