© June 2024| IJIRT | Volume 11 Issue 1 | ISSN: 2349-6002
Gender Stereotypes in Classic ‘Fairy Tales’: A Feminist
Reading
Dr Rehana Abdullah
Associate professor, Govt Degree college Handwara Jammu and Kashmir
Abstract -The field of literature encompasses several I. INTRODUCTION
genres, each of which has experienced its own emergence
over time. Yet, there is one genre that has been highly Historically, fairy tales have consistently been the
esteemed and consistent throughout history, from ancient
initial form of literature that children encounter.
times to the most contemporary ones, whether it be in
Children engage in auditory perception of their
written or spoken form. It originated during an era when
oral storytelling was still the prevailing narrative form. parents' narration or reading of stories, or they
This genre constitutes fairy tales, replete with enchantment passively consume fairy tales on television. Given the
within a realm inhabited by fantastical beings. Fairy tales regular exposure of children to these stories, it is not
are universally beloved. Undoubtedly, individuals from all unexpected that they are also influenced by them,
backgrounds have, at least once in their lifetimes, particularly in terms of how the stories portray
encountered or been exposed to a fairy tale. Folk and fairy individuals who are often depicted in a stereotypical
tales are among the most ancient types of storytelling that manner. Hence, it is imperative to be cognisant of such
have originated in our world. These literary forms have
depictions not isolated to fairy tales. Regarding the
evolved over centuries and have undergone changes and
characteristic portrayals themselves, women are
adaptations from oral narratives to written compositions,
theatrical performances, and even cinematic productions. commonly shown in a derogatory or generally
The fairy tale genre is characterised by its simplicity and unfavourable manner. They are shown as vulnerable
unambiguous nature, normally centred on a plight of a princesses who rely on a courageous prince for their
young woman and a tenacious man who embarks on a rescue, or as malevolent sorceresses who seek to
mission to rescue her. Fairy tales serve as a source of assassinate someone or obstruct anyone's schemes.
inspiration for numerous contemporary writers who have Princesses possess intrinsic beauty and are often
rewritten, adapted, and reimagined the traditional stories adorned with exquisite attire. "However, they are also
into fresh narratives. The propensity of fairy tales to
characterised by their naivety and inability to make
undergo revision may be attributed to the inherent staticity
independent decisions or take action without the
and stereotypical nature of their characters. The
motivation for this research paper stemmed from the fairy assistance of animals or other extraordinary entities.''
tales that the researchers were exposed to during their In contrast, the archetypal male figures in fairy tales
childhood, as well as the contrasting feminist viewpoint are valiant princes who possess the ability to rescue
presented in the modern retellings of those same fairy tales anyone, often the vulnerable princesses, with little
that the researchers read as adults. The objective of this hindrance, and furthermore, they receive the princess
study is to analyse the retrogressive characteristics of as a form of compensation.
certain traditional fairy tales that have been passed down Gender stereotypes, which are prevalent in children's
through generations. This will be done by investigating the
literature, frequently depict women and men in a
repeated motifs of the Damsel in Distress and Knight in
manner that may lead children to perceive these sexist
Shining Armour, which serve to uphold gender roles and
other traditional social standards that contradict the characteristics as normal, typical, and even acceptable.
principles of feminism. Undoubtedly, this perspective is inappropriate as it
reinforces the biases against both women and men and
Keywords: Fairytales, Retellings, Regressive, simultaneously contributes to the formation of
Contemporary, Feminist, Stereotypes of Women, Classic children's erroneous and prejudiced notions about the
Fairy Tales, Narratives, etc. appropriate behavioural patterns of females and males.
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© June 2024| IJIRT | Volume 11 Issue 1 | ISSN: 2349-6002
II. FAIRY TALES AND GENDER ROLES exemplifies the inclusion of stories that were more
closely associated with the upper echelons of society.
For centuries, folklore and fairy tales have been The plot centres on an affluent merchant who has
recounted and disseminated. With Breaking the Magic suffered enormous financial losses, and the subsequent
Spell, Jack Zipes provides a thorough overview of the hardships he faces. The narrative effectively imparts
development of the fairy and folk tale genre. Initially, moral lessons on the ideals of life, with the notable
these stories mostly fulfild an educational function, but distinction being that the characters are of aristocratic
they also served as a means to ‘unify the members of descent (10).
a community and facilitate a connection in their Typically, characters in traditional fairy and folk tales
comprehension of societal issues’ (6). The purpose of exhibit a high degree of stereotyping. Indeed, the
fairy tales was to impart knowledge to both children female characters frequently exhibit traits of
and adults, while also cautioning them about the weakness, naivety, and helplessness. Moreover, the
potential repercussions that would ensue if they were narratives often depend on a male protagonist saving
to transgress social norms. The collection and the female central character, so transforming her into
modification of everyday folklore and fairy tales have an object that requires rescue (Zipes 181).
