Snow White and the Seven Dwarves Disney Animation 1937
A fairytale is a short story designed to both amuse children and to convey basic morals and principles and give life lessons. Most of the fairytales that children are told today have been passed down through generations often dating back to the eighteenth century and before. Because of their early origins, female representation in fairytales is often archaic with females being portrayed as weak or submissive and often being objectified.
This representation of women is an accurate portrayal of how women were expected to behave and be treated at these times in history.
This construction of gender however, is not relevant to the social standards for women today so a problem is faced in that young children are being shown and taught these outdated gender ideals which go on to influence their future perceptions of gender roles.
The story of Snow White and the Seven Dwarves dates back to the nineteenth century but the Disney animation was not produced until 1937. Disney’s Snow white details the life of Snow White who, sporting the stereotypical image of beauty and child-like innocence is made to wear only rags and clean the palace by her wicked and powerful stepmother, the queen.
She is ordered to be killed by the queen because of her beauty but is set free by the huntsman because he cannot bear to kill something so beautiful. She seeks refuge amongst seven dwarves who try to keep her safe while the queen still plots to kill her.
After one the attempts it seems that the queen may have succeeded until Snow White is saved by the kiss of a prince. In the deconstruction of this plot examples of Disney’s sexism and gender stereotypes in the representation of female characters are evident. Take the stereotyped nature of the Wicked Queen’s character and physiognomies. The Wicked Queen is seen to be an evil woman who is vain, selfish, jealous and conniving, all poor traits that are stereotypically associated with females and often in particular females in power.
This creates the illusion that women cannot handle power or that all women in power are intrinsically bad. On top of this, despite the fact that in the beginning of the story the Wicked Queen is ‘the fairest in the land’ in the Disney animation she is shown to wear an unflattering amount of makeup and have no hair, things that are not stereotypically considered to be classically beautiful. As well as this the Wicked Queen is far more ‘cartoon looking’ than Snow White. This not only sends out a strong message that beauty is good, as in Snow White’s case, while ugliness is bad but also sets a standard for what beauty is and what ugliness is.
The contrast between the character of the Wicked Queen and Snow White gives a clear indication of the gender construction in terms of what are perceived as good traits and bad traits for a woman. The queen is a woman in power and in control of her own life however, she is given traits that are evil and yet stereotypically feminine such as her obsession with her appearance. If in the story of Snow White, the Wicked Queen were a man it would seem absurd for him to be so obsessed with his own appearance. It would also seem absurd for him to want to kill Snow White for being more attractive than him.
Men in fairytales are often constructed to be more involved with things such as power, money and land. Men in fairytales also kill their enemies in stereotypically masculine ways such as in battle or hand to hand combat. At the end of Snow White the seven dwarves are seen chasing the Wicked Queen up a rocky mountain where she falls and is left for the vultures to eat. This act is far more bold and heroic than the sneaking conniving methods the Wicked Queen uses to try and kill Snow White. The fact that the Wicked Queen is constructed in this gender biased way gives a strong message to the viewer that beauty is all that women care about and that evil women also possess these stereotypically feminine traits.
Snow White’s character is distinctly contrasted to that of the Wicked Queen in almost every aspect however, they do have one common attribute which is the way in which they are constructed to act in purely feminine ways. Snow White is constructed to be the moral opposite of the Wicked Queen, displaying an image of what Disney believes is a socially acceptable way for a woman to behave. Snow White is portrayed as submissive and is rewarded for her obedience, beauty and domestic skills, spending the majority of her time within the private sphere.
These traits are all stereotypically associated with women and feminine behaviour. When Snow White runs off into the woods to escape her evil step mother she finds a little cottage in disarray, “You’d think their mother would have-” she says before being cut off, denoting that she believes the mother of the dwarves should have been cleaning their house, another example of gender stereotyping in this film. When the dwarves return Snow White enacts the stereotypical motherly role by demanding that they all wash their hands.
This not only reflects a stereotypical portrayal of women, that they must look after men, but also of men, that they cannot look after themselves and need a woman to perform domestic duties. In a gender neutral reconstruction of Snow White and the Seven Dwarves domestic duties would be shared out evenly irrespective of gender. There would also be no assumption that the dwarves cannot clean their house or that they need a woman to clean it for them and roles such as domestic carer and breadwinner would not be assumed.
The construction of male characters in fairytales is often as biased and predisposed as that of females. Men in fairytales are often shown to be physically apt and powerful and in the case of Snow White and the Seven Dwarves particularly superficial. When the large, strong huntsman is sent into the forest to kill Snow White he is only stopped because of her immense beauty suggesting that if it weren’t for Snow White’s physical attributes he would have completed his task of killing her. The broad-shouldered prince in Snow White and the Seven Dwarves is also perceived to be very emotionally shallow claiming to be in love with Snow White after having exchanged only a few words with her.
This suggests that it is not her intellect or personality that he is in love with but her physical characteristics. If the story was written to exclude gender bias the huntsman and the prince would be far less stereotypically depicted in both appearance and mannerisms. They would not be depicted as large, strong, square-jawed men and they would not revere beauty so highly or objectify Snow White. Twice when Snow White is tricked by the Wicked Queen she is saved by male characters. In the first instance by the dwarves and in the second instance by the prince who kisses Snow White to save her. This implies that women need men to save them and that without a man’s love a woman is nothing.
In a gender neutral reconstruction of Snow White and the Seven Dwarves the male characters would not assume the role of the rescuer or protector and Snow White would not assume the role of the defenseless beauty waiting to be rescued. The passivity of Snow White’s disposition is a critical element of her character. Snow White displays passivity when the huntsman takes her into the forest to kill her and she doesn’t attempt to escape.
Snow White is reliant on men to save her and she is consistently rewarded for her dependence. Another illustration of Snow White’s passivity is her consistent reliance on the seven dwarves to keep her safe, knowing full well that the Wicked Queen is attempting to kill her. The most prominent example of Snow White’s passivity is in how she is to lie down to sleep until her prince awakens her. Snow White’s passivity and the constancy with which she is rewarded for it gives the viewer the notion that Disney endorses this weak, helpless female stereotype and disapproves of women taking a more proactive approach in their lives and within the public sphere as the Wicked Queen does.
If the gender bias was eliminated from Snow White and the Seven Dwarves proactivity in women would not be shunned while passivity would not be rewarded. Snow White would be more pre-emptive in trying to escape from the huntsman and maintain her safety and would be more proactive in finding her own happiness and refuge instead of waiting to be saved. When Snow White is awakened by the prince and he professes his love for her he immediately lifts her up onto his horse and they ride away to be married after waving goodbye to the dwarves. This transaction is done without a word from Snow White whose consent seems to not have been considered in the slightest.
The fact that Snow White is never asked for her vocal consent in going away with the prince gives a dangerous message to young viewers- that women are always willing and that their consent doesn’t actually matter. The handing over of Snow White from the care of the dwarves to the care of the prince is almost ceremonious and gives the illusion that women should not for a moment be without the care of men. If Snow White and the Seven Dwarves excluded gender bias Snow White would be given time to consider the prince’s offer and respected and not resented if she chose to decline his advances.
