A Study of Fairy Tales

In an objective sense, rather from the point of view of literature, let us now consider what fairy tales must contain, what are

o literary standards would make it quite impossible later in the primary grades when teaching the reading of Three Pigs, to put the main stress on a mere external like the expression of the voice. A study of the story as literature would have centered the attention on the situati

and caused it to advance a step, which has discovered some moral and unequivocal truth or revealed some eternal passion in that heart where all seemed known and discovered; which is an expression of thought, observation, or invention, in no matter what form, only provided it be broad and great, refined and sensible, sane and beautiful in itself; which speaks in its own peculiar style which is found to be also that of the whole world, a style new and old, e

es not depend upon any decoration. As words are the medium, literature will distinguish carefully among them and use them as the painter, for particular lights and shades. According to Pater literature must have two qualities, mind and soul. Literature will have mind when it has that architectural sense of structure which foresees the end in the beginning and keeps all the parts related in a harmonious unity. It will have soul when it has that "vagrant sympathy"

Style, but it must have shown itself also a work owning certain features distinguishing it as literature. These particular literary marks which differentiate the literary tale from the ordinary prose tale have

to appeal to

o appeal to t

sis of t

more or l

al. In order that emotion in the tales may be literary-make a permanent appeal-according to Professor Winchester's standards, it must have justness given by a deep and worthy cause; vividness so that it may enlarge and thrill; a certain steadiness produced by everything in the tale contributing to the main emotion; a variety resulting from contrasts of character; and a high quality obtained through its sympathy with life and its relation

he Little Elves illustrates steadiness of emotion, it is pervaded by the one feeling, that industry deserves reward. The French tale, Drakesbill, is especially delightful and humorous because "Bill Drake" perseveres in his happy, fresh vivacity, at the end of every rebuff of fortune, and triumphantly continues his one cry of, "Quack, quack, quack! When shall I get my money back?" Lambikin leaves the one distinct impression of light gaiety and happy-heartedness; and The Foolish, Timid Rabbit preserves steadily the one effect of the credulity of the animals, made all the more prominent by contrast to the wisdom of the Lion. Variety of emotion appears in tales such as Cinderella, Little Two-Eyes, Sleeping Beauty, and Three Pigs, where the various characters are drawn distinctly and their contrasting traits produce varied emotional effects. All the great fairy t

who comes to mind is none other than Shakespeare. Perhaps, with all due respect to literature's idol, one might even venture to question which receives honor by the comparison, Shakespeare or the folk-tales? It might be ra

ow Man or the Dog. He is sorry for the poor Shoemaker in The Little Elves, glad when he grows rich, delighted for the Elves when they receive their presents, and satisfied at the happy end. Since literature depicts life and character in order to awaken noble emotions, it follows that one m

he wishes to accomplish in life. It will give the child the ability to use it in any situation similar to that in which it was acquired. It will make a difference in his speech; he will not have to say so much, for what he does say will produce results. This growing power of emotion will carry over into feelings of relation and thus lead to judgment of values. This evaluation is the basis of reasoning and answers to the child's daily

eting of the soul and its object there arises a thrill of joy, a glow of feeling. It is the faculty that can create ideal presence." When through imagination we select spontaneously from the elements of experience and combine into new wholes, we call it creative imagination.-The creative imagination will be viewed here as it appears in action in

eces. It requires intense simplicity, harmony, and absolute truth. Andersen's Fairy Tales are a perfect drill for the associative imagination. Literature parallels life and what is presented calls up individual experience. Any child will feel a thrill of kinship with the experiences given in The Tin Soldier-a little boy's birthday, the opening of the box, the counting of the soldiers, and the settin

f this power the child develops insight, intuition, and a perception of spiritual values, and gains a love of the ideal truth and a perpetual thirst for it. He develops genuineness, one of the chief virtues of originality. He will tend not to have respect for sayings or opinions but will seek the truth,

s caught, when the likeness is forced, and the image created believed in, we have fancy. The contemplative imagination interprets the past in the tale and relates it to the future. It shows what is felt by indicating some aspect of what is seen. Through the exercise of this power the child dev

s conveyed through a very telling word or two.-"'I will send my old, honest minister to the weavers,' thought the Emperor. And the old, honest minister went to the room where the two swindlers sat working at empty looms. 'Heaven preserve me!' thought the old minister, opening his eyes wide. 'Why, I cannot see anything!'-But he did not say so." The entire tale is a concrete representation of one point; and the concreteness is so explicit that at the close of the story its philosophy easily forms itself into the implied message of worldly wisdom: People are afraid to speak truth concerning much through cowardice or through fear of acting otherwise than all the world. The philosophy underlying The Steadfast Tin Soldier is even finer as a bit of truth than the perfect art of the literary story: That what happens in life does not matter so much as the way you take it. The Tin Soldier always r

in Andersen's Nightingale and in Thumbelina. But this saying is traceable at least to the third story of the fourth night in Straparola, translated by Keightley, The Dancing Water, the Singing Apple, and the Beautiful Green Bird, in which the bird tells the King that his thr

en, and their philosophy often was the philosophy of childhood. For childhood has its philosophy; but because it meets with repression on so many sides it usually keeps it to itself. When given freedom and self-activity and self-expression, the

