BATTLE of BIRDS
by Unknown · from Celtic Fairy Tales
Adapted Version
A young prince lived in a big castle. He wanted to see the world. Prince Leo left his home. He looked for new sights. He found a big giant. Giant Grumble was his name. Prince Leo worked for Giant Grumble.
Giant Grumble gave Prince Leo a task. He said, "Thatch my house with feathers. Do it today." Prince Leo saw the house. It was very big. He saw many feathers. This task was very hard.
A kind maiden came. Her name was Maiden Elara. She was Giant Grumble's daughter. She had magic. Maiden Elara helped Prince Leo. The feathers flew onto the roof. The house was thatched. Prince Leo was very happy.
Next day, Giant Grumble gave a new task. "Clean the stable," he told Prince Leo. "Take out all the dirt. Do it fast." The stable had much mess. Prince Leo felt sad.
Maiden Elara came again. She used her magic. The dirt flew out of the stable. It was clean. Prince Leo smiled. He thanked Maiden Elara. She was very kind.
Giant Grumble gave a third task. "Get a bird's nest," he said. "It is in the tallest tree. Bring it to me." The tree was so high. Prince Leo could not climb.
Maiden Elara touched Prince Leo. He turned into a little bird. The bird flew up to the tree. It got the nest. It flew back down. Prince Leo was a prince again.
Maiden Elara spoke to Prince Leo. "My father is very angry," she said. "He wants to catch us. We must go now." They would run away. They left the house.
Giant Grumble chased them. He ran very fast. Maiden Elara used her magic. They turned into two little birds. The birds flew high in the sky. Then they became a big rock and a small flower. Giant Grumble could not find them.
Maiden Elara made a big forest. Giant Grumble walked slowly through it. Then she made a wide river. The river was very deep. Giant Grumble could not cross.
Giant Grumble tried to cross. The river was too strong. He could not follow them. He was stopped for good. He was gone from sight.
Prince Leo and Maiden Elara walked. They went to his father's kingdom. The king was very happy. All welcomed them home. They were safe at last.
Prince Leo and Maiden Elara married. They had a big party. They got a special gift. It made them happy always. They lived gladly ever after in the kingdom.
Original Story
XXIV. BATTLE OF BIRDS.
Source.—Campbell (Pop. Tales, W. Highlands, No. ii.), with touches from the seventh variant and others, including the casket and key finish, from Curtin's "Son of the King of Erin" (Myths, &c., 32 seq.). I have also added a specimen of the humorous end pieces added by Gaelic story-tellers; on these tags see an interesting note in MacDougall's Tales, note on p. 112. I have found some difficulty in dealing with Campbell's excessive use of the second person singular, "If thou thouest him some two or three times, 'tis well," but beyond that it is wearisome. Practically, I have reserved thou for the speech of giants, who may be supposed to be somewhat old-fashioned. I fear, however, I have not been quite consistent, though the you's addressed to the apple-pips are grammatically correct as applied to the pair of lovers.
Parallels.—Besides the eight versions given or abstracted by Campbell and Mr. Curtin's, there is Carleton's "Three Tasks," Dr. Hyde's "Son of Branduf" (MS.); there is the First Tale of MacInnes (where see Mr. Nutt's elaborate notes, 431-43), two in the Celtic Magazine, vol. xii., "Grey Norris from Warland" (Folk-Lore Journ. i. 316), and Mr. Lang's Morayshire Tale, "Nicht Nought Nothing" (see Eng. Fairy Tales, No. vii.), no less than sixteen variants found among the Celts. It must have occurred early among them. Mr. Nutt found the feather-thatch incident in the Agallamh na Senoraib ("Discourse of Elders"), which is at least as old as the fifteenth century. Yet the story is to be found throughout the Indo-European world, as is shown by Prof. Köhler's elaborate list of parallels attached to Mr. Lang's variant in Revue Celtique, iii. 374; and Mr. Lang, in his Custom and Myth ("A far travelled Tale"), has given a number of parallels from savage sources. And strangest of all, the story is practically the same as the classical myth of Jason and Medea.
Remarks.—Mr. Nutt, in his discussion of the tale (MacInnes, Tales 441), makes the interesting suggestion that the obstacles to pursuit, the forest, the mountain, and the river, exactly represent the boundary of the old Teutonic Hades, so that the story was originally one of the Descent to Hell. Altogether it seems likely that it is one of the oldest folk-tales in existence, and belonged to the story-store of the original Aryans, whoever they were, was passed by them with their language on to the Hellenes and perhaps to the Indians, was developed in its modern form in Scandinavia (where its best representative "The Master Maid" of Asbjörnsen is still found), was passed by them to the Celts and possibly was transmitted by these latter to other parts of Europe, perhaps by early Irish monks (see notes on "Sea-Maiden"). The spread in the Buddhistic world, and thence to the South Seas and Madagascar, would be secondary from India. I hope to have another occasion for dealing with this most interesting of all folk-tales in the detail it deserves.
Story DNA
Plot Summary
A king's son, seeking adventure, becomes a servant to a giant who sets him impossible tasks. The giant's clever daughter secretly helps the prince complete these tasks, saving him from her father's wrath. Realizing their danger, the maiden and prince flee, using powerful magic to transform themselves and create obstacles that ultimately trap and destroy the pursuing giant. They return to the prince's kingdom, marry, and live happily ever after, securing their future with a magical casket and key.
