WIKIPEDIA

Fairy tale
A fairy tale is a fictional story that may contain folkloric characters—such as fairies, goblins, elves, witches, ogres, unicorns, mermaids,
trolls, giants, gnomes, and talking animals—and involve enchantments, usually
depicted as an implausible sequence of events. In contemporary language, as well as
outside of literary context, the term is used to describe something that is linked to
princesses. Thus, there are expressions such as "a fairy-tale ending"—a happy
ending—1 or "a fairy-tale romance," although not all narratives of this kind end with
a happy ending. Similarly, in colloquial terms, a "fairy tale" can be associated with
any bizarre and extraordinary story. Generally, this type of story tends to attract
young children, as they quickly and easily connect with the archetypal characters in
each story.

In cultures where demonshttps://es.wikipedia.org/wiki/Demonio and

witcheshttps://es.wikipedia.org/wiki/Brujer%c3%ada are perceived as

real beings, fairy tales can mimic the genre of legends, in which the context is
perceived, both by the narrator and by the listeners, as if it were a historical reality.
However, unlike legends and epics, which tend to have superficial references to
religion and real places, people and events, these types of stories take place in an
indefinite period ("Once upon a time", "Once upon a time") rather than at a precise
Illustration by Carl Ofterdinger from the
moment.2
European fairy tale Little Red Riding Hood.
Fairy tales are found either in oral or literary form. Trying to accurately detail its historical development is a difficult task, since only the
written forms have been able to survive over time. However, written evidence at least gives some indication that fairy tales have existed for
thousands of years, although perhaps not originally recognized as a genre in their own right; the term "fairy tale" was applied to them
following the work of Madame d'Aulnoy, who proposed the French-language designation "Contes des Fées". Many of these tales have
evolved into the form in which they are known today from stories hundreds of years old, appearing with multiple variants and collected by
folklorists.3 Even fairy tales and works derived from the same genre continue to be written. Folklorists have classified fairy tales in a variety
of ways; among the most notable groupings are the Aarne-Thompson system and the morphological analysis of the scholar Vladimir Propp.
On the other hand, other folklorists have interpreted the meaning of the tales, but there is no intellectual movement that has addressed the
meaning of this type of stories.

Although the earliest fairy tales were intended primarily for adult audiences, and to a lesser extent for children, they began to be associated
with infants with the writings of the Preachers. Since the Brothers Grimm titled their collection Kinder- und Hausmärchen (trans. literal:
"Tales of children and home"), the bond with children has been strengthened over the years.

Index
Characteristic features
Evolution of the term
Folklore and written versions
History
Antiquity, Middle Ages and Renaissance
Modernity and Contemporary Age
Contemporary versions
Literature
Cinema
Oral Transmission and Other Theories on the Origin of Fairy Tales
Bond with children
 Rankings
Aarne-Thompson
Morphology
Interpretations
See also
Authors
Sources
References
Literature
Further reading
External links

Characteristic features
Although the fairy tale is clearly a distinctive genre, the definition of a work as a fairy tale is a source of controversy. 4 Vladimir Propp, in
his Morphology of the Fairy Tale, criticized the distinction between "fairy tales" and "animal tales" on the grounds that many tales contain
both fantastic elements and animals. 5 However, in selecting works for his analysis, Propp used all the Russian folktales classified in the set
of types 300–749 in the Aarne–Thompson classification system—in an attempt to provide them with a distinction—to properly establish a
new group of tales. 6 His own work identified fairy tales by plot elements, although he has been criticized on the grounds that his analysis is
not easily applicable to tales that do not involve a quest, and furthermore, the same plot elements can be found in works that are not
considered fairybookmark9 tales.

One point on which there is general consensus is that the nature of a tale does not depend on whether fairies appear in it. Many people,
including Angela Carter in her introduction to the Virago Book of Fairy Tales, have observed that a large proportion of so-called fairy tales
do not contain the aforementioned fairy creatures.8 This is partly due to the history of the English term "fairy tale," which derives from the

French phrase "conte de fées" and was first used in Madame D'Aulnoy's collection in 1697.9bookmark11

As Stith Thompson and Carter note, talking animals and the presence of magic seem to be more common in the genre than fairies
themselves. 0 However, the mere presence of talking animals does not turn a story into a fairy tale, especially when the animal is clearly a
mask for a human face, as happens in fables.11 In his essay On Fairy Tales, J. R. R. Tolkien agreed to exclude "fairies" from the definition,
conceiving of fairy tales as stories about the adventures of men in "Faerie," the land of fairies, princes and princesses, dwarves, elves, and
not only magical species but many other wonders.12 Despite this, the essay omits tales that are considered fairy tales, such as The Heart of a

Monkey, included in Andrew Lang's The Purple Book of Fairy Tales.11bookmark13https://es.wikipedia.org/wiki/Andrew_Lang

Steven Swann Jones considered magic to be the characteristic that allows fairy tales to be distinguished from other types of narratives. 13 In
turn, Davidson and Chaudri identified "transformation" as the main feature of the genre. 14 From a psychological point of view, Jean Chiriac

stressed the need for fantastic elements in this type of narrative. 5bookmark17
 Some folklorists prefer to use the German term "Märchen" (trans. lit: "wonder tale") 14 to
refer to the genre, a practice reinforced by Thompson's definition in his

