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286:", whose producing abilities are indicated by the password she selects, and an intruding "avid consumer", who celebrates his status by performing an "enigmatic ritual" with the kids' severed heads. The plot, Anghelescu notes, inverts these two main roles, transforming the goat into a carnivore, the wolf into "steak", and "the culinary fire" into a "fire of pain, of revenge and of death." Also according to Anghelescu, the story implies a "triple
20:
199:(roughly, "may it serve you"). As a result of this, the intruder is able to drag him out of his hiding place and gulp him down. After spending some time looking for the third kid, the wolf tires and, in what is intended as a humiliating gesture, stains the walls with the kids' blood and places their heads on the window sills, modifying their facial expression to seem like they are smiling.
463:
258:"). In this context, he noted, the tale also provided a comedic "analogy between the animal and the human worlds", with "symbols-caricatures": the goat "with many utters and a bleating voice" as "a caricature of motherhood which nature itself has provided", but also as "the garrulous and whiny woman"; the wolf as a "man without scruples." Literary historian
195:
stranger in. Meanwhile, the other two hide around the house: the youngest by tunneling his way up the soot-filled chimney, the second-oldest by hiding under an overturned trough. As soon as he is in, the wolf decapitates the careless kid and eats him whole. This prompts the polite but imprudent kid hiding under the trough to speak up and wish him
211:
for the kids, back at her house. The villain agrees, and unwittingly takes his seat on the wax chair, which melts as he consumes meal after meal. Eventually, he falls into the pit and is engulfed by the flames. As he slowly burns and pleads for rescue, the goat informs him that she follows "the words
194:
Having heard this too, the Big Bad Wolf hurries over to a smith's shop, where he gets his tongue and teeth "sharpened". He then returns to the goat's house, and this time performs the song in a soft voice. The eldest kid ignores his youngest brother's advice for more caution, and rushes in to let the
190:
has his eye set on eating the goat's children. A while after the mother has left, the wolf sneaks in front of the door and starts singing her song to the three kids. The ruse succeeds in convincing the eldest two children, who rush in to open the door. They are stopped by the youngest, who notices
202:
The wolf eventually leaves, and the youngest kid emerges from the chimney unharmed. Initially deceived by the heads smiling at her as she enters the courtyard, the goat learns what happened from the youngest kid, and begins to plot her revenge. She soon afterward begins cooking a rich meal, and
311:). In his interpretation, the wolf stands for Creangă's father Ştefan, who probably lived separate from Creangă's mother Smaranda, but who may have visited her occasionally for sexual privileges. Grădinaru's version also claims that the author, perceiving the events through a version of the
112:
The story opens with an introduction of its protagonists: the hardworking and widowed goat and her three kids, of whom the two older ones are misbehaved, while the youngest obeys his mother. On one day, the goat gathers all three around, telling them that she must leave on a quest for food,
451:. In an endeavor to unveil the true nature of the famed bed time story, the film aims to treat the audience to a different perspective, one that offers a glimpse at what the mother's tragedy actually looks like beyond the happy songs and colorful characters.
77:, allowed inside the secured home by the oldest, most ill-behaved and least prudent of the kids. The only one of the children to survive is the youngest and most obedient, who then helps his mother plan her revenge on the predator, leading to a
203:
filling a large pit near her house with embers and slow-burning firewood. She covers the spot with thin layers of mats and earth, and places a stool made out of wax on top of these. The goat then walks into the forest and meets her
222:, which she paraphrases as "a death for a death a burn for a burn". The story ends as the mother and child finish off their enemy with stoning, and all goats in the area celebrate the death with an actual feast.
