In folklore and fantasy, an enchanted forest is a forest under, or containing, enchantments. Such forests are described in the oldest folklore from regions where forests are common, and occur throughout the centuries to modern works of fantasy. They represent places unknown to the characters, and situations of liminality and transformation. The forest can feature as a place of threatening danger, or one of refuge, or a chance at adventure.
The forest as a place of magic and danger is found among folklore wherever the natural state of wild land is forest: a forest is a location beyond which people normally travel, where strange things might occur, and strange people might live, the home of monsters, witches, and fairies. Peasants who seldom if ever traveled far from their villages could not conclusively say that it was impossible that an ogre could live an hour away. [1] Hence, in fairy tales, Hansel and Gretel found a cannibalistic witch in the forest; [2] Vasilissa the Beautiful encountered Baba Yaga herself; [3] Molly Whuppie and her sisters ran into a giant. [4] It was in a forest that the king of The Grateful Prince lost his way, and rashly promised his child for aid, [5] where the heroines, and their wicked stepsisters, of The Three Little Men in the Wood [6] and The Enchanted Wreath [7] met magical tests, and where Brother and Sister found the streams that their evil stepmother had enchanted. [8] In Beauty and the Beast , Belle's father is lost in the forest when he finds the Beast's castle. [9] The evil cat-spirits of Schippeitaro live in the forest. [10]
Indeed, in Grimm's Fairy Tales , the hero always goes into the forest. It is not itself enchanted, but it contains enchantments and, being outside normal human experience, acts as a place of transformation. [11] The German fairy tale has an unusual tendency to take place in the forest; even such neighboring countries as France or Italy are less like to have fairy tales situated in the forest. [12]
Even in folklore, forests can also be places of magical refuge. [13] Snow White found refuge with dwarfs from her stepmother, [14] The Girl Without Hands found a hut to stay in when she had been slandered to her husband, [15] and Genevieve of Brabant found not only a refuge from slander but a doe magically came to her aid. [16] Even Brother and Sister hid in the forest after their stepmother turned the brother into a deer.
At other times, the marvels they meet are beneficial. In the forest, the hero of a fairy tale can meet and have mercy on talking animals that aid him. [17] The king in many variants of the ballad The Famous Flower of Serving-Men finds an enchanted hind that leads him astray uncanny, but it brings him to a talking bird that reveals to him a murder and that a servant of his is actually a woman, whom the king then marries. [18] It is in the forest that the dwarf of Rumpelstiltskin [19] and the fairy of Whuppity Stoorie [20] reveal their true names and therefore the heroines of those tales have a way to free themselves. In Schippeitaro , the cats reveal their fear of the dog Schippeitaro when the hero of the tale spends the night in the forest. [10]
The creatures of the forest need not be magical to have much the same effect; Robin Hood and the Green Man, living in the greenwood, has affinities to the enchanted forest. [21] Even in fairy tales, robbers may serve the roles of magical beings; in an Italian variant of Snow White, Bella Venezia , the heroine takes refuge not with dwarfs but with robbers. [22]
The danger of the folkloric forest is an opportunity for the heroes of legend. Among the oldest of all recorded tales, the Sumerian Epic of Gilgamesh recounts how the heroes Gilgamesh and Enkidu traveled to the Cedar Forest to fight the monsters there and be the first to cut down its trees. In Norse myth and legend, Myrkviðr (or Mirkwood) was dark and dangerous forest that separated various lands; heroes and even gods had to traverse it with difficulty. [23]
Romans referred to the Hercynian Forest, in Germania, as an enchanted place; though most references in their works are to geography, Julius Caesar mentioned unicorns said to live there, and Pliny the Elder, birds with feathers that glowed.