1977https://es.wikipedia.org/wiki/1977 edition of The Folktale: "a tale of some

length involving a succession of motifs or episodes. It moves in an unreal world, without
defined locations or creatures and is full of wonderful things. In this never-never land,
humble heroes slay their adversaries, inherit kingdoms, and marry princesses. 16 The
characters and motifs of fairy tales are simple and archetypal: princesses, young sons and
brave princes, ogres, giants, dragons, trolls, wicked stepmothers and false heroes, fairy
godmothers and other magical helpers, often horses, foxes, or talking birds, glass
mountains, as well as prohibitions and the breaking of restrictions. 17 Other features of
fairy tales—the rhythmic, the grotesque, the bizarre, and the humorous—are mere
recreation for the joy of children, while dangers and terrors inspire fascination. Fairy tales
are the stage of the world of childhood, a realm of vicarious life, more elemental and
freely replete with fantasy than the perfectionist dramas of sophisticated adults whose
ingrained acceptance of binding realities demands more severe things. Italo Calvino cited
The Russian tale Tsarevich Ivan,
fairy tales as the prime example of "vividness" in
the Firebird and the Gray Wolf
contains no fairies, but a talking literaturehttps://es.wikipedia.org/wiki/Literatura, due to the brevity and
wolf. consistency of their stories.1 8

Evolution of the term

According to author Rosemary Jackson, in her work Fantasy: the literature of subversion, fairy tales differ from fantastic stories in narrative
matters, as they are neutral, impersonal and offer a context separate from the reader's perspective. The reader of this type of stories becomes
a passive recipient of a series of events that happen to the protagonist without allowing his involvement in the story, while fantastic stories
question the moral and social principles of the characters and the reader at the same time, amidst a combination of elements such as
romance and nostalgia, among others.19 In turn, the writer Tzvetan Todorov offers a distinction of the genre in his book The fantastic: a
structural approach to a literary genre, where he highlights the writing style of fairy tales as one of its characteristic features that allows to
distinguish the genre from fantastic stories; in particular, he refers to the structure of the plots2s0.

At first, the stories we now classify as fairy tales were only one type of tale and were not conceived as an independent genre. The German
term "Märchen" literally means "tale," so it is not intended to refer to a specific type of work. It was not until the Renaissance literature that
the genre began to be defined, as writers of this period began to delimit a classification of tales that was consolidated through the works of
many other writers, to become an unquestionable genre with the writings of the Grimm brothers. 21 In this process of consolidation, the
artists of Precioussism coined the specific term that would identify the genre at the same time that they began to write fairy tales
themselves; the name comes specifically from Madame d'Aulnoy, who proposed the label "contes de fée".22

Before the fantasy genre was defined, many works usually classified as fantasy stories were classified as fairy tales, including Tolkien's The
Hobbit, George Orwell's Animal Farm, Lyman Frank Baum's The Wonderful Wizard of Oz, and Henry James's The Turn of the Screw. 23
Fairy-Stories contains
Indeed, Tolkien's On discussions of worldbuilding, reflections that are considered a vital part of fantasy

criticism.https://es.wikipedia.org/wiki/Pa%c3%ads_imaginario Although fantasy, particularly in the "fairy tale fantasy"

subgenre, draws heavily on fairy tale motifs,24 the two genres are now appreciated as distinct sections.

Folklore and written versions

The fairy tale, in its oral expression, is one of the manifestations of the folk tale. In fact,
fairy tales coexist in oral tradition with other types of narratives such as epics, legends or
myths, and as such they have no author; these are stories that were not initially aimed at
children, as they were more of an anecdotal nature (that is, they told of things that
happened in villages or forests, as well as the dreams and ambitions of the lower classes)
and which were possibly distorted by oral transmission with the addition of the fantastic.
Several writers have also produced tales in the genre, which are referred to by the German
word Kunstmärchen ("literary fairy tales").9 The oldest forms, from the Hindu classic
Pancha-tantra to the Pentameron, show a considerable reworking of oral forms. 25 The
Brothers Grimm were among the first to attempt to preserve the characteristics of oral
records. Even the stories printed under his authorship have been edited on more than one

occasion to adapt them to the written form2bookmark28.6

Both types of fairy tales, in their written and oral forms, freely exchanged plots, motifs
and elements with each other, as well as with other foreign tales. 27 Several 18th- An illustration of Mother Goose by
centuryhttps://es.wikipedia.org/wiki/Siglo_XVIII folklorists attempted to Gustave Doré, where the character is
reading fairy tales to a group of
recover "pure" folklore that had not yet been affected by written versions. Although
children.
evidence points to the existence of oral tales thousands of years before written forms, there
are no known tales that bear any remnants of "pure folklore." It should be noted that every literary fairy tale is inspired by popular
traditions, even if this is only evident in parody;28 therefore, this makes it impossible to trace the forms of transmission of a fairy tale. In
addition, it is known that people who tell such stories orally read fairy tales in written form, in order to increase their number of stories and
interpretations.29 Today, there are oral storytellers who are trained to tell stories aloud, whether they are tales by contemporary authors or
popular tales, such as fairy tales.30 31

