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Kana the dragon lord Digital Art by New Zealand based artist Andrea, aka RomanticFae. Like jade flower buds. Like snow drifts. In V1: Mill's Heir Lunar , Lunar references the book by quoting, "White fairy, otherworldly elegance, pure like snow, falling for love.
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Princess and dragon is a generic premise common to many legends , fairy tales , and chivalric romances. The story involves an upper-class woman, generally a princess or similar high-ranking nobility, saved from a dragon , either a literal dragon or a similar danger, by the virtuous hero see Damsel in distress.
She may be the first woman endangered by the peril, or may be the end of a long succession of women who were not of as high birth as she is, nor as fortunate.
The motifs of the hero who finds the princess about to be sacrificed to the dragon and saves her, the false hero who takes his place, and the final revelation of the true hero, are the identifying marks of the Aarne—Thompson folktale type , the Dragon-Slayer.
They also appear in type , the Two Brothers. The "princess and dragon" scenario is given even more weight in popular imagination than it is in the original tales; the stereotypical hero is envisioned as slaying dragons even though, for instance, the Brothers Grimm had only a few tales of dragon and giant slayers among hundreds of tales.
One of the earliest examples of the motif comes from the Ancient Greek tale of Perseus , who rescued the princess Andromeda from Cetus , a sea monster often described as resembling a serpent or dragon.
Most ancient versions depicted the dragon as the expression of a god's wrath: in Andromeda's case, because her mother Cassiopeia had compared her beauty to that of the sea nymphs , and in Hesione's, because her father had reneged on a bargain with Poseidon.
This is less common in fairy tales and other, later versions, where the dragon is frequently acting out of malice. The Japanese legend of Yamata no Orochi also invokes this motif.
The god Susanoo encounters two "Earthly Deities" who have been forced to sacrifice their seven daughters to the many-headed monster, and their daughter Kushinadahime is the next victim.
Susanoo is able to kill the dragon after getting it drunk on sake rice wine. Another variation is from the tale of Saint George and the Dragon.
The tale begins with a dragon making its nest at the spring which provides a city-state with water. Consequently, the citizens had to temporarily remove the dragon from its nest in order to collect water.
To do so, they offered the dragon a daily human sacrifice. The victim of the day was chosen by drawing lots.
Eventually in this lottery , the lot happened to fall to the local princess. The local monarch is occasionally depicted begging for her life with no result.
She is offered to the dragon but at this point a traveling Saint George arrives. He faces and defeats the dragon and saves the princess; some versions claim that the dragon is not killed in the fight, but pacified once George ties the princess' sash around its neck.
The grateful citizens then abandon their ancestral paganism and convert to Christianity. A similar tale to St.
George's, attributed to Russian sources, is that of St. The queenly stepmother sent the Princess Elizabeth, the Fair, as the sacrifice. To mark her deliverance, he demands the building of three churches.
In a tale from Tibet , a kingdom suffers from draught due to two "serpent-gods" blocking the streams of water at the source.
Both dragons also demand the sacrifices of citizens from the kingdom, men and women, to appease them, until prince Schalu and his faithful companion Saran decide to put an end to their existence.
When the tale is not about a dragon but a troll , giant , or ogre , the princess is often a captive rather than about to be eaten, as in The Three Princesses of Whiteland.
These princesses are often a vital source of information to their rescuers, telling them how to perform tasks that the captor sets to them, or how to kill the monster, and when she does not know, as in The Giant Who Had No Heart in His Body , she frequently can pry the information from the giant.
Despite the hero's helplessness without this information, the princess is incapable of using the knowledge herself.