Fairy tale

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1865 illustration of Hop-o'-My-Thumb and the ogre Daumling.jpg
1865 illustration of Hop-o'-My-Thumb and the ogre

A fairy tale, wonder tale, magic tale, or Märchen is a folklore genre that takes the form of a short story. Such stories typically feature entities such as dwarfs, dragons, elves, fairies, giants, gnomes, goblins, griffins, mermaids, talking animals, trolls, unicorns, or witches, and usually magic or enchantments. In most cultures, there is no clear line separating myth from folk or fairy tale; all these together form the literature of preliterate societies. [1] Fairy tales may be distinguished[ by whom? ] from other folk narratives such as legends (which generally involve belief in the veracity of the events described) [2] and explicit moral tales, including beast fables. The term is mainly used for stories with origins in European tradition and, at least in recent centuries, mostly relates to children's literature.

Short story Chinese Mirja work of literature, usually written in narrative prose

A short story is a piece of prose fiction that typically can be read in one sitting and focuses on a self-contained incident or series of linked incidents, with the intent of evoking a "single effect" or mood, however there are many exceptions to this.

Elf supernatural being in Germanic mythology and folklore

An elf is a type of human-shaped supernatural being in Germanic mythology and folklore. In medieval Germanic-speaking cultures, elves seem generally to have been thought of as beings with magical powers and supernatural beauty, ambivalent towards everyday people and capable of either helping or hindering them. However, the details of these beliefs have varied considerably over time and space, and have flourished in both pre-Christian and Christian cultures.

Fairy mythical being or legendary creature

A fairy is a type of mythical being or legendary creature in European folklore, a form of spirit, often described as metaphysical, supernatural, or preternatural.

Contents

In less technical contexts, the term is also used to describe something blessed with unusual happiness, as in "fairy-tale ending" (a happy ending) [3] or "fairy-tale romance". Colloquially, the term "fairy tale" or "fairy story" can also mean any far-fetched story or tall tale; it is used especially of any story that not only is not true, but could not possibly be true. Legends are perceived[ by whom? ] as real; fairy tales may merge into legends, where the narrative is perceived both by teller and hearers as being grounded in historical truth. However, unlike legends and epics, fairy tales usually do not contain more than superficial references to religion and to actual places, people, and events; they take place "once upon a time" rather than in actual times. [4]

A happy ending is an ending of the plot of a work of fiction in which almost everything turns out for the best for the protagonists, their sidekicks, and almost everyone except the villains.

Romance (love) Type of love that focuses on feelings

Romance is an emotional feeling of love for, or a strong attraction towards another person, and the courtship behaviors undertaken by an individual to express those overall feelings and resultant emotions.

Tall tale story with unbelievable elements, related as if it were true and factual

A tall tale is a story with unbelievable elements, related as if it were true and factual. Some stories such as these are exaggerations of actual events, for example fish stories such as, "That fish was so big, why I tell ya', it nearly sank the boat when I pulled it in!" Other tall tales are completely fictional tales set in a familiar setting, such as the European countryside, the American frontier, the Australian outback, the Canadian Northwest, or the beginning of the Industrial Revolution.

Fairy tales occur both in oral and in literary form; the name "fairy tale" ("conte de fées" in French) was first ascribed to them by Madame d'Aulnoy in the late 17th century. Many of today's fairy tales have evolved from centuries-old stories that have appeared, with variations, in multiple cultures around the world. [5] The history of the fairy tale is particularly difficult to trace because only the literary forms can survive. Still, according to researchers at universities in Durham and Lisbon, such stories may date back thousands of years, some to the Bronze Age more than 6,500 years ago. [6] [7] Fairy tales, and works derived from fairy tales, are still written today.

Madame dAulnoy French writer

Marie-Catherine Le Jumel de Barneville, Baroness d'Aulnoy, also known as Countess d'Aulnoy, was a French writer known for her fairy tales. When she termed her works contes de fées, she originated the term that is now generally used for the genre.

University academic institution for further education

A university is an institution of higher education and research which awards academic degrees in various academic disciplines. Universities typically provide undergraduate education and postgraduate education.

Durham University collegiate public research university in Durham, England, United Kingdom

Durham University is a collegiate public research university in Durham, North East England, founded by an Act of Parliament in 1832 and incorporated by Royal Charter in 1837. It was the first recognised university to open in England for more than 600 years, after Oxford and Cambridge, and is thus one of the institutions to be described as the third-oldest university in England. As a collegiate university its main functions are divided between the academic departments of the university and its 16 colleges. In general, the departments perform research and provide teaching to students, while the colleges are responsible for their domestic arrangements and welfare.

Folklorists have classified fairy tales in various ways. The Aarne-Thompson classification system and the morphological analysis of Vladimir Propp are among the most notable. Other folklorists have interpreted the tales' significance, but no school has been definitively established for the meaning of the tales.

Vladimir Propp Russian folklorist, philologist and linguist

Vladimir Yakovlevich Propp was a Soviet folklorist and scholar who analysed the basic structural elements of Russian folk tales to identify their simplest irreducible structural units.

Terminology

Some folklorists prefer to use the German term Märchen or "wonder tale" [8] to refer to the genre rather than fairy tale, a practice given weight by the definition of Thompson in his 1977 [1946] edition of The Folktale: "a tale of some length involving a succession of motifs or episodes. It moves in an unreal world without definite locality or definite creatures and is filled with the marvellous. In this never-never land, humble heroes kill adversaries, succeed to kingdoms and marry princesses." [9] The characters and motifs of fairy tales are simple and archetypal: princesses and goose-girls; youngest sons and gallant princes; ogres, giants, dragons, and trolls; wicked stepmothers and false heroes; fairy godmothers and other magical helpers, often talking horses, or foxes, or birds; glass mountains; and prohibitions and breaking of prohibitions. [10]

German language West Germanic language

German is a West Germanic language that is mainly spoken in Central Europe. It is the most widely spoken and official or co-official language in Germany, Austria, Switzerland, South Tyrol (Italy), the German-speaking Community of Belgium, and Liechtenstein. It is also one of the three official languages of Luxembourg and a co-official language in the Opole Voivodeship in Poland. The languages which are most similar to German are the other members of the West Germanic language branch: Afrikaans, Dutch, English, the Frisian languages, Low German/Low Saxon, Luxembourgish, and Yiddish. There are also strong similarities in vocabulary with Danish, Norwegian and Swedish, although those belong to the North Germanic group. German is the second most widely spoken Germanic language, after English.

