A Show of Thanks to 200 Years with the Brothers Grimm

The field of folklore recently celebrated a significant anniversary. 200 years ago the Brothers Grimm published their first compilation of traditional folk and fairy tales. Professionally, the Grimms contributed greatly to folk studies being recognized as a scholarly discipline. Culturally however, the global impact is still notable today. In celebration of this 200 year milestone the The Weber State University Storytelling Festival is currently being held in Ogden Ohio. Although this is the 16th anniversary of the festival, the Brothers Grimm are of primary focus this year.

Tales from the dark side: Brothers Grimmin spotlight at Weber State University Storytelling Festival offers some background information on these two influential men. It is interesting to note the cultural role these compilations played in the time before German unification. Logistically, the Grimms provided Germans access to a written medium that familiarized the country with a universal language. This connection also helped to create a shared cultural history among the isolated German states. The reoccurring themes in folktales prove to be a powerful tool in establishing commonality among the global community.

Almost every culture has integrated folktales into the lives of their children. As the original audience was adults, great debate is heard about the dark and mature content being described to kids. Rosemary Conover, an anthropology professor at Weber State University notes that the daunting material "really probe[s] back into those ghoulish themes that seem to be at times so very jarring and surprising, that are much more like the Celtic and Germanic tribal stories". As the reader, we must contextualize our folktales as being from a time when young children were expected to contribute as adults. In the last few decades there has been a shift in parenting styles. Adults are more prone to shelter their children, hoping to preserve their innocence rather than encouraging early adulthood. Although there is merit to this, the traditional goals of these tales must be considered. Exposure to death and other hardships helped prepare children for the challenges of life. It is imperative that we do not hide these stories from our kids, as it could be dangerous to their coping skills as adults. Folklore is an ancient tradition that has been used as a tool of cultural conditioning. The goal was for children to learn these lessons and go on to become both productive and adaptive members of society. 

It is inspiring to see that Weber State University is committed to honoring the art of folklore. The schedule reflects seminars and readings for people of all ages to enjoy. In honor of the Brothers Grimm, may we all show appreciation by continuing to retell these important tales.

The German version of the first collection of fairytales published by the Brothers Grimm
Children's and Household Tales (1812)

Snow White and the 7 Deadly Sins

After initially analyzing Snow-White in terms of gender typing, I chose to revisit the fairy tale in a different light. I aim to instead stay impartial to the depiction of gender roles. Rather I attempt to identify the social function this fairy tale serves. 


Fairy tales have been a part of our global community for centuries. Although there may be culturally specific variations, many central themes remain consistent. The Brother's Grimm retold the story of Snow-White to ensure the moral lesson is not forgotten. 


The number 7 appears many times in the fairy tale.  There are seven dwarfs, seven candles, and seven mountains are a few examples. These seem to represent the seven deadly sins, which are very prevalent in the tale.


The queen is ENVIOUS of Snow-White's beauty. She is obsessed with being the most beautiful, which shows her pride as well.  The queen is also representative of WRATH because she tries to kill Snow-White several times. Above, all it is the queen's PRIDE that leads to her fiery death in the end. She is so overcome with love for herself that she is driven mad. As this is seen to be the most deadly of sins, iron boots heated in flames ensure her unmistakable damnation.

Although she is the "good" character in the story, Snow-White is also guilty of sin. When she first arrives at the dwarfs house, she eats their food and sleeps in their beds. The distinction must be made that she is not simply fulfilling her needs. Snow-White takes food and drink from every setting. Before falling asleep Snow-White tries each of the seven beds until she finds one two her liking. She seeks satisfaction rather than survival and therefore is guilty of both GLUTTONY and SLOTH. 


The prince is guilty of LUST when he insists he must have Snow-White because of her beauty. He shows no interest in Snow-White aside from her superficial appearance. The power of lust inhibits him from ever being out of view of her coffin, essentially compromising his quality of life. The prince also displays GREED when he offers to by Snow-White from the Dwarfs. He insists on having her to himself, despite the communal love shared by the dwarfs. 


To conclude this analogy, I must note the apple that eventually debilitates Snow-White. This represents the original sin of Adam and Eve, which results in their exile from the Garden of Eden. These images are used to reiterate the danger of Sin to the young listener. Fairy tales have long been a tool of social conditioning. This story serves the greater purpose of helping prepare children to become positive members of society. The sins are represented in both "good" and "bad" characters, conveying that anyone is capable of offense.

Female Gender Roles in Snow-White

Snow-White is among one of the most famous fairy tales among children. The classic Brother's Grimm version is guilty of validating many of the gender norms that are of issue within fairy tales. Marcia R. Lieberman notes in "Some Day My Prince Will Come": Female Acculturation through the Fairy Tale the reoccurring role of passivity among women in traditional fairy tales. With that in mind, Snow-White is an excellent example of that subordinate roll.


The young and beautiful princess first escapes death because her beauty invokes pity within the henchmen. She has done nothing to earn her life by collapsing into tears. After she is freed, Snow-White goes on to meet the 7 Dwarfs. Here her role is delegated by this new group of men. They assure her she will be given whatever she needs so long as she manages the home. The stereotypical family structure has been created. A Housewife earns no income for her work, and therefore must depend on her husband for survival.


The Brother's Grimm highlight feminine vanity in their method of temptation. The evil queen uses a comb, then a laced bodice to capture her daughter's attention. Snow-White's naivety results in her repetitive poisoning. After each deadly experience, men are left to rescue Snow-White. The prince rewards the passive female by electing to keep her once he sees Snow-White in the glass coffin. The princess has done nothing to warrant salvation aside from being strikingly beautiful.


Lieberman writes that "the reward system in fairy tales . . . equates these three factors: being beautiful, being chosen, and getting rich" (387). The story of Snow-White undoubtedly validates Lieberman's claim. Once Snow-White is chosen by the prince because of her beauty, she is rewarded with a wealthy kingdom. Snow-White falls victim to the delegation of gender roles. Perhaps a more personal cause for reward would decondition young girls to the notion that they should wait for rescue from their prince.