History

Antiquity, Middle Ages and Renaissance

The oral tradition of fairy tales came long before the written form; initially, stories were
told or broadcast in front of an audience in a theatrical form by the narrator, rather than
being written down, and were passed down from generation to generation. Because of
this, analysis of their historical development is notoriously confusing. 32 The oldest known
written fairy tales originated in Ancient Egypt, around 1300 BC. C. (for example, the
Tale of the Two Brothers),33 reappearing from time to time in the written literature of
literate cultures. Examples of this can be found in the Roman author Apuleius and his
work The Golden Ass, which includes the story "Cupid and Psyche" (Ancient Rome, 100-
200 AD). C);34 there is also the collection of Indian fables entitled Panchatantra (India,
200-300 AD). C.) as an example of the fairy tale in antiquity. 34 However, it is unknown to
what extent these reflect true traditional tales, even from their own time. Stylistic
evidence indicates that these works, along with many later collections, reworked folk
tales in ways that made them suitable for written form. 25 What they show is that the fairy
tale has ancient roots, even surpassing in antiquity the collection of magical tales The
Thousand and One Nights (compiled c. 1500 AD). C.), 34 which includes Baital Pachisi
and the Story of Bel and the Dragon.

An illustration by Ivan Bilibin from the

Russian fairy tale about Vasilisa the
Beautiful.
In addition to these collections and individual tales, in China, the work of Lie Zi and the philosopher Zhuangzi, both belonging to the Taoist
system, included or disseminated fairy tales.35 In the broadest definition of the genre, the first Western fairy tales to achieve notoriety are
those of Aesop (6th century BC). C.) In Ancient Greece, although in a stricter sense, Aesop's narratives are fables or apologues.

Fairy tale allusions predominate in medieval collections such as Geoffrey Chaucer's Canterbury Tales, or as early as the Renaissance in
Edmund Spenser's epic poem The Faerie Queene and the playscripts of William Shakespeare.36 Like The Water and the Salt and Cap O'
Rushes, King Lear can be considered a literary variant of the fairy tale. 37 The story itself reappeared in Western literature in the 16th and
17th centuries, with Giovanni Francesco Straparola's (Italy, 1550 and 1553) collection Nights of Pleasure,34 which contains several fairy
tales in its narratives,34 and Giambattista Basile's (Naples, 1634–36) Neapolitan Tales,34 all of which belong to the genre.38 Carlo Gozzi
made use of several motifs from the genre in his commedia dell'arte scenarios, 39 including one based on The Love Forever. Three Oranges
40
(1761), written by Basile. Simultaneously, Pu Songling, in China, included several fairy tales in his collection, Strange Stories from a
Chinese Studio (published posthumously in 1766). 35 The fairy tale became popular among the upper-class French preciosists (1690–1710),
34
and among the tales told at that time were those of Jean de La Fontaine and the Contes of Charles Perrault (1697), who stabilized The

Sleeping Beauty and Cinderella in their present forms. https://es.wikipedia.org/wiki/171041 Although the collections of Straparola,
Basile, and Perrault contain the earliest known forms of several fairy tales, on stylistic evidence all of

https://es.wikipedia.org/wiki/1697the writers rewrote the tales to give them literary effect. 42bookmark44

Modernity and Contemporary Age

Following the precedents of Johann Karl August Musäus and Benedikte Naubert, the Brothers Grimm, together with their contemporary
Franz Xaver Schönwerth, who preserved some five hundred fairy tales, became the first collectors to attempt to preserve not only the plots
and characters of the tales, but also their style, when compiling German fairy tales. Ironically, although their first editions (1812 and 1815)34
remain a treasure for folklorists, both found it necessary to rewrite the tales in later editions to make them more acceptable, something that

ensured them good sales and the subsequent popularity of their works4bookmark45.3

These written forms, in addition to extracting features from ancient folk tales, influenced
the folklore stories of that period. The Grimm brothers rejected several tales for their
collection, although they heard many others from Germans, because the tales were derived
from Perrault. In the end, they concluded that they were French tales and not German. They
therefore rejected an oral version of Bluebeard and instead decided to incorporate the tale
Dornröschen, which was clearly related to Perrault's Sleeping Beauty, since Jakob Grimm
had convinced his brother that the figure of Brunnhilde proved that the story of the sleeping
44
princess belonged to German folklore. This question about the origin of Sleeping Beauty
reflected a common belief among 19th-century folklorists: that fairy tales were preserved in
ancient forms in folk tradition, except when these had been "contaminated" by written
forms, which led people to tell inauthentic or "contaminated" tales. 45 Since the people
were seen as "illiterate and conveniently isolated hermits," German folklorists told them
pure folk tales, including fairy tales. 46 Sometimes they regarded fairy tales as a form of "fossil";
For them, each tale of the genre was the residue of what had once been a perfect tale. 47
However, later research has concluded that fairy tales never had a fixed form, and
Puss in Boots, engraving by
regardless of literary influence, oral storytellers constantly altered them for their own Gustave Doré.
purposes.4s8bookmark50bookmark49
The work of the Grimm brothers influenced other collectors, inspiring them to select tales and to believe in a spirit of romantic nationalism
that the fairy tales of a country were particularly representative of that country, to the point of questioning any external cultural influence on
their content. Among those influenced were the Russian Alexander Afanasiev (whose legacy began to be published in 1866),34 the
Norwegians Peter Christen Asbjørnsen and Jørgen Moe (in 1845),34 the Romanian Petre Ispirescu (in 1874), the Englishman Joseph Jacobs
(in 1890)34 and Jeremiah Curtin, an American who collected Irish tales, beginning in 1890. 28 Some ethnographers collected fairy tales from
around the world, finding similar tales in Africa, America and Australia. Andrew Lang was able to draw not only on written tales from
Europe and Asia but also on those collected by ethnographers to complete a series of fairy books that were characterized by being made up
49
of episodes that made reference to different colors (such as The Blue Book of Fairies, The Green Book of Fairies, among others).
Furthermore, the Grimms encouraged other collectors of fairy tale, such as Yei Theodora Ozaki's collection, Japanese Fairy Tales (1908),
created with Lang's encouragement. 50 At the same time, writers such as Hans Christian Andersen and George MacDonald continued the fairy
tale tradition in written form. Andersen's work was sometimes based on older folk tales, although more often he used motifs and plots from
51
the genre to create new stories. MacDonald also incorporated fairy tale motifs into new stories, such as The Princess of Light, and into
52
works of the genre that would become fantasy, such as The Princess and the Goblin and Lilith. A case that complicates the task of
specifying the features of the fairy tale is the work The Turn of the Screw, which some critics, following the author's statements that for him

