What jack got in exchange for a cow

Jack and the Beanstalk

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Once upon a time, a boy named Jack got himself into the biggest, most humongous heap of trouble ever. It all started when Jack’s mama asked him to milk the old cow. But Jack decided he was tired of milking cows. “No way, no how. I’m not milking this brown cow now,” said Jack, and he decided to sell the old cow, so he’d never have to milk it again! Jack was on his way to market to sell the cow when he came across a peddler. “Hi, Mr. Peddler,” said Jack. “Where are you headed?” asked the peddler. “I’m going to sell my cow at the market,” Jack answered. “Why sell your cow?” asked the peddler. “Trade her for beans!” “Beans?” asked Jack. “Not just any kind of beans,” said the peddler, “magic beans.” “What do they do?” asked Jack. “They do magic!” said the peddler. “Magic? Sold!” said Jack, and he traded the cow for three magic beans. Jack got home and told his mama he had sold the cow so he wouldn’t have to milk her anymore. “Oh dear, you did what?” Jack’s mama asked. “I sold her for magic beans,” said Jack. “You sold a cow for magic beans?” Jack’s mama couldn’t believe what Jack was telling her. “There’s no such thing as magic beans,” she said as she threw the beans out the window. “Well, I did make them disappear, but that still doesn’t make them magic!” Suddenly, the ground rumbled and began to shake. A magic beanstalk grew up right before their eyes! Jack saw it and immediately began to climb the tall beanstalk. “Get back here this instant!” called Jack’s mama, but Jack wasn’t listening. Jack climbed up and up and up and up the beanstalk. At the top of the beanstalk, Jack found a giant castle. He walked up to the giant door, cracked it open, and went inside. Inside the castle, Jack saw the most amazing thing he had ever seen. It was a goose. But it wasn’t just any old ordinary goose. This goose laid eggs made of gold! “That is so cool,” thought Jack. “Think of all the things you could do with golden eggs!” And then, Jack got the worst idea he’d ever had—he was going to take the goose! Jack lifted the goose off of its perch. Just then, the biggest, most fearsome, and only giant Jack had ever seen came into the room. The giant saw that his goose wasn’t in its usual spot! “Fee fi fo funch, if you took my goose, I’ll eat you for lunch!” “Oh no,” thought Jack. “That giant’s going to eat me! I’ve got to get out of here without him seeing me!” Quietly and carefully, Jack took the goose and made his way toward the door. He was almost out of the room when—honk! The goose cried out and the giant spotted Jack! “Fee fi fo fummy, give that back or I’ll call my mummy!” roared the giant. “Ahhh!” screamed Jack. He ran toward the beanstalk. Jack ran as quickly as he could down the beanstalk, but the giant was following close behind. Just as Jack put his feet back on the ground, the giant picked up Jack in his enormous hands. “Fee fi fo fummy, I bet you taste yum yum yummy!” said the giant. Just as the giant was about to eat Jack, the ground began to shake, and there, standing right behind the giant, was an even bigger, taller, more humongous lady giant! “Two giants!” thought Jack. “They’ll eat me now for sure!” “Put that boy down, Willifred,” the giant mama told her son. The giant put Jack back down on the ground. “Now what have I told you?” she asked. “Don’t eat other kids,” said the giant sheepishly. “That’s right, we don’t eat other kids,” said the mama giant. “But he took my goose!” cried the giant. Just then, Jack’s mama came out of the farmhouse. “What on earth is going on here?” she asked. “Well,” Jack began, “there was this castle, and inside was the coolest goose ever—it lays golden eggs! As I was taking it, this giant kid came in and was all ‘fee fi fo fum’ and then I—” “You mean you took this boy’s goose?” Jack’s mama interrupted. “Yeah, but it lays golden eggs!” Jack paused and thought about it. “Huh. Now that you mention it, I guess that wasn’t very nice,” said Jack. Jack looked at the giant. “I’m sorry I took your goose. I know I shouldn’t take things that don’t belong to me.” “That’s OK. I suppose I should’ve asked you to give me back the goose without trying to eat you. I’m sorry too,” said the giant. “Hey, do you want to play baseball?” Jack and the giant became good friends, using the beanstalk to visit each other whenever they wanted. “You know,” Jack said, “if it weren’t for those three magic beans, I never would have learned how to play giant baseball.” “You’re right,” said the giant. “I’d say the whole adventure was a giant success!”