Overall, the key points that would need to be changed for the story of Snow White and the Seven Dwarves to eliminate gender bias would be the objectification of Snow White that is depicted throughout the film and most notably when the dwarves display her body in a glass coffin for all to see. The rewarding of stereotypically passive feminine qualities such as domestic skills, beauty and innocence and the punishment of aggressive feminine qualities such as vanity, jealousy and greed as well as the denouncement of women in power.
The representation of men would also have to be changed altering them from physically stereotypical males with stereotypically male mannerisms who need women to perform their domestic duties. They would also need to be depicted as less emotionally shallow, and be depicted as valuing women for their skills and personality, rather than just their physical attributes. All in all Snow White and the Seven Dwarves displays many forms of sexism and gender bias including gender stereotyping, the objectification of women and gender role assumptions within the private and public sphere.
This creates a poor example for children as they learn which behaviours are socially acceptable my mimicking things they see. To set a better example to children Snow White and the Seven Dwarves can be reconstructed to eliminate the ubiquitous elements of gender bias and stereotyping that are displayed. Then and only then will we begin to see a change in the way children learn to perceive the differences between the sexes and the abilities, characteristics and wants of both. By Isabella Flachsenberger Gower.
An Essay on Vanity
“Mirror, mirror, on the wall, who’s the fairest of them all?” this ever so famous line quoted from Disney’s Snow White and the Seven Dwarfs sticks to the back of our minds more often than expected. Modern day witches gradually start to emerge in our world with the same intention, or shall we say insecurity, as the witch in the fairy tale – to have the satisfaction of being on top. Nowadays, more and more people, especially teenagers, begin to look in the mirror to see if they are satisfied with themselves.
Vanity, which is being worthless and futile, causes this. When an individual feels worthless, he becomes insecure because he feels that he is not “worth it,” regardless if it’s true or not. This leads to even more troubling problems like fitting in the “in crowd,” attaining high self-esteem and self-confidence, and finding one’s true identity.
The feeling of worthlessness or simply called vanity leaves teenagers to have the craving to fit in.
When one feels that he is not worthy, he seeks the attention of others and he feels that he needs their approval. What happens after this? Then, he tries doubly hard to fit in the “cool crowd” by wearing the trendiest clothes, saying the coolest lines, and doing the meanest things. This may make him one of the “cool people,” but this evidently doesn’t’ make him commendable. Another common thing for trying-hard-to-fit-in teenagers to do is start the hazardous habit of smoking. Their very own peers may well become their very own adversaries because they are the ones who pressure them in taking up smoking. Eventually, these vulnerable teenagers lose their self-image in exchange for a place in the “cool crowd organization.”
Being a teenager is indeed a very difficult part in the cycle of life. It can ruin your self-esteem and self-confidence in a second. For example, cool kids pick on the insecure ones for the fun of it. These kids laugh at nerdy-looking teens and snicker at try-hard-to-fit-in ones. Usually, the ones being laughed at and looked down upon are the ones having problems with vanity. Their sense of futility plus the kind of attention they get from others decreases their self-esteem to zero, thus, causing their self-confidence to drop. This shouldn’t be the case. The vainer a person is, the more he should do something about it, and the more he has to believe in himself.
In extreme cases, adolescents alter their very own persona just to please others. An evident example of this would be teens who steal so that their peers won’t think of them as inadequate. They would rather be called “conyo” than be of the standard class. The question here is why do they have to steal? People who steal aren’t contented with what they have that’s why they make use of other people’s belongings and mark them as their own. By doing this, they would gain attention because their peers would commend them on the objects that they stole, which usually are expensive and classy ones. This is one of the persona alterations that vanity can cause. These common Dr. Jekyll and Mr. Hyde type of teens are pretenders. They live their lives superficially, pretending to be somebody that they’re truly not.
This is a real problem among adolescents. Since they are on the stage where they are able to intellectually contrast themselves with others, they feel that they should show another personality aside from their own so that they wouldn’t have to worry about people’s reactions to their true personality. They cover their faces with masks to keep others from finding out their true identity and to protect themselves from rejection. Because of their insecurity, they may never be able to find their true selves. They should take out their masks and show the world their true selves so that people may accept them for who they are, and not for who they are trying to be.
To all those teenagers with problems regarding vanity and insecurity, you should be able to face your own fear of rejection so that you wouldn’t be living in a superficial world. Be brave enough to bring out your true identity because you should always give yourself a chance to prove that you are indeed “worth it.” They say that it is not because things are difficult that we do not dare, it is because we do not dare that they are difficult. So dare to face your fears and dare to be true to yourself for it is only then that you would find inner peace and self-confidence.
Sleeping Beauty vs. Snow White
Every little girl pretends to be a princess and prances around imagining a prince charming. Even when they grow up and become a woman, they’re still waiting for that prince to come sweep them off their feet, so they can fall crazy in love and live happily ever after. This fantasy is much because of Walt Disney movies such as “Sleeping Beauty”, “Snow White”, “Cinderella”, “Little Mermaid”, and many others. These stories have been passed down for centuries and numerous versions exist today.
There are many interpretations of the stories and their meanings that most people don’t even recognize. Though the stories all seem different, some of them still have similar meanings. “Snow White” and “Sleeping Beauty” are two stories that have a common meaning.
Sleeping Beauty and Snow White are both characters that are unrealistically beautiful. Sleeping Beauty for instance, had fair skin, blue eyes, long blonde hair, and an impossibly thin figure. This sets unrealistic standards for female beauty.
Also the stories show a dependence on males for the female identity. The princess is sleeping, just waiting for her prince to come save her so she can resume her place as princess and “live happily ever after”. Snow White was also poisoned and laid sleeping until her prince came to save her. In a way, this is saying that women are simply waiting around for a man to come save them from ordinary life, so that they can have their ‘happily ever after’ ending. Another point that shows up in “Cinderella” is that the stepmother who raised three children on her own, which shows independence, is made the villain of the story, while passive Cinderella is the lovable victim. In these fairy tales, they show tat a woman is nothing without a man. They give the picture that a woman has nothing to do but wait for her prince, and then once he comes her life will be fulfilled. In today’s world it’s quite obvious that these things could not be more false.
According to Bruno Bettelheim, the numerous versions of “Snow White” and “Sleeping Beauty” represent a young girl growing up and becoming a woman, though it is showed in different ways. In “Sleeping Beauty”, or in Grimm’s version “Brier Rose”, the curse put on the girl by the evil fairy represent new restrictions imposed on a female. It can be interpreted as the beginning of menstruation. The thirteen fairies represent the months of the calendar. The twelve good fairies represent the twelve traditional months of the year, and since there is no thirteenth month, the thirteenth fairy represents menstruation. Also the evil fairy realizes the girl’s potential for becoming the object of desire and out of jealousy tries to prevent the girl from ever becoming a woman.