the fantastic genre was closer to the fairy tale, have classified this work as a sinister fairy tale. bookmark55

Contemporary versions

Literature
In contemporary

https://es.wikipedia.org/wiki/Historia_de_la_literatura_modernaliteratur
e, many authors have turned to the fairy tale genre for a variety of reasons, including
examining the human condition from within the simple framework that a fairy tale
54
provides. Some authors seek to recreate a sense of the fantastic in a contemporary
discourse, 55
while other writers use fairy tale features to explore modern themes, 56

which may include using psychological conflicts implicitly in the story, as when Robin
McKinley adapted a new version of Donkey Skin in her novel Deerskin, which
emphasizes a father's abusive treatment of his daughter. 57 Sometimes, especially in
bookmark59
children's literature, fairy tales are reworked with a new plot twist simply for
comic effect, as with Jon Scieszka's The Stinking Cheese Man and Other Wonderfully John Bauer's illustration of trolls and a
Silly Tales and Chris Pilbeam's The ASBO Fairy princess for a Swedish collection of
fairy tales.
Tales.https://es.wikipedia.org/w/index.php?

title=Jon_Scieszka&action=edit&redlink=1 A common comic motif is a

world where elements of all fairy tales coexist, and the characters are aware of their role in the story, 58 as for example in the Shrek film
series, which is a parody of the genre.

Other authors may have more specific reasons, such as multicultural or feminist revaluations of tales dominated by Eurocentric machismo,
implying a critique of older narratives. 59 60
The figure of the damsel in

distresshttps://es.wikipedia.org/wiki/Damisela_en_apuros has been particularly attacked by many feminist critics. Examples of

narrative inversions where this figure is rejected are Robert Munschhttps://es.wikipedia.org/w/index.php?

title=Robert_Munsch&action=edit&redlink=1’s The Princess in a Paper Bag, an illustrated children’s book in which a princess
rescues a prince, or Angela Carter’s Chamber of Horrors, where several fairy tales are told from a feminist point of view, as well as the
collection of stories The Tales of Beedle the Bard, where the author uses female characters who do not require the help of men. 61 62 An
interesting use of the genre occurred in a military technology journal called Defense AT&L, which published an article in the form of a fairy
tale called Optimizing Bi-Modal Signal/Noise Ratios. Written by
American Major Dan Ward (Air Force), this story incorporates a fairy named Garble to represent the breakdowns in communication
between operators and technology developers.63 The cited article was directly influenced by George MacDonald.
Other notable figures who have used fairy tales in their works are Oscar Wilde, A. S. Byatt, Jane Yolen, Terri Windling, Donald Barthelme,
Robert Coover, Margaret Atwood, Kate Bernheimer, Espido Freire, Tanith Lee, James Thurber, Robin McKinley, Isaac Bashevis Singer,
Kelly Link, Bruce Holland Rogers, Donna Jo Napoli, Cameron Dokey, Robert Bly, Gail Carson Levine, Annette Marie Hyder, Jasper
Fforde, among many others.Chris Colfer with The Land of Tales: The Spell of Desire

It may be difficult to draw a line between fairy tales and fantasies that use fairy tale motifs, or even entire plots, but the distinction is
commonly made, even within the works of an individual author: George MacDonald's Lilith and Phantastes are considered fantasy tales,
while his works The Princess of Light, The Golden Key and The Wise Woman are classified as fairy tales. The most notable difference is

that fantasies make use of the novelistic conventions of prose, characterization, and setting bookmark65.

Cinema
Fairy tales have long been propagated histrionically; there are records of this in the

commedia dell'arte6bookmark67, 5 and later in pantomime. 66

The advent of cinema meant
that these stories could be presented in a more plausible manner through the use of
special effects and animation; Disney's film Snow White and the Seven Dwarfs, released
in 1937, became a ground-breaking film for fairy tales and indeed for the fantasy genre in
general. 67 Disney's influence went some way to establishing fairy tales as a genre for
children, although he has been criticised for making fairy tale endings positive, in
contrast to the pain and suffering ("unhappy endings") of many older fairy tales.