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The Story of Jack and the Beanstalk

Old English Fairy Tale - version written and illustrated by Leanne Guenther

Once upon a time, there lived a widow woman and her son, Jack, on their small farm in the country.

Every day, Jack would help his mother with the chores - chopping the wood, weeding the garden and milking the cow.   But despite all their hard work, Jack and his mother were very poor with barely enough money to keep themselves fed.

"What shall we do, what shall we do?" said the widow, one spring day.  "We don't have enough money to buy seed for the farm this year!  We must sell our cow, Old Bess, and with the money buy enough seed to plant a good crop."

"All right, mother," said Jack, "it's market-day today.  I'll go into town and sell Bessy."

So Jack took the cow's halter in his hand, walked through the garden gate and headed off toward town.  He hadn't gone far when he met a funny-looking, old man who said to him, "Good morning, Jack."

"Good morning to you," said Jack, wondering how the little, old man knew his name.

"Where are you off to this fine morning?" asked the man.

"I'm going to market to sell our cow, Bessy."

"Well what a helpful son you are!" exclaimed the man, "I have a special deal for such a good boy like you. "

The little, old man looked around to make sure no one was watching and then opened his hand to show Jack what he held.

"Beans?" asked Jack, looking a little confused.

"Three magical bean seeds to be exact, young man.  One, two, three!  So magical are they, that if you plant them over-night, by morning they grow right up to the sky," promised the funny little man.  "And because you're such a good boy, they're all yours in trade for that old milking cow."

"Really?" said Jack, "and you're quite sure they're magical?"

"I am indeed!  And if it doesn't turn out to be true you can have your cow back."

"Well that sounds fair," said Jack, as he handed over Bessy's halter, pocketed the beans and headed back home to show his mother.

"Back already, Jack?" asked his mother; "I see you haven't got Old Bess -- you've sold her so quickly.  How much did you get for her?"

Jack smiled and reached into his pocket, "Just look at these beans, mother; they're magical, plant them over-night and----"

"What!" cried Jack's mother.   "Oh, silly boy!  How could you give away our milking cow for three measly beans."  And with that she did the worst thing Jack had ever seen her do - she burst into tears.

Jack ran upstairs to his little room in the attic, so sorry he was, and threw the beans angrily out the window thinking, "How could I have been so foolish - I've broken my mother's heart."  After much tossing and turning, at last Jack dropped off to sleep.

When Jack woke up the next morning, his room looked strange.  The sun was shining into part of it like it normally did, and yet all the rest was quite dark and shady.  So Jack jumped up and dressed himself and went to the window.  And what do you think he saw?  Why, the beans he had thrown out of the window into the garden had sprung up into a big beanstalk which went up and up and up until it reached the sky.

Using the leaves and twisty vines like the rungs of a ladder, Jack climbed and climbed until at last, he reached the sky.   And when he got there he found a long, broad road winding its way through the clouds to a tall, square castle off in the distance.

Jack ran up the road toward the castle and just as he reached it, the door swung open to reveal a horrible lady giant, with one great eye in the middle of her forehead.

As soon as Jack saw her he turned to run away, but she caught him, and dragged him into the castle.

"Don't be in such a hurry, I'm sure a growing boy like you would like a nice, big breakfast," said the great, big, tall woman, "It's been so long since I got to make breakfast for a boy."

