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Nice site with short loan system for Polish people. You can try this and fix you private own problem Throughout the Grimm’s own lifetime, and even today, there have been debates about the value of these tales and their relevance for young minds. Probably one of the most famous scholarly critics of the Grimms’ work is Bruno Bettelheim, who argues that children need to understand fear and evil and that it is important to their maturity. He argues that “the primary significance of a fairy tale to a child is [to help the child] achieve a more mature consciousness to civilize the chaotic pressures of their unconsciousness” (Bettelheim 23). He continues that, “These stories promise that if a child dares to engage in this fearsome and taxing search, benevolent powers will come to his aid, and he will succeed. These stories also warn that those who are too timorous and narrow minded to risk themselves, in finding themselves must settle down to a humdrum existence—if not an even worse fate does not befall them” (24).
Bettelheim critiques the more widely known fairy tales and examines the specific psychological dilemmas that the children must face. In “Hansel and Gretel,” Bettelheim evaluates the children as lacking “oral satisfaction,” and their need to fulfill this desire is literally, “eating their parents out of house and home.” Probably the most significant example of the lack of oral satisfaction for the children is illustrated with “a little house made of bread. Moreover, it had cake for a roof and pure sugar for windows” (Zipes 61). Promptly the children set to work at devouring the house and seeking the satisfaction of oral pleasure.
In the 1810 manuscript version of “Hansel and Gretel” there are two biological parents that mutually agree that the children must go in order for their (the parents) survival:
There was once a poor woodcutter, who lived in front of a great forest. He fared so miserably, that he could scarcely feed his wife and his two children. Once he had no bread any longer, and suffered great anxiety, then his wife said to him in the evening in bed: take the two children tomorrow morning and take them into the great forest, give them the bread we have left, and make a large fire for them and after that go away and leave them alone. The husband did not want to for a long time but the wife let him no peace, until he finally agreed.
However, by the time the story reached publication of the first edition in 1812, the brothers had decided that the story should be changed. Although the wife is still depicted as a “biological” mother, the father appears to be more assertive in his attempts to resist his wife’s scheme. After she reveals her plan to him, he responds: “No, wife. I cannot find it in my heart to take my own dear children to the wild animals, who would soon tear them apart in the forest.” Despite the newly edited, more admirable father, he still consents to take his children into the forest and leave them.
In the second edition of Kinder-und Hausmachen, (which is written almost identically to the first until the point of the witch’s death), the children take her jewels and then try to return home; however, the children can only accomplish this by ferrying across water on a white duck. The fifth edition of the story published in 1843 changes the mother to “the wife” and here she becomes a stepmother.
They agreed that until then he would come to her every evening, for the old woman came during the day. Meanwhile, the sorceress did not notice anything, until one day Rapunzel blurted out, “Mother Gothel, how is it that you’re so much heavier than the prince? When I pull him up, he’s here in a second.”
Wilhelm firmly believed that there was a science to creating a good fairy tale. Some of the most important elements were: believability, does the fairy tale sound like someone is telling the story (meaning a first-person storyteller); suspense, there should always be mystery and anxiety involved during the tale; descriptive, does the story accurately depict the imagery needed to involve the reader;censorship, does the story relate to children on a level of fantasy or curiosity (it should not make the child want to create evil, but admire the heroism of destroying it).
A prime example of Wilhelm’s editing is apparent in “Hansel and Gretel.” Jacob first wrote down the original story in an 1810 manuscript; the story had come from one of the famous “storytelling” sessions that the brothers held in their home. In this case, “Hansel and Gretel” has been accredited to the Wild family.
However, the stories changed with each new edition. In 1812, during the first edition of Children’s and Household Tales, Jacob acted as the editor. Jacob left the stories in the original form (that is, how he had noted them during the storytelling sessions); however, in 1815 Wilhelm became the editor and took to rewriting some of the stories. For instance, he thought that some of the situations in the original fairy tales were too gruesome or mature in content, and he would cut parts out of the stories. In some cases he felt that a story would be worded better if he created more emotion. For example:
At first Rapunzel was afraid, but soon she took such a liking to the young king that she made an agreement with him: he was to come every day and be pulled up. Thus they lived merrily and joyfully for a certain time, and the fairy did not discover anything until one day when Rapunzel began talking to her and said, “Tell me, Mother Gothel, why do you think my clothes have become too tight for me and no longer fit?”
When he entered the tower, Rapunzel was at first terribly afraid, for she had never laid eyes on a man before. However, the prince began to talk to her in a friendly way and told her that her song had touched his heart so deeply that he had not been able to rest until he had seen her. Rapunzel then lost her fear, and when he asked her whether she would have him for her husband, and she saw that he was young and handsome, she thought, He’ll certainly love me better than old Mother Gothel. So she said yes and placed her hand in his.
Many of the storytellers were educated young women from the middle class or aristocracy. Jack Zipes, author of “Once There Were Two Brother’s Named Grimm,” reports that, “in Kassel a group of young women from the Wild family (Dortchen, Gretchen, Lisette, and Marie Elisabeth), and their mother (Dorothea), and from the Hassenpflug family (Amalie, Jeanette, and Marie) used to meet regularly to relate tales they had heard from their nursemaids, governesses, and servants. . . . In addition to the tales of these storytellers and others who came later, the Grimms took tales directly from books and journals and edited them according to their taste” (xxiv).
Around 1807, Clemens Brentano, romantic writer and friend of the Grimms, asked if the brothers would collect stories for a book that he was interested in publishing; the book would be a collection (or an adaptation) of several different folk tales. However, in 1810, when the brothers sent Brentano 49 of their best stories, he abandoned them in a monastery in Alsace. So two years later the Brothers Grimm decided to publish their own volume featuring the stories that they had collected. The book was entitled Kinder-und Hausmarchen (Children’s and Household Tales) and contained 86 stories. By 1815 the book had become so popular that Jacob and Wilhelm decided to publish a second volume of Kinder-und Hausmarchen, and it contained 70 more tales. Four years later, in 1819, the brothers would publish a second edition by adding more stories and combining the first and second volumes; this edition contained 170 stories. Their seventh (and final) edition, published in 1857, contained 210 stories.
The literature to which Bettelheim refers is fairy tales. Witches, elves, gods, gingerbread houses, glass slippers, fairies, and castles come to mind when I think back on my own youth– listening to my parents read from a worn-out Grimm’s fairy tale book. I remember thinking that Grimm was, well, just that—grim! I took the term literally; somehow it made sense to believe that a “Grimm” would write stories about horrible witches and evil stepsisters. Despite those early beliefs, I now know that the Grimms actually referred to the Grimm brothers, Jacob and Wilhelm, and their fairy tales have an interesting history.
There are several myths surrounding the legend of the Grimms and their means of collecting their folk stories. Probably the most prevalent rumor is that Jacob and Wilhelm traveled through Germany and gathered these tales from colorful peasants; hence, their tales were uniquely German. However, this is not the case. The fact is that the brothers were fascinated by German folk literature; so much so, they would often invite people over to their home and trade stories. It was Jacob’s job to write them down. This practice actually became so popular that it became a weekly event.
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