Remus could not fail to impress a little boy: "Go where you will and when you may, and stay long ez you choosen ter stay, en right dar en den you'll sholy fin' dat folks what git full er consate en proudness is gwine ter git it tuck out 'm um."-Uncle Remus treated the little boy as if he was "pestered with sense, like grown-ups," and surely the little boy gained much amusement from sayings such as these: "If you know the man thab would refuse to take care of

derella means that goodness brings its own reward; that Three Pigs means that the wise build with care and caution, with

ay reveal some new truths of science hidden in its depths. The marvels of modern shoe manufacture were prophesied in The Little Elves, and the power of electricity to hold fast was foretold in Dummling and his Golden Goose. The wonders of modern machinery appeared in the magic axe of Espen that hit at every stroke; and the miracle of modern canals sees a counterpart in the spring which Espen brought to the giant's boiling-pot in the wood. The ma

. This increases his knowledge and strengthens his intellect. And it is to be remembered that, for the child's all-round development, the appeal of literature to the intellect is a value to be emphasized equally with the appeal to the emotions and to the imagination. Speaking of the nature of the intellect in his essay on Intellect, Emerson has said: "We do not determine what we will think. We only open our senses, clear away as we can all obstruction from the fact, and suffer the intellect to see." Attention to the intellectual element in literature gives a power of thou

xpressions of the world there is but one, one form, one mode, to express what I want to say."-"Say what you have to say, what you have a will to say, in the simplest, the most di

enotation; and the power to suggest what they imply, or connotation. Words have the power of connotation in two ways: They may mean more than they say or they may produce emotional effect not only from meaning but

rain when zeph

tream in smoothe

urges lash the

verse, should like

some rock's vast

bors, and the w

ift Camilla sc

ending corn and sk

the Cat, sitting in the road with a face "dismal as three rainy Sundays," chuckled with humor at the word "dismal," it was not because she knew the meaning of the word or

sing." The effect is produced here because the words selected are concrete ones which visualize. Repetitive passages in the tales often contribute this effect of sound upon meaning, as we find in The Three Billy-Goats Gruff: "Trip, trap; trip, trap! went the bridge as the youngest Billy-Goat Gruff

I'll

I'll

blow your

les dignified by the cante-fable

hake yoursel

nd gold thro

ittle T

kid,

sh t

le Lamb and th

other, in

I must sea

bit of asking questions which had not been received as if they were fine. "Wait-a-bit thorn-bush," suggests the Kolokolo Bird sitting alone on the bush in placid quiet. "And still I want to know what the crocodile has for dinner" implies that there had been enough spankings to have killed the curiosity, but contrary to what one would expect, it was living and active. When Kolokolo B

r listener and demands that language be neither vague nor ambiguous nor obscure. Energy or force demands that perfect form have the quality of emotion. It requires that words have especially the power of connotation. It appeals to the emotions of the reader or listener and has the power to hold the attention. It demands of language that sympathy which will imply what it would suggest. Delicacy or emotional harmony demands that perfect form please the taste. It requires that an emotional harmony be secured by

ciple of sincerity; (2) the principle of unity; (3) the principle of mass; and (4) the principle of coherence. Sincerity demands of perfect form that it be a just expression. Unity demands that every composition should group itself about a central idea. There must be one story, all incidents subordinated, one main course of action, one main group of characters, and one tone of feeling to produce an emotional effect. Variety of action must lead to one definite result and variety of feeling to

rsonality, and at the same time has the elements of its composition controlled by the principles of sincerity, unity, mass, and coherence, it is said to possess style. The fairy tale which is a classic characterized by that perfect form called sty

ss that perfection of form we call style, and which may be used with the distinct aim to improve the chi

