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92-401: " Golden Treasure " is a literary fairy tale by Danish poet and author Hans Christian Andersen (1805 – 1875). On June 10, 1866, Andersen wrote in his diary that he "went home and worked on Golden Treasure , and my spirits were high again." There are children born with extraordinary qualities very definite, and this is the case of Peter, who has a great ability for music, especially for

184-465: A Chinese Studio (published posthumously, 1766), which has been described by Yuken Fujita of Keio University as having "a reputation as the most outstanding short story collection." The fairy tale itself became popular among the précieuses of upper-class France (1690–1710), and among the tales told in that time were the ones of La Fontaine and the Contes of Charles Perrault (1697), who fixed

276-499: A fixed form, and regardless of literary influence, the tellers constantly altered them for their own purposes. 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

368-418: A folklore, Aarne–Thompson–Uther Index 300–749,—in a cataloguing system that made such a distinction—to gain a clear set of tales. 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. Were I asked, what

460-862: A literary variant of fairy tales such as Water and Salt and Cap O' Rushes . 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), which contains many fairy tales in its inset tales, and the Neapolitan tales of Giambattista Basile (Naples, 1634–36), which are all fairy tales. Carlo Gozzi made use of many fairy tale motifs among his Commedia dell'Arte scenarios, including among them one based on The Love For Three Oranges (1761). Simultaneously, Pu Songling , in China, included many fairy tales in his collection, Strange Stories from

552-427: A man-eating tiger with her own hand." 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. Some authors seek to recreate a sense of the fantastic in a contemporary discourse. Some writers use fairy tale forms for modern issues; this can include using the psychological dramas implicit in

644-720: A mask on a human face, as in fables . 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. 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 . Steven Swann Jones identified

736-494: A monumental work called Le Cabinet des Fées , an enormous collection of stories from the 17th and 18th centuries. 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) remains a treasure for folklorists, they rewrote

828-451: A picture book aimed at children in which a princess rescues a prince, Angela Carter 's The Bloody Chamber , which retells a number of fairy tales from a female point of view and Simon Hood's contemporary interpretation of various popular classics. 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

920-506: A preliminary analysis of some 40 tale "formulae" as introduction to his book of Greek and Albanian folktales , published in 1864. Reverend Sabine Baring-Gould , in 1866, translated von Hahn's list and extended it to 52 tale types, which he called "story radicals" . Folklorist J. Jacobs expanded the list to 70 tale types and published it as "Appendix C" in Burne & Gomme 's Handbook of Folk-Lore . Before

1012-645: 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." 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. Although

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1104-571: 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

1196-461: A time " rather than in actual times. Fairy tales occur both in oral and in literary form ( literary fairy tale ); 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. The history of

1288-481: A time ", this tells us that 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 French writers and adaptors of the conte de fées genre often included fairies in their stories; the genre name became "fairy tale" in English translation and "gradually eclipsed

1380-495: A version intended for children. 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." Psychoanalysts such as Bruno Bettelheim , who regarded

1472-539: A world where all the fairy tales take place, and the characters are aware of their role in the story, 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. 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 ,

1564-409: 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 (which generally involve belief in

1656-405: Is a fairytale? I should reply, Read Undine : that is a fairytale   ... of all fairytales I know, I think Undine the most beautiful. As Stith Thompson points out, talking animals and the presence of magic seem to be more common to the fairy tale than fairies themselves. However, the mere presence of animals that talk does not make a tale a fairy tale, especially when the animal is clearly

1748-451: Is best known today. The Brothers Grimm titled their collection Children's and Household Tales and rewrote their tales after complaints that they were not suitable for children. In the modern era, fairy tales were altered so that they could be read to children. The Brothers Grimm concentrated mostly on sexual references; Rapunzel , in the first edition, revealed the prince's visits by asking why her clothing had grown tight, thus letting

1840-406: Is in its essence only one aspect of the collective unconscious as well as always representing also the whole collective unconscious. Other famous people commented on the importance of fairy tales, especially for children. For example, G. K. Chesterton argued that "Fairy tales, then, are not responsible for producing in children fear, or any of the shapes of fear; fairy tales do not give the child