Further on the representation of the curse as menstruation, there is the King trying to prevent it from happening, because he does not understand it. However, the Queen understands the curse and its importance, being a woman herself, and does nothing to stop it. So naturally when the girl sees a spindle for the first time, full of curiosity, se pricks her finger and falls asleep. The absence of the girl’s parents when she pricks her finger represents the parents’ inability to help children through the various trials of growing up. The King and Queen’s waiting symbolizes the wait for sexual fulfillment. It shows the end of childhood and a time of quiet growth, from which she will awaken mature and ready for sexual union (Bettelheim, 232).
In the tale of “Snow White”, Bettelheim explains how it tells of how a parent (the Queen) gets destroyed by jealousy of her child, who in growing up surpasses her (195). The Queen is not only jealous of Snow White’s beauty in some versions, but also jealous of the love of the father for the girl. They are jealously battling to be the King’s favorite. Since Snow White is more beautiful, she has more power and able to win over her father. Bettelheim uses Freud’s Oedipus complex for understanding the conflicts between Snow White and her stepmother. The King and Queen in stories represent absolute power, such as a parent holds over the child. When the child’s position in the family becomes a problem, they try to escape to start the road to finding themselves. Snow White’s time with the dwarfs represents her period of growth (201). When Snow White eats the apple, the child in her dies, and is left to rest in a glass coffin, which represents waiting for maturity, until her prince comes (213).
Both these stories represent a girl maturing into a woman, and having an older woman jealous of their beauty, trying to prevent them from growing up. These characters have to go through a dormant period of resting, so they can reach sexual fulfillment and awake matured, ready to start a life with their prince. There is also someone in both stories, a male, who does not understand the maturing period, and tries to prevent it. In “Sleeping Beauty” it was the King and in “Snow White” it was the seven dwarfs who tried to help her. This shows that despite a parents attempts to postpone being able to reach maturity at the proper time, it happens nonetheless.
Breaking the Disney Spell
Jack Zipes, in his essay “Breaking the Disney Spell”, directly addresses the issue of what happens when a story is taken from its original oral form and written down. Zipes discusses in depth what Walt Disney has done to fairy tales and the consequences of Disney’s actions. Zipes addresses many issues, including those of context, society, and alteration of plot. He accuses Walt Disney of attacking “the literary tradition of the fairy tale” (344). While many scholars disagree with Zipes’ accusations, his essay makes very solid and well-presented points that he promptly backs with fact.
Regardless of what the scholars say, Zipes was right: Oral tradition is important, and Disney’s representations of historical folktales damaged fairy tales as we know them. When Walt Disney began his cartoon and film career in 1927, he might have been unaware of how the American public would rush to purchase his “original” creations. His first cartoon, a re-creation of Lewis Carroll’s Alice’s Adventures in Wonderland that added a comedic spin, began his career in the cartoon industry and eventually spun his company into a billion dollar enterprise (Funding Universe).
As Disney’s popularity grew, he continued to expand his film creations, but generally by copying or “re-creating” fairy tales or other historical literature. Many Americans believe that Walt Disney was the first person to create fairy tales, and Disney failed to recognize the original creators of the stories that made him so popular: the folk. Historically, fairy tales were told amongst people that historians and folklorists refer to as “the folk. ” That is, the stories were shared orally, in what is commonly referred to as “sacred space” (Curry). Fairy tales were not intended to be read alone, in silence.
Rather, they were created to be shared in a group of people, and, while fairy tales were saturated with meaning, that meaning could vary based on the storyteller. Fairy Tales were also often the holders of a warning or admonition that could be adjusted depending on the listener. One mother might have told her daughter one version of “Cinderella” in order to make a statement about her daughter’s life, whereas another mother might have told a completely different version of the same story. This, Zipes argues, is what made fairy tales unique and important.
He comments, “A narrator or narrators told tales to bring members of a group or tribe closer together and to provide them with a sense of mission” (332). Fairy tales were told from an older generation to a younger generation. As mentioned previously, they were not shared in private, by oneself, alone with a book or videotape. Zipes comments, “This privatization violated the communal aspects of the folk tale” (335). The stories were a collective form of communication that occurred in a group setting, in a safe place, in a sacred space. Fairy tales, besides communicating moral and social messages, were a rite of passage.
Martha C. Sims and Martine Stephens, both revered folklorists, make a statement about the importance of storytelling and teaching in their book Living Folklore. “Rites of passage mark notable dates or stages in a person’s life. Most rites of passage occur at times of change or transition: birth, puberty, entering adulthood or coming-of-age, marriage, and death, for example” (110). Fairy tales were used in rites of passage as a way to communicate with the younger generation about the changes that take place during puberty, adolescence, and marriage.
Even in the written versions of Fairy Tales produced by the Brothers Grimm, Perrault, and other respected folklorists, scholars are able to grasp and to understand the importance of various elements that are present in the stories that show valuable truth about life adjustments and growing up. Many folklorists, however, consider Disney’s version of historical fairy tales to have stripped them of their meaning. Zipes is one of them. Zipes uses the example of Disney’s recreation of Puss in Boots to show that Disney altered the story to “use it as a self-figuration that would mark the genre for years to come” (343).
Zipes argues that Disney changes the protagonist of the story from Puss to the “young king. ” In the original version of the tale, the cat was the hero and the young boy he was friends with played a minor role in the tale. The boy in the original tale was not royalty at all: he was a commoner. Disney changed both the importance of the boy’s role in the story, as well as his social status. By adjusting the story, Zipes declares that Disney projected his own self into the story and presented it in a sort of auto-biographical fashion. Disney saw himself as the young king and projected that into the story.
Disney did not see himself as simply an ordinary commoner: he was far above the peasant class, at least in his own mind. While many of Disney’s fans and viewers may argue that his recreation of fairy tales made little to no impact on the original meaning, Zipes believes otherwise. “Disney’s film is also an attack on the literary tradition of the fairy tale. He robs the literary tale of its voice and changes its form and meaning” (344). Disney not only adjusts the main elements of a story, but he also alters the point of view and the narrator, as we see in Puss in Boots.
Instead of the story being told from Puss’ point of view, the “hero” of the story is the young boy. In Disney’s other fairy tale recreations, he often adds characters and makes them the hero or savior of the story. Often, instead of being told by a female point of view and being about women, as many fairy tales are historically represented, Disney projects a patriarchal view on the story and makes it obvious to his viewers that a woman’s life is meaningless without a man to guide her. Disney’s characters all understand the importance of waiting around for their prince to arrive and “save them” from the life that they so torturously endure.
Instead of the bright, intelligent, and witty women that are evidenced in such tales as Italo Calvino’s The False Grandmother and Lasair Gheug, the King of Ireland’s Daughter, Disney’s heroines appear to be lacking not only spine, but brains as well. Many American children have grown up completely unaware that the concept of a prince saving a princess is a distinctly Disney idea. The classic fairy tales often involve feminine strength and an urging of women to be able to outsmart her predators. If a girl is not able to outsmart her attacker, she is simply killed.
This is evidenced quite well in Perrault’s Little Red Riding Hood and the Brothers Grimm tale of Little Red Cap. A comparison of the two stories will bring to light the idea that if a young girl is smart enough, she can outwit any predator – even a hungry wolf. The girl in Little Red Cap is able to do just that, and escapes with her life. Contrarily, the heroine of Little Red Riding Hood is not quite clever enough, and she is “gobbled up” (Perrault 13). The concept of women needing a savior is quite obvious in the Disney version of Snow White.
