fairy tale

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fairy tale

Also known as: Kunstmärchen, art fairy tale, magic tale, wonder tale

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Last Updated: May 14, 2025 • Article History

Key People:: Oscar Wilde; Hans Christian Andersen; E.T.A. Hoffmann; Wilhelm Carl Grimm; Jacob Ludwig Carl Grimm

Related Topics:: fable; Märchen; genre

On the Web:: The Victorian Web - Victorian Fairy Tales (May 14, 2025)

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fairy tale, wonder tale involving marvellous elements and occurrences, though not necessarily about fairies. The term embraces such popular folktales (Märchen, q.v.) as “Cinderella” and “Puss-in-Boots” and art fairy tales (Kunstmärchen) of later invention, such as The Happy Prince (1888), by the Irish writer Oscar Wilde. 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 tradition. Early Italian collections such as Le piacevoli notti (1550, vol. 1; 1553, vol. 2; “The Pleasant Nights”) of Gianfrancesco Straparola and Il Pentamerone (1636; originally published [1634] in Neapolitan dialect as Lo cunto de li cunti) of Giambattista Basile contain reworkings in a highly literary style of such stories as “Snow White,” “Sleeping Beauty,” and “The Maiden in the Tower.” A later French collection, Charles Perrault’s Contes de ma mère l’oye (1697; Tales of Mother Goose), including “Cinderella,” “Little Red Ridinghood,” and “Beauty and the Beast,” remains faithful to the oral tradition, while the Kinder- und Hausmärchen (1812–15; “Children’s and Household Tales,” generally known as Grimm’s Fairy Tales) of the Brothers Grimm are transcribed directly from oral renderings (although often from literate informants). The influence of Perrault and the Grimms has been very great, and their versions have been commonly adopted as nursery tales among literate people in the West. For example, Grimm’s “Rumpelstiltskin” has replaced the native English “Tom Tit Tot,” and Perrault’s “Cinderella” has replaced “Cap o’ Rushes,” once almost equally popular in oral tradition.

Art fairy tales were cultivated in the period of German Romanticism by Goethe, Ludwig Tieck, Clemens Brentano, and E.T.A. Hoffmann and in Victorian England by John Ruskin (The King of the Golden River, 1851) and Charles Kingsley (The Water-Babies, 1863), but few of these tales have found permanent popularity. The master of the art fairy tale, whose works rank with the traditional stories in universal popularity, is the Danish writer Hans Christian Andersen. Though his stories have their roots in folk legend, they are personal in style and contain elements of autobiography and contemporary social satire.

Twentieth-century psychologists, notably Sigmund Freud, Carl Jung, and Bruno Bettelheim, have interpreted elements of the fairy tale as manifestations of universal fears and desires. In his Uses of Enchantment (1976), Bettelheim asserted that the apparently cruel and arbitrary nature of many folk fairy stories is actually an instructive reflection of the child’s natural and necessary “killing off” of successive phases of development and initiation.

Red Riding Hood and the Wolf from "Journeys through Bookland" by Charles Herbert Sylvester, 1922. (Brothers Grimm, Little Red Riding Hood, fairy tales)

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folk literature

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folk literature

Also known as: folklore, oral tradition

Written by Stith Thompson

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Article History

Also called:: folklore or oral tradition

Key People:: Zora Neale Hurston; Vuk Stefanović Karadžić; Efua Sutherland; Francesca Alexander; Geraldo Bessa Victor

Related Topics:: ballad; urban legend; folk theatre; folk song; folk tale

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folk literature, the lore (traditional knowledge and beliefs) of cultures having no written language. It is transmitted by word of mouth and consists, as does written literature, of both prose and verse narratives, poems and songs, myths, dramas, rituals, proverbs, riddles, and the like. Nearly all known peoples, now or in the past, have produced it.

Until about 4000 bce all literature was oral, but, beginning in the years between 4000 and 3000 bce, writing developed both in Egypt and in the Mesopotamian civilization at Sumer. From that time on there are records not only of practical matters such as law and business but increasingly of written literature. As the area in which the habitual use of writing extended over Asia, North Africa, and the Mediterranean lands and eventually over much of the whole world, a rapid growth in the composition of written literature occurred, so that in certain parts of the world, literature in writing has to a large extent become the normal form of expression for storytellers and poets.

Nevertheless, during all the centuries in which the world has learned to use writing, there has existed, side by side with the growing written record, a large and important activity carried on by those actually unlettered, and those not much accustomed to reading and writing.

Origins and development

Of the origins of folk literature, as of the origins of human language, there is no way of knowing. None of the literature available today is primitive in any sense, and only the present-day results can be observed of practices extending over many thousands of years. Speculations therefore can only concern such human needs as may give rise to oral literature, not to its ultimate origin.

The nature of oral traditions

Nor can any evolution in folk literature or any overall developments be spoken of explicitly. Each group of people, no matter how small or large, has handled its folk literature in its own way. Depending as it does upon the transmission from person to person and being subject to the skill or the lack of skill of those who pass it on and to the many influences, physical or social, that consciously or unconsciously affect a tradition, what may be observed is a history of continual change. An item of folk literature sometimes shows relative stability and sometimes undergoes drastic transformations. If these changes are looked at from a modern Western point of view, ethnocentric judgments can be made as to whether they are on the whole favourable or unfavourable. But it must be remembered that the folk listening to or participating in its oral literature have completely different standards from those of their interpreters.

Nevertheless, two directions in this continually changing human movement may be observed. Occasionally a talented singer or tale-teller, or perhaps a group of them, may develop techniques that result in an improvement over the course of time from any point of view and in the actual development of a new literary form. On the other hand, many items of folk literature, because of historic movements or overwhelming foreign influences or the mere lack of skillful practitioners of the tradition, become less and less important, and occasionally die out from the oral repertory. The details of such changes have been of great interest to all students of folk literature.

The beginnings of written literature in Sumer and Egypt 5,000 or 6,000 years ago took place in a world that knew only folk literature. During the millennia since then written literature has been surrounded and sometimes all but overwhelmed by the humbler activity of the unlettered. The emergence of the author and his carefully preserved manuscript came about slowly and uncertainly, and only in a few places initially—the literary authorship that flourished in the Athens of Pericles or the Jerusalem of the Old Testament represented only a very small part of the world of their time. Nearly everywhere else the oral storyteller or epic singer was dominant, and all of what is called literary expression was carried in the memory of the folk, and especially of gifted narrators.

All societies have produced some men and women of great natural endowments—shamans, priests, rulers, and warriors—and from these has come the greatest stimulus everywhere toward producing and listening to myths, tales, and songs. To these the common man has listened to such effect that sometimes he himself has become a bard. And kings and councillors, still without benefit of writing, have sat enthralled as he entertained them at their banquets.