342:. It has been a traditional feature of textbooks and reading recommendations for the youngest students throughout the 20th century, and has remained so into the 21st. A part of this period corresponded to
818:
Stein, Helga. "VII. Besprechungen. Birlea, Ovidiu, Povestile Ion Creangä (Creangas
Geschichten). Studu de folclor (Volkskundliche Studien), Literaturverlag (Bukarest) 1967. 318S". In:
280:Şerban Anghelescu interpreted the entire story through its food- and fire-related symbolism. In his assessment, the opposition is between goat and wolf is that between a "feeder
242:
as an "illustration of motherly love", he saw Creangă's story as moving beyond this limited goal, through both style and intent. In his view, the work became "a
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448:
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73:. Figuratively illustrating for the notions of motherly love and childish disobedience, it recounts how a family of goats is ravaged by the
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as a triumph of the good, which often involves a positive reply to each of the evil deeds preceding it (the mock-feast organized by goat).
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referred to a 1986 edition, which featured an adapted and illustrated version of Creangă's tale, as confronting "a patibulary wolf with a
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207:, informing him that she has discovered his evil deed, but that she has moved on. She also asks the wolf to attend a traditional
266:: the "perturbing situation" (in this case, the departure of the goat and the unusual responsibility bestowed on her sons), the
307:
24:
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A distinct interpretation of the narrative was provided by Dan Grădinaru, a researcher of Creangă's work, who exposed it to
100:. "The Goat and Her Three Kids" has also been the topic of several music, theater and film adaptations, in both Romania and
373:". "The Goat and Her Three Kids" inspired works in various media from as early as the interwar, when it was turned into a
424:, one of the Moldavian SSR's critically acclaimed visual artists, created illustrations for local editions of the story.
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interpretation and contended that it offers insight into the writer's own childhood (as reflected in Creangă's own
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instructing them not to open the door unless they hear her singing, in characteristically soft voice, the refrain:
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explored the narrative in order to locate themes he argues are characteristic for both Creangă's work and
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and Marius
Bodochi, directed by Victor Canache and produced by Luana Georgiţă premiered in 2019 at the
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The tale is part of Ion Creangă's legacy in
Romania's literature. In 1968, it was turned into an
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The conversation is overheard by the wolf, who spies on the goat's family. Although being a
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overall, but argues that such interpretations are speculative, likening them to the
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An early critical interpretation of "The Goat and Her Three Kids" was provided by
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381:. Such derivative works were also produced throughout communism and after the
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Creanga's literary tale is also classified in the international catalogue of
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The effigies of a goat, sheep and cow, as used in some peasant festivities (
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literary critic and historian. Having identified the narrative's tentative
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trial (testing the kids' ability to hide from the path of danger) and the
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700:"From the Musical Folklore of Children to the Comic Opera for Children"
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96:, Creangă's tale has endured as one of the best-known works in local
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issued under communism as the a "political fairy tale subject to
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customs: the predator eats his godsons, the goat murders her
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and to "schoolboy applications of psychoanalytic patterns."
298:, and the wolf's destruction occurs during a funeral feast.
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that the song is performed in an unusually coarse voice.
865:
Istoria literaturii române de la origini pînă în prezent
338:
Ion Creangă's tale has left an enduring mark on the
81:in which the wolf is tricked, burned alive and
792:"Trei eseuri despre moştenirea lui Igor Vieru"
8:
844:
824:https://doi.org/10.1515/fabl.1969.10.1.221
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592:
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567:
565:
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449:Transilvania International Film Festival
18:
526:
524:
489:
377:play for children by Romanian composer
226:Critical reception and cultural legacy
182:to the kids (and therefore an in-law,
771:, G.K. Hall, New York, 1978, p.479.
393:adaptation, which premiered in 2002.
7:
822:10, no. Jahresband (1969): 225-226.
769:Bibliographic Guide to Music, 1978
369:appearance" to "a goat dressed in
14:
478:The Wolf and the Seven Young Kids
673:Explorări în comunismul românesc
659:—o paraliteratură politică", in
461:
733:"Povestea şi regizorul-păpuşar"
635:"Lectura—plăcere sau supliciu?"