Hero person who displays characteristics of heroism

A hero (masculine) or heroine (feminine) is a real person or a main fictional character of a literary work who, in the face of danger, combats adversity through feats of ingenuity, bravery or strength; the original hero type of classical epics did such things for the sake of glory and honor. On the other hand are post-classical and modern heroes, who perform great deeds or selfless acts for the common good instead of the classical goal of wealth, pride and fame. The antonym of a hero is a villain.

Youngest son

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.

Definition

From The Facetious Nights of Straparola by Giovanni Francesco Straparola Straparola's The Crucifix Comes To Life.jpg
From The Facetious Nights of Straparola by Giovanni Francesco Straparola

Although the fairy tale is a distinct genre within the larger category of folktale, the definition that marks a work as a fairy tale is a source of considerable dispute. [11] The term itself comes from the translation of Madame D'Aulnoy's Conte de fées, first used in her collection in 1697. [12] Common parlance conflates fairy tales with beast fables and other folktales, and scholars differ on the degree to which the presence of fairies and/or similarly mythical beings (e.g., elves, goblins, trolls, giants, huge monsters) should be taken as a differentiator. Vladimir Propp, in his Morphology of the Folktale, criticized the common distinction between "fairy tales" and "animal tales" on the grounds that many tales contained both fantastic elements and animals. [13] Nevertheless, to select works for his analysis, Propp used all Russian folktales classified as a folklore Aarne-Thompson 300-749 – in a cataloguing system that made such a distinction – to gain a clear set of tales. [14] His own analysis identified fairy tales by their plot elements, but that in itself has been criticized, as the analysis does not lend itself easily to tales that do not involve a quest, and furthermore, the same plot elements are found in non-fairy tale works. [15]

Goblin mythical creature

A goblin is a monstrous creature from European folklore, first attested in stories from the Middle Ages. They are ascribed various and conflicting abilities, temperaments and appearances depending on the story and country of origin. They are almost always small and grotesque, mischievous or outright malicious, and greedy, especially for gold and jewelry. They often have magical abilities similar to a fairy or demon. Similar creatures include brownies, dwarfs, duendes, gnomes, imps, and kobolds.

Troll supernatural being in Norse mythology and Scandinavian folklore

A troll is a class of being in Norse mythology and Scandinavian folklore. In Old Norse sources, beings described as trolls dwell in isolated rocks, mountains, or caves, live together in small family units, and are rarely helpful to human beings.

Fantasy Genre of literature, film, television and other artforms

Fantasy is a genre of speculative fiction set in a fictional universe, often inspired by real world myth and folklore. Its roots are in oral traditions, which then became literature and drama. From the twentieth century it has expanded further into various media, including film, television, graphic novels and video games.

Were I asked, what is a fairytale? I should reply, Read Undine: that is a fairytale ... of all fairytales I know, I think Undine the most beautiful.

George MacDonald, The Fantastic Imagination

As Stith Thompson points out, talking animals and the presence of magic seem to be more common to the fairy tale than fairies themselves. [16] However, the mere presence of animals that talk does not make a tale a fairy tale, especially when the animal is clearly a mask on a human face, as in fables. [17]

In his essay "On Fairy-Stories", J. R. R. Tolkien agreed with the exclusion of "fairies" from the definition, defining fairy tales as stories about the adventures of men in Faërie , the land of fairies, fairytale princes and princesses, dwarves, elves, and not only other magical species but many other marvels. [18] However, the same essay excludes tales that are often considered fairy tales, citing as an example The Monkey's Heart , which Andrew Lang included in The Lilac Fairy Book . [17]

Steven Swann Jones identified the presence of magic as the feature by which fairy tales can be distinguished from other sorts of folktales. [19] Davidson and Chaudri identify "transformation" as the key feature of the genre. [8] From a psychological point of view, Jean Chiriac argued for the necessity of the fantastic in these narratives. [20]

In terms of aesthetic values, Italo Calvino cited the fairy tale as a prime example of "quickness" in literature, because of the economy and concision of the tales. [21]

History of the genre

A picture by Gustave Dore of Mother Goose reading written (literary) fairy tales Perrault1.jpg
A picture by Gustave Doré of Mother Goose reading written (literary) fairy tales

Originally, stories that would contemporarily be considered fairy tales were not marked out as a separate genre. The German term "Märchen" stems from the old German word "Mär", which means story or tale. The word "Märchen" is the diminutive of the word "Mär", therefore it means a "little story". Together with the common beginning "once upon a time" it means a fairy tale or a märchen was originally a little story from a long time ago when the world was still magic. (Indeed, one less regular German opening is "In the old times when wishing was still effective".)

The English term "fairy tale" stems from the fact that the French contes often included fairies.

Roots of the genre come from different oral stories passed down in European cultures. The genre was first marked out by writers of the Renaissance, such as Giovanni Francesco Straparola and Giambattista Basile, and stabilized through the works of later collectors such as Charles Perrault and the Brothers Grimm. [22] In this evolution, the name was coined when the précieuses took up writing literary stories; Madame d'Aulnoy invented the term Conte de fée, or fairy tale, in the late 17th century. [23]

Before the definition of the genre of fantasy, many works that would now be classified as fantasy were termed "fairy tales", including Tolkien's The Hobbit , George Orwell's Animal Farm , and L. Frank Baum's The Wonderful Wizard of Oz . [24] Indeed, Tolkien's "On Fairy-Stories" includes discussions of world-building and is considered a vital part of fantasy criticism. Although fantasy, particularly the subgenre of fairytale fantasy, draws heavily on fairy tale motifs, [25] the genres are now regarded as distinct.

