Almost a Heroine...

The Brother's Grimm Hansel and Gretel includes one of the few heroines we see in fairytales. Gretel saves herself and her brother from being eaten by a cannibalistic witch. The girl shoves the witch into the fire and locks her in with the flames. This act appears powerful, and seems uncharacteristic of Gretel based on her previous role in the story. To explain twist of finding a female savior, we must examine the overall role of women in the tale. 

In the original version, written in 1812, the Brothers Grimm use the biological mother in the plot. It is later revised in 1857 to include a stepmother. This character change was most likely done to better explain the woman's ability to abandon Hansel and Gretel. The stepmother convinces the father that they will perish with the children, and devises the plan to leave them in the woods. Contextually, desperation could have forced parents to make extreme decisions for survival. The stepmother's dark image comes from the emotional fulfillment in seeing her children gone. The first time the kids found their way home, their stepmother scolded them as "wicked children" (Grimm 3), and made up a weak defense that blamed the kids for their abandonment. The Brothers Grimm contrast her disappointment by clarifying "but the father was overjoyed when he saw his children once more, for he had not wanted to leave them alone" (3). The stepmother is purposefully depicted as harsh and threatening. Her death at the end of the tale contributes to the happy ending. Despite the riches that will banish the family's hunger, the stepmother is absent, suggesting her as an obstacle to happiness as well. 


The witch is an obvious evil in the story. She is ugly and old in appearance, which is commonly found to be associated with the enemy in fairytales. The witch baits the hungry children with her edible house. She then forces Gretel to prepare Hansel to be eaten. Her cannibalism is seasoned with the distress of the children. Her death is a victory, and means relief for the happy, good-natured family of three.

Gretel is the most interesting female character in the tale. Her image appears as a scared and defenseless girl who weeps to her brother in distress. She "cried bitter tears and said to Hansel, "Its over with us!" "Be quiet, Gretel," said Hansel, "and don't worry, I know what to do" (1). Hansel is framed as the brave leader. He makes the plans that help them find their way back home. This is a sharp contrast to the illusion of ignorance that allows Gretel the chance of escape. Instead of climbing into the oven, Gretel tells the witch "I don't know how to do that. How can I get inside?" (7).  The girls plan relies on her perceivable helplessness. Her best hope of escape is to play dumb, and let the witch think she is a "stupid goose" (7). After closing the oven, Gretel runs immediately to Hansel to celebrate their victory. Once he is freed he resumes his role of power. He leads Gretel in taking the pearls and gems, their true key to survival. Then on his command, they leave the witches house and make their way home. Gretel shows a brief moment of resourcefulness when she figures out how to trick the witch. Unfortunately, she uses her inferior and helpless appearance as her weapon.

The role of women in Hansel and Gretel is consistent with many traditional fairytales. Witches appear often, and correlate evil with ugliness. The stepmother is free from her maternal ties, and therefore can resent her children. Gretel at first appears to offer a redeeming aspect to the perception of women. However, further analysis shows her power is limited. Once Hansel is free, he immediately takes control again. In "Some Day My Prince Will Come": Female Acculturation through the Fairy Tale, Marcia R. Lieberman uses this tale as an example of how "an examination of the best-known stories shows that active resourceful girls are in fact rare; most of the heroines are passive, submissive, and helpless" (387). The story validates this theory, leaving us with another insufficient model of feminine leadership.

Red's Role Reversal

Typical gender roles are present in many traditional versions of Little Red Riding Hood. Great consistency is noted where the frail and defenseless women (Red Riding Hood and her grandmother) are devoured by a powerful wolf. If they are rescued, it is likely by a brave and good-natured man. Maria Tartar, in Introduction: Little Red Riding Hood, reiterates Susan Brownmiller's point that the folktale "recounts a cultural story that holds the gender bottom line by perpetuating the notion that women are at once victims of male violence even as they must position themselves as beneficiaries of male protection" (8). This theme is made present by Charles Perrault (1697), the Brothers Grimm (1812), and The Story of the Grandmother (1885), which is uncredited. Although Perrault does not allow for Red's rescue, it is uniform to the tone that without a man women are helpless. The same is true for the 1885 version. Although Red escapes independently she cannot save her grandmother.

Interestingly, more current versions of the folktale depict Red with a masculine aura. Roald Dahl does just this in Little Red Riding Hood and the Wolf. During the girl's familiar assesment of the wolf, Red slyly comments, "what a lovely great big furry coat you have on" (22). This foreshadowing shows Red's confidence as well her ego. She knows she will go on to skin the wolf, and even asks the author to "please note my lovely furry WOLFSKIN COAT" (Dahl 22). The heroine exhibits male behaviors. She planned a rescue and remained cool and confident. In addition, Red's brave attack seemed to resemble a coming of age experience. Instead of Little Red Riding Hood, the author notes they "came across Miss Riding Hood. But what a change! No cloak of red, No silly hood upon her head" (Dahl 22). Miss Riding Hood proceeds to proudly show off her fur coat, a symbol of her victorious battle into adulthood.

