Looking at fairy tales
For probably much longer than we realise, parents have told traditional fairy tales to their children. In the field of European lore we have been brought up to wonder at the doings of fabulous princes and princesses, fairy godmothers, wicked uncles and aunts, ogres and monsters and the strange adventures of innocent children who become involved with them.
Fairy tales of French origin have inspired not only our childhood leisure
but also works of art and pantomimes, and in general they tend to be
less removed from real human situations than many of the tales of Teutonic
and Oriental origin. Yet over the past few centuries we have often tried
to soften their impact upon immature imaginations.
In 1697 Charles Perrault published his ‘Histoires ou contes du
temps passé’. This was followed a year later by another
collection by Madame d’Aulnoy. Both authors made a lasting contribution
to our culture but, in particular, we owe a great deal to the eight principal
tales related by Perrault, including Red Riding Hood, Cinderella, Sleeping
Beauty and Bluebeard, which have provided fuel for our pantomimes. In
the course of adapting them, however, we have toned down the stark ferocity
included in some tales, until we neglect some of the morals they pose
for our children.
Take ‘La Belle au bois dormant’, for instance. This has become
idyllic in modern times. The adventurous prince breaks through a thicket
to find his princess, kiss her awake and take her to the home of his
parents to live happily ever after. As the Tennysonian version has it: “Across
the hills and far away / Beyond their utmost purple rim, / And deep into
the dying day / The happy princess followed him.” Nothing could
be more satisfactory, and we usually choose to leave it there. But, if
we read Perrault’s 1697 text, we find that, after the couple have
taken up residence with the prince’s parents and had two children,
the princess’s mother-in-law turns out to be really an ogress,
who tries repeatedly to eat her grandchildren. Such a situation is common
in our fairy tale repertoire, but by and large we contrive to shield
our children from completing the picture.
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