Well, the lady giant wasn't such a bad sort, after all -- even if she was a bit odd.  She took Jack into the kitchen, and gave him a chunk of cheese and a glass of milk.  But Jack had only taken a few bites when thump! thump! thump! the whole house began to tremble with the noise of someone coming.

"Goodness gracious me!  It's my husband," said the giant woman, wringing her hands, "what on earth shall I do?  There's nothing he likes better than boys broiled on toast and I haven't any bread left.   Oh dear, I never should have let you stay for breakfast.  Here, come quick and jump in here."  And she hurried Jack into a large copper pot sitting beside the stove just as her husband, the giant, came in.

He ducked inside the kitchen and said, "I'm ready for my breakfast -- I'm so hungry I could eat three cows.  Ah, what's this I smell?

Fee-fi-fo-fum,
I smell the blood of an Englishman,
Be he alive, or be he dead
I'll have his bones to grind my bread.

"Nonsense, dear," said his wife, "we haven't had a boy for breakfast in years.  Now you go and wash up and by the time you come back your breakfast'll be ready for you."

So the giant went off to tidy up -- Jack was about to make a run for it when the woman stopped him.  "Wait until he's asleep," she said, "he always has a little snooze after breakfast."

Jack peeked out of the copper pot just as the giant returned to the kitchen carrying a basket filled with golden eggs and a sickly-looking, white hen.   The giant poked the hen and growled, "Lay" and the hen laid an egg made of gold which the giant added to the basket.

After his breakfast, the giant went to the closet and pulled out a golden harp with the face of a sad, young girl.  The giant poked the harp and growled, "Play" and the harp began to play a gentle tune while her lovely face sang a lullaby.  Then the giant began to nod his head and to snore until the house shook.

When he was quite sure the giant was asleep, Jack crept out of the copper pot and began to tiptoe out of the kitchen.  Just as he was about to leave, he heard the sound of the harp-girl weeping.  Jack bit his lip, sighed and returned to the kitchen.  He grabbed the sickly hen and the singing harp, and began to tiptoe back out.  But this time the hen gave a cackle which woke the giant, and just as Jack got out of the house he heard him calling, "Wife, wife, what have you done with my white hen and my golden harp?"

Jack ran as fast as he could and the giant, realizing he had been tricked, came rushing after - away from the castle and down the broad, winding road.   When he got to the beanstalk the giant was only twenty yards away when suddenly he saw Jack disappear - confused, the giant peered through the clouds and saw Jack underneath climbing down for dear life.  The giant stomped his foot and roared angrily.

Fee-fi-fo-fum,
I smell the blood of an Englishman,
Be he alive, or be he dead
I'll have his bones to grind my bread.

The giant swung himself down onto the beanstalk which shook with his weight.  Jack slipped, slid and climbed down the beanstalk as quickly as he could, and after him climbed the giant.

As he neared the bottom, Jack called out, "Mother! Please! Hurry, bring me an axe, bring me an axe."  And his mother came rushing out with Jack's wood chopping axe in her hand, but when she came to the enormous beanstalk she stood stock still with fright.

Jack jumped down, got hold of the axe and began to chop away at the beanstalk.  Luckily, because of all the chores he'd done over the years, he'd become quite good at chopping and it didn't take long for him to chop through enough of the beanstalk that it began to teeter.   The giant felt the beanstalk shake and quiver so he stopped to see what was the matter.  Then Jack gave one last big chop with the axe, and the beanstalk began to topple over.  Then the giant fell down and broke his crown, and the beanstalk came toppling after.

The singing harp thanked Jack for rescuing her from the giant - she had hated being locked up in the closet all day and night and wanted nothing more than to sit in the farmhouse window and sing to the birds and the butterflies in the sunshine.

With a bit of patience and his mother's help, it didn't take long for Jack to get the sickly hen back in good health and the grateful hen continued to lay a fresh golden egg every day.