Themes
Emotional Arc
danger to safety
Writing Style
Narrative Elements
Cultural Context
The story is noted as being ancient, possibly originating with the Proto-Indo-Europeans, and having parallels with the Greek myth of Jason and Medea, suggesting a deep historical root in European storytelling traditions.
Plot Beats (13)
- A king's son, bored with his life, leaves home to seek adventure and finds himself working for a giant.
- The giant gives the prince an impossible task: to thatch a house with feathers in one day.
- A beautiful maiden, the giant's daughter, appears and magically helps the prince complete the task.
- The giant gives the prince a second impossible task: to empty a stable of dung in one day.
- The maiden again uses her magic to help the prince complete the task.
- The giant gives the prince a third impossible task: to bring him a bird's nest from the top of a tree.
- The maiden helps the prince by turning him into a bird to retrieve the nest.
- The maiden warns the prince that her father plans to kill him and advises they flee together.
- They escape, and the giant pursues them, but the maiden transforms them into various objects (e.g., a church and priest, a lake and a duck) to evade him.
- The maiden creates a dense forest, a high mountain, and a wide river to impede the giant's pursuit.
- The giant is drowned trying to cross the magical river, ending the chase.
- The prince and maiden return to his father's kingdom, where they are welcomed.
- They marry and secure their future with a magical casket and key, ensuring their happiness.
Characters
The King of Erin's Son
Tall and lean, with the strong build of a warrior accustomed to travel and hardship. His movements are swift and purposeful, though sometimes marked by weariness from his quests.
Attire: Practical, durable clothing suitable for travel across varied terrain. Likely a tunic of dark wool or linen, sturdy leather breeches, and well-worn leather boots. He would wear a simple, unadorned cloak for protection against the elements, fastened with a plain brooch.
Wants: To overcome the obstacles set before him, win the hand of the Master Maid, and return to his kingdom with honor.
Flaw: Can be overly trusting or naive at times, especially when dealing with powerful magical beings or cunning adversaries.
He transforms from a somewhat inexperienced prince into a seasoned hero, learning to rely on his wit and the help of others rather than just his strength, ultimately earning his true love and overcoming formidable challenges.
Brave, resourceful, persistent, and loyal. He faces challenges head-on and is not easily deterred.
The Master Maid
Slender and graceful, yet possessing an inner strength and resilience. Her movements are fluid and purposeful, often accompanied by subtle gestures of her hands when she uses her magic.
Attire: Elegant but practical attire, reflecting her magical abilities and her life in a giant's dwelling. Perhaps a flowing gown of deep forest green or sapphire blue linen, with subtle embroidery. She might wear a simple silver circlet or a woven headband in her hair.
Wants: To escape her oppressive life with the Giant/Sorcerer and find freedom and love with the King of Erin's Son.
Flaw: Her loyalty, once given, can make her vulnerable, and she is bound by certain magical rules or limitations.
She begins as a captive, albeit a powerful one, and through her actions, she actively orchestrates her own escape and future, becoming a free woman and a partner to the hero.
Intelligent, resourceful, brave, and loyal. She is a powerful sorceress and a clever strategist, often outwitting her adversaries.
The Giant/Sorcerer
Immensely tall and powerfully built, with a formidable presence that radiates menace. His skin might be rough and weathered, like ancient stone or bark, reflecting his age and power.
Attire: Crude but imposing garments, perhaps made of animal hides or rough, dark fabrics, adorned with bones or crude metal. He might wear a heavy, fur-lined cloak that emphasizes his massive size.
Wants: To keep the Master Maid captive and to prevent anyone from escaping his domain or challenging his power.
Flaw: His arrogance and his tendency to underestimate the intelligence and resourcefulness of others, particularly the Master Maid.
He remains largely unchanged, serving as a static force of evil that must be overcome. His defeat signifies the triumph of wit and love over brute power.
Cruel, possessive, cunning, and easily enraged. He is a powerful sorcerer but often outwitted by cleverness rather than brute force.
Locations
Giant's Castle
A formidable, ancient stone castle, likely with rough-hewn walls and a dark, imposing presence, typical of a giant's dwelling in Celtic folklore. It would feature large, heavy wooden doors and a generally unkempt, yet powerful, atmosphere.
Mood: Foreboding, dangerous, oppressive, yet holding secrets and potential for escape.
The hero is held captive here and must perform tasks for the giant, and later, the escape begins from this location.
Wild Forest
A dense, ancient forest, likely composed of gnarled oaks, birches, and perhaps pines, with a thick undergrowth that makes passage difficult. It serves as a natural barrier and a place of transformation during the escape.
Mood: Mysterious, wild, dangerous, yet also a place of refuge and magical intervention.
The hero and the giant's daughter flee through this forest, using magic to create obstacles to hinder pursuit.
Mountain Pass
A rugged, steep mountain landscape, characterized by rocky outcrops, sparse vegetation, and treacherous paths. It represents a significant natural barrier that must be overcome during the escape.
Mood: Desolate, challenging, exposed, yet offering a vantage point and a sense of progress.
Another magical obstacle is created here to impede the giant's pursuit, emphasizing the difficulty of the journey.
Wide River
A broad, fast-flowing river, serving as the final and most significant natural barrier. Its width and current make it difficult to cross, requiring magical intervention.
Mood: Imposing, dangerous, a final hurdle before safety.
The river is transformed into a magical obstacle, preventing the giant from crossing and securing the hero's escape.