Folk and literary

The fairy tale, told orally, is a sub-class of the folktale. Many writers have written in the form of the fairy tale. These are the literary fairy tales, or Kunstmärchen. [12] The oldest forms, from Panchatantra to the Pentamerone , show considerable reworking from the oral form. [26] The Grimm brothers were among the first to try to preserve the features of oral tales. Yet the stories printed under the Grimm name have been considerably reworked to fit the written form. [27]

Literary fairy tales and oral fairy tales freely exchanged plots, motifs, and elements with one another and with the tales of foreign lands. [28] The literary fairy tale came into fashion during the 17th century, developed by aristocratic women as a parlour game. This, in turn, helped to maintain the oral tradition. According to Jack Zipes, "The subject matter of the conversations consisted of literature, mores, taste, and etiquette, whereby the speakers all endeavoured to portray ideal situations in the most effective oratorical style that would gradually have a major effect on literary forms." [29] Many 18th-century folklorists attempted to recover the "pure" folktale, uncontaminated by literary versions. Yet while oral fairy tales likely existed for thousands of years before the literary forms, there is no pure folktale, and each literary fairy tale draws on folk traditions, if only in parody. [30] This makes it impossible to trace forms of transmission of a fairy tale. Oral story-tellers have been known to read literary fairy tales to increase their own stock of stories and treatments. [31]

History

Ivan Bilibin's illustration of the Russian fairy tale about Vasilisa the Beautiful Redsun.jpg
Ivan Bilibin's illustration of the Russian fairy tale about Vasilisa the Beautiful

The oral tradition of the fairy tale came long before the written page. Tales were told or enacted dramatically, rather than written down, and handed down from generation to generation. Because of this, the history of their development is necessarily obscure and blurred. Fairy tales appear, now and again, in written literature throughout literate cultures, as in The Golden Ass , which includes Cupid and Psyche (Roman, 100–200 AD), [32] or the Panchatantra (India 3rd century BC), [32] but it is unknown to what extent these reflect the actual folk tales even of their own time. The stylistic evidence indicates that these, and many later collections, reworked folk tales into literary forms. [26] What they do show is that the fairy tale has ancient roots, older than the Arabian Nights collection of magical tales (compiled circa 1500 AD), [32] such as Vikram and the Vampire , and Bel and the Dragon . Besides such collections and individual tales, in China, Taoist philosophers such as Liezi and Zhuangzi recounted fairy tales in their philosophical works. [33] In the broader definition of the genre, the first famous Western fairy tales are those of Aesop (6th century BC) in ancient Greece.

Jack Zipes writes in When Dreams Came True, "There are fairy tale elements in Chaucer's The Canterbury Tales , Edmund Spenser's The Faerie Queene , and ... in many of William Shakespeare plays." [34] King Lear can be considered a literary variant of fairy tales such as Water and Salt and Cap O' Rushes . [35] The tale itself resurfaced in Western literature in the 16th and 17th centuries, with The Facetious Nights of Straparola by Giovanni Francesco Straparola (Italy, 1550 and 1553), [32] which contains many fairy tales in its inset tales, and the Neapolitan tales of Giambattista Basile (Naples, 1634–36), [32] which are all fairy tales. [36] Carlo Gozzi made use of many fairy tale motifs among his Commedia dell'Arte scenarios, [37] including among them one based on The Love For Three Oranges (1761). [38] Simultaneously, Pu Songling, in China, included many fairy tales in his collection, Strange Stories from a Chinese Studio (published posthumously, 1766). [33] The fairy tale itself became popular among the précieuses of upper-class France (1690–1710), [32] and among the tales told in that time were the ones of La Fontaine and the Contes of Charles Perrault (1697), who fixed the forms of Sleeping Beauty and Cinderella . [39] Although Straparola's, Basile's and Perrault's collections contain the oldest known forms of various fairy tales, on the stylistic evidence, all the writers rewrote the tales for literary effect. [40]

The Salon Era

In the mid-17th century, a vogue for magical tales emerged among the intellectuals who frequented the salons of Paris. These salons were regular gatherings hosted by prominent aristocratic women, where women and men could gather together to discuss the issues of the day.

In the 1630s, aristocratic women began to gather in their own living rooms, salons, in order to discuss the topics of their choice: arts and letters, politics, and social matters of immediate concern to the women of their class: marriage, love, financial and physical independence, and access to education. This was a time when women were barred from receiving a formal education. Some of the most gifted women writers of the period came out of these early salons (such as Madeleine de Scudéry and Madame de Lafayette), which encouraged women's independence and pushed against the gender barriers that defined their lives. The salonnières argued particularly for love and intellectual compatibility between the sexes, opposing the system of arranged marriages.

Sometime in the middle of the 17th century, a passion for the conversational parlour game based on the plots of old folk tales swept through the salons. Each salonnière was called upon to retell an old tale or rework an old theme, spinning clever new stories that not only showcased verbal agility and imagination but also slyly commented on the conditions of aristocratic life. Great emphasis was placed on a mode of delivery that seemed natural and spontaneous. The decorative language of the fairy tales served an important function: disguising the rebellious subtext of the stories and sliding them past the court censors. Critiques of court life (and even of the king) were embedded in extravagant tales and in dark, sharply dystopian ones. Not surprisingly, the tales by women often featured young (but clever) aristocratic girls whose lives were controlled by the arbitrary whims of fathers, kings, and elderly wicked fairies, as well as tales in which groups of wise fairies (i.e., intelligent, independent women) stepped in and put all to rights.