Scene from Snow White and the 5s7bookmark59bookmark69

Seven Dwarfs, Walt Disney's first
animated feature film released in Several fairy tales that have been filmed have been aimed primarily at children, from
December 1937. contemporary Disney projects to Aleksandr Rou's remake of Vasilisa the Beautiful, the
68
first Soviet film to use tales from Russian folklore in a big-budget production. Others
69
have used fairy tale conventions to create new stories with sentiments more relevant to modern life, as in Labyrinth, Michel Ocelot's visual

productions,70 and Andy Tennant's production Forever After.https://es.wikipedia.org/wiki/Andy_Tennant

Other works have adapted familiar fairy tales into a scarier or more psychological variant intended primarily for adults. Notable examples of

this are Jean Cocteau'shttps://es.wikipedia.org/wiki/Jean_Cocteau Beauty and the Beast71 and The Company of Wolves, based
on a retelling by Angela Carter of the popular story Little Red Riding Hood.72 Likewise, Princess

Mononoke73bookmark75https://es.wikipedia.org/wiki/La_princesa_Mononoke and Pan's

Labyrinth74bookmark76https://es.wikipedia.org/wiki/El_laberinto_del_fauno incorporated features of fairy tales based on motifs

from the genre and folklore.

The animated television series and comics The Sandman, Shōjo Kakumei Utena, Princess Tutu, Fables and MÄR all make use of
standardized fairy tale elements to varying extents, although they are considered to belong squarely in the fantasy genre due to their distinct
locations and characters, elements that a longer narrative requires. A more modern cinematic production of a fairy tale would be Luchino
Visconti's White Nights, starring the still unknown Marcello Mastroianni. The film contains several romantic conventions of the genre,
despite taking place in post-World War II Italy and featuring a more realistic ending.

Other works in which we can see fairy tales are in the series Once Upon a Time, which tells the story of fairy tale characters brought to
reality.
Oral Transmission and Other Theories on the Origin of Fairy Tales
A couple of theories about the origins of fairy tales have attempted to explain the common
elements that appear in fairy tales around the world. One holds that a single point of origin
generated a particular tale, which was then spread throughout the centuries, and the other
holds that fairy tales are derived from common human experience and may therefore
appear separately and come from many different sources. 75 Fairy tales with very similar
plots, characters, and motifs can be found in a number of different cultures. Many
researchers argue that this is a consequence of the spread of tales, as people repeat the
stories they have heard in foreign countries, although the oral nature makes it impossible
Oil painting made in 1987 and titled
to trace the route, except by inference. 76 In turn, some folklorists have tried to determine
Spiel am Morgen, translated to “Game
the origin by internal evidence, which cannot always be considered as entirely correct.
in the morning”.
Understandable; Joseph Jacobs, comparing the Scottish tale The Ridere of Riddles with the
Grimm Brothers' version, The Riddle, noticed that in the former a hero ends up married polygamously, an aspect that could derive from an

ancient custom, although in the latter, even the simplest riddle could suggest greater antiquity bookmark79.

Finnish folklorists have attempted to link fairy tales to their origins, with inconclusive results. 78 Sometimes the influence of a particular area
and time is more evident, for example if one considers the influence of Perrault's tales on the writings collected by the Grimms. Little Briar-
Rose appears to borrow elements from Sleeping Beauty, and the Grimm tale appears to be the only independent variant in Germany. 79
Similarly, the final agreement between the opening of the Grimm version of Little Red

https://es.wikipedia.org/wiki/Caperucita_RojaRiding Hood and Perrault's story indicates an influence of the latter on the former
—although the Grimm brothers' tale incorporates a different ending, probably derived from The Wolf and the Seven Goats.80

Fairy tales also tend to adopt the tone corresponding to their location through the choice of motifs, the style in which they are told, and the
descriptions of both character and region.

Bond with children

Initially, the primary audience for fairy tales was the adult population; 82 written versions of the genre originally appeared in works for
adults, although in the 19th and 20th centuries the fairy tale began to be associated with children's literature.83

The presticists, including Madame d'Aulnoy, intended their works for adults but felt that
they could have been told to the children of servants and lower-class women by their
83
mothers. Indeed, in a novel of this period, which describes the offer of a countess's
suitor to tell a tale, the countess exclaims that she loves fairy tales as much as a little girl.
84
Jeanne-Marie Leprince de Beaumont, one of the last presticists, wrote a children's
version of Beauty and the Beast, which remains the best-known version of the original
tale. 85 The Brothers Grimm, in turn, called their collection Kinder- und Hausmärchen but
were forced to rewrite their tales due to several complaints that their stories were not
suitable for child audiences. 86
iki/Blancanieves, Little Red
Riding Hood and Hansel and
Gretel.
In the contemporary age, fairy tales have been altered so that they can be read to children. The Grimm brothers concentrated mainly on
eradicating sexual references;87 in the first edition of Rapunzel the prince's visits are revealed when it is mentioned that the girl's clothes
have shrunk, allowing the witch to deduce that she has become pregnant; in subsequent editions this was altered. 88 On the other hand the
violence, especially the punishment of villains, was increased further, 89 although later others downplayed this aspect; J. R. R. Tolkien

perceived that children's versions of The Juniper Tree often excluded its cannibalistic bookmark92 tone. 9
The moralistic tendency of the
Victorian era altered classic tales into educational literature, as when George Cruikshank rewrote Cinderella in 1854 to incorporate themes
of alcohol abstinence; Charles Dickens protested: “In a utilitarian age of all ages it is extremely important that fairy tales should be
respected.”91 92 Psychoanalysts such as Bruno Bettelheim, who regarded the cruelty of old fairy tales as an indication of psychological
conflicts, strongly criticised this expurgation as it weakened their usefulness for children and adults to solve their problems on a symbolic
level. 93 Bettelheim considered in this regard: “Much can be learned from fairy tales about the problems of human beings, and the correct
bookmark94
solutions to their predicaments in any society, more than any other kind of story that is comprehensible to a child.” In his analysis,
the psychologist details that fairy tales often serve as a space for expressing the worries and terror suffered by minors, aspects that adults do

not fully understand. This helps them grow and develop better in later life. bookmark9594 95 In recent surveys, popular fairy tales have been
described as “chilling and outdated” for reading to children; the stories originally emerged with endings where the protagonist dies suddenly
due to his worries and fears, something that cannot be contemplated in early childhood pedagogy.

