A Study of Fairy Tales

by Laura Fry Kready

(2) a power to appeal to the imagination;

(3) a basis of truth; and

(4) a form more or less perfect.

(1) A power to appeal to the emotions. This appeal to the emotions is its unique distinguishing literary trait. Literature appeals, not to the personal emotions but to the universal ones. For this reason, through literature the child may come in time to develop a power of universal sympathy, which is not the least value literature has to bestow upon him, for this sympathy will become a benediction to all those with whom he may have to deal. In order that emotion in the tales may be literary—make a permanent appeal—according to Professor Winchester's standards, it must have justness given by a deep and worthy cause; vividness so that it may enlarge and thrill; a certain steadiness produced by everything in the tale contributing to the main emotion; a variety resulting from contrasts of character; and a high quality obtained through its sympathy with life and its relation to the conduct of life, so that the feeling for the material beauty of mere sights and sounds is closely related to the deepest suggestions of moral beauty. The best literary tales will possess emotion having all five characteristics. Many tales will exhibit one or more of these traits conspicuously. No tale that is literature will be found which does not lay claim to some one of these qualities which appeal to the broadly human emotions.

Applying the test of emotion to fairy tales, Cinderella possesses a just emotion, Cinderella's cause is the cause of goodness and kindness and love, and deserves a just reward. The Town Musicians of Bremen exhibits vivid emotion, for all four characters are in the same desperate danger of losing life, all four unite to save it, and to find a home. Andersen's Steadfast Tin Soldier is a good example of steadiness of emotion, as it maintains throughout its message of courage. The Tin Soldier remained steadfast, whether on the table just escaped from the toy-box, or in the street after a frightful fall from the window, or spinning in a paper boat that bobbed, or sailing under the crossing, or lying at full length within the fish that swallowed him, or at last melting in the full glare of the hearth fire. It is a very good example, too, of vividness of emotion. The Little Elves illustrates steadiness of emotion, it is pervaded by the one feeling, that industry deserves reward. The French tale, Drakesbill, is especially delightful and humorous because "Bill Drake" perseveres in his happy, fresh vivacity, at the end of every rebuff of fortune, and triumphantly continues his one cry of, "Quack, quack, quack! When shall I get my money back?" Lambikin leaves the one distinct impression of light gaiety and happy-heartedness; and The Foolish, Timid Rabbit preserves steadily the one effect of the credulity of the animals, made all the more prominent by contrast to the wisdom of the Lion. Variety of emotion appears in tales such as Cinderella, Little Two-Eyes, Sleeping Beauty, and Three Pigs, where the various characters are drawn distinctly and their contrasting traits produce varied emotional effects. All the great fairy tales appeal to emotion of a high moral quality and it is this which is the source of their universal appeal. It is this high moral quality of the spiritual truth, which is the center of the tale's unity, holding together all the parts under one emotional theme. This is the source of the perennial freshness of the old tale; for while the immortal truth it presents is old, the personality of the child that meets it is new. For the child, the tale is new because he discovers in it a bit of himself he had not known before, and it retains for him a lasting charm so that he longs to hear it again and again. The beauty of truth, the reward of goodness, and the duty of fairness, give a high emotional quality to Little Two-Eyes; and Sleeping Beauty illustrates the blighting power of hatred to impose a curse and the saving power of love to overcome the works of hatred.

Considering folk-tales from the standpoint of emotion, if asked to suggest what author's work would rank in the same class, one is rather surprised to find, that for high moral quality, variety, and worthy cause, the author who comes to mind is none other than Shakespeare. Perhaps, with all due respect to literature's idol, one might even venture to question which receives honor by the comparison, Shakespeare or the folk-tales? It might be rather a pleasant task to discover who is the Cordelia, the Othello, the Rosalind, and the Portia of the folk-tales; or who the Beauty, the Bluebeard, the Cinderella, the Puss-in-Boots, and the Hop-o'-my-Thumb, of Shakespeare.

The little child is open to emotional appeal, his heart is tender and he is impressionable. If he feels with the characters in his tales he develops a power of emotion. In Andersen's Snow Man it is hard to say which seems more human to him or which makes more of an emotional appeal, the Snow Man or the Dog. He is sorry for the poor Shoemaker in The Little Elves, glad when he grows rich, delighted for the Elves when they receive their presents, and satisfied at the happy end. Since literature depicts life and character in order to awaken noble emotions, it follows that one must omit to present what awakens repulsive or degrading emotions. And it is for this reason, as has been mentioned under the heading "Elements to be avoided," that the tales of the witch and the dragon must be excluded, not for all time, but for the earliest years, when they awaken horror.

Through fairy tales we have seen that the emotional power of the child is strengthened. This has been effected because, in the tale just as truly as in life, action is presented in real situations; and back of every action is the motive force of emotion. This cumulative power of emotion, secured by the child through the handling of tales, will serve daily a present need. It will be the dynamic force which he will require for anything he wishes to accomplish in life. It will give the child the ability to use it in any situation similar to that in which it was acquired. It will make a difference in his speech; he will not have to say so much, for what he does say will produce results. This growing power of emotion will carry over into feelings of relation and thus lead to judgment of values. This evaluation is the basis of reasoning and answers to the child's daily call to think from causes to consequences. This increasing power of emotion develops into the æsthetic sensibilities and so results in a cultivation of taste and an understanding of life. Emotion therefore leads to appreciation, which, when logically developed, becomes expression. Fairy tales, thus, in conducting emotional capacity through this varied growth and toward this high development, hold an educational value of no mean order.

(2) The power to appeal to the imagination. Emotion can be aroused by showing the objects which excite emotion. Imagination is this power to see and show things in the concrete. Curry says, "Whenever the soul comes vividly in contact with any fact, truth, etc., whenever it takes them home to itself with more than common intensity, out of that meeting of the soul and its object there arises a thrill of joy, a glow of feeling. It is the faculty that can create ideal presence." When through imagination we select spontaneously from the elements of experience and combine into new wholes, we call it creative imagination.—The creative imagination will be viewed here as it appears in action in the creative return given by the child to his fairy tales.—When we emphasize a similarity seen in mere external or accidental relations or follow suggestions not of an essential nature in the object, we call it fancy. Ruskin, in his Modern Painters, vol. I, part III, Of the Imaginative Faculty, would distinguish three classes of the imagination:—

(a) The associative imagination. This is the power of imagination by which we call into association other images that tend to produce the same or allied emotion. When this association has no common ground of emotion it is fancy. The test for the associative imagination, which has the power to combine ideas to form a conception, is that if one part is taken away the rest of the combination goes to pieces. It requires intense simplicity, harmony, and absolute truth. Andersen's Fairy Tales are a perfect drill for the associative imagination. Literature parallels life and what is presented calls up individual experience. Any child will feel a thrill of kinship with the experiences given in The Tin Soldier—a little boy's birthday, the opening of the box, the counting of the soldiers, and the setting of them upon the table. And because here Andersen has transformed this usual experience with a vivacity and charm, the tale ranks high as a tale of imagination. Little Ida's Flowers and Thumbelina are tales of pure fancy. Grimm's The Straw, the Coal, and the Bean and The Spindle, the Shuttle, and the Needle rank in the same class, as also do the Norse The Doll i' the Grass and the English Tom Thumb.