The salon tales as they were originally written and published have been preserved in a monumental work called Le Cabinet des Fées , an enormous collection of stories from the 17th and 18th centuries. [12]

Later works

The violet fairy book (1906) The violet fairy book (1906) (14751020284).jpg
The violet fairy book (1906)

The first collectors to attempt to preserve not only the plot and characters of the tale, but also the style in which they were told, was the Brothers Grimm, collecting German fairy tales; ironically, this meant although their first edition (1812 & 1815) [32] remains a treasure for folklorists, they rewrote the tales in later editions to make them more acceptable, which ensured their sales and the later popularity of their work. [41]

Such literary forms did not merely draw from the folktale, but also influenced folktales in turn. The Brothers Grimm rejected several tales for their collection, though told orally to them by Germans, because the tales derived from Perrault, and they concluded they were thereby French and not German tales; an oral version of Bluebeard was thus rejected, and the tale of Little Briar Rose, clearly related to Perrault's The Sleeping Beauty , was included only because Jacob Grimm convinced his brother that the figure of Brynhildr, from much earlier Norse mythology, proved that the sleeping princess was authentically Germanic folklore. [42]

This consideration of whether to keep Sleeping Beauty reflected a belief common among folklorists of the 19th century: that the folk tradition preserved fairy tales in forms from pre-history except when "contaminated" by such literary forms, leading people to tell inauthentic tales. [43] The rural, illiterate, and uneducated peasants, if suitably isolated, were the folk and would tell pure folk tales. [44] Sometimes they regarded fairy tales as a form of fossil, the remnants of a once-perfect tale. [45] However, further research has concluded that fairy tales never had a fixed form, and regardless of literary influence, the tellers constantly altered them for their own purposes. [46]

The work of the Brothers Grimm influenced other collectors, both inspiring them to collect tales and leading them to similarly believe, in a spirit of romantic nationalism, that the fairy tales of a country were particularly representative of it, to the neglect of cross-cultural influence. Among those influenced were the Russian Alexander Afanasyev (first published in 1866), [32] the Norwegians Peter Christen Asbjørnsen and Jørgen Moe (first published in 1845), [32] the Romanian Petre Ispirescu (first published in 1874), the English Joseph Jacobs (first published in 1890), [32] and Jeremiah Curtin, an American who collected Irish tales (first published in 1890). [30] Ethnographers collected fairy tales throughout the world, finding similar tales in Africa, the Americas, and Australia; Andrew Lang was able to draw on not only the written tales of Europe and Asia, but those collected by ethnographers, to fill his "coloured" fairy books series. [47] They also encouraged other collectors of fairy tales, as when Yei Theodora Ozaki created a collection, Japanese Fairy Tales (1908), after encouragement from Lang. [48] Simultaneously, writers such as Hans Christian Andersen and George MacDonald continued the tradition of literary fairy tales. Andersen's work sometimes drew on old folktales, but more often deployed fairytale motifs and plots in new tales. [49] MacDonald incorporated fairytale motifs both in new literary fairy tales, such as The Light Princess , and in works of the genre that would become fantasy, as in The Princess and the Goblin or Lilith . [50]

Cross-cultural transmission

Two theories of origins, have attempted to explain the common elements in fairy tales found spread over continents. One is that a single point of origin generated any given tale, which then spread over the centuries; the other is that such fairy tales stem from common human experience and therefore can appear separately in many different origins. [51]

Fairy tales with very similar plots, characters, and motifs are found spread across many different cultures. Many researchers hold this to be caused by the spread of such tales, as people repeat tales they have heard in foreign lands, although the oral nature makes it impossible to trace the route except by inference. [52] Folklorists have attempted to determine the origin by internal evidence, which can not always be clear; Joseph Jacobs, comparing the Scottish tale The Ridere of Riddles with the version collected by the Brothers Grimm, The Riddle , noted that in The Ridere of Riddles one hero ends up polygamously married, which might point to an ancient custom, but in The Riddle, the simpler riddle might argue greater antiquity. [53]

Folklorists of the "Finnish" (or historical-geographical) school attempted to place fairy tales to their origin, with inconclusive results. [54] Sometimes influence, especially within a limited area and time, is clearer, as when considering the influence of Perrault's tales on those collected by the Brothers Grimm. Little Briar-Rose appears to stem from Perrault's The Sleeping Beauty , as the Grimms' tale appears to be the only independent German variant. [55] Similarly, the close agreement between the opening of the Grimms' version of Little Red Riding Hood and Perrault's tale points to an influence, although the Grimms' version adds a different ending (perhaps derived from The Wolf and the Seven Young Kids ). [56]

Fairy tales tend to take on the color of their location, through the choice of motifs, the style in which they are told, and the depiction of character and local color. [57]

The Brothers Grimm believed that European fairy tales derived from the cultural history shared by all Indo-European peoples and were therefore ancient, far older than written records. This view is supported by research by the anthropologist Jamie Tehrani and the folklorist Sara Graca Da Silva using phylogenetic analysis, a technique developed by evolutionary biologists to trace the relatedness of living and fossil species. Among the tales analysed were Jack and the Beanstalk , traced to the time of splitting of Eastern and Western Indo-European, over 5000 years ago. Both Beauty and the Beast and Rumpelstiltskin appear to have been created some 4000 years ago. The story of The Smith and the Devil (Deal with the Devil) appears to date from the Bronze Age, some 6000 years ago. [58] However, the choice of the corpus of folktales [59] and the method used by this study [60] both make the results very suspicious. On the other hand, various studies converge to show that some fairy tales, for example the swan maiden [61] , could go back to the Upper Palaeolithic.

Association with children

Cutlery for children. Detail showing fairy-tale scenes: Snow White, Little Red Riding Hood, Hansel and Gretel. Cutlery for children detail.jpg
Cutlery for children. Detail showing fairy-tale scenes: Snow White, Little Red Riding Hood, Hansel and Gretel.

Originally, adults were the audience of a fairy tale just as often as children. [62] Literary fairy tales appeared in works intended for adults, but in the 19th and 20th centuries the fairy tale became associated with children's literature.