The figure of an enchanted forest was taken up into chivalric romances; the knight-errant would wander in a trackless forest in search of adventure. [24] As in the fairy tales, he could easily find marvels that would be disbelieved closer to home. John Milton wrote in Paradise Regained (Bk ii. 359) of "Fairy damsels met in forest wide / By knights of Logres, or of Lyones," and such ladies could be not only magical aid to the knight, but ladies for courtly love. [25] Huon of Bordeaux met the fairy king Oberon in the forest. [26] Guillaume de Palerme hid there with the princess he loved, and found a werewolf who would aid him. In Valentine and Orson , the Queen is sent into exile and so forced to give birth in the woods; one child, taken by a bear, turns to a wild man of the woods, who later aids Valentine, his long-lost brother. [27] In the "Dolopathos" variant of the Swan Children , a lord finds a mysterious woman – clearly a swan maiden or fairy – in an enchanted forest and marries her. [28] Genevieve of Brabant, having rebuffed a would-be lover and found herself accused of adultery by him, escaped to the forest. [29]
This forest could easily bewilder the knights. Despite many references to its pathlessness, the forest repeatedly confronts knights with forks and crossroads, of a labyrinthine complexity. [30] The significance of their encounters is often explained to the knights – particularly those searching for the Holy Grail – by hermits acting as wise old men – or women. [31] Still, despite their perils and chances of error, such forests are places where the knights may become worthy and find the object of their quest; one romance has a maiden urging Sir Lancelot on his quest for the Holy Grail, "which quickens with life and greenness like the forest." [32] Dante Alighieri used this image in the opening of the Divine Comedy story Inferno , where he depicted his state as allegorically being lost in a dark wood. [33]
In the Renaissance, both Orlando Furioso and The Faerie Queene had knight-errants who traveled in the woods. In Jerusalem Delivered by Torquato Tasso (1581), enchantments placed on the only forest near Jerusalem prevent the Crusaders from constructing siege engines for most of the epic poem, until they are broken by Rinaldo.
While these works were being written, expanding geographical knowledge, and the decrease of woodland for farmland, meant the decrease of forests that could be presumed magical. In A Midsummer Night's Dream , William Shakespeare wrote of a forest that was enchanted specifically by the presence of Oberon and Titania, the fairy king and queen; like many forests in Shakespeare's works, it becomes a place of metamorphosis and resolution. [34] Others of his plays, such as As You Like It , take place in a forest, which contains no enchantments but acts much as the forest of folklore. [21]
Often forests will be the home of dragons, dwarves, elves, fairies, nymphs, giants, gnomes, satyrs, goblins, orcs, trolls, dark elves, leprechauns, halflings, centaurs, half-elves, and unicorns.
There may be trees that talk or with branches that will push people off their horses, thorny bushes which will open to let people in but close and leave people stuck inside, and other plants that move or turn into animals at night, or the like.
Some stories have powerful sorcerers and witches, both good or evil living somewhere in the depths of the forest.
The use of enchanted forests shaded into modern fantasy with no distinct breaking point, stemming from the very earliest fantasies. [35]
"On Fairy-Stories" is a 1947 essay by J. R. R. Tolkien which discusses the fairy story as a literary form. It was written as a lecture entitled "Fairy Stories" for the Andrew Lang lecture at the University of St Andrews, Scotland, on 8 March 1939.
A fairy tale is a short story that belongs to the folklore genre. Such stories typically feature magic, enchantments, and mythical or fanciful beings. In most cultures, there is no clear line separating myth from folk or fairy tale; all these together form the literature of preliterate societies. Fairy tales may be distinguished from other folk narratives such as legends and explicit moral tales, including beast fables. Prevalent elements include dragons, dwarfs, elves, fairies, giants, gnomes, goblins, griffins, merfolk, monsters, monarchy, pixies, talking animals, trolls, unicorns, witches, wizards, magic, and enchantments.
A fairy is a type of mythical being or legendary creature, generally described as anthropomorphic, found in the folklore of multiple European cultures, a form of spirit, often with metaphysical, supernatural, or preternatural qualities.
A quest is a journey toward a specific mission or a goal. It serves as a plot device in mythology and fiction: a difficult journey towards a goal, often symbolic or allegorical. Tales of quests figure prominently in the folklore of every nation and ethnic culture. In literature, the object of a quest requires great exertion on the part of the hero, who must overcome many obstacles, typically including much travel. The aspect of travel allows the storyteller to showcase exotic locations and cultures. The object of a quest may also have supernatural properties, often leading the protagonist into other worlds and dimensions. The moral of a quest tale often centers on the changed character of the hero.
"Sleeping Beauty", also titled in English as The Sleeping Beauty in the Woods, is a fairy tale about a princess cursed by an evil fairy to sleep for a hundred years before being awakened by a handsome prince. A good fairy, knowing the princess would be frightened if alone when she wakes, uses her wand to put every living person and animal in the palace and forest asleep, to awaken when the princess does.