Zipes notes, “Snow White was his story that he had taken from the Grimm Brothers and changed completely to suit his tastes and beliefs. He cast a spell over this German tale and transformed it into something peculiarly American” (346). Maria Tatar also notes the impact of Disney’s version on the American public as she comments, “Walt Disney’s Snow White and the Seven Dwarfs has so eclipsed other versions of the story that it is easy to forget that hundreds of variants have been collected over the past century in Europe, Asia, Africa, and the Americas” (74).
In the oldest versions of Snow White, the heroine of the story does not need to be “saved” by a prince. The Brothers Grimm depict Snow White coming back to life by her coffin being jarred, which dislodged the apple in her throat (Grimm 89). Similarly, in the Lasair Gheug version of this tale, it is the king’s new wife who saves Snow White by picking the ice out of her forehead and palms (94). Disney, however, shows Snow White as a weak female who must be rescued by her “prince Charming. ” She is saved, not by accident or by a minor character, but “when the prince, who has searched far and wife for her, arrives and bestows a kiss on her lips.
His kiss of love is the only antidote to the queen’s poison” (Zipes 348). Disney’s portrayal of princesses or young girls as weak and frail leads Zipes to believe that Disney “perpetuated a male myth” which is, subconsciously, a celebration of his own destiny and success (348). Disney, although his primary characters are nearly always female, depicts them as weak and needy. It is only the secondary male character and the antagonist female in Disney’s stories who appear to have spines. By keeping his primary female characters weak, Disney is sending the message that women are helpless without men.
Zipes, in accordance with this idea, notices that not only are the primary females in Disney’s stories kept weak, but that the male “heroes” of his tales are overly masculine and are the saviors of the stories. “In this regard,” notes Zipes, “the prince can be interpreted as Disney… Snow White cannot be fulfilled until he arrives to kiss her… ” (349). Zipes argues that Disney, in his creation of weak females and strong male heroes, is making a statement that he, Disney, is a hero. Disney’s re-telling of these fairy tales is not simply adding his own perspective to the issue at hand.
Rather, Disney completely rewrites fairy tales to mean what he wants them to mean. Most historical fairy tales have a common theme and moral in them, regardless of the story teller. From Perrault to the Brothers Grimm, much retelling is similar, with only slight variances. Disney, however, with his addition of “him” to the story, alters the story not only by point of view, but also in it’s moral and its core message. Some folklorists argue that a recreation and revision of historical folklore is necessary to ensure that the current generations retain their interest in the past.
Many might argue that Disney’s retelling of fairy tales has not harmed the historical value of the stories. Benjamin Filene makes this argument in his work Romancing the Folk. “… the backward glance can be more than nostalgic — that memory can create American culture anew” (236). While Filene may truly believe that it is important to incite interest in folklore amongst the youth of the current generation, Zipes disagrees. His research leads him to believe that this alteration, whether for personal gain or simply for popularizing any type of folklore, permanently hinders the message that is inherently present in the original version.
Disney, in his new representations of fairy tales, loses sight of the original messages and completely removed the moral and meaning from the stories. Zipes, in Breaking the Disney Spell, provides clear evidence that Disney has violated the sanctity of fairy tales by rewriting them for his own personal pleasure and gain. By projecting himself into the fairy tales, Disney not only removes the moral message of the story, but also replaces the matriarchal values with patriarchal ones. Disney molds women to meet his standards of how women should behave, rather than portraying the strong and clever females that are visible in the original tales.
While fairy tales were altered when they became a written tradition rather than an oral one, most stories still maintained their original moral values. Disney, however, strips the stories even of that in lieu of something “better”: his own pleasure and fame. After Disney, fairy tales will never be the same. Now, society is stuck with his egotistical creations that are beneficial to no one but himself. Instead of the stories being meaningful and a rite of passage, they are reduced to simply a meaningless tale of Disney’s life and goals. Zipes was right: Disney has damaged fairy tales and they will never be quite the same
Perfection (persuasive essay)
“Mirror, Mirror, on the wall, who’s the fairest of them all?” “You are.” (Snow White)
Ah, yes, the Evil Queen. She was wicked, terrible, and horrid – or was she? Maybe she was just a normal, average person seeking acceptance. Maybe she felt the need to be the best, to achieve perfection. Or, maybe she was just insecure, seeking to put others down because of a misguided past. Whatever the reason was – society, perfection, insecurity; the Evil Queen felt that she had to be better than everyone else, or at least the best a person can possibly be.
In society today, many of us are replicas of the Evil Queen, putting on ourselves a heavy burden in order to obtain perfection, yet kill ourselves in the process as she did. Instead of trying to be absolutely perfect, why not simply try our best and know our limits, rather than die striving to achieve an impossible goal?
What do you see every time you look into the mirror? Unless you’re one of the blessed few, you usually see the imperfections.
The tiniest details that no one else notices, but you blow it out of proportion. What do you see when you see me? Some say, “A good student – inquisitive, creative, opinionated, and happy.” That’s quite different from what I see. When I look in the mirror I see…pimples, blemishes, imperfections, pain, rejection, stress, confusion, and frustration. It’s all from our idealist society; it’s all from the media, the school, or even your next door neighbor. The environment we’re in makes it hard to come to terms with the fact that, in truth, perfection will and can never be achieved.
We all say, “Oh, no one is perfect,” and “Looks aren’t important,” but do we really believe it? We all try to achieve this perfect ideal, the idea of perfection in our idealist society – a goal that is absolutely unattainable. Do yourself justice, but there comes a time when further improvement will not significantly improve your cause, and it would be better to move on rather than wasting your time trying to perfect one thing. We were created in God’s image to be perfect, but after the fall of Adam, we are now born with a sinful nature and therefore unable to achieve this form of absolute perfection. The line needs to be drawn between perfection and agonizing; too often we struggle to be what we know that we cannot.
Perfection is hidden behind a curtain of lies. Every time you open up a magazine, it stares at you right in the face – self-improvement, perfection. We see the perfect models with the perfect bodies. They have the perfect skin, the perfect hair, the perfect teeth. We look at it and say, “I know that’s all done with computers. That model doesn’t look like that in real life. That model has blemishes, imperfections, and probably anorexia,” but is that how we really feel? We know it, but subconsciously, stored in the very back of our minds, is the fact that we want to look like that.
We want to have the perfect body, the perfect skin, the perfect hair, the perfect teeth. Therefore, we struggle to achieve it, both men and women alike. Awhile ago, I came across a web site that said, “Beauty is a disguise that hides all imperfections.” Although this isn’t true in all cases, it helps put things that can’t be seen based solely on appearance in a better perspective. Beauty can lie – perfection lies; it is merely a piece of beautiful Christmas wrapping around an empty box. The temptation of perfection leads us to nothing but the false assumption that we can live a in this imperfect world.