The précieuses , including Madame d'Aulnoy, intended their works for adults, but regarded their source as the tales that servants, or other women of lower class, would tell to children. [63] Indeed, a novel of that time, depicting a countess's suitor offering to tell such a tale, has the countess exclaim that she loves fairy tales as if she were still a child. [64] Among the late précieuses, Jeanne-Marie Le Prince de Beaumont redacted a version of Beauty and the Beast for children, and it is her tale that is best known today. [65] The Brothers Grimm titled their collection Children's and Household Tales and rewrote their tales after complaints that they were not suitable for children. [66]

In the modern era, fairy tales were altered so that they could be read to children. The Brothers Grimm concentrated mostly on sexual references; [67] Rapunzel, in the first edition, revealed the prince's visits by asking why her clothing had grown tight, thus letting the witch deduce that she was pregnant, but in subsequent editions carelessly revealed that it was easier to pull up the prince than the witch. [68] On the other hand, in many respects, violenceparticularly when punishing villainswas increased. [69] Other, later, revisions cut out violence; J. R. R. Tolkien noted that The Juniper Tree often had its cannibalistic stew cut out in a version intended for children. [70] The moralizing strain in the Victorian era altered the classical tales to teach lessons, as when George Cruikshank rewrote Cinderella in 1854 to contain temperance themes. His acquaintance Charles Dickens protested, "In an utilitarian age, of all other times, it is a matter of grave importance that fairy tales should be respected." [71] [72]

Psychoanalysts such as Bruno Bettelheim, who regarded the cruelty of older fairy tales as indicative of psychological conflicts, strongly criticized this expurgation, because it weakened their usefulness to both children and adults as ways of symbolically resolving issues. [73] Fairy tales do teach children how to deal with difficult times. To quote Rebecca Walters (2017, p. 56) “Fairytales and folktales are part of the cultural conserve that can be used to address children’s fears …. and give them some role training in an approach that honors the children’s window of tolerance”. These fairy tales teach children how to deal with certain social situations and helps them to find their place in society. [74] Fairy tales teach children other important lessons too. For example, Tsitsani et al. carried out a study on children to determine the benefits of fairy tales. Parents of the children who took part in the study found that fairy tales, especially the color in them, triggered their child's imagination as the read them. [75] Jungian Analyst and fairy tale scholar, Marie Louise Von Franz interprets fairy tales [76] based on Jung‘s view of fairy tales as a spontaneous and naive product of soul, which can only express what soul is. [77] That means, she looks at fairy tales as images of different phases of experiencing the reality of the soul. They are the “purest and simplest expression of collective unconscious psychic processes” and “they represent the archetypes in their simplest, barest and most concise form” because they are less overlaid with conscious material than myths and legends. “In this pure form, the archetypal images afford us the best clues to the understanding of the processes going on in the collective psyche”. “The fairy tale itself is its own best explanation; that is, its meaning is contained in the totality of its motifs connected by the thread of the story. [...] Every fairy tale is a relatively closed system compounding one essential psychological meaning which is expressed in a series of symbolical pictures and events and is discoverable in these”. “I have come to the conclusion that all fairy tales endeavour to describe one and the same psychic fact, but a fact so complex and far-reaching and so difficult for us to realize in all its different aspects that hundreds of tales and thousands of repetitions with a musician’s variation are needed until this unknown fact is delivered into consciousness; and even then the theme is not exhausted. This unknown fact is what Jung calls the Self, which is the psychic reality of the collective unconscious. [...] Every archetype is in its essence only one aspect of the collective unconscious as well as always representing also the whole collective unconscious. [78]

Other famous people commented on the importance of fairy tales, especially for children. For example, Albert Einstein once showed how important he believed fairy tales were for children’s intelligence in the quote “If you want your children to be intelligent, read them fairytales. If you want them to be more intelligent, read them more fairytales." [79]

The adaptation of fairy tales for children continues. Walt Disney's influential Snow White and the Seven Dwarfs was largely (although certainly not solely) intended for the children's market. [80] The anime Magical Princess Minky Momo draws on the fairy tale Momotarō . [81] Jack Zipes has spent many years working to make the older traditional stories accessible to modern readers and their children. [82]

Contemporary tales

Literary

John Bauer's illustration of trolls and a princess from a collection of Swedish fairy tales John Bauer 1915.jpg
John Bauer's illustration of trolls and a princess from a collection of Swedish fairy tales

In contemporary literature, many authors have used the form of fairy tales for various reasons, such as examining the human condition from the simple framework a fairytale provides. [83] Some authors seek to recreate a sense of the fantastic in a contemporary discourse. [84] Some writers use fairy tale forms for modern issues; [85] this can include using the psychological dramas implicit in the story, as when Robin McKinley retold Donkeyskin as the novel Deerskin , with emphasis on the abusive treatment the father of the tale dealt to his daughter. [86] Sometimes, especially in children's literature, fairy tales are retold with a twist simply for comic effect, such as The Stinky Cheese Man by Jon Scieszka and The ASBO Fairy Tales by Chris Pilbeam. A common comic motif is a world where all the fairy tales take place, and the characters are aware of their role in the story, [87] such as in the film series Shrek.

Other authors may have specific motives, such as multicultural or feminist reevaluations of predominantly Eurocentric masculine-dominated fairy tales, implying critique of older narratives. [88] The figure of the damsel in distress has been particularly attacked by many feminist critics. Examples of narrative reversal rejecting this figure include The Paperbag Princess by Robert Munsch, a picture book aimed at children in which a princess rescues a prince, and Angela Carter's The Bloody Chamber, which retells a number of fairy tales from a female point of view. [89]

There are also many contemporary erotic retellings of fairy tales, which explicitly draw upon the original spirit of the tales, and are specifically for adults. Modern retellings focus on exploring the tale through use of the erotic, explicit sexuality, dark and/or comic themes, female empowerment, fetish and BDSM, multicultural, and heterosexual characters. Cleis Press has released several fairy tale themed erotic anthologies, including Fairy Tale Lust, Lustfully Ever After, and A Princess Bound.