1932-409: 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

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2024-630: Is that the fairy tale has ancient roots, older than the Arabian Nights collection of magical tales (compiled circa 1500 AD), 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. In the broader definition of the genre,

2116-469: 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 . 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. Before the definition of

2208-477: The historic-geographic method of comparative folkloristics , and developed the initial version of what became the Aarne–Thompson tale type index for classifying folktales , first published in 1910 as Verzeichnis der Märchentypen ("List of Fairy Tale Types"). The system was based on identifying motifs and the repeated narrative ideas that can be seen as the building-blocks of traditional narrative; its scope

2300-406: The motifs by which they are classified. Furthermore, Propp contended that using a "macro-level" analysis means that the stories that share motifs might not be classified together, while stories with wide divergences may be grouped under one tale type because the index must select some features as salient. He also observed that although the distinction between animal tales and tales of the fantastic

2392-507: The online resource links at the end of this article.) As an example, the entry for 510A in the ATU index (with cross-references to motifs in Thompson's Motif-Index of Folk Literature in square brackets, and variants in parentheses) reads: 510A Cinderella . (Cenerentola, Cendrillon, Aschenputtel.) A young woman is mistreated by her stepmother and stepsisters [S31, L55] and has to live in

2484-409: 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

2576-470: 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

2668-466: 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. The rural, illiterate, and uneducated peasants, if suitably isolated, were the folk and would tell pure folk tales. Sometimes they regarded fairy tales as a form of fossil, the remnants of a once-perfect tale. However, further research has concluded that fairy tales never had

2760-607: The Aarne–Thompson–Uther (ATU) classification system and included more tales from eastern and southern Europe as well as "smaller narrative forms" in this expanded listing. He also put the emphasis of the collection more explicitly on international folktales, removing examples whose attestation was limited to one ethnic group. In The Folktale , Thompson defines a tale type as follows: The Aarne–Thompson Tale Type Index divides tales into sections with an AT number for each entry. The names given are typical, but usage varies;

2852-691: The Devil ) appears to date from the Bronze Age , some 6000 years ago. Various other studies converge to suggest that some fairy tales, for example the swan maiden , could go back to the Upper Palaeolithic. Originally, adults were the audience of a fairy tale just as often as children. 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

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2944-519: The Grimms' tale appears to be the only independent German variant. 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 ). Fairy tales tend to take on the color of their location, through

3036-723: The Russian Alexander Afanasyev (first published in 1866), the Norwegians Peter Christen Asbjørnsen and Jørgen Moe (first published in 1845), the Romanian Petre Ispirescu (first published in 1874), the English Joseph Jacobs (first published in 1890), and Jeremiah Curtin , an American who collected Irish tales (first published in 1890). Ethnographers collected fairy tales throughout

3128-464: The ashes as a servant. When the sisters and the stepmother go to a ball (church), they give Cinderella an impossible task (e.g. sorting peas from ashes), which she accomplishes with the help of birds [B450]. She obtains beautiful clothing from a supernatural being [D1050.1, N815] or a tree that grows on the grave of her deceased mother [D815.1, D842.1, E323.2] and goes unknown to the ball. A prince falls in love with her [N711.6, N711.4], but she has to leave

3220-408: The ball early [C761.3]. The same thing happens on the next evening, but on the third evening, she loses one of her shoes [R221, F823.2]. The prince will marry only the woman whom the shoe fits [H36.1]. The stepsisters cut pieces off their feet in order to make them fit into the shoe [K1911.3.3.1], but a bird calls attention to this deceit. Cinderella, who had first been hidden from the prince, tries on

3312-405: 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. 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

3404-435: The choice of motifs, the style in which they are told, and the depiction of character and local color. 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 ,

3496-502: The clever daughter-in-law (and variants); The travelling girl and her helpful siblings ; and Woman's magical horse , as named by researcher Veronica Muskheli of the University of Washington. In regards to the typological classification, some folklorists and tale comparativists have acknowledged singular tale types that, due to their own characteristics, would merit their own type. Although such tales often have not been listed in