331:interpretations of philosopher
152:Because mother is bringing you:
16:1875 short story by Ion Creangă
150:Open the door for your mother!
148:Three kids with growing horns,
25:Museum of the Romanian Peasant
1:
115:
36:"The Goat and Her Three Kids"
606:"O monografie spectaculoasă"
186:, to the goat herself), the
836:The Goat and Her Three Kids
803:National Library of Moldova
759:; retrieved August 10, 2009
704:Romanian Cultural Institute
576:"Poveştile cu poale-n brîu"
542:, postface to Ion Creangă,
441:The Goat and Her Three Kids
926:
885:Fairy tales by Ion Creangă
550:, 1987, p.207, 211, 212.
429:Aarne-Thompson-Uther Index
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40:"The Goat with Three Kids"
340:Romanian education system
809:, 1-2/2004, p.68, 69, 72
741:, Nr. 103, February 2002
584:, Nr. 462, February 2009
408:version was composed by
757:Internet Movie Database
731:Eugenia Anca Rotescu,
679:, Iaşi, 2004, p.220.
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323:commends Grădinaru's
250:using characteristic
125:Că mama v-aduce vouă:
98:children's literature
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807:Magazin Bibliografic
544:Poveşti şi povestiri
518:Călinescu, p.481-482
246:of maternity" and a
123:Uşa mamei descuieţi!
738:Observator Cultural
581:Observator Cultural
574:Şerban Anghelescu,
400:short by filmmaker
361:", literary critic
154:Leaves on her lips,
90:Romanian curriculum
88:Popularized by the
905:1875 short stories
797:2009-08-04 at the
752:Capra cu trei iezi
714:2012-03-21 at the
665:Angelo Mitchievici
633:Cristina Lazurca,
611:2010-11-02 at the
502:Capra cu trei iezi
431:as tale type 123.
359:communist legality
319:. Literary critic
308:Childhood Memories
234:, the influential
156:Milk in her teats,
121:Trei iezi cucuieţi
48:Capra cu trei iezi
33:
871:, Bucharest, 1986
790:Gheorghe Vrabie,
663:, Ion Manolescu,
292:Romanian Orthodox
264:Romanian folklore
254:("the devices of
197:să-ţi fie de bine
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166:A tuft of flowers
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303:psychoanalytical
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209:memorial service
168:In her armpits.
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385:. They include
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375:musical theater
371:peasant costume
313:Oedipus complex
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219:lex talionis
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164:On her heel,
160:On her back,
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137:În călcăieş,
131:Drob de sare
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75:Big Bad Wolf
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910:ATU 100-149
661:Paul Cernat
657:Abecedarele
410:Zlata Tkach
402:Anton Mater
278:Ethnologist
256:La Fontaine
133:În spinare,
71:Ion Creangă
55:short story
879:Categories
855:References
507:Wikisource
422:Igor Vieru
351:propaganda
85:to death.
79:dénouement
63:fairy tale
801:, in the
702:, in the
556:258621848
496:Based on
443:starring
412:, with a
404:. A 1978
367:bourgeois
325:monograph
288:sacrilege
214:scripture
180:godfather
29:Bucharest
795:Archived
712:Archived
609:Archived
455:See also
416:by poet
414:libretto
406:operatic
398:animated
329:esoteric
236:interwar
162:Cornmeal
67:Romanian
50:) is an
44:Romanian
755:at the
677:Polirom
355:primers
296:cumătru
212:of the
205:cumătru
188:villain
184:cumătru
135:Mălăieş
102:Moldova
94:primers
69:author
890:Fables
843:
820:Fabula
775:
683:
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317:vagina
216:", or
83:stoned
735:, in
637:, in
615:, in
578:, in
485:Notes
248:fable
244:drama
240:moral
59:fable
841:IMDb
773:ISBN
681:ISBN
552:OCLC
108:Plot
61:and
52:1875
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