It may be hard to lay down the rule between fairy tales and fantasies that use fairy tale motifs, or even whole plots, but the distinction is commonly made, even within the works of a single author: George MacDonald's Lilith and Phantastes are regarded as fantasies, while his "The Light Princess", "The Golden Key", and "The Wise Woman" are commonly called fairy tales. The most notable distinction is that fairytale fantasies, like other fantasies, make use of novelistic writing conventions of prose, characterization, or setting. [90]

Film

Fairy tales have been enacted dramatically; records exist of this in commedia dell'arte, [91] and later in pantomime. [92] The advent of cinema has meant that such stories could be presented in a more plausible manner, with the use of special effects and animation. The Walt Disney Company has had a significant impact on the evolution of the fairy tale film. Some of the earliest short silent films from the Disney studio were based on fairy tales, and some fairy tales were adapted into shorts in the musical comedy series "Silly Symphony", such as Three Little Pigs . Walt Disney's first feature-length film Snow White and the Seven Dwarfs , released in 1937, was a ground-breaking film for fairy tales and, indeed, fantasy in general. [80] Disney and his creative successors have returned to traditional and literary fairy tales numerous times with films such as Cinderella (1950), Sleeping Beauty (1959), The Little Mermaid (1989) and Beauty and the Beast (1991). Disney's influence helped establish the fairy tale genre as a genre for children, and has been accused by some of bowdlerizing the gritty naturalism – and sometimes unhappy endings – of many folk fairy tales. [86] However, others note that the softening of fairy tales occurred long before Disney, some of which was even done by the Grimm brothers themselves. [93] [94]

Many filmed fairy tales have been made primarily for children, from Disney's later works to Aleksandr Rou's retelling of Vasilissa the Beautiful , the first Soviet film to use Russian folk tales in a big-budget feature. [95] Others have used the conventions of fairy tales to create new stories with sentiments more relevant to contemporary life, as in Labyrinth , [96] My Neighbor Totoro , Happily N'Ever After , and the films of Michel Ocelot. [97]

Other works have retold familiar fairy tales in a darker, more horrific or psychological variant aimed primarily at adults. Notable examples are Jean Cocteau's Beauty and the Beast [98] and The Company of Wolves , based on Angela Carter's retelling of Little Red Riding Hood . [99] Likewise, Princess Mononoke , [100] Pan's Labyrinth , [101] Suspiria , and Spike [102] create new stories in this genre from fairy tale and folklore motifs.

In comics and animated TV series, The Sandman , Revolutionary Girl Utena , Princess Tutu , Fables and MÄR all make use of standard fairy tale elements to various extents but are more accurately categorised as fairytale fantasy due to the definite locations and characters which a longer narrative requires.

A more modern cinematic fairy tale would be Luchino Visconti's Le Notti Bianche , starring Marcello Mastroianni before he became a superstar. It involves many of the romantic conventions of fairy tales, yet it takes place in post-World War II Italy, and it ends realistically.

Motifs

Kings' Fairy Tale, 1909, by Mikalojus Konstantinas Ciurlionis Mikalojus Konstantinas Ciurlionis - FAIRY TALE (FAIRY TALE OF KINGS) - 1909.jpg
Kings' Fairy Tale, 1909, by Mikalojus Konstantinas Čiurlionis
Beauty and the Beast, illustration by Warwick Goble Warwick Goble Beauty and Beast.jpg
Beauty and the Beast, illustration by Warwick Goble

Any comparison of fairy tales quickly discovers that many fairy tales have features in common with each other. Two of the most influential classifications are those of Antti Aarne, as revised by Stith Thompson into the Aarne-Thompson classification system, and Vladimir Propp's Morphology of the Folk Tale .

Aarne-Thompson

This system groups fairy and folk tales according to their overall plot. Common, identifying features are picked out to decide which tales are grouped together. Much therefore depends on what features are regarded as decisive.

For instance, tales like Cinderella  – in which a persecuted heroine, with the help of the fairy godmother or similar magical helper, attends an event (or three) in which she wins the love of a prince and is identified as his true brideare classified as type 510, the persecuted heroine. Some such tales are The Wonderful Birch ; Aschenputtel ; Katie Woodencloak ; The Story of Tam and Cam ; Ye Xian ; Cap O' Rushes ; Catskin ; Fair, Brown and Trembling ; Finette Cendron ; Allerleirauh .

Further analysis of the tales shows that in Cinderella, The Wonderful Birch, The Story of Tam and Cam, Ye Xian, and Aschenputtel, the heroine is persecuted by her stepmother and refused permission to go to the ball or other event, and in Fair, Brown and Trembling and Finette Cendron by her sisters and other female figures, and these are grouped as 510A; while in Cap O' Rushes, Catskin, and Allerleirauh, the heroine is driven from home by her father's persecutions, and must take work in a kitchen elsewhere, and these are grouped as 510B. But in Katie Woodencloak, she is driven from home by her stepmother's persecutions and must take service in a kitchen elsewhere, and in Tattercoats, she is refused permission to go to the ball by her grandfather. Given these features common with both types of 510, Katie Woodencloak is classified as 510A because the villain is the stepmother, and Tattercoats as 510B because the grandfather fills the father's role.

This system has its weaknesses in the difficulty of having no way to classify subportions of a tale as motifs. Rapunzel is type 310 (The Maiden in the Tower), but it opens with a child being demanded in return for stolen food, as does Puddocky ; but Puddocky is not a Maiden in the Tower tale, while The Canary Prince , which opens with a jealous stepmother, is.