A Lesson In Lessons

Role models within society demonstrate cultural values regarding adult influence and encouragement during childhood

Presently, children are seen as developing people in need of protection and guidance. Childhood is a socially constructed stage of life that is largely dependent the role of adults. This relationship is essential in ensuring that kids grow up to become positive members of society. To achieve this goal, a network of resources exist that provide universal structure and direction. Education stimulates development at an acceptable pace, while ensuring that kids progress in stages. Each grade in school caters to the perceived abilities of the child at a given age. Extensive research has been done in order to determine these capabilities. Zohar Shavit notes in The Concept of Childhood and Children's Folktales: Test Case--"Little Red Riding Hood" that, "the twentieth century is characterized by the almost obsessive use of the concept of childhood: issues of psychology, physical and sexual problems of the child do not cease to concern adults" (318). Zohar sites our assumption that the cumulation of these issues can drastically influence adult behavior. This concept aligns with current trends in child rearing. 


The Western education system orchestrates development through age appropriate learning material.  Folktales are an essential medium by which young children learn about danger and responsibility. Zohar credits the Brothers Grimm with compiling and presenting folktales in this light. Two versions of Little Red Riding Hood are used by Zohar to support his thesis; the concept of children and childhood can be studied through analyzing folktale revisions. 

The Brothers Grimm mark the point when our modern concept of childhood begins to emerge. The notion that kids were unlike adults arose in the 1600s, two hundred years prior to the Brothers Grimm.  Children began to be depicted in art as innocent beings. In 1697 Charles Perrault wrote Little Red Riding Hood. Zohar pinpoints Perrault's satirical tone as proof that he was writing for an adult audience as well. Embedding mature content within children's entertainment coincided with the understanding of youth. At the time, "the attitude towards children greatly resembled that assumed for the cherished pet animals" (Zohar 321). Kids were a source of amusement. Their role was not yet distinguishable from adult. Children enhanced the lives of their parents. Eventually society came to agree that it was the elders job to stimulate growing minds. This holds true for the concept of childhood today. 

It is interesting to mark this transition through folkart. The Brothers Grimm designed Little Red Cap specifically to teach children not to "stray from the path and go into the woods, when [their] mother has forbidden it" (16). This clear lesson validates the parental authority and establishes trust with children. Grimm's collections have given adults a valuable resource to educate with. These versions remain lively within modern society, and will continue to impress upon young children.

The Animated Fairytale

It is impossible to imagine a fairytale without considering Disney's influence. Animation has allowed Walt Disney means to link vivid imagery to classic stories. The monumental success of these films has made Disney the perceived standard for fairytales.  In Breaking The Disney Spell Jack Zipes claims this misguided connection has prompted viewers to "long nostalgically for neatly ordered patriarchal realms" (352). The article suggests Walt customized his work to highlight the entrepreneurial spirit of the American dream. In doing so, the male hero further overshadowed the heroine beyond that of the Brother's Grimm version. Zipes notes the prince's immediate presence in Disney's Snow White and the Seven Dwarfs as an example of this change. The prince has ignited the narrative and eventually his kiss becomes the conclusion.

Zipes states that "Disney wants the world cleaned up, and the pastel colors with their sharply drawn ink lines create images of cleanliness, just as each sequence reflects a clearly conceived and preordained destiny for all the characters in the film" (350). By producing a full-length animated film, Disney was able to draw his lines sharply. The art of cinema is like folklore because the plot can be manipulated by the storyteller. The danger however, is that film provides a lasting image that is seen similarly by viewers. Disney was not revolutionary in his male dominated storylines. Many traditional fairytales stem from other Western cultures in Europe. Marcia R. Lieberman identified the passive female hero in "Some Day My Prince Will Come": Female Acculturation through the Fairy Tale. Lieberman asserts that the female lead is "waiting to be rescued by a passing prince, that the helpless, imprisoned maiden is the quintessential heroine of the fairy tale" (389). The helpless woman has long been featured in fairytales. Male dominance was not how Disney degraded the art of folklore.

Disney fulfills the traditional role of storyteller. He has added culturally specific values that are expected within retellings. The films reflect Walt's personal views as well. We cannot assume that the traditional tale has not also been manipulated by individual preference. The issues arise from animation. Technology allowed Disney to broadcast his version on an international level. The imaginative world of fairytales has been replaced by an illustrated reality. Had Disney not had the means of production or distribution, his stories would be more open to interpretation. The masculine elements featured in Disney movies are clear. Although the Grimm's Snow-White is filled with feminine passivity, the moral of the story is less conclusive. The traditional fairytale invites personal interpretation. Active engagement began with creating an imaginary world. Film devalues the lessons that can be extracted from these classic stories. The viewer has become nothing more than a spectator. Disney provides a finished product of his own imagination. Imprinting his concept on screen gives life to the stereotypical world of fairytales. Learned gender roles are more easily adapted when they are illustrated within our standard Disney fairytale.

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.