Davenport, Tom. The Frog King. Davenport Films, 1981. 27 minutes. This live-action film sets the European tale in the 19th-century dining room of a wealthy Appalachian industrialist. The Making of the Frog King, 1982. 12 minutes. See AppLit's Bibliography of Davenport's Fairy Tale Films and information with photos at DavenportFilms.com.

Davenport, Tom, and Gary Carden. From the Brothers Grimm: A Contemporary Retelling of American Folktales and Classic Stories. Fort Atkinson, WI: Highsmith, 1992. Foreword by Jack Zipes. Storybook versions with photos from the films.

"A Bunch of Laurel Blooms for a Present." In Marie Campbell. Tales from the Cloud Walking Country (Indiana UP, 1958.  Rpt. Athens: U of George Press, 2000), pp. 200-201. Collected by Campbell in Kentucky in the 1930s. This tale begins like Whitebear Whittington, but the father picks laurel blooms for his youngest daughter, a witch demands his life, and the daughter runs away to the witch to save her father. The witch puts the girl in a nice house where a man-size toad-frog cares for her and climbs in her bed. One night she sees a man in her bed, and when she throws his frog skin in the fire, it breaks the witch's spell on him. Her greedy sisters are jealous that she gets to live in the nice house with a handsome man.

"The Louse Skin." In Isobel Gordon Carter. "Mountain White Folk-Lore: Tales from the Southern Blue Ridge." Journal of American Folklore 38 (1925): pp. 340-74 (this tale on p. 372). Available online through library services such as JSTOR. A landmark article containing Jack tales told by Jane Hicks Gentry (1863-1925) and others, recorded by Carter in 1923. Carter comments on the decline of storytelling among mountain families who used to know them better, although they had not been recorded as ballads had been. This is one of six short tales told by Susie Wilkenson of eastern Tennessee. A frog is the only one who can recognize a louse skin so he wins the king's daughter. The frog takes the girl on horseback to his wonderful home. He asks her to choose whether he should be a frog by day or night and she chooses night. He orders her to pitch him into hot water to make him a man and in spite of her fears of killing him, she does. This appears to be a test of her esteem since "he could turn hisself into anything he wanted."

Related Appalachian Tales:

"The Enchanted Tree." A lost girl in the forest is helped by a crow who turns out to be an enchanted prince. In Sing Down the Moon: Appalachian Wonder Tales. Commissioned and first produced at Theater of the First Amendment. George Mason University, Fairfax, VA, 2000. Conceived by Mary Hall Surface (from KY) and David Maddox (from NC). Written by Mary Hall Surface. Lyrics by Mary Hall Surface and David Maddox. Music by David Maddox. Play with music based on Appalachian folktales and songs, including also "Jack of Hearts and King Marock," "Jack's First Job," "Jack and the Wonder Beans," "Catskins," and "The Sow and her Three Pigs." Also produced as set of 2 CDs. Photos and background on how the retellings were developed at Sing Down the Moon. Picture, summary of each tale and downloadable script excerpts at Dramatic Publishing Online Catalog. Also produced at Theater at Lime Kiln (Lexington, Virginia, July 2005).

In Whitebear Whittington, the heroine marries a man who is turned into a bear by night.

In Cat 'n Mouse, Jack finds a wife who has been turned into a cat by a witch.

"The Snake Princess" in Campbell's Tales from the Cloud Walking Country and "The Bewitched Princess" in Ruth Ann Musick's Green Hills of Magic (1970; rpt. Parsons, WV: McClain, 1989) are about men marrying snakes that are enchanted princesses.

In "A Frog Went A-Courting," one of the most popular folk songs in Appalachia and elsewhere, the frog woos a mouse.

Compare "The Frog King" with:

Frog Kings: folktales of Aarne-Thompson type 440 about slimy suitors translated and/or edited by D. L. Ashliman, gives the texts of a number of versions from different countries. Other animal-groom tales, variants of tale type 425C, are reprinted in D. L. Ashliman's Beauty and the Beast

The Frog King, or Iron Henry. Annotated text (from Grimm Brothers, Household Tales. Margaret Hunt, translator. London: George Bell, 1884) with background, illustrations and links to related tales and literature, at Sur La Lune Fairy Tale Pages by Heidi Anne Heiner. The Hoodie-Crow and The Tale of the Hoodie are Scottish animal bridegroom tales in which a youngest daughter marries a crow who is a man by day and she has to rescue him in the end.

"The Frog King, or Iron Henry" by the Grimm Brothers reprinted from Lore Segal and Randall Jarrell's collection The Juniper Tree (1973), in Crosscurrents of Children's Literature: An Anthology of Texts and Criticism. Ed. J. D. Stahl, Tina L. Hanlon, and Elizabeth Lennox Keyser. New York: Oxford Univ. Press, 2006. pp. 146-48, with Maurice Sendak's black and white illustration from the same collection.

The Frog King or Iron Henry, 1991. A new translation by Gary V. Hartman (C. G. Jung Institute Zürich), with interpretive notes. An online sample from The Loose-Leaf Fairy Tale Book, Hartman's work in progress translating Grimm tales.

Animal Brides and Animal Bridegrooms: Tales Told by North American Indians, edited by D. L. Ashliman. Includes "The Girl Who Married the Crow" (Ntlakyapamuk—British Columbia).

"The Frog Prince/Iron Hans" is a section in Once Upon a Time . . . a personal web site with a list of novels based on fairy tales and synopses of individual tales with lists of novels and blurbs on each one. Sur La Lune Fairy Tales has similar lists with other genres in addition to novels.

The Frog Prince - with analysis by German students at Carleton College

The Frog Prince - audio retelling at Wired for Books, labeled as from the Grimm Brothers, but the princess wakes up to find a prince in her room, doesn't throw the frog against the wall to break the spell.

Scieszka, Jon and Steve Johnson. The Frog Prince, Continued. New York: Viking, 1991. A fractured fairy tale with many humorous details in the illustrations, and a twist at the end. It raises the question of whether the frog would be happier as a frog than a human.


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