3588-399: The color in them, triggered their child's imagination as they read them. Jungian Analyst and fairy tale scholar Marie Louise Von Franz interprets fairy tales based on Jung's view of fairy tales as a spontaneous and naive product of soul, which can only express what soul is. That means, she looks at fairy tales as images of different phases of experiencing the reality of the soul. They are

3680-452: 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. Fairy tales with very similar plots, characters, and motifs are found spread across many different cultures. Many researchers hold this to be caused by

3772-418: 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." 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

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3864-503: 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. 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

3956-525: 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. Aarne%E2%80%93Thompson%E2%80%93Uther Index Austrian consul Johann Georg von Hahn devised

4048-403: The drum. He uses it in the war when he grows up, accompanying him in his heart when is in love and too when his reputation grows, leading to fame and wealth. This article about children's literature is a stub . You can help Misplaced Pages by expanding it . Fairy tale A fairy tale (alternative names include fairytale , fairy story , household tale , magic tale , or wonder tale )

4140-408: The economy and concision of the 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 news 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

4232-470: The edition of Antti Aarne 's first folktale classification, Astrid Lunding translated Svend Grundtvig 's system of folktale classification. This catalogue consisted of 134 types, mostly based on Danish folktale compilations in comparison to international collections available at the time by other folklorists, such as the Brothers Grimm 's and Emmanuel Cosquin 's. Antti Aarne was a student of Julius Krohn and his son Kaarle Krohn . Aarne developed

4324-667: The extensive body of sexual and 'obscene' material", and that – as of 1995 – "topics like homosexuality are still largely excluded from the type and motif indexes." In an essay, Alan Dundes also criticized Thompson's handling of the folkloric subject material, which he considered to be "excessive prudery" and a form of censorship. The ATU folktype index has been criticized for its apparent geographic concentration on Europe and North Africa, or over-representation of Eurasia and North America. The catalogue appears to ignore or under-represent other regions. Central Asian examples include: Yuri Berezkin  [ ru ] 's The captive Khan and

4416-433: The fairy tale Momotarō . Jack Zipes has spent many years working to make the older traditional stories accessible to modern readers and their children. Many fairy tales feature an absentee mother, as an example " Beauty and the Beast ", " The Little Mermaid ", " Little Red Riding Hood " and " Donkeyskin ", where the mother is deceased or absent and unable to help the heroines. Mothers are depicted as absent or wicked in

4508-403: 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. The term itself comes from the translation of Madame D'Aulnoy's Conte de fées , first used in her collection in 1697. Common parlance conflates fairy tales with beast fables and other folktales, and scholars differ on the degree to which

4600-453: 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 . Fairy tales, and works derived from fairy tales, are still written today. The Jatakas are probably the oldest collection of such tales in literature, and

4692-655: 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

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4784-766: The first famous Western fairy tales are those of Aesop (6th century BC) in ancient Greece . Scholarship points out that Medieval literature contains early versions or predecessors of later known tales and motifs, such as the grateful dead , The Bird Lover or the quest for the lost wife. Recognizable folktales have also been reworked as the plot of folk literature and oral epics. 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." King Lear can be considered

4876-503: The forms of Sleeping Beauty and Cinderella . 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. 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

4968-460: 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 . 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,

5060-485: The genres are now regarded as distinct. 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 . The oldest forms, from Panchatantra to the Pentamerone , show considerable reworking from the oral form. The Grimm brothers were among the first to try to preserve the features of oral tales. Yet

5152-497: The greater part of the rest are demonstrably more than a thousand years old. It is certain that much (perhaps one-fifth) of the popular literature of modern Europe is derived from those portions of this large bulk which came west with the Crusades through the medium of Arabs and Jews. Folklorists have classified fairy tales in various ways. The Aarne–Thompson–Uther Index and the morphological analysis of Vladimir Propp are among

5244-641: 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), or the Panchatantra ( India 3rd century BC), 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. What they do show