Society itself brings us to the conclusion that in order to look good and fit in, we need to make ourselves perfect. “Oh, my gosh, Becky, look at her butt, it is so big.” We all do it; we are all critical of other people and their imperfections. Usually it is just jealousy or our own insecurities, but it still happens. We look at other people, and to make ourselves seem better, we look to their flaws. We look for that broccoli in their teeth, for that uneven part in their hair. It’s no wonder that we become neurotic about looking perfect – but is it really necessary?
Although everyone has his or her own flaws, it is their good qualities that make them who they are, who we are. God has given each of us a unique personality, to be special, different, and one-of-a-kind. Focusing on the faults of others would do nothing but soak the world in depression and low self-esteem. Knowing that God created mankind in His own image, we should not judge ourselves and judge others to boost our confidence. The world would be a more loving and peaceful place if we looked at others through God’s eyes instead of through the eyes of man.
What should we really see when we look into the mirror? There isn’t much to it – maybe just a human being. Who knows, maybe she does have a scar on her forehead, but she has really pretty eyes. Maybe the glass isn’t half empty after all; it’s just how we look at ourselves. It’s simply how the media, how society, how everything, makes us feel inadequate. If people begin to come to the absolute realization that perfection cannot be achieved, the world could lead a much better, happier life. Not being in search for things that we cannot change, but changing the things that we can. After all, we’re all just human beings, trying to achieve perfection in an imperfect world, trying to be able to ask ourselves what we truly see in the mirror. Maybe it won’t be the “fairest of them all”, but it certainly isn’t the worst. Besides, it really isn’t that bad being second best next to Snow White.
Cinderella: Brothers Grimm and Traditional Fairy Tale
Anne Sexton’s poetic debunking of Cinderella is a dark comic version of the popular fairy tale. In it, she combines the Brothers’ Grimm tale with stories from modern society. In the poem “Cinderella” by Anne Sexton, she uses the stylistic devices diction, tone, symbolism, repetition, similes, and references from contemporary living to the Brothers’ Grimm to satirize the happily ever after that many people chase. Does this fairy tale ending exist or is it just a dream stalked by many? As Sexton begins the poem, she sets a sarcastic tone by saying “You always read about it” and following it with extravagant rags to riches stories when in fact, these stories do not always occur.
The sarcastic tone is shown throughout the poem. With Sexton’s harsh words of reality, she breaks the dreams of the readers seeking a traditional fairy tale. The use of Sexton’s sarcastic tone foreshadows what is to come in the poem. The line “that story”, which is repeated numerous times, exposes the unrealistic nature of these rags to riches stories.
Through the lines “Cinderella and the prince / lived, they say, happily ever after, / like two dolls in a museum case/ never bothered by diapers or dust, / never arguing over the timing of an egg” Sexton is in fact changing the fairy tale into a myth, making Cinderella and the prince just a portrait hung on the wall.
By her use of sarcasm, Sexton is depicting for the readers how the fairy tale ending is in fact not reality. Just because Cinderella marries the prince does not necessarily mean that they will live happily ever after. When a person runs off and gets married, it never turns out quite like a fairy tale. In the last stanza of the poem, Sexton describes the relationship between Cinderella and her prince in a set of similes used to continue the sarcastic theme set throughout the poem. She writes that Cinderella and the prince never kept house, never argued, never aged, never did any and all the things that come…
Snow White and the Huntsman
Snow white and the huntsman is the battle between beauty and innocence for fairest blood. This is a four star dark twist to the traditional fairy tale of the orphaned princess, Snow White (Kristen Stewart), and her escape from her step mother and evil Queen Ravenna (Charlize Theron).
From the producers of Alice and the Wonderland, An Evil Queen, Ravenna, tricks, seduces, and kills the king; she takes the kingdom and rules with intimidation and magic. She draws her life force and youth from magic which is fuelled by the draining of other beautiful young hearts and souls.
Her life is to be the fairest in all of the land yet another has come of age to surpass even the strongest magic. “She is life itself”
Snow White, the late king’s daughter, was kept alive for many years in a tower in the castle since she was a little girl. Now she is what stands between Ravenna and immortality. “Be warned, her innocence and purity is all that can destroy you but she is also your salvation”.
In a flurry of lust and luck, as well as her connection with Mother Nature, she escapes into the dark forest. The adventure begins as the Queen hires the Huntsman who knows the dangerous dark forest, to bring the princess back to her. The pursuit of Snow White, on an evil Queen’s quest for immortality – the princesses snow white heart.
The pursuit of the princesses’ heart starts… and ends with the flawless acting of Oscar winner Charlize Theron. The South African born Theron, known for her blonde hair and revengeful roles in Monster (Alieen Wuornos), and The Italian Job (Stella Bridger), graces the screen in a five star performance. She shows her versatility as a lead actress in her not revengeful but narcissistic character of Ravenna. This is portrayed in the second Mirror scene. Ravenna asks the Mirror “Mirror Mirror on the wall, who is fairest of them all?” The mirror tells her” My queen, you have defied nature and robbed it of its fairest root. But on this day there is one more beautiful than you.”
She becomes angry as she longs to be the most beautiful in all the land. Ravenna’s last words to the king before she murdered him were “Men use women. They ruin us and when they are finished with us they toss us to the dogs like scraps”. Her conviction as an actress is authentic but what triumphs over that are her powerful actions that can convey an entire conversation in a simple movement. This is best seen where she is dragging herself out of the black goop after killing Snow White. She uses one hand and reaches, in vain, out to the Mirror as if to beg it to tell her she is most beautiful now the princess is dead. Even during her own near death moment her narcissistic personality shows though a very basic need for power and prestige.
Allot of power and prestige of Ravenna comes to this movie through the main soundtrack ‘Breath of life’ by Florence and the Machine. After a drum beat beginning that sets the medieval mood, a choir and rhythmic beats adds a flare to the unique voice of Florence. Jon Dolan of the Rolling Stone reviews comments that it was “All doom-drum rush and endless-midnight orchestral sweep” Ravenna looking for her breath of life (I was looking for a breath of life, A little touch of heavenly light), but the world that had once turned on itself now turned on her and cried no (But all the choirs in my head sang, No oh oh). You can hear in the beat that she is fighting life itself.
The casting of this movie was a mix of brilliance and flawed choices. Where Theron’s casting was no doubt the brilliance, Kristen Stewart as Snow White was the major flaw. Stuart, known to her fans as new girl Bella, from the Twilight saga, showed her incapability of holding a lead actress role. Unlike the role she played in twilight, she has no other main characters to hold her up. She drains the personality from Snow White in addition to the lack of importance felt in her character. This is predominantly seen in the “fight to the death” scene with Snow White and Ravenna. While Theron oozes fire and elegance, Stuart can’t seem to capture a believable character. Snow White is supposed to be innocence and humility in contrast to the Queens magic and pride. Her sharp angled face, greasy voice, and empty facial expressions she was a flawed choice by the directors.
Drunk, bitter and half dead. The gorgeous Chris Hemsworth plays the in between of life and death as the Huntsman. Once being a small point in the original brothers Grimm fairy tale, Hemsworth’s huntsman has created a new take on the contrast between the two main roles. This is greatly shown when he is pulled out of a dirty tub of water with a hangover and a debt and he is brought to the queen’s throne.