It also lends itself to emphasis on the common elements, to the extent that the folklorist describes The Black Bull of Norroway as the same story as Beauty and the Beast . This can be useful as a shorthand but can also erase the coloring and details of a story. [103]

Morphology

Father Frost acts as a donor in the Russian fairy tale Father Frost, testing the heroine before bestowing riches upon her 1932. Bilibin. Morozko.jpg
Father Frost acts as a donor in the Russian fairy tale Father Frost , testing the heroine before bestowing riches upon her

Vladimir Propp specifically studied a collection of Russian fairy tales, but his analysis has been found useful for the tales of other countries. [104] Having criticized Aarne-Thompson type analysis for ignoring what motifs did in stories, and because the motifs used were not clearly distinct, [105] he analyzed the tales for the function each character and action fulfilled and concluded that a tale was composed of thirty-one elements ('functions') and seven characters or 'spheres of action' ('the princess and her father' are a single sphere). While the elements were not all required for all tales, when they appeared they did so in an invariant order – except that each individual element might be negated twice, so that it would appear three times, as when, in Brother and Sister , the brother resists drinking from enchanted streams twice, so that it is the third that enchants him. [106] Propp's 31 functions also fall within six 'stages' (preparation, complication, transference, struggle, return, recognition), and a stage can also be repeated, which can affect the perceived order of elements.

One such element is the donor who gives the hero magical assistance, often after testing him. [107] In The Golden Bird , the talking fox tests the hero by warning him against entering an inn and, after he succeeds, helps him find the object of his quest; in The Boy Who Drew Cats , the priest advised the hero to stay in small places at night, which protects him from an evil spirit; in Cinderella , the fairy godmother gives Cinderella the dresses she needs to attend the ball, as their mothers' spirits do in Bawang Putih Bawang Merah and The Wonderful Birch ; in The Fox Sister , a Buddhist monk gives the brothers magical bottles to protect against the fox spirit. The roles can be more complicated. [108] In The Red Ettin , the role is split into the motherwho offers the hero the whole of a journey cake with her curse or half with her blessingand when he takes the half, a fairy who gives him advice; in Mr Simigdáli , the sun, the moon, and the stars all give the heroine a magical gift. Characters who are not always the donor can act like the donor. [109] In Kallo and the Goblins , the villain goblins also give the heroine gifts, because they are tricked; in Schippeitaro , the evil cats betray their secret to the hero, giving him the means to defeat them. Other fairy tales, such as The Story of the Youth Who Went Forth to Learn What Fear Was , do not feature the donor.

Analogies have been drawn between this and the analysis of myths into the hero's journey. [110]

Interpretations

Many fairy tales have been interpreted for their (purported) significance. One mythological interpretation saw many fairy tales, including Hansel and Gretel , Sleeping Beauty , and The Frog King , as solar myths; this mode of interpretation subsequently became rather less popular. [111] Freudian, Jungian, and other psychological analyses have also explicated many tales, but no mode of interpretation has established itself definitively. [112]

Specific analyses have often been criticized[ by whom? ] for lending great importance to motifs that are not, in fact, integral to the tale; this has often stemmed from treating one instance of a fairy tale as the definitive text, where the tale has been told and retold in many variations. [113] In variants of Bluebeard , the wife's curiosity is betrayed by a blood-stained key, by an egg's breaking, or by the singing of a rose she wore, without affecting the tale, but interpretations of specific variants have claimed that the precise object is integral to the tale. [114]

Other folklorists have interpreted tales as historical documents. Many[ quantify ] German folklorists, believing the tales to have preserved details from ancient times, have used the Grimms' tales to explain ancient customs. [115]

One approach sees the topography of European Märchen as echoing the period immediately following the last Ice Age. [116] Other folklorists have explained the figure of the wicked stepmother in a historical/sociological context: many women did die in childbirth, their husbands remarried, and the new stepmothers competed with the children of the first marriage for resources. [117]

In a 2012 lecture, Jack Zipes reads fairy tales as examples of what he calls "childism". He suggests that there are terrible aspects to the tales, which (among other things) have conditioned children to accept mistreatment and even abuse. [118]

Fairy tales in music

Fairy tales have inspired music, namely opera, such as the French Opéra féerie and the German Märchenoper. French examples include Gretry's Zémire et Azor , and Auber's Le cheval de bronze , German operas are Mozart's Die Zauberflöte , Humperdinck's Hänsel und Gretel , Siegfried Wagner's An allem ist Hütchen schuld! , which is based on many fairy tales, and Carl Orff's Die Kluge . Even contemporary fairy tales have been written for the purpose of inspiration in the music world. "Raven Girl" by Audrey Niffenegger was written to inspire a new dance for the Royal Ballet in London.

Compilations

Authors and works:

See also

Related Research Articles

Brothers Grimm German academics, philologists, cultural researchers, lexicographers, folklorists and authors

The Brothers Grimm, Jacob Ludwig Karl and Wilhelm Carl, were German academics, philologists, cultural researchers, lexicographers and authors who together collected and published folklore during the 19th century. They were among the first and best-known collectors of German and European folk tales, and popularized traditional oral tale types such as "Cinderella", "The Frog Prince", "The Goose-Girl", "Hansel and Gretel", "Rapunzel", "Rumpelstiltskin", "Sleeping Beauty", and "Snow White". Their classic collection Children's and Household Tales, was published in two volumes – the first in 1812 and the second in 1815.

Sleeping Beauty classic fairytale

Sleeping Beauty, or Little Briar Rose, also titled in English as The Sleeping Beauty in the Woods, is a classic fairy tale about a princess that is cursed to sleep for a hundred years by an evil fairy, where she would be awakened by a handsome prince. The Aarne-Thompson classification system for folktales classifies Sleeping Beauty as being a 410 tale type, meaning it includes a princess who is forced into an enchanted sleep and is later awakened by a prince breaking the magic placed upon her.

"Little Red Riding Hood" is a European fairy tale about a young girl and a Big Bad Wolf. Its origins can be traced back to the 10th century by several European folk tales, including one from Italy called The False Grandmother, later written among others by Italo Calvino in the Italian Folktales collection; the best known versions were written by Charles Perrault and the Brothers Grimm. The story has been changed considerably in various retellings and subjected to numerous modern adaptations and readings. Other names for the story are: "Little Red Ridinghood", "Little Red Cap" or simply "Red Riding Hood". It is number 333 in the Aarne–Thompson classification system for folktales.

Giambattista Basile Italian poet

Giambattista Basile was an Italian poet, courtier, and fairy tale collector. His collections include the oldest recorded forms of many well-known European fairy tales.