Jack used the money from selling the golden eggs to buy back Old Bess, purchase seed for the spring crop and to fix up his mother's farm.  He even had enough left over to invite every one of his neighbours over for a nice meal, complete with music from the singing harp.

And so Jack, his mother, Old Bess, the golden harp and the white hen lived happy ever after.
 

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How the fifth "Pirates of the Caribbean" betray themselves and other films of the franchise

On May 25, the blockbuster "Pirates of the Caribbean: Dead Men Tell No Tales" was released in Russia. The picture turned out to be not just a set of hackneyed elements, but also a real plot sieve: it was as if the scriptwriters did not even try to adhere to the canons set by themselves and their predecessors.

Attention: this material contains spoilers.

Compass

The fifth film unexpectedly announces that if Jack Sparrow "betrays" his compass (in fact, he gives or exchanges), then an unfriendly device will punish the owner, bringing his worst nightmare to life. nine0003

Fans of the franchise know that the compass has been in the hands of almost all the key characters in the previous four films, including Elizabeth, to whom Jack gave it voluntarily.

Then why didn't the spell work earlier? And if betrayal is an exchange for booze, then why did Jack even do this? What was his purpose in giving the innkeeper the most valuable artifact of his life? In addition to having to run the plot of the movie.

Destroying Poseidon's Trident

The writers say that destroying Poseidon's Trident will break all sea spells at once. Thus, the ending of the fifth film should have closed the franchise - something like the ending of Mass Effect 3.

Let's say all witchcraft is gone, and mermaids, ghosts, and cursed sailors are legends. It could have been a graceful ending that would connect the Pirates to today's realities.

Instead, the audience is shown Davy Jones in a post-credits scene. With all the spells removed, why does he still have tentacles on his face? Why isn't it just old man Bill Nighy? Why is he alive after all?

Salazar's Knowledge

In the fifth "Pirates" the audience is shown how Jack Sparrow tricks Captain Salazar's ship into the Devil's Triangle. After that, the entire team of the latter falls under the spell and, as it were, freezes at the moment of his death. At the same moment, we see how Sparrow receives his magic compass. nine0003

After that, Salazar suddenly has the confidence that this particular device will free him and his team. But why? There is no talk about the connection between the compass and the Triangle in the film.

If, for example, the compass is so powerful that it can cancel the spell of other people, places and artifacts, then why did Salazar assume that it was he who would be set free? Everyone hunted Jack Sparrow, and the Spanish captain can hardly be called the worst nightmare.

Relations in the Turner family

The third "Pirates" ends with a post-credits scene where Elizabeth meets Will with her son. The older Turner can only land once every ten years, having taken over the role of captain of the Flying Dutchman.

At this moment, the viewer is shown that even after 10 years, Will looks normal and, judging by his appearance, is proud of his role.

However, in the fifth film, the audience is shown Henry and Will Turner at about the same age, but under completely different circumstances: Will looks creepy and is afraid of his team, and the son is no longer happy with his father, but wants to save him. nine0003

There are many possible explanations for this difference, but there is a very simple one: the writers simply decided to rewrite the audience's memories.

In the new version of events, where Will needs to be rescued, Elizabeth's role has also changed. It was as if she was not at all with her son. Why didn't she help him? Why didn't she talk her out of her relationship with Jack Sparrow? Why, in the end, did not go in search of the Trident herself? After all the adventures, she abruptly became a housewife?

For these questions, however, there is also a trivial answer: Knightley was filmed in one single scene at the studio in order to pay her a fee for one working day. nine0003

And other questions

Why did the blood moon appear at the exact moment when the heroine Kaya Scodelario needed it? What is generally associated with its red cycles (Moon, not Kai)?

What happened to Jack Sparrow? Why did he turn from the main scoundrel and cunning into a character on The Benny Hill Show?