When the queen’s guards draw spears against him he says “Do me the favour, I beg of you.” He can’t stand to be alive because the Queens magic killed his wife for her youth. Finn tells the Huntsman “She screamed your name but you weren’t there. Now you can beg her forgiveness in the other world.” Now as Snow White lay dead the Huntsman begs for forgiveness from her “I’m so sorry I failed you. I’m so sorry. But you’ll be a queen in Heaven now and sit among the angels.” It’s his kiss and sorrow which awakens her from death itself.
Colleen Atwood is a name that is very familiar in the movie designer world and with a BAFTA and OSCAR nomination is certainly one of the very important people in the makings of this movie. Some of the best designing seen this decade has come from Atwood who is known for her dark works in Dark Shadows (2012), Alice in the Wonderland (2010), Edward Scissorhands (1990) and The Silence of the Lambs (1991). Her epic fantasy costumes bring the film to a whole new gene of evil allure. From the Huntsman ancient clothes to the modern flare of Snow Whites traditional dress, Atwood’s best work has to be Ravenna’s wardrobe.
A beautiful wedding dress fit for a Queen to an evil black cape fit for a Witch empress, the skilful dress of this movie would be the floor length silver dress. Worn in the scene in which she is stabbed with a dagger, this piece of art is exquisite, with the flared sleeves, fitted body, and square neck brings the vintage era setting to life. This dress would not be complete without being coupled with a fabulous collection of accessories including a black and silver choker with matching earrings, a purple pendant encrusted with silver on a beaded chain and a crown that mimics the one on the statue of liberty. The most powerful accessory would have to be the claws on her right hand. This simple yet vicious prop is used in small roles throughout the movie but the best example is when she uses her index claw to eat a raven heart. This will in no doubt send a delicate shiver of disgust down your spine.
This dark, evil and beautiful movie is worth all its four stars. Even though Kristen Stewart’s performances as Snow White was not nearly up to par, if looked upon as the story of Ravenna’s demise, Theron more than makes up for what Stuart lacks. A story of Beauty, lust, pride and a quest for fairest blood, this is the must see the movie of 2012.
“Lips red as blood, Hair dark as night, bring me your heart, my dear, dear Snow White.”
Movie Review-Sydney White
“Sydney White” is a story about a tomboy named Sydney White, who was raised up by her foreman father and a group of construction workers since her mother died nine years ago. In this movie, Sydney White is set to be a freshman in a college. She is a happy go lucky girl. When it was the age for Sydney heading to the college, she decided to enroll and joined her late mom’s alma mater sorority which her mom proud and cherished much.
She believed that by doing so, she will get closer to her mom and have the chance to experience the life which her mom went through before.
As a legacy, Sydney was successfully chosen to be one of the Kappas in the college. On the first day, Sydney met Dinky, a nice, cute kappa legacy as her roommate. While both of them were on the searching to Kappa sorority house, Sydney’s naive, sincere and her candour had stole Tyler Prince’s attention, which is the president of Beta sorority house.
He is a good-looking and smart man. He was then kind enough to offer himself to be the guide for both of them to the Kappa sorority house.
Sydney had a great chat with him and this was seen by Rachel Witchburn, the princess president of the Kappa sorority house. Rachel is a pretty and confident girl, and is very conscious on her appearance and fame in the college. Sydney who had been in the limelight since the very first day had boosted her jealousy and as a result, Sydney had some confrontation with her. This is followed by kicking out Sydney from Kappa sorority house by giving the excuses that Sydney did not fulfill the condition to be a kappa.
Sydney ended up living in the Vortex, a soon-to-be demolished house and also the home to seven great geeks or dorks in the college. However, Sydney had never give up for what she had received. In fact, she found some kindred spirit with the seven dorks. Her altruism made her felt that they, the resident of the Vortex have the same right as the Kappas and Betas in the college, she then rallied the seven dorks, asked them to stand up and voice out their rights by joining the student council.
With the determination and cooperation from the seven geeks, plus some helps and supports from Tyler and schoolmates, in the end, Sydney was successfully been elected to be the new president of student council in the college. The movie “Sydney White” is an idea taken from the story “Snow White and the seven dwarfs”. Sydney White is the new and modern version of Snow White. I personally like the plot of the story. It is great and well arranged. Despite the good messages, determination, tolerance and the success of the hard work, the story also put in some problems that might be faced by the people especially students nowadays.
For example, discrimination to the geeks, bullying, lack of confident in handling problems and confrontation. The story taught the people how to face and handle the problems and obstacles in our life. As we know that, life is not always smooth and easy, people need to learn how to handle it. Sydney White’s determination in facing the problems and confrontation between her and Rachel had been a good example and indication that we must not easily give up something in our life. Overall, it was a nice movie and I enjoyed watching it very much.
Villain Study Regina Mills aka The Evil Queen
Once Upon a Time is a fairy-tale drama television series that broadcasted on ABC that takes place in many realms such as the Enchanted Forest, Storybrooke (the Land Without Magic), Wonderland and more. Regina Mills, infamously known as the Evil Queen in ABC’s Once Upon a Time, was corrupted by power and revenge. When Regina was younger, she had a great love for horses and that’s where she met Daniel, the stable boy, the man she loved and dreamt of marrying.
They were in a secret relationship. However, her mother, Cora, wanted more for her. Cora wished for Regina to marry someone wealthy and powerful, something Cora could never achieve herself.
One day, a young Snow White was desperately calling for help as she rode a runaway horse. Regina heard her calls and saved her life. As a gift to Regina for saving his daughter’s life, King Leopard proposed to Regina. Cora accepted on Regina’s behalf, unaware of her daughter’s secret relationship.
Regina asks Daniel to elope with her, but Snow White sees them. Regina explained to Snow that she was in love with Daniel and wanted to marry him. Regina told her that it would be unfair to marry the King when she didn’t love him. Snow White wanted to help Regina and thought that if she spoke to Cora, she could help Regina be with the man she truly loved.
Cora, enraged with the news of her daughter’s relationship, she rips Daniel’s heart out and kills him, forcing Regina to marry King Leopard. Regina’s heart grew vengeful with rage and hatred towards Snow White, believing that Snow White was the reason the man she loved was dead. Her mother justified her actions saying that love was a weakness, and power was all she needed.
Not wanting to become like her mother, Regina consults with her mother’s mentor, Rumpelstiltskin. Inevitably, Regina learns that she likes using her magic, just like her mother, and embraces her dark side. She dedicated her life towards ruining Snow White’s life, swearing revenge for Daniel’s death.
She arranged for Leopard’s death and Snow White’s assassination. However, Snow’s wits and survival skills help her to become a bandit on the run from Regina. Regina was determined to make Snow White pay for her actions and committed villainous actions consecutively until she became known as The Evil Queen. Accepting her title, Regina continued to look for Snow White and uses a sleeping curse on her, forcing Snow White into a sleep-like death until her Prince charming comes along, gives her a true love’s kiss and breaks the curse.