In mythology, folklore and speculative fiction, shapeshifting is the ability to physically transform oneself through unnatural means. The idea of shapeshifting is found in the oldest forms of totemism and shamanism, as well as the oldest existent literature and epic poems such as the Epic of Gilgamesh and the Iliad. The concept remains a common literary device in modern fantasy, children's literature and popular culture. Examples of shapeshifters are vampires and werewolves.
"Hansel and Gretel" is a German fairy tale collected by the Brothers Grimm and published in 1812 as part of Grimms' Fairy Tales. It is also known as Little Step Brother and Little Step Sister.
The Evil Queen, also called the Wicked Queen or simply the Queen, is a fictional character and the main antagonist of "Snow White", a German fairy tale recorded by the Brothers Grimm. The most popular adaptation of the Evil Queen is from Disney's Snow White. The character has also become an archetype that has inspired unrelated works.
Fantasy literature is literature set in an imaginary universe, often but not always without any locations, events, or people from the real world. Magic, the supernatural and magical creatures are common in many of these imaginary worlds. Fantasy literature may be directed at both children and adults.
Jack David Zipes is a literary scholar and author. He is a Professor Emeritus in the Department of German, Nordic, Slavic and Dutch at the University of Minnesota.
Terri Windling is an American editor, artist, essayist, and the author of books for both children and adults. She has won nine World Fantasy Awards, the Mythopoeic Fantasy Award, and the Bram Stoker Award, and her collection The Armless Maiden appeared on the short-list for the James Tiptree, Jr. Award.
Mythago Wood is a fantasy novel by British writer Robert Holdstock, published in the United Kingdom in 1984. Mythago Wood is set in Herefordshire, England, in and around a stand of ancient woodland, known as Ryhope Wood. The story involves the internally estranged members of the Huxley family, particularly Stephen Huxley, and his experiences with the enigmatic forest and its magical inhabitants. The conception began as a short story written for the 1979 Milford Writer's Workshop; a novella of the same name appeared in the September 1981 edition of The Magazine of Fantasy & Science Fiction.
"The Singing, Springing Lark", "The Singing, Soaring Lark", "The Lady and the Lion" or "Lily and the Lion" is a German fairy tale collected by the Brothers Grimm, appearing as tale no. 88.
The youngest son is a stock character in fairy tales, where he features as the hero. He is usually the third son, but sometimes there are more brothers, and sometimes he has only one; usually, they have no sisters.
The Wicked fairy is the antagonist of Sleeping Beauty. In some adaptations, she is known as Carabosse. The most notable adaptation of the character is Maleficent, a Disney villain who appeared in various Disney media, beginning with the 1959 Walt Disney film Sleeping Beauty.
Elements of the supernatural and the fantastic were an element of literature from its beginning, though the idea of a distinct genre, in the modern sense, is less than two centuries old.
In fairy tales, a donor is a character who tests the hero and provides magical assistance to the hero upon their success.
Mirkwood is any of several great dark forests in novels by Sir Walter Scott and William Morris in the 19th century, and by J. R. R. Tolkien in the 20th century. The critic Tom Shippey explains that the name evoked the excitement of the wildness of Europe's ancient North.
In J. R. R. Tolkien's writings, Elves are the first fictional race to appear in Middle-earth. Unlike Men and Dwarves, Elves do not die of disease or old age. Should they die in battle or of grief, their souls go to the Halls of Mandos in Aman. After a long life in Middle-earth, Elves yearn for the Earthly Paradise of Valinor, and can sail there from the Grey Havens. They feature in The Hobbit and The Lord of the Rings. Their history is described in detail in The Silmarillion.
Forests appear repeatedly in J. R. R. Tolkien's fantasy world of Middle-earth. In The Hobbit, Bilbo Baggins and party have adventures in the Trollshaws and in Mirkwood. In The Lord of the Rings, Frodo Baggins and his companions travel through woods in The Shire, and are pursued by Black Riders; to evade them, the party enters the feared Old Forest, where they encounter other hazards. Later the Fellowship comes to the Elvish forest realm of Lothlórien; and after the Fellowship has split up, Frodo and Sam Gamgee travel through Ithilien with its Mediterranean vegetation, while Merry Brandybuck and Pippin Took enter the ancient forest of Fangorn. The Riders of Rohan, on their way to war, are allowed to travel on a secret road through another ancient forest, that of the Drúedain or woses. The Silmarillion, too, features several forests, both in Beleriand which is home to places like the Elvish forest realm of Doriath, protected by the magic of Melian the Maia, and in the south of Valinor, where the Valar liked to hunt in the woods of Oromë.