Adaptations of fairy tales for children continue to thrive; Walt Disney Pictures' Snow White and the Seven

Dwarfshttps://es.wikipedia.org/wiki/Snow_White_and_the_Seven_Dwarfs was aimed primarily (though not exclusively)

at the children's market,67 while the anime The Adventures of Gigi is based on the Momotarō fairy tale.97 Similarly, Jack Zipes has spent
several years working on adapting old, traditional tales in order to make them more accessible to modern readers and their children.98

In Waldorf schools, fairy tales are used in first grade as a central part of the curriculum. Rudolf Steiner's work on human development
shows that between the ages of six and seven, a child's mind learns best through storytelling, as the archetypes and magical nature of fairy
tales appeal to children of those ages. The nature of fairy tales, in the oral tradition, also enhances an infant's ability to visualize a spoken
narrative, as well as to remember the story as he or she has heard it.

Fairy tales can also be analyzed from a constructionist perspective. In “The Domain of Style” from his book Analyzing Prose, Richard
Lanham suggested that “the way we say something determines what we say.” Under this approach, fairy tales make an impression on
children's interpretations of communication and life; these types of stories convey messages to children about love, life, miracles and
happy endings. Lanham had this to say about this process: "We perceive the world both
actively and recreationally; we do not simply register a world that is 'already there.'
Perceiving the world also means putting it together, in order to give meaning to things. 99
A child's mind is young and impressionable; what they see and hear when they are small
can affect the way they will conceive life. Parents then try to provide and teach their
children everything they can, although there is certainly no manual on how to educate
children. In this way, parents can see in fairy tales a resource to show their children a
different perspective on the meanings of love, social relationships and happiness. In an
essay in Communication as…: Perspectives on Theory, John Durham Peters added:

Oil painting made in 1966 and titled

Das Tier, translated as "The Animal".
 «Parents spend a lot of money and diapers, and give a lot of kisses and orders, but they never really understand
what really works and what doesn't for a human being to develop. A lot happens in the first two years of life,
when a child can barely speak and is learning what interaction means. Feeding, raising and changing an infant
can hardly be practices of dialogue, although they are immensely communicative. If dialogue is defined as
sharing time and company, beyond a joint effort at mutual understanding, then of course the above practices are
dialogue, even though the asymmetrical nature of the interaction—a helpless and shameless love in exchange for
protection and sustenance—makes diffusion a more apt model.

100

As children, we try to block out and forget the horrors that come with growing up, so we definitely won't get the chance to experience that
same feeling again at any other point in our lives. «Forgetting is a part of learning. The revelation is relatively exceptional. Indeed, most of
what we experience in any context is not even registered in consciousness: the present moment provides just enough sensation to escape a
life of analysis.100 Fairy tales will be a source of reference for the child in the years to come; infants will turn to these types of stories to
show how they understood what they knew up to that moment and what they want to get out of life. This same genre communicates to each
person in a different way; it is up to us to express what a fairy tale conveys to us and our interpretations of it. The constructionist view tries
to understand communication through various concepts and interpretations; and like this, fairy tales have a series of different versions and
interpretations.

Rankings
Any comparison of fairy tales quickly reveals that several stories in the genre have similar
characteristics to each other. Two of the most influential classifications are that of Antti
Aarne, revised by Stith Thompson and converted into the Aarne-Thompson-Uther system,
and Vladimir Propp's work Morphology of the Short Story.

Aarne-Thompson
This system groups traditional and fairy tales based on their complete plot. Thus, common
identifying characteristics are selected to decide which stories are grouped together.

For example, tales such as Cinderella—in which a hunted heroine, with the help of a fairy
godmother or similar magical helper, attends an event (or three) where she falls in love with
a prince and is identified as his true wife—are classified as type 510, corresponding to the An illustration of Beauty and the
"hunted heroine." Also included in this classification are the stories The Wonderful Birch Beast by Walter Crane.
(Finnish version of Cinderella), Aschenputtel (German version), Katie Woodencloak
(Norwegian version), The Story of Tam and Cam (Vietnamese version), Ye Xian (Chinese
version), Cap O' Rushes (English version), Catskin (another English version), Fair, Brown and Trembling (Irish version), Finette Cendron
(French version), Allerleirauh (Grimm version), Tattercoats (English version) and Estrellita de oro (Spanish version).