This made Regina very angry, as she felt like Snow White did not deserve any love. She learnt about the Dark Curse and waited until the time was right and the curse was ready. She then released the curse, sending everyone in the Enchanted Forest into a town called Storybrooke, where no one knows who they really are, and their past lives were now simply fairy-tale characters.
Villains are the antagonists of the hero in every story. They stand in opposition to everything that is good and are defined by their evil and/or wicked actions. Socrates, a classical Greek moral philosopher, argued that a villain or evildoer commits acts out of ignorance; evildoers act in ways they believed were justified or were in their best interests. It is believed that injustice, deceit, lack of knowledge, and choice are what influence or characterize evil. Acting in injustice towards others, using deceit and being ignorant towards morality and ethics, and choosing to commit despicable actions are what constitutes towards a villain. 
According to the characteristics presented in Niccol Machiavelli’s “The Prince”, a Machiavellian is someone who rises to power through means of deceit and nefarious schemes and can be categorised in two ways. The first, as someone who commits heinous/evil acts to rise to a position of power but stops and turns the situation around to be advantageous for everyone, and the second as someone who commits villainous acts to obtain power but continues to act in a malicious manner. 
The Evil Queen fits the characteristics of a Machiavellian. Her rise to power was supported by a multitude of crimes including but not limited to manipulation and murder, through means of deceit and dark magic. Regina was known to many to be a murderer, as treacherous, merciless and sociopathic as they come. Driven by the need for revenge, Regina allowed darkness into her heart. She chose to commit the crimes and had no remorse for any of it. She murdered King Leopard to become the sole matriarchy of the Enchanted Forest. She even sacrificed her own father’s heart to create a curse.
Whenever she didn’t get her way, she would exercise her anger and wrath by killing those who stood in her way, especially if it involved Snow White. For example, when a village refused to reveal the whereabouts of Snow, the Evil Queen massacred the entire village. Many or almost everyone that she’s killed were due to her insane desire for revenge from Snow White. Many of those who’ve helped Snow have ended up dead because of the Evil Queen’s wrath. She even seemed to enjoy killing, as seen when she killed a guard in a fencing match for pleasure. Being deprived of happiness and love, she also took pleasure in subjecting others to these miseries, such as tearing apart Snow White’s and Prince Charming’s romance, as well as others such as Rumpelstiltskin and Belle, Ariel and Eric, and even using the Genie’s feelings towards her to her own benefit. She used power and intimidation to control people and believed her actions were justified, as she thought it would avenge Daniel’s death.
Regina exhibited many of the qualities of moral evil which stems from free will, choosing to inflict suffering and chaos, and was a combination of demonic and idealistic evil. She was both an opportunist and a master schemer. She planned her actions out, but whenever she saw an opportunity, she readily grabbed at it. She was a great manipulator too. With her magic, she was able to control anyone. She also took advantage of others love for her and used it for her selfish needs.
Evidence of this is seen when Regina uses the Genie’s feelings towards her and manipulates him into killing King Leopard. She manipulated Jefferson, the Mad Hatter, into transporting her to Wonderland so that she could rescue her father from captivity but ended up betraying him and leaving him stranded in Wonderland, separating him from his daughter and driving him insane trying to find a way back to his daughter. She cast the Dark Curse, despite knowing the consequences and how they affected the thousands of lives from the Enchanted Forest. Perhaps her most despicable of actions was casting this curse.
The curse required her to sacrifice the heart of the one she loved, her father, and so she did without hesitation. She intended on killing Snow White’s daughter, whom she knew would be able to break the curse in the future. By casting the curse, she banished everyone in the Enchanted Forest to a land without magic, forcing them to forget their pasts, only allowing Jefferson to remember his past. This was, as she believed, the worst punishment because Jefferson was forced to watch his daughter be raised by strangers and was unable to intervene.
The Evil Queen’s character was quite complex, and it is essential towards understanding her. In many stories, villains were often depicted as male. Having a female villain challenges many of the stereotypes of villainy. It breaks gender roles and shows that women too are capable of great evil. In the past, female villains were weaponized by sexuality, chasing youth, beauty and power, e.g. Lady Tremaine from Disney’s Cinderella or Ursula from Disney’s The Little Mermaid. Feminine villains are often depicted in ways that constrict their villainy, having it only be depicted in ways defined by their womanhood and limiting them to stereotypical gender limitations. However, ABC’s Once Upon A Time illustrates the Evil Queen as a villain that truly breaks all these stereotypes. She had an immense desire for revenge, driven by the heartbreak, pain and loss delivered by her mother.
Regina’s evil was greater than most of the male villains, except for Rumpelstiltskin, and was sometimes worse than his. She broke the perception that women should be viewed as the “weaker sex” and should be protected from the cruel realities of the world. She showed that being a woman didn’t mean that she was weaker. She was feared by many across realms and possessed great, unlimited power. Extending from the same complexity as her male counterparts, the Evil Queen was truly evil. She was willing to do whatever was necessary to get what she wanted, even if it meant hurting her loved ones and destroying the world she knew with a curse so dark and destructive.
To be a great villain is to be powerful, intelligent, immoral, wounded and determined. Based on the above analysis, Regina Mills fits all the basic characteristics of a great villain. Her power exceeded that of anyone’s expectations. She was a combination of witty, cunning, manipulative and intelligent which allowed her to get what she wanted. Her actions were villainous and violated every rule of morality. Regina’s motivations behind her villainous deeds were fueled by her own tragic past which gave her the strength to plot devious and treacherous elaborate plans. Her past played a major role in the understanding of her character.
Although her actions cannot be justified, being aware of her past adds to her complexities; they help us to recognise her pain and her motivations. To her, any possibility of love and happiness were ripped away from her when she lost Daniel, and because she was unable to process that trauma and grief, she channelled it to hatred towards Snow White, who only had the best intentions at heart. Unable to let go, her hatred towards Snow White only grew worse as the years went by, as she saw Snow White grow into a beautiful woman with love and happiness in her heart. Regina was envious and was very determined to make Snow White pay for her actions. She dedicated her time to learning magic and terrorized the Enchanted Forest with her dark powers, all in hopes to kill Snow White. Her plans were all so carefully planned out, down to the very last detail, and she intended to go through with her plans regardless of who got hurt.
Taking all of this into consideration, the Evil Queen makes a very intriguing villain to analyse due to her many complexities, and they also contribute to the making of a great villain.
-  Dr. Burkhardt, L. (n.d.). Villains, Evil and Machiavelli (3). [Lecture Notes]. Retrieved from My.Seneca.
-  Kitsis, E., and Horowitz, A. (Creators). (2011). Once Upon a Time. [Television Series]. United States: American Broadcasting Company.
-  Machiavelli, N. (2010). The Prince (excerpt) – Machiavelli. [PDF file]. Retrieved from My.Seneca.
The Warped Memories Interesting Facts
- 1 Introduction
- 2 Conclusion
Remember Sleeping Beauty? Snow White, Cinderella, Rapunzel? Most of the world’s nostalgic memories of these childhood-favorites are lies. Everyone knows that one’s memory can fail them sometimes. Humans are a forgetful species, constantly not remembering what they walked into the room for, or bickering with their friends over an event that happened not even a day ago because they swear it happened differently than how they’re being told.