If the Devil's Triangle "freezes" the living at the moment of their death, then how and why did it turn Salazar's ship into a kind of monster? Let's say sharks were in the hold, but why did the lady at the bow of the ship come to life? nine0003

Is Poseidon's Trident only capable of launching water tornadoes? Is it so weak that Salazar had to poke it in Jack Sparrow's chest like a normal sword?

Who was this witch and how did she get the compass that Jack gave in the tavern? Just a character plugging plot holes and telling the English fleet where to swim to die beautifully on the screen?

Why the whole concept of Salazar's transmigration into another body? What was the point of creating a completely new plot element just for the captain to get to the trident? And where did Salazar's body come from? After all, his soul was in someone else's. nine0003

What was Barbossa's motivation at the very end? After all, Salazar no longer posed a serious threat, having become a man, which means that it was not at all necessary to throw him heroically into the sea.

What the hell?

Musical Into the Woods/The Farther Into the Woods (Into the Woods) - Musicals

Into the Woods: a New Musical is the second collaboration between Stephen Sondheim and James Lepine, whose previous work, the musical "Sunday in the Park with George", brought them the Pulitzer Prize. nine0003

Initially, the authors planned to create a completely original new fairy tale story, but in the process of working on the libretto, Lepine decided to simply turn to ready-made plots. The musical begins according to all the rules of a real fairy tale - all the main characters lack something for complete happiness (in the terminology of the classic of Russian philology V. Ya. then cursed by the Witch and his Wife are grieving that they do not have a child, Jack wants his cow White to finally give milk, his Mother dreams of being rich, and Little Red Riding Hood really needs a loaf of bread - a present for Grandmother, who lives in the woods... and maybe some sweets for myself. Finally, the Witch, who lives next door to the Baker, dreams of regaining her youth and beauty, which she lost due to an unfortunate coincidence. To do this, she offers the Baker, in exchange for lifting the curse, to help her and get the necessary ingredients for a magical drink: a cow as white as milk, a cloak as red as blood, a lock of hair as yellow as corn, and golden shoes...

The road to the fulfillment of desires for the characters of this fairy tale lies through a dense forest full of dangers, but the most terrible dangers lie in wait for them not in the forest at all, but in their own souls. In an effort to achieve what they want, the heroes now and then commit small sins and make small mistakes - but is it so important if in the end all the worthy are happy, and the unworthy are punished? . .

The future shows what is important. With the end of the first act, the fairy tale also ends. In the second act, real life begins, in which it is no longer possible to revive a deceased loved one with the help of a magic wand, where everything secret becomes clear, where even a little lie has to be paid dearly in the end, where their troubles do not end with the wedding of lovers, but only begin and where "fulfill your desire" does not mean "become happy". In the finale, the surviving heroes share the wisdom gained in trials and sing about the need to make wishes carefully, because they come true. nine0003

The musical premiered on Broadway on November 5, 1987 at the Martin Beck Theatre, almost a year after the play was first shown in San Diego (Old Globe Theatre, December 4, 1986). The original cast included: Joanna Gleason (Joanna Gleason, The Baker's Wife), Chip Zin (Chip Zien, The Baker), Bernadette Peters (Bernadette Peters, The Witch), Kim Crosby (Kim Crosby, Cinderella), Robert Westenberg (Robert Westenberg, The Wolf/ Cinderella Prince), Ben Wright (Jack), Danielle Ferland (Danielle Ferland, Little Red Riding Hood), Chuck Wagner (Chuck Wagner, Prince Rapunzel) and others. The musical received ten Tony nominations (Best Actress in a Musical - Joanna Gleason, Best Actor in a Musical - Robert Westenberg, Best Musical, Best Director of a Musical, Best Libretto, Best Music and Lyrics, Best Stage Design - Tony Straiges ), costumes - Ann Hould-Ward (Ann Hould-Ward) and light - Richard Nelson (Richard Nelson), as well as the best choreographer - Lar Lubovitch (Lar Lubovitch)), but received an award only in three of them: Lepine's libretto was noted , music and lyrics, and acting work by Joanna Gleason. Witty dialogues, exquisite texts and Sondheim's trademark music, somewhat devoid of melody, but rich in emotions, made this fairy tale a real intellectual musical, which did not prevent critics from condemning the composer for creating a "commercial" product, as if unworthy of his talent. The musical was shown 764 times and closed on September 3, 1989 years old; the Broadway version of Into the Woods was released on CD, video and DVD.