A closer analysis of the stories 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 is not granted permission to attend a ball or other event, while in Fair, Brown and Trembling
and Finette Cendron she is stalked by her sisters and other female figures, and are thus classified as 510A; on the other hand, 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 located
elsewhere. The latter belong to the 510B group
. However, in Katie Woodencloak, she takes care of the housework, being stalked by her stepmother and then providing her services in a
kitchen. Finally, in Tattercoats, it is the stepfather who refuses to let the heroine go to the ball. With characteristics in common from both
divisions of the 510 group (that is, 510A and 510B), Katie Woodencloak is classified as 510A because the villain is the stepmother, while
Tattercoats is marked as 510B because the stepfather assumes the role of the protagonist's father.
However, this system has its weaknesses in the difficulty of not having a way to classify the sub-portions of a story such as the motives.
Rapunzel is a type 310 ("The Maid in the Tower"), although it begins with a girl who is required to perform certain tasks in exchange for
stolen food, just like Puddocky; however, in Puddocky there is no maid in the tower, whereas the Italian tale The Canary Prince does fall
into the type indicated, as it begins with a jealous stepmother.

Furthermore, the Aarne-Thompson system allows for a focus on common elements, to the extent that the folklorist can perceive Black Bull
of Norroway as the same story as Beauty and the Beast. The above is useful in the first instance, but it eradicates the tone and detail used in

a story1bookmark102.01

Morphology
Although Vladimir Propp specifically studied a collection of Russian fairy tales, his analysis has also been useful for the examination of

tales from other countries.1bookmark103.02

Having criticized the Aarne-Thompson analysis for ignoring the effect of motifs in stories, and because the motifs used were not entirely
clear,103 Propp analyzed the stories by the function that each character and action fulfilled, concluding that a story was composed of 31
elements and eight types of characters. Considering that not all elements are required for each of the stories, when they appeared they did so
in an invariable order —except that each individual element had to be denied twice—, so
they would appear up to three times, as when in Brother and Sister the brother refuses to
drink from enchanted fountains on two occasions, and it is on the third attempt that he is
enchanted.104

One such element is the fairy godmother who provides magical assistance to the hero,
sometimes testing him.105 In The Golden Bird, the talking wolf tests the hero by warning
him not to enter an inn and, after he succeeds, helps him find the object of his quest; in The
Boy Who Drew Cats, the priest advises the hero to stay in small places at night, which
should protect him from an evil spirit; in Cinderella, the fairy godmother gives Cinderella
the dress she needs to attend the ball, just as the spirits of her mothers do in Bawang Putih
Bawang Merah and The Wonderful World.
Birch; In The Fox Sister, a Buddhist monk gives the siblings magic bottles so they can use
them to protect themselves against the spirit of a wolf. However, sometimes the roles can
seem more complicated.106 Such is the case in The Red Ettin, where the spotlight is divided Father Frost acts as a fairy godmother
in the Russian fairy tale Father Frost,
between the mother – who offers the hero the whole of a travelling cake with her curse or
testing the heroine before giving her
half with her blessing – and when he takes half, a fairy supports him with advice; in Mr
his riches.
Simigdáli, the sun, moon and stars give the heroine a magical gift. Furthermore, characters
who do not always act as fairy godmothers can take on such a role. 107 In Kallo and the Goblins, the villainous goblins also give the heroine
gifts, although they are actually fake; in Schippeitaro, the antagonistic cats reveal their secret to the hero, giving him the means to defeat
them. Even in other fairy tales, such as The Story of the Youth Who Went Forth to Learn What Fear Was, there is no fairy godmother.
Analogies have been drawn between this system and the analysis of myths in The Hero with a Thousand Faces.108 However, Propp's
analysis has also been criticized for ignoring tone, mood, character, and, indeed, everything that differentiates one fairy tale from another. 109
Interpretations
Many variants, especially those aimed at children, incorporated a moral into their plots.
Perrault concluded his versions with one, although they were not always considered as a
moral lesson: Cinderella, for example, ends with the observation that the beauty and
personality of the heroine could become useless without the presence of her godmother,
reflecting the importance of social connections, although it could also symbolize a
spiritual meaning.

Several fairy tales have been interpreted for their supposed importance. A mythological
interpretation considered many fairy tales, including Hansel and Gretel, Sleeping Beauty
and The Frog King, to be solar myths; this mode of interpretation is less popular today. 111
Several have also been subjected to psychological analysis such as Freudian and Jungian,
but no definitive mode of interpretation has ever been established.

More specific analyses have often been criticized for giving too much importance to
motifs that are not actually part of the story; this often tends to stem from treating a fairy
Bluebeard gives his wife a key—a tale as the definitive text, in which the tale has been retold or re-edited in many
specific motif from that fairy tale variations.112 In the
variant.
In the Bluebeard variants, the wife's curiosity is betrayed by a blood-stained key, by the
breaking of an egg, or by the song of a rose she was carrying at the moment, without any of these factors affecting the tale itself, although
interpretations of the specific variants considered that the precise object is actually part of the story.

Other folklorists have interpreted the tales as historical documents; several German folklorists believe that tales that have been preserved
from ancient times used the Grimm tales to explain some archaic customs. 93 Others have explained the figure of the evil stepmother in a
historical way: many women died during childbirth, their husbands remarried, and the new stepmothers then competed with the children of
the first marriage for various reasons.114

See also
■ Children's story
■ Fairy
■ Fantastic literature
■ Tales from the radio
■ Death in children's literature

Authors
■ Aarne-Thompson
■ Aleksandr Afanasyev
■ Alexander Pushkin
■ Andrew Lang
■ Antti Aarne
■ Arthur Rackham
■ Beatrix Potter
■ Brian Froud (illustrator)
■ Charles Perrault
■ Hans Christian Andersen
■ Brothers Grimm
■ John Bauer
 ■ Vladimir Propp

