The fairy tale like story of growth

Although fairy tales are directly related to a child audience, this is a literature deeper than it appears. Its origins are lost in time as they originally were told orally to entertain those monotonous tasks, such as embroidery or cooking. The great contribution of people like the Brothers Grimm and Charles Perrault was to document these stories in writing. Jacob and Wilhelm Grimm felt that this step was necessary to preserve them from extinction in the nineteenth century industrial societies. Ironically, the books eliminated oral variations added by the narrator to adapt or enrich the story with a regional or picaresque tone. Once printed, it is unlikely to change it, especially when the habit of reading in group disappears. On the other hand, gender was significant interest in the younger audience, so many violent and sexual details were removed or softened. This process took place in the life of the Brothers Grimm, who over the impressions of their Kinder-und Hausmärchen or "Tales for children and the home" were modifying the contents of many stories. For example, in the original frog prince, princess lies immediately to the newly transformed frog, while in the next edition already have the blessing of King prior to his marriage.

In the case of Rapunzel, the witch is aware of the visits of the young prince when naively asks why you no longer gets the clothes as before. Perrault's Little Red Riding Hood is eaten by the wolf with his grandmother to give way to a lesson about the dangers of interacting with strangers, and Cinderella's stepsisters mutilate the toe and heel of the foot respectively, to fit the glass slipper. Over time, this process of censorship has increased even more, especially with the incursion of the story on film. Disney The Little Mermaid is not converted into foam when the prince marries another, cricket speaker (or Jiminy Cricket in the film version) does not succumb to a hammer blow at the hands of Pinocchio. Snow White's Prince not buying the whole glass coffin and its contents to the dwarfs, or the Sleeping Beauty's sleeping with her while she is asleep, and then returned to his castle necrophiliac forgetting his adventure.

Although some modifications to the original stories seem appropriate, there are others who inadvertently spoils of the implicit meaning. Many fairy tales represent a transition from childhood to adulthood. Hence, the protagonists are children who must pass tough tests to reach the happy ending, usually represented by the marriage. That is, the arduous tasks and injustices suffered at the hands of others is nothing more than the ripening process by which we have all been disappointments and frustrations with respective, but ultimately will lead to a state of maturity where we can face them with better tools. In that sense, some modifications film like Disney's Snow White, ignore these meanings and sacrifice their symbolic value perhaps for sheer ignorance. For example, the dwarves represent beings who are in an intermediate state between childhood and adulthood. Workers are sorted as adults, but as simple and small children. In none of the existing versions, whether in print or film, are a threat to the integrity of Snow White, even in the case of seven strangers living with a teenager in a cabin in the middle of the forest. However, in the Disney version have well defined personalities are rather messy, perhaps to better justify the agreement to exchange food and shelter for domestic help.

This may be irrelevant, but gives emphasis to the dwarves leading not have the original version. There are an aid in the development process and still can not prevent White make their own decisions and potentially fatal mistakes commenting. The first attempts to eliminate the witch rival is another example of important omission in Disney. First, approach the house of the dwarf disguised as a seller of silk ties. An attachment that has been totally obsolete, but that once served to adjust the brace. The witch tied so tightly that Snow White can not breathe and fell a swoon. Fortunately, the dwarves come back in time to cut the ribbon and revive her. Then Snow White is seduced by a witch poisoned comb, disguised again, his head placed on producing an effect similar to the tapes. The choice of these objects is clearly related to White's desire to feel attractive, a perfectly natural concern for an adolescent of any age. Finally, the poisoned apple has a red side and a lighter. The witch, in the suspicion of Snow White, is available from the apple in two.

She will eat the white side of the fruit, while the young can enjoy the red side. That is, symbolically gives an equality between mother (or stepmother) and daughter where they share the same fruit without mentioning the symbolic implications of color in the portion of Snow White. Here it is worth noting that the rivalry between mother and daughter is clearly addressed in the story. In fact, White does not suffer any ill-treatment by her stepmother during the period of his childhood. The problems start when the beauty of both women begin to rival.

The dwarves are resigned to give it up for dead, but note that there is breakdown in the body, placed in a glass sarcophagus and preserve it on top of a mountain. The long period of time that passes before being found by the prince refers to the maturity required to establish an egalitarian relationship between adults (in this case, with the prince). Perhaps the only improved detail in modern versions is the kiss with which the prince awakens Snow White. In the original version, his aides carry the coffin on their shoulders and run into a bush the poor woman going to the ground complete with sarcophagus. The blow can dislodge the piece of apple was stuck and recover consciousness.

In the end, the stepmother is forced to wear hot iron shoes and "dance" to death.



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