spanned centuries. Undoubtedly, the most renowned Furthermore, Karen E. Rowe characterises the ‘female
fairy tales are those compiled by the Brothers Grimm. virtues’ in fairy tales as ‘enduring patience,
Aggregated during the early 19th century, these selflessness, and reliance’ (217). The fairy tale genre is
narratives have gained widespread recognition replete with stereotypes, which authors can effectively
throughout the Western hemisphere. Frequently use to underscore the inherent imbalance within the
labelled as ‘authentic’ (Zipes 18), their renditions of patriarchal structure. These structures are frequently
these stories are undoubtedly not the sole versions. firmly established in culture and society to such an
Regarding my study of Carter's contemporary fairy extent that they appear almost inherent. In her book
tales in connection to their original source, the matter ‘The Sadeian Woman,’ Angela Carter explores the
of determining the authentic version arises. An relationship between patriarchal systems and myths,
inherent challenge in analysing classical fairy tales as asserting that myths perpetuate false universalist
a primary source is their lack of ownership or beliefs (5). In this work, the author not only examines
authorship by a single individual. The present study is myths from a literary perspective, but also emphasises
grounded in Charles Perrault's rendition of ‘Little Red the notion that gender roles are constructed as
Riding Hood’ as a foundational intertext for Carter's metaphorical myths. Moreover, in ‘Notes from the
adaptation. The rationale behind my selection of Front Line,’ she asserts that she holds the belief that all
Perrault's version over the Brothers Grimm's comes myths are creations of the human intellect and solely
from Carter's prior contributions. An anthology of mirror elements of tangible human engagement. ''I am
English translations of Charles Perrault's traditional engaged in the task of demythologising" (38).
French fairy tales was published by Angela Carter in
1977. Hence, Carter was concurrently engaged in the III. THE IMPORTANCE OF CONVEYING THE
translation of these works while simultaneously RIGHT MESSAGE
developing The Bloody Chamber, which likely served
as the primary source of her inspiration. Given that Fairytales have always been an integral part of society.
there are specific details, such as the conclusion, that The popularization of the classic fairytales came with
vary between the Perrault and Grimm versions, I shall the era of Disney and this company has dominated the
refer to the earlier one. fairytale scene since the late 20th century with their
Zipes argues that the fairy tales gathered in the adaptations of fairytales, the earliest being in 1937-
nineteenth century were frequently directed towards Snow White and the Seven Dwarfs. However, this
the lower social strata as prescriptive guidelines for massive production house had its own limitations too,
living (8). Nevertheless, the stories did not as pointed out by academic U. H. Sharif in her thesis
consistently tackle or revolve around ethical assertions paper, From Fairy Tales to Disney Movies: Gender
targeted towards the working class. Marie Le Prince de Roles and Stereotypes Then and Now, she notes that,
Beaumont's rendition of Beauty and the Beast ‘Disney’s animated films used to present stereotypical
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© June 2024| IJIRT | Volume 11 Issue 1 | ISSN: 2349-6002
characters having a specific set of gender roles and female based on their genitalia. As Cranny-Francis et
behaviors. It exemplified what men and women should al. elaborate, sex can be defined as 'a theoretical
do, how they are supposed to look, and how they framework that categorises human beings into two
should act.’ (pg. 37). biologically determined groups - male or female'. This
An example of the above would be the movie Beauty term is used to refer to fundamental physiological
and the Beast (1991) in which, the portrayal of the differences between males and females, specifically
Beast shows him to be quite literally a beast who only including variations in genitalia and reproductive
needs a woman’s touch to turn him into a civilized tendencies.
entity. The Beast’s initial treatment of Beauty can only According to the World Health Organisation, gender,
be dubbed as chauvinistic. It is only recently that in its second sense, encompasses the socially
Disney has been portraying fairytales from a constructed roles, behaviours, activities, and
contemporary point of view and this can be seen in a characteristics that a particular society deems suitable
new generation of princesses with agency who aren’t for individuals based on their gender (‘What Do We
defined by their physical appearances and who Mean by 'Sex' and 'Gender'?'). According to Cranny-
actively fight against their oppressors for Francis et al., gender classifieds individuals into two
independence such as Tangled (a retelling of distinct groups: male and female. Simultaneously, this
Rapunzel, 2011) and Brave (2012). comment refers to the distinctions between males and
This change has also slowly made its appearance in the females that are not inherent biologically, but rather
literature of India; there is a movement from the acquired through upbringing within the framework of
traditional figures of mythology into more feminist a certain society or culture. Regarding the differences,
characters. A prominent example of this would be as we can ascertain by further perusal of the brochure,
Amish’s, Sita: The Warrior of Mithila, published in we refer to 'distinct social and psychological
2017 that challenges the tradition of the meek distinctions... that evolve over time and vary across
mythological figure of Sita, Amish’s Sita, breaks all different cultures'. Moreover, gender encompasses
the stereotypes assigned to her, in the books she is a predominantly social and socially patterned cultural
woman of valor who is shown to be ‘fielding armies disparities, expectations, biases, and specific
single-handedly, is a champion archer, an efficient characteristics of the statuses of men and women.
queen, and an able administrator…whose physical
appearance is not prioritized on her portrayal.’ (Zehra Snow-White and the Seven Dwarf:
Rosheena; ‘Book Review: Amish’s ‘Sita’ Can Wield A The central protagonist of this fairy tale is Snow
Spear Better Than You’; The Quint Web Magazine; White. Being a princess, she is expected to adhere to
2017). the instructions given to her in order to be a
conforming young woman. "This encompasses
IV. DEPICTION OF GENDER STEREOTYPES IN culinary and domestic tasks.'' As she matured, her
ENGLISH FAIRY TALES physical attractiveness surpassed that of her
stepmother, which greatly caused her annoyance.