Sources

References
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Literature

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Attebery, Bryan (1980), The fantasy tradition in American literature: from Irving to Le Guin (in English), Indiana University
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ISBN 0415291518
Calvino, Italo (1988), Six memos for the next millennium, Harvard University
Presshttps://es.wikipedia.org/wiki/Harvard_University_Press, ISBN 0674810406 Carter, Angela (1990), The Old
Wives' Fairy Tale Book, New York: Pantheon Books,ISBN 0-679-74037-6 Drazen, Patrick (2003), Anime explosion!: the
what? why? & wow! of Japanese animation (in English), Stone Bridge Press, Inc., ISBN 1880656728
Ellis, Hilda; Chaudhri, Anna (2006), A companion to the fairy tale (in English), DS Brewer, ISBN 1843840812
Grant, John; Clute, John (1999), The encyclopedia of fantasy, St. Martin's Griffin, ISBN 0312198698 Jackson, Rosemary
(1981), Fantasy: the literature of subversion, Routledge, ISBN 0415025621 Lanham, Richard (2003), Analyzing prose,
Continuum International Publishing Group, ISBN 0826461905 McGlathery , James (1991), The Brothers Grimm and
folktale(in English), University of Illinois Press,ISBN 0252061918 Martin, Philip (2002), The writer's guide to fantasy literature:
from dragon's lair to hero's quest : how to write fantasy stories of lasting value (in English) , Writer Books, ISBN
0871161958
Mitakidou, Christodoula; Manna, Anthony (2002), Folktales from Greece: a treasury of delights, Libraries Unlimited, ISBN
1563089084
Murphy, Ronald (2002), The Owl, the Raven, and the Dove: The Religious Meaning of the Grimms' Magic Fairy Tales,
Oxford University Press, ISBN 0195151690
Opie, Iona; Opie, Peter (1980), The classic fairy tales, Oxford University Press, ISBN 0195202198 Orenstein, Catherine
(2003), Little Red Riding Hood Uncloaked, Basic Books, ISBN 0-465-04125 -6 Propp, Vladimir (1968), Morphology of the Folk
Tale (in English), University of Texas Press, ISBN 0-292-78376-0 Roberts, Moss (2011), Chinese Fairy Tales and Fantasies
(in English), Knopf Doubleday Publishing Group, ISBN 0307760421
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ISBN 141290658x
Swann Jones, Steven (2002), The Fairy Tale: The Magic Mirror of Imagination (in English), New York: Twayne Publishers,
ISBN 0415938910
Tatar, Maria (2003), The hard facts of the Grimms' fairy tale, Princeton University
Presshttps://es.wikipedia.org/wiki/Princeton_University_Press, ISBN 0691114692
Tatar, Maria (2004), The Annotated Brothers Grimm(in English), W. W. Norton, ISBN 0393058484
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ISBN 0801491460
Tolkien, J. R. R. (1939), On Fairy-Stories (in English)
Vogler, Christopher (2007), The Writer's Journey: Mythic Structure for Writers, Michael Wiese Productions, ISBN
193290736x
Wagoner, Diana (1978), The hills of faraway: a guide to fantas (in English), Atheneum, ISBN 0-689-10846-X
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0099479516
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ISBN 0152020470
Zipes, Jack (1986), Don't bet on the prince: contemporary feminist fairy tales in North America and England, Gower, ISBN
0566009137
Zipes, Jack (1999), When dreams came true: classical fairy tales and their tradition, Routledge, ISBN 0415921511
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English), WW Norton, ISBN 039397636x
Zipes, Jack (2002), The Brothers Grimm: from enchanted forests to the modern world, Palgrave Macmillan, ISBN
0312293801

Further reading
■ Antti Aarne and Stith Thompson: The Types of the Folktale: A Classification and Bibliography (Helsinki, 1961)
■ Stith Thomson, The Folktale.
■ Heidi Anne Heiner, "The Quest for the Earliest Fairy Tales: Searching for the Earliest Versions of European Fairy Tales
with Commentary on English Translations"
■ Heidi Anne Heiner, "Fairy Tale Timeline"
■ J. R. R. Tolkien, On Fairy-Stories, essay first published in Essays Presented to Charles Williams, Oxford University Press,
1947
■ Grimm, Jacob & Grimm, Wilhelm (2006). All the tales of the Grimm brothers. Complete edition. Translation of the original
version. 700 pages. Fourth edition. Madrid: Rudolf Steiner & Mandala editions. ISBN 978-8489197-57-2.
 ■ Perrault, Charles (2008). Fairy Tales by Charles Perraul.t Madrid: King Lear SLISBN 978-84-92403-07-3.

Psychoanalytic interpretation
■ Bettelheim, Bruno (2006). Psychoanalysis of fairy tales. Ares and Seas Collection. Barcelona: Editorial Crítica. ISBN 978-84-
8432-788-2.
■ Franz, Marie-Louise von (1993). Once upon a time: a psychological interpretation. Barcelona: Firefly. ISBN 978-8487232-35-0.
■ — (1990). Symbols of redemption in fairy tales.s Barcelona: Luciérnaga.ISBN 978-84-87232-06-0.

External links
■ This work contains a complete translation derived from Fairy tale from the English Wikipedia, specifically from this version,
published by its editors under the GNU Free Documentation License and the Creative Commons Attribution-ShareAlike
3.0 Unported License.
■ Wikimedia Commons has media related toFairy tale.
■ Fairy tales; in English, on Wikisource.

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