Rübezahl (Illustrierte Silber Edition) (German Edition)

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Rübezahl (Illustrierte Silber Edition) (German Edition)

Yet we had a growing awareness that perhaps God was up to something other than bringing about healing. To submit. I found my greatest comfort, in fact, in a third and supreme example of submission to the sovereignty of God in the Bible. Please take this cancer from us! Yet not my will but Your will be done.

Like our Lord in Gethsemane, though, we do not stop after bringing God our request. We leave the outcome to God. Was Carol ever scared? Did she sometimes worry? Yes, but she remained positive, knowing she could give her fears and concerns to her loving heavenly Father, whom she believed was completely in control of her situation.

Those of us around her could see this peace reflected in her eyes and in her infectious smile. Though outwardly we are wasting away, yet inwardly we are being renewed day by day.

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For our light and momentary troubles are achieving for us an eternal glory that far outweighs them all. So we fix our eyes not on what is seen, but on what is unseen. For what is seen is temporary, but what is unseen is eternal. I believe God is able to heal completely, and He is also able to use our troubles for His glory. We can trust Him no matter what the outcome, that He will always love us and always be intimately involved in our lives.

The summer of her death, our son, Ryan, was playing baseball.

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She was thrilled to be there watching her son and was determined to support him. Actually, she thought it a great blessing to be there, even as she winced in pain. When Carol walked down the aisle as the mother of the bride, she was a fraction of herself physically. Instead of being concerned about how she looked, she was thrilled to still be alive. Her contentment because of her convictions was palpable. You give God your submission; He gives you His peace. You give Him your confidence; He gives you His joy, His hope. Joseph, Job, and Jesus taught me an invaluable secret: central to resting in the sovereignty of God is submission.

In spite of all the bad press, submission—especially submission to God—is our friend, not our enemy. Submission is a beautiful thing, a Jesus thing.

The Brothers Grimm

Biblical submission, born in faith, is the rock-solid belief that God is always loving, always good, always in complete control. It is coupled with a childlike willingness to place ourselves under the authority of God. Submission, then, is both head and heart. It is not a getaway but a gateway—the gateway to peace, contentment, and joy.

Always have been. Jim Harrell, a member of our church and a good friend, began experiencing pain in his left calf in Always active, Jim assumed he had suffered a minor athletic injury. After all, he seemed to be in the prime of his life. He and his wife, Linda, had been married for over twenty years and had four children, the oldest of whom was in her early teens. He was respected for his work as a consultant on railroad labor relations, and he was loved by his friends for his big heart and practical jokes.

Gradually, Jim realized that the pain in his lower leg was not going away with rest and physical therapy.

A terminal illness, ALS is a progressive neurodegenerative disease that causes the brain to lose the ability to initiate and control muscle movement. The illness progresses at different rates among ALS sufferers. Thus the Grimms applied romantic theories of nature and art to the folktale. Wilhelm's prefaces reflect a strain of romantic primitivism that has been attributed to Rousseau. Although the Grimms themselves did not point this out, the folktales are a perfect example of "naive" poetry, in the sense of Schiller's essay On Naive and Sentimental Poetry ; they are the unreflecting art of men moved directly by nature itself instead of self-conscious contemplation of nature.

The folktale might well be added to the list of things in nature that Schiller, at the beginning of the essay, says have a power to move us in a particular way:. There are moments in our lives when we respond to nature—in plants, minerals, animals, and landscapes, as well as in human nature, in children and in the customs of country folk and primitive peoples—with a kind of love and affectionate regard, not because it pleases our senses, nor because it satisfies our reason or our taste … but simply because it is nature. In such a view, folklore, the literature of "common folk" and "primitive peoples," appeared as something that had been produced, as it were, by nature itself working through human instruments, and romantic writers everywhere turned eagerly to folk literature for inspiration.

Moreover, the emergent sense of nationalism gave men a further reason to cherish not only what grew from the soil but especially what grew from the soil of their native land. Thus Sir Walter Scott collected the ballads of the Minstrelsy of the Scottish Border , and in America Washington Irving attempted to celebrate the legendary past of a country that had barely had time to acquire one.

The Grimms, then, shared a widespread interest in the preservation and use of native culture.


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The originality of their contribution lay in the care with which they collected folk materials and in their respect for oral tradition. Collections of folktales had been made before, but the earlier collectors had relied primarily on literary sources and had not scrupled to change the stories in whatever manner suited their fancy.