Preceding the examination of gender stereotypes in Snow-White was explicitly directed by the stepmother
fairy tales, it is imperative to address the key concepts to be killed by the huntsman. Snow-White was rescued
of gender identity, gender roles, gender stereotypes, by the band of seven dwarfs who requested her to
and sexism. It is imperative to focus on the prepare meals for them. The householders cautioned
explanations and interpretations of these terms as they her against allowing anyone to enter the premises. In
are vital for comprehending the matter of gender defiance of the directive, Snow-White one day swung
stereotypes and conventional depictions of the primary open the door and allowed the woman who was
characters in fairy tales and associated impact on knocking at it to enter. She lacked knowledge that the
children. Gender is one of the most crucial woman was a queen with a desire for her demise.
fundamental concepts. The explanation of this phrase Although Snow-White was poisoned by the queen, the
can be occasionally deceptive as there exist two main seven dwarfs successfully revived her. This fairy tale
interpretations of the term. Firstly, sex refers to the imparts the lesson to women to fully comply with the
determination of whether an individual is male or directives given by the males, as non-compliance may
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result in repercussions. Thus, it is evident that women because of its myriad benefits. Nevertheless, it is not a
lack independent thinking and are expected to comply tool devoid of its limitations; several authors highlight
and heed the counsel of men. certain hazards arising from the message conveyed by
the fairy tale. The majority of retellings in
Cinderella: contemporary literature are specifically targeted
Cinderella, in this classical narrative, resides with her towards the young adult audience. An adult group is
stepmother and stepsisters following the demise of her fully assimilated into society and possesses knowledge
father. She is subjected to mistreatment by both her of assigned gender roles. Nevertheless, it is the
stepmother and her daughters. The portrayal of younger children who are the primary consumers of
Cinderella as weak and passive stems from her failure fairytales and continue to engage with and learn from
to confront the stepmother and her daughters, despite the conventional and traditional stories. ''The need for
the fact that she is the rightful owner of the house. this change lies in its ability to guarantee the
Consequently, her family members perceive her as empowerment of younger generations, liberating them
being of lesser status compared to them. Cinderella from the limitations imposed by gender roles and
eagerly anticipates being saved by a prince who sexist ideas." Hence, it is imperative to promptly
promptly weds her, so ensuring her eternal happiness. transform classical fairytales and guarantee an
A fairy tale depicts women as individuals incapable of equitable recognition of characters for their
self-defence. Therefore, they anticipate the arrival of a multifaceted attributes and abilities, rather than the
male figure to save them. Furthermore, the female shallow ones attributed to them based on their gender.
characters in this fairy tale are linked to domestic This list comprises a limited number of
chores. Cinderella diligently tackles all the domestic recommendations that can effectively challenge the
chores and remains unconcerned with the external detrimental gender stereotypes often depicted in fairy
world. Moreover, beauty assumes a significant tales. Nevertheless, in order to ensure the
position in this fairy tale. Marriage to a handsome implementation of these preventive measures and
prince is contingent upon one's physical attractiveness. achieve the intended outcome, it is imperative to first
increase awareness of the discussed issues among
Language serves as a potent instrument in depicting those who have the most influence on moulding the
the world. The objective of critical discourse analysis attitudes of the youngest beneficiaries of imaginative
is to investigate the stereotypes, human interactions, narratives. These individuals encompass significant
and identities that are evident in a given text. adults in the child's life, such as teachers, parents, and
Moreover, it delves into the gender disparities that are guardians, who introduce children to the realm of fairy
expressed through language and dialogue. Utilising tales and elucidate the surrounding reality to the child.
Fairclough's (1989) three-dimensional model, the Assume that these individuals lack sensitivity towards
analysis reveals that genders are depicted in matters of gender equality. Under such circumstances,
stereotypical manners. Males are portrayed as they will fail to perceive any validity in implementing
possessing authority and a violent disposition, these preventative measures to counteract the
resorting to killing their wives to mitigate their anger. detrimental consequences of gender stereotypes. Thus,
Conversely, females are shown as submissive and it is crucial to carry out all activities targeted at
meek, subjected to beatings for questioning and being increasing awareness of the issue.
killed for disloyalty, but demonstrating resilience and
cleverness in their struggle for survival. The portrayal REFERENCE
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