5336-500: The idea of the evil or the ugly; that is in the child already, because it is in the world already. Fairy tales do not give the child his first idea of bogey. What fairy tales give the child is his first clear idea of the possible defeat of bogey. The baby has known the dragon intimately ever since he had an imagination. What the fairy tale provides for him is a St. George to kill the dragon." Albert Einstein once showed how important he believed fairy tales were for children's intelligence in

5428-560: The international folktale system, they can exist in regional or national classification systems. A quantitative study published by folklorist S. Graça da Silva and anthropologist J.J. Tehrani in 2016, tried to evaluate the time of emergence for the "Tales of Magic" (ATU 300–ATU 749), based on a phylogenetic model. They found four of them to belong to the Proto-Indo-European stratum of magic tales. Ten more magic tales were found to be current throughout

5520-404: The issues of the day. In the 1630s, aristocratic women began to gather in their own living rooms, salons, 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

5612-521: The literary forms, there is no pure folktale, and each literary fairy tale draws on folk traditions, if only in parody. 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. 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,

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5704-458: The more general term folk tale that covered a wide variety of oral tales". Jack Zipes also attributes this shift to changing sociopolitical conditions in the seventeenth and eighteenth centuries that led to the trivialization of these stories by the upper classes. Roots of the genre come from different oral stories passed down in European cultures. The genre was first marked out by writers of

5796-405: 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

5888-476: The most notable. Other folklorists have interpreted the tales' significance, but no school has been definitively established for the meaning of the tales. Some folklorists prefer to use the German term Märchen or "wonder tale" 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

5980-500: The most popular contemporary versions of tales like " Rapunzel ", " Snow White ", " Cinderella " and " Hansel and Gretel ", however, some lesser known tales or variants such as those found in volumes edited by Angela Carter and Jane Yolen depict mothers in a more positive light. Carter's protagonist in The Bloody Chamber is an impoverished piano student married to a Marquis who was much older than herself to "banish

6072-401: The original index. He points out that Thompson's focus on oral tradition sometimes neglects older versions of stories, even when written records exist, that the distribution of stories is uneven (with Eastern and Southern European as well as many other regions' folktale types being under-represented), and that some included folktale types have dubious importance. Similarly, Thompson had noted that

6164-530: The presence of fairies and/or similarly mythical beings (e.g., elves , goblins , trolls , giants, huge monsters, or mermaids) 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. Nevertheless, to select works for his analysis, Propp used all Russian folktales classified as

6256-435: The presence of magic as the feature by which fairy tales can be distinguished from other sorts of folktales. Davidson and Chaudri identify "transformation" as the key feature of the genre. From a psychological point of view, Jean Chiriac argued for the necessity of the fantastic in these narratives. In terms of aesthetic values, Italo Calvino cited the fairy tale as a prime example of "quickness" in literature, because of

6348-654: The primary protagonist, for instance The Quest for a Lost Bride (400) or the Animal Bride (402). Subtypes within a tale type are designated by the addition of a letter to the AT number, for instance: tale 510, Persecuted Heroine (renamed in Uther's revision as Cinderella and Peau d'Âne ["Cinderella and Donkey Skin"]), has subtypes 510A, Cinderella , and 510B, Catskin (renamed in Uther's revision as Peau d'Asne [also "Donkey Skin"]). (See other examples of tale types in

6440-462: 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." 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. The anime Magical Princess Minky Momo draws on

6532-495: 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

6624-469: The same tale type number may be referred to by its central motif or by one of the variant folktales of that type, which can also vary, especially when used in different countries and cultures. The name does not have to be strictly literal for every folktale. For example, The Cat as Helper (545B) also includes tales where a fox helps the hero. Closely related folktales are often grouped within a type. For example, tale types 400–424 all feature brides or wives as

6716-406: The shoe and it fits her. The prince marries her. Combinations: This type is usually combined with episodes of one or more other types, esp. 327A, 403, 480, 510B, and also 408, 409, 431, 450, 511, 511A, 707, and 923. Remarks: Documented by Basile, Pentamerone (I,6) in the 17th century. The entry concludes, like others in the catalogue, with a long list of references to secondary literature on

6808-445: The simpler riddle might argue greater antiquity. Folklorists of the "Finnish" (or historical-geographical) school attempted to place fairy tales to their origin, with inconclusive results. 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