But exactly what does this mean in when it comes to the actual matter of preparing stories received from oral tradition for publication? It may be demonstrated that the Grimms' genuine desire to preserve oral tradition was consistent, at least in their eyes, with a considerable amount of changing and adding. It certainly did not mean that they felt obliged to transmit every story word for word. The fact that, as a rule, they did not take the stories down from dictation is evident in the well-known passage describing the exceptional instance when they did.

The Grimms had already published their first volume when they discovered Frau Katherina. Wilhelm wrote of her in the foreword to the volume:. This woman is still vigorous and not much over fifty … she has firm, pleasant features and a clear, sharp expression in her eyes; in her youth she must have been beautiful. She retains these old legends firmly in her memory—a gift that she says is not granted to everyone, for some people cannot remember anything.

She tells a story with care, assurance, and extraordinary vividness and with a personal satisfaction—at first with complete spontaneity, but then, if one requests it, a second time, slowly, so that with a little practice one can take down her words. There is no evidence here that the stories in the volume, or for that matter the stories of the other contributors to the volume, were ever recorded in this way; in fact, the implication is strong that they were not. Unfortunately all but a handful of the manuscripts from which the Grimms worked were lost.

But through a lucky accident of literary history we do have a considerable number of the stories that went into the first volume in an Urfassung that makes it possible to get some notion of what sort of material the Grimms started with.

e-book Rübezahl (Illustrierte Silber Edition) (German Edition)

In their good friend Clemens Brentano asked the brothers for copies of tales in their collection for use in a volume of fairy tales that Brentano himself was contemplating. They generously made a copy for him of practically everything in their possession at the time. Nothing ever came of Brentano's own project, but the manuscripts sent to him by the Grimms have survived among his literary remains.

They are preserved today in a Trappist monastery in Alsace and were brought out in in a handsome edition by Professor Joseph Lefftz. The tales in this interesting volume are often little more than plot summaries. Numerous motifs, later to be added, are not yet present. Some of the stories have alternate beginnings and endings. There is no question that any of these stories was a direct transcript from oral delivery.

They seem to have been sketched out from memory with the aid of notes. They are clearly meant to be reworked, and this is exactly what Wilhelm Grimm tells us in one of the passages translated by Margaret Hunt, referred to above: "As for our method of collecting, our primary concern has been for accuracy and truth. We have added nothing of our own, nor have we embellished any incident or feature of the tale, but we have rendered the content just as we received it.

Wilhelm is careful to distinguish this aspect of the collection from the question of style, and continues:. That the mode of expression and execution of particular details is in large measure our own is self-evident; nevertheless, we have tried to preserve every characteristic turn that came to our attention, so that in this respect, too, we might let the collection retain the diversified forms of nature. Moreover, anyone who has engaged in similar work will realize that this cannot be regarded as a careless and mechanical sort of collecting; on the contrary, care and discrimination, which can be acquired only with time, are necessary in order to distinguish whatever is simpler, purer, and yet more perfect in itself from that which has been distorted.

We have combined different versions as one, wherever they completed each other and where their joining together left no contradictory parts to be cut out; but when they differed from each other and each preserved individual features, we have given preference to the best and have retained the other for the notes. From this description of their method it can be seen that the Grimms did not make free use of their materials as had been the practice of Brentano and von Arnim in Des Knaben Wunderhorn.

The Grimms felt that such reworking would destroy not only the historical value of their collection but the inner "truth" of the stories. However, this did not mean that they felt obliged to retell the stories exactly as they had heard them or that they might not combine different versions of a story or to introduce motifs from other stories in an attempt to arrive at the "best" form.

They consciously strove in their retellings to retain the flavor of oral narrative and, indeed, felt that it was their duty to purify the stories of any corruptions or artificialities that might have crept in in the process of oral transmission. They were thus not inventing details but simply drawing, like the original storytellers, on the vast stockpile of traditional material in an effort to approach the ideal form of a story, a form that might never have existed in fact but that was nonetheless "present and inexhaustible in the soul.

Instead they aimed at a version such as might have been told by some gifted storyteller like Frau Katherina, some Homer of the fairy tale. In selecting the best among several variants or in combining details from different sources, the basis of their choice was stylistic.

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  8. It becomes important, therefore, to establish what they took to be the genuine "folk style"—for the changes they made in the stories are to some extent influenced by their romantic concept of the folk. Wilhelm Grimm had stated that the ability to distinguish the true folk material from the false was a gradually acquired skill, and it was natural that as he heard and recorded more and more stories, especially those told by Frau Katherina, he should have become conscious of a definite fairy-tale style and attempted to imitate it.