Well, if everyone knew the true background behind many innocent fairy tales, they wouldn’t forget. Fairy tales have been around for thousands of years, no one knowing when exactly they started, being passed on both through verbal communication and by being written down. However, this classic literature tradition wasn’t always intended for youth; it was actually a way for adults to document the hardships they have experienced or seen. Fairy tales have almost made a full circle in terms of the gore and horror that’s included in these popular fables.
Fairy tales have been around for as long as one remembers, right? In fact, no one knows exactly when they started, even with all of the knowledge we’ve gathered about this captivating, extensive topic. Until about 4,000 bce all literature was oral, but, beginning in the years between 4,000 and 3,000 bce, writing developed both in Egypt and in the Mesopotamian civilization (folk literature). Although humans initiated writing things down and documenting some important baggage around 4,000 bce, the study of fairy tales didn’t begin until the early 19th century (folklore). However, historians discovered that people would write down their stories when they’re going through rough times. …fairy tales originated in an age marked by wars, plague, and famine (Smith 105).
The origin of fairy tales, just like human language, is probably impossible to find out (folk literature). The start of fairy tales still have people all over the world scratching their head. Because every culture has experienced fairy tales in their own way, miscommunication is common when trying to gather accurate information about a time frame from when and where these classic fables originated. Although humans may not know how fairy tales started, they do know how the popular stories were passed along.
Using the knowledge already obtained through studies, analysts can conclude that fairy tales were passed along verbally for many, many years before the thought of writing a fable down ever came into anyone’s mind. It is often difficult to distinguish between tales of literary and oral origin, because folktales have received literary treatment from early times, and, conversely, literary tales have found their way back into the oral origin (fairy tales). As stated earlier, there are many ways to communicate stories to others. Simply speaking to each other and writing notes are fantastic examples of this.
Although people know that fairy tales have been around long, long before their parents and grandparents, it still comes as a shock to some children when they find out their favorite stories weren’t made and intended for their eyes.
Many people are baffled and surprised when they hear that fairy tales weren’t initially for children. Of course different authors try and appeal to different audiences, but originally, they were limited to adults. Fairy tales joined the canon of children’s literature…only in the last two to three centuries (Dewan 27). Children have been overhearing their parents talk for probably their entire life; not always on purpose.
They began as oral tales for all listeners, though mostly adults, passed down by word of mouth from one generation to the next. In the sixteenth and seventeenth centuries, Giovanni Francesco Straparola, Giambattista Basile, and Charles Perrault published some of the first collections of fairy tales in the Western tradition. During the nineteenth century, famous fairy tales authors such as Jacob and Wilhelm Grimm, Hans Christian Andersen, and Joseph Jacobs continued writing down oral tales (Dewan 27).
Though most fairy tales are now intended for children, that wasn’t always the case. Trying to get back to their roots (within limits), some fairy tale authors are including more havoc and crime like they used to in the early times. Kids are more attracted to this aspect than they are to the soft-sides of things.
Fairy tales relate to people of all ages now. Different authors aim at different ages, but the majority have an underlying theme that connects all families. Some fairy-tale adaptations minimize the fear, evil, and violence, forgetting that many children enjoy dangerous situations, particularly in the safe environment of fiction (Dewan 28). It’s becoming well known that kids don’t want the happy-go-lucky stories they’re used to being told. Fractured fairy tales…delight young readers because they violate the fairy tale conventions that children have learned to recognize (Dewan 30). By moving away from the safe side of tales, it exposes people to a new mindset. Children become adults in these tales by moving away from home and entering the wide world-a place filled with danger, challenges, and exciting adventures (Dewan 28). Although the children in the stories may not literally become adults, they grow up mentally and are more mature.
Many fairy tales begin with a domestic problem, one that propels children into the larger word. This movement away from home stimulates personal growth as characters face new challenges (Dewan 28). Fairy tales have changed a lot throughout the years. Some of the most famous, original fairy tale authors wrote in lots of gory details, not leaving out any carnage. People thought that was too aggressive, so some authors switched and became too soft, losing touch with their fanbase in the process.
All of the fairy tales we are told as kids are watered-down versions of the original. The original tales might be too gruesome for today’s people; their horrific origins, which often involve rape, incest, torture, cannibalism and other hideous occurrences, are brimming with sophisticated and brutal morality (Ogden). Now, there is going to be an example of one of our favorite story origins, but be warned: it’s cruel.
The tale of Hansel and Gretel could have been told to keep children from wandering off. But during the great famine of 1315-1317 A. D. that crushed most of continental Europe and England, disease, mass death, infanticide and cannibalism increased exponentially. Seeking relief, some desperate parents deserted their children and slaughtered their draft animals.
Or Hansel and Gretel might have stumbled upon the home of the successful baker, Katharina Schraderin. In the 1600s, she concocted such a scrumptious gingerbread cookie that a jealous male baker accused her of being a witch. After being driven from town, a posse of angry neighbors hunted her down, brought her back to her home, and burned her to death in her own oven.
This is just one case where a cute story was formed from a cold-blooded past.
To sum up, fairy tales have been around for a very long time. They’ve been passed down through generations, starting from when adults told their troubles and hardships to each other over a meal. They’ve come a long way from the intense, gruesome dramas that weren’t intended for children and found a nice balance between being too intense and too soft. Fairy tales have existed for many millennium, battling the inevitable test of time and winning again and again. Although fairy tales weren’t initially intended for children, the tales have almost made a full-circle and started including the gore and horror aspect that was there when the adults were the majority of the audience. Overall, it might be said these child-favorite fantasies have been around for basically forever. They’re a wide and extensive topic, spanning all the way from before 4,000 bce, and there doesn’t seem to be an end in sight.
To sum up, fairy tales have been around for a very long time. They’ve been passed down through generations, starting from when adults told their troubles and hardships to each other over a meal. They’ve come a long way from the intense, gruesome dramas that weren’t intended for children and found a nice balance between being too intense and too soft. Fairy tales have existed for many millennium, battling the inevitable test of time and winning again and again.
Although fairy tales weren’t initially intended for children, the tales have almost made a full-circle and started including the gore and horror aspect that was there when the adults were the majority of the audience. Overall, it might be said these child-favorite fantasies have been around for basically forever. They’re a wide and extensive topic, spanning all the way from before 4,000 bce, and there doesn’t seem to be an end in sight. To sum up, fairy tales have been around for a very long time. They’ve been passed down through generations, starting from when adults told their troubles and hardships to each other over a meal. They’ve come a long way from the intense, gruesome dramas that weren’t intended for children and found a nice balance between being too intense and too soft. Fairy tales have existed for many millennium, battling the inevitable test of time and winning again and again. Although fairy tales weren’t initially intended for children, the tales have almost made a full-circle and started including the gore and horror aspect that was there when the adults were the majority of the audience. Overall, it might be said these child-favorite fantasies have been around for basically forever. They’re a wide and extensive topic, spanning all the way from before 4,000 bce, and there doesn’t seem to be an end in sight.