Oeyvind bring in the fairy element of the talking animals. In the form of this tale, the perfect fidelity with which

he house, granddaughter of Ole Nordistuen of the Heidi farms, f

vind re

g breath which he had not dared

es the general qualities of form and the qualities of composition. The personality of the writer has given to the

rs over it. Upon this roof there walked about a little goat, which belonged to Oeyvind. He was kept there that he might not go astray; and Oeyvind car

ent in the foll

his goat?" aske

said, and

ancy to the goat. You

hat I

legs and looking d

give you a butter-ca

e him

hen the goat no longer satisfied him and he wanted to hear stories of what was far away. There is emotional harmony too, beca

he asked if the sky did not talk to any one: "And the sky talked to the clouds, the clouds to the trees, the trees to the grass, the grass to the flies, the flies to t

otional harmony also in

t does the Cat say?

softly shin

es lazy on

mall

thick a

its of

behind

o lazy a

o well I

ed through the centra

n and t

ld not maintain a style of too great solidity and force, but rather would seek one of ease and naturalness. Mass, as shown in

s beard, and he was just going in to his mother with it, when he heard someone behind him; and looki

h naturally connect. That unmistakable relation of the parts which is

f a goat for a cake. The departure of the goat. Marit sings t

e stories of what th

Mother. The fir

ce renewed: Oeyvind

ho

producing coherence. The songs of Marit, and the songs and stories of Oeyvind's Mother, especially preserve the relation of parts. In the following paragraphs,

round the walls; some stood in small groups round a large printed card; the school-master, an old gray-haired man, was sitting on a stool by the chimney

e looked round a long time, while they whispered and pointed; he turned r

sitting down by the hearthstone on a little red painted tub, Marit, of the many names

ncrete expressions which present an image; as, "He grew hot all

ure in Marit's friendship at school. We admire Marit for her appreciation of the beautiful goat; for her obedience to her Grandfather; for her sorrow at giving up the goat; for her generosity in giving the neck-chain with it; and for the childish comradeship she gave to Oeyvind. We admire the goat for his loyalty to his little master. We tru

e in a broad sense. In a particular sense, because its form is marked by the four general qualities: precision, energy, delicacy, and personality;

Gruff, told by Dasent in Tales from the Norse. Indeed after looking carefully at this tale one is tempted to say that, for per

o were to go up to the hill-side to make themse

ls to the emotions in

Gruff to

t take me. I'm too

; "wait a bit till

s, he's mu

played in the second paragraph

ss; and under the bridge lived a great ugly Troll, wit

n objective presentment of a reality that concentrates on itself and keeps personality out of sight. The character of the tellers is shown however in the qualities of the tale. The charm of the primitive stor

d in the words of the

e sincerity of littl

the tiniest Billy

llside to make mys

with such a

appens in the tale contributes to the one effect of a bridge going trip, trap! as a Goat crossed it on his way up the hillside; of a Troll roaring: "Who's that tripping over my bridge?" of the explanation of the Billy-Goat; of the answer of the Troll, "Now I'm

adily see them; as, "But just then up came the big Billy-Goat Gruff." The coherence is fine, and is secured largely by the cumulative plan in a threefold sense. The relation of the parts is unm

snap,

le's to

universal experiences and satisfied common needs of childhood, were selected and combined. These gradually assumed a form of simplicity and literary charm, partly because, just as a child insists on accuracy, savage people adhered strictly to form in repeating the tale, and because it is a law of permanence that what meets the universal need will survive. The great old folk-tales have acquired in their form a clearness and precision; for in the process of telling and re-telling through the ages all the episodes became clearly defined. And as irrelevant details dropped out, there developed that unity produced by one dominant theme and one dominant mood. The great old folk-tales, then, naturally acquired a good

ms obtained most of their tales from the lips of people in Hesse and Hanau, Germany. They were very fortunate in securing many of the tales they were thirteen years in collecting, from an old nurse, Frau Vichmannin, the wife of a cowherd, who lived at Niederzwehrn, near Cassel, who told her story with exactness and never changed anything in repeating. Grimm himself said, "Our first care was faithfulness to the truth. We strove to penetrate into the wild forests of our ancestors, listening to the

r of La Fontaine. The lad loved the stories and re-wrote them from memory for his father with such charming na?veté that the father chose the son's version in preference to his own, and published it. But the tales

est manly race, a race of simple men and women, free and unsubdued. He has preserved them in their folk-language and in their true Norse setting. Harris (1848-1908) has given his tales in the dialect of Uncle Remus. Jacobs (1854-) has aimed to give the folk-tales in the language of the folk, retaining nurses' expressions, giving a colloquial and romantic tone which often contains what is archaic and crude. He has displayed freedom wit

le is not the old tale, but an original creation, a number of which are based on old folk-material. Preserving the child's point of view, An

ary form possible. They recognize that these earliest years, when the child is first learning his language, are the years for a perfection of form to become indelibly impressed. The fairy tale, like every piece of literature, is an organism and "should be put before the youngest child with its head on, and standing on both feet." The wholesale re-telling of every tale is to