Start the story with "Once upon a time" enclosed in a
tag.
"It has been said..." or perhaps "In a galaxy far, far away..."
Long ago, it is believed that ancient people gathered around a fire to entertain each other with tales. As each story was told, someone was inspired to tell another, each one funnier, scarier or more dramatic than the last. Although children were present, dosing at the edges or snoozing in the laps of their mothers, the stories were not specifically aimed towards them. The children received the same lessons as the adults and heard the same stories.
Starting our journey through children's literature, we can say that folktales traditionally started with telling by adults and not writing or reading by children. The question arises, how did folk and fairy tales evolve from hearsay to illustrated books we see today?
...Was the content of stories read today the same as those told a hundred or two hundred years ago? If not, what has changed and why?
Around the mid-seventeenth century, certain Europeans began writing down specific folktales for reasons we may never truly comprehend - perhaps a longing to preserve culture, or merely for societal status. Most notably, brothers Jacob and Wilhelm Grimm commenced their collecting journey in the 1800s, courtesy of their writer friend Clemens Bratano.
The two brothers earned a well-deserved reputation for their scholarly work as royal librarians. Bretano requested that they send him some tales as an example of the typical German folk story. During their time in college, they became fascinated by the link between history and contemporary culture and lived through the French occupation of southern Germany. As a result, the
firmly believed that a unified Germany was the only way towards prosperity and peace, but this was hindered by weak governance from various petty princes. Both brothers had developed fresh and innovative political ideas during their college years.
The brothers were fascinated by the idea that German culture was united by language and traditions, and they saw folk tales as a means of passing this culture down through generations. In their scholarly pursuits, they received a request from Bratano, which led to the sending of a manuscript containing 47 of these tales in 1810. To learn about when to avoid using complete sentences in an essay, click
here.
The Grimms anticipated Bretano's tendency to take significant poetic liberties with the tales, given that he was a poet and author who had already completed two volumes of children's stories. As a result, they made a duplicate copy for scholarly purposes. However, Bretano ultimately did not utilize the tales in any way, instead storing the original handwritten manuscripts in the Olenberg Monastery in Alsace. These manuscripts remained untouched until their rediscovery in 1920, leading to their eventual publishing in various editions in 1924, 1927, and 1974.
The cycle of revisions, which started with the monastery manuscripts and continued through the 1812 and 1857 published editions, presents an interesting aspect to the Snow White story. Jack Zipes provides translated excerpts that illustrate this point. In the Olenberg Manuscript version, Snow White shares her tale of being abandoned by her mother in the woods and taken in by dwarves who ask her to stay with them and cook while they work in the mines. She was warned about
avoiding anyone from the queen's side. Meanwhile, in the 1812 Edition, when Snow White wakes up, she is asked about her identity and how she ended up at their house.
She recounted how her mother had tried to kill her, but she was spared by the hunter. After running all day, she found herself at the dwarves' home. They had compassion on her and offered to let her stay if she would keep the house clean, cook, sew, wash, knit, and make the beds. They warned her to be cautious of the queen and to not allow anyone into the house while they were mining for gold during the day. Every evening, dinner needed to be prepared for their arrival.
In the 1812 version of Rapunzel, there was a daily arrangement between the young king and Rapunzel wherein he would be lifted up to her tower. Their life together was filled with happiness until Rapunzel noticed that her clothing no longer fit properly and sought advice from Mother Gothel. Conversely, in the 1857 edition of the story, when the prince entered the tower, Rapunzel initially felt fear but eventually became comfortable in his presence. He proposed marriage to her and she accepted, hoping that he would love her more than Mother Gothel did. However, she didn't know how to leave the tower.
The requirement is that every time the visitor arrives, they should bring a skein of silk, which will be used to make a ladder. Once the ladder is complete, the visitor can take Rapunzel away on their horse. The agreement is to meet every evening until the ladder is ready, as the old woman came during
the day. One day, while conversing, Rapunzel mentions that the Prince is much lighter than Mother Gothel. The sorceress doesn't notice any changes until this point. According to Zipes, the stories changed from choppy and unorganized to smoother transitions with more detailed descriptions.
The moral transformation of Rupunzel is noteworthy, particularly given the timeframe between 1812 and 1857. This period saw a shift from the reign of German monarch Ernest I, Duke of Saxe-Coburg-Gotha, who presided over a court known for its decadence, to the rule of his son Albert who married Victoria of England. Albert brought with him a dislike for perceived moral decay and instilled his beliefs in "family values" in Queen Victoria. By 1857, the British monarchy had become renowned as the world's leading royal family.
Albert introduced certain German customs and manners into early Victorian society, such as the use of Christmas trees (which first appeared in Victoria's household in England). It's possible that Albert's strictness stemmed from his mother's experiences with his father's affairs. The middle class of the empire emulated Albert's behavior, leading to a shift in the moral climate of Europe and influencing literature that was suitable for children (James 54). However, Albert's beliefs also spread in the opposite direction.
The paternal leniency of his father and other German princes had given way to an era of social, political and moral conservatism by 1857. Consequently, literature designed for children had to be edited in accordance with the changing times. This could be one of the reasons why the brothers modified their stories (Wientraub 144). This marks the point where the fantastical progression from hearth fire tales to nursery fables really
commences. The manuscripts from monasteries are believed to be the most authentic source material - namely, spoken stories. Nevertheless, it is unwise to make assumptions in fairyland since things are seldom as they appear, hence it would be advantageous to re-evaluate any prior conceptions we may have regarding the Grimm's sources. When I imagine collecting folk tales, I often envision early 20th century ethnologists traveling around gathering stories from rural peasants and gypsies. However, Jacob and Wilhelm's reality differed significantly.
Middle class housewives shared their stories with the Grimm brothers, who collected and revised German folk tales specifically for children. Although others also did this, the Grimms' tales reign as the most popular in the Western world. Jack Zipes, in the introduction to his translation of the Grimm's tales, notes that many captivating storytellers gathered in Jacob and Wilhelm's parlor.
A group of about ten women from the Wilde and Hassenflug families regularly met in Kessel to tell stories. They eventually collected tales from various sources such as a tailor's wife, an old soldier who received cast off clothing as payment, and Werner von Haxthausen, a minor noble and his highborn acquaintances. These acquaintances shared stories they were told by nurses and governesses during their upbringing. In addition to this, the Grimms also adapted stories they found in books and magazines to their liking.
(xxiv) The meticulous and prolific scholarship of the Brother's Grimm allowed for the transformation of folktales into fairy tales. Though initially unpopular in Germany, their tales have become the most republished and enduring in the world of children's literature for over 150 years, despite criticism, deconstruction, psychoanalysis, and political correctness. While the tales
have been subject to scrutiny for their inclusion of Christian moral values, protestant work ethic, and violence, they also depict social injustices and opportunities for self-determination, as seen in Puss In Boots and Sweetheart Roland. These stories reflect the concerns and contradictions of their time.
Despite being rewritten and retold to suit modern preferences, the Grimm's original versions of folktales provide a glimpse into their historical significance. They demonstrate how these tales have evolved over time, from being told around a fire to inspiring Disney's Snow White in all its glory.
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