Giovanni Francesco Straparola Italian writer and fairy tale collector

Giovanni Francesco "Gianfrancesco" Straparola, also known as Zoan or Zuan Francesco Straparola da Caravaggio, was an Italian writer of poetry, and collector and writer of short stories. Some time during his life, he migrated from Caravaggio to Venice where he published a collection of stories in two volumes called The Facetious Nights or The Pleasant Nights. This collection includes some of the first known printed versions of fairy tales in Europe, as they are known today.

Fantasy literature

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. It is a story that children and adults can read.

<i>Pentamerone</i> book

The Pentamerone is a seventeenth-century fairy tale collection by Italian poet and courtier Giambattista Basile.

Fairytale fantasy subgenre of fantasy tale

Fairytale fantasy is distinguished from other subgenres of fantasy by the works' heavy use of motifs, and often plots, from folklore.

The Seven Ravens fairy tale

"The Seven Ravens" is a German fairy tale collected by the Brothers Grimm.

Diamonds and Toads French fairy tale by Charles Perrault

Diamonds and Toads or Toads and Diamonds is a French fairy tale by Charles Perrault, and titled by him "Les Fées" or "The Fairies". Andrew Lang included it in The Blue Fairy Book. It was illustrated by Laura Valentine in Aunt Louisa's nursery favourite.

"The Thief and His Master" is a German fairy tale collected by the Brothers Grimm in Grimm's Fairy Tales as tale number 68.

The Three Little Men in the Wood Grimm Bros. fairy tale

"The Three Little Men in the Wood" or "The Three Little Gnomes in the Forest" is a German fairy tale collected in 1812 by the Brothers Grimm. Andrew Lang included it in The Red Fairy Book (1890) as "The Three Dwarfs," and a version of the tale appears in A Book of Dwarfs (1964) by Ruth Manning-Sanders.

The Girl Without Hands German fairy tale

"The Girl Without Hands" or "The Handless Maiden" or "The Girl With Silver Hands" or "The Armless Maiden" is a German fairy tale collected by the Brothers Grimm. It is tale number 31 and was first published in the 1812 edition of Children's and Household Tales. The story was revised by the Grimm brothers over the years, and the final version was published in the 7th edition of Children's and Household Tales in 1857. It is Aarne-Thompson type 706.

Penta of the Chopped-off Hands or The Girl With the Maimed Hands is an Italian literary fairy tale written by Giambattista Basile in his 1634 work, the Pentamerone.

Early history of fantasy

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.

Marie-Jeanne LHéritier French author of fairy tales

Marie-Jeanne L'Héritier de Villandon was an aristocratic French writer and salonnière of the late 17th century, and a niece of Charles Perrault.

The Three Crowns is an Italian literary fairy tale written by Giambattista Basile in his 1634 work, the Pentamerone.

<i>The Facetious Nights of Straparola</i> book by Giovanni Francesco Straparola

The Facetious Nights of Straparola, also known as The Nights of Straparola, is a two-volume collection of 75 stories by Italian author and fairy-tale collector Giovanni Francesco Straparola. Modeled after Boccaccio's Decameron, it is significant as often being called the first European storybook to contain fairy-tales; it would influence later fairy-tale authors like Charles Perrault and Jacob and Wilhelm Grimm.

Puss in Boots Italian-French fairy tale about a cat

"Master Cat, or The Booted Cat", commonly known in English as "Puss in Boots", is an Italian and later European literary fairy tale about a cat who uses trickery and deceit to gain power, wealth, and the hand of a princess in marriage for his penniless and low-born master. The oldest telling is by Italian author Giovanni Francesco Straparola, who included it in his The Facetious Nights of Straparola in XIV–XV. Another version was published in 1634 by Giambattista Basile with the title Cagliuso, and a tale was written in French at the close of the seventeenth century by Charles Perrault (1628–1703), a retired civil servant and member of the Académie française. The tale appeared in a handwritten and illustrated manuscript two years before its 1697 publication by Barbin in a collection of eight fairy tales by Perrault called Histoires ou contes du temps passé. The book was an instant success and remains popular.

A Skazka – is a Russian word literally meaning "story", but used to mean fairy tale or a fantasy tale. The term can be used in many different forms to determine the type of tale or story being told. A volshebnaya skazka [fairy tale] is considered a magical tale. Skazki o zhivotnykh [tales of animals] are tales about animals, and bytovye skazki [household tales] are tales about everyday life. These variations of skazki give the term more depth and detail the different types of fairy tales.

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  112. Bettleheim Bruno (1991). The Uses of Enchantment: The Meaning and Importance of Fairy Tales. Penguin. ISBN   978-0-14-013727-9.
  113. Alan Dundes, "Interpreting Little Red Riding Hood Psychoanalytically", pp. 18–19, James M. McGlathery, ed., The Brothers Grimm and Folktale, ISBN   0-252-01549-5.
  114. Tatar, The Hard Facts of the Grimms' Fairy Tales, p. 46.
  115. Zipes, The Brothers Grimm: From Enchanted Forests to the Modern World, p. 48.
  116. Maitland, Sara (2014). "Once upon a time: the lost forest and us". In Kelly, Andrew (ed.). The Importance of Ideas: 16 thoughts to get you thinking. Guardian Shorts. 10. Guardian Books. ISBN   978-1-78356-074-5 . Retrieved 2016-05-22. As the glaciers of the last ice age retreated (from c. 10,000 BC) forests, of various types, quickly colonised the land and came to cover most of Europe. [...] These forests formed the topography out of which the fairy stories (or as they are better called in German – the marchen), which are one of our earliest and most vital cultural forms, evolved.
  117. Marina Warner, From the Beast to the Blonde: On Fairy Tales And Their Tellers, p. 213. ISBN   0-374-15901-7.
  118. Jack Zipes, "Fairy Tales, Child Abuse, and 'Childism'", (lecture, University of Minnesota Institute for Advanced Study, November 15, 2012).

Bibliography

Further reading