Class Notes (1,000,000)
CA (620,000)
UTSC (30,000)
English (1,000)
ENGB35H3 (100)
Lecture 2

ENGB35H3 Lecture Notes - Lecture 2: Tums, Andrea Dworkin, Wilhelm Grimm

Course Code
Natalie Rose

of 2
ENGB35 Lecture 2 Little Red Riding Hood and Cinderella
Charles Perrault – Histories ou Contes du temps passé avec des moralites
Fairy tales weren’t originally written for children: oral folklore
Perrault: Tales “told by governesses and grandmother to little children
Mother goose figure telling stories to children
Set up a contrast between the origins
“Dr. Johnson says, that ‘Babies do not like to hear stories of babies like
themselves; that they require to have their imaginations raised by tales of
giants and fairies, and castles and inchantments.’ —The fact remains to be
proved: but supposing that they do prefer such tales, is this a reason why
they should be indulged in reading them? It may be said that a little
experience in life would soon convince them that fairies, and giants, and
enchanters, aren’t to be met with in the world. But why should the mind be
filled with fantastic visions, instead of useful knowledge? Why should so much
valuable time be lost? Why should we vitiate their taste, and spoil their
appetitie, by suffering them to feed upon sweetmeats? (Maria Edgeworth, The
parent’s Assistant (1796))
oEarly move to romanticism
oRational subject
20th cen. Psychologists: help children deal with their psychological or
unconscious drives, sort of therapeutic
Little Red Riding Hood Children’s literature:
How is the oral version of the story, The Grandmother and what are the
implications of the changes?
oGoes from a supernatural figure pure animal figure
oSeems to be part of the imagination of childhood
oChildren of nature connection
oOne of the major change is that the original version of The Little Red
Riding Hood, the girl tries to save herself, but in Perrault’s version,
the girl doesn’t try to escape
oInitiating the convention of genre
oPerrault: “adds the moral of the story, but the original is just a story”
o“Children, especially attractive, well bred young ladies, shouldn’t talk
to strangers, for if they should do so, they may well provide dinner for
a wolf. I say, “Wolf” but there are various kinds of wolves. There are
also those who are charming, quiet, polite, unassuming, complacent,
and sweet, who pursue young women at home and in the streets.
And unfortunately, it is there gentle wolves who are the most
dangerous ones of all”
Perrault: connection to society, compare wolf to man
teaches little girl to be careful to what kind of people they talk
Be careful of pedophiles
From purity loss of innocence
The oral version, you have to interpret what the moral is
Writing the moral of the story enhances the naiivity of women/girls
Can apply to women too, not just girls
Warning of the adult world
Priorities of families: If you meet the