6900-431: The spectre of poverty". The story is a variant on Bluebeard , a tale about a wealthy man who murders numerous young women. Carter's protagonist, who is unnamed, describes her mother as "eagle-featured" and "indomitable". Her mother is depicted as a woman who is prepared for violence, instead of hiding from it or sacrificing herself to it. The protagonist recalls how her mother kept an "antique service revolver" and once "shot

6992-723: 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. 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 ,

7084-516: The stories printed under the Grimm name have been considerably reworked to fit the written form. Literary fairy tales and oral fairy tales freely exchanged plots, motifs, and elements with one another and with the tales of foreign lands. 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

7176-456: 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. 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

7268-443: 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

7360-575: The tale type index might well be called The Types of the Folk-Tales of Europe, West Asia, and the Lands Settled by these Peoples . However, Dundes notes that in spite of the flaws of tale type indexes (e.g., typos, redundancies, censorship, etc.; Author Pete Jordi Wood claims that topics related to homosexuality have been excluded intentionally from the type index. Similarly, folklorist Joseph P. Goodwin states that Thompson omitted "much of

7452-477: The tale, and variants of it. In his essay "The motif-index and the tale type index: A critique", American folklorist Alan Dundes explains that the Aarne–Thompson indexes are some of the "most valuable tools in the professional folklorist's arsenal of aids for analysis". The tale type index was criticized by V. Propp of the Russian Formalist school of the 1920s for ignoring the functions of

7544-469: The tales in later editions to make them more acceptable, which ensured their sales and the later popularity of their work. 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 "

7636-403: The tales that servants, or other women of lower class, would tell to children. 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. Among the late précieuses , Jeanne-Marie Leprince de Beaumont redacted a version of Beauty and the Beast for children, and it is her tale that

7728-569: The term "fairy tale" or "fairy story" can also mean any far-fetched story or tall tale ; it is used especially to describe any story that not only not true, but also could not possibly be true. Legends are perceived as real within their culture; 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

7820-530: 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. 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 . Two theories of origins have attempted to explain

7912-531: The veracity of the events described) 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 . In less technical contexts, the term is also used to describe something blessed with unusual happiness, as in "fairy-tale ending" (a happy ending ) or "fairy-tale romance ". Colloquially,

8004-417: 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. On the other hand, in many respects, violence‍—‌particularly when punishing villains‍—‌was increased. Other, later, revisions cut out violence; J.   R.   R.   Tolkien noted that The Juniper Tree often had its cannibalistic stew cut out in

8096-605: 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 . They also encouraged other collectors of fairy tales, as when Yei Theodora Ozaki created a collection, Japanese Fairy Tales (1908), after encouragement from Lang. Simultaneously, writers such as Hans Christian Andersen and George MacDonald continued

8188-466: Was European. The American folklorist Stith Thompson revised Aarne's classification system in 1928, enlarging its scope, while also translating it from German into English. In doing so, he created the "AT number system" (also referred to as "AaTh system") which remained in use through the second half of the century. Another edition with further revisions by Thompson followed in 1961. According to American folklorist D.L. Ashliman , The AT-number system

8280-562: Was basically correct – no one would classify " Tsarevitch Ivan, the Fire Bird and the Gray Wolf " as an animal tale, just because of the wolf – it did raise questions because animal tales often contained fantastic elements, and tales of the fantastic often contained animals; indeed a tale could shift categories if a peasant deceived a bear rather than a devil. In describing the motivation for his work, Uther presents several criticisms of

8372-414: Was thus rejected, and the tale of Little Briar Rose , clearly related to Perrault's " 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. This consideration of whether to keep Sleeping Beauty reflected a belief common among folklorists of

8464-455: Was updated and expanded in 2004 with the publication of The Types of International Folktales: A Classification and Bibliography by German folklorist H.-J. Uther . Uther noted that many of the earlier descriptions were cursory and often imprecise, that many "irregular types" are in fact old and widespread, and that "emphasis on oral tradition " often obscured "older, written versions of the tale types". To remedy these shortcomings Uther developed

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