After Broadway, the show was also staged in London. It premiered in the West End on September 25, 1990 at the Phoenix Theatre. A new number has been added to this version - the duet of Rapunzel and the Witch "Our Little World". This version was also released on CD.

In 2001 the musical Into the Woods was restored in the USA; the first screenings were held in Los Angeles, where the performance was received with enthusiasm, and then the heroes of Sondheim moved to the Broadhurst Theater in New York, where reviews were more restrained. The sign advertising the performance was complemented by a giant giant's shoe by sculptor Ann Slavit hanging over the entrance to the theatre, the same shoe that threatened patrons of the Martin Beck Theater more than a decade ago. nine0003

This time the roles were played by Vanessa Williams (Vanessa Williams, The Witch), John McMartin (John McMartin, Narrator), Gregg Edelman (Gregg Edelman, Cinderella Prince / Wolf), Laura Benanti (Laura Benanti, Cinderella), Stephen DeRosa (Stephen DeRosa, The Baker), Carrie O'Malley (Kerry O'Malley, The Baker's Wife), Marylouise Burke (Marylouise Burke, Jack's Mother), Molly Ephraim (Mollie Ephraim, Little Red Riding Hood), Christopher Sieber (Christopher Sieber, Prince Rapunzel / The Wolf) , Adam Wylie (Jack) and others. Much more colorful than the first version, sets were created by Douglas W. Schmidt, costumes by Susan Hilferti, lighting by Brian McDevitt, and choreography by John Carrafa. carrafa). The guest of honor of the performance was Lady Judi Dench - the Giantess spoke in her voice. nine0003

The 2001 refurbishment introduced a "new" character: the White Cow, which used to be just a puppet, was now played by a real actor in a matching costume, Chad Kimball, to exceptional success. Now Belyanochka danced along with other characters, could blink expressively, move her ears and just not speak, causing great animation in the hall. The stage was decorated with huge "books" of fairy tales, which, when opened, turned into scenery. Some minor changes were made to the text of the musical and the orchestration, and the duet of Rapunzel and the Witch "Our Little World" introduced in the London production was also retained. nine0003

The 2001 version was again nominated for a Tony ten times (including Best Actor in a Musical - John McMartin, Best Actress in a Musical - Vanessa Williams, Best Director - James Lepine, Best Lighting, Costume and Stage Design, Best Restored Musical , the best choreographer; the acting works of Gregg Edelman and Laura Benanti were also noted) and won in two categories - the best restored musical and the best lighting design. For another prestigious award - Drama Desk - the musical was nominated in eight categories. This musical was last shown at 29 BroadwayDecember 2002. The recording of the restored version was released on June 25, 2002.

With numerous amateur and semi-professional productions, Into the Woods is Stephen Sondheim's most requested musical to date.

In 2014, Disney released a film adaptation directed by Rob Marshall. With the approval of Sondheim and Lepine, major changes were made to the score and libretto to make the story more suitable for a family audience. In particular, scenes related to sex and violence were removed. The main roles were played by Meryl Streep (The Witch), Emily Blunt (The Baker's Wife), James Corden (The Baker), Anna Kendrick (Cinderella), Johnny Depp (The Wolf), Christine Baranski (The Stepmother) and others. worldwide box office 213 million dollars. In Russia, the film was released under the title "The further into the forest." nine0003

Hudson Talbot's lavishly illustrated book based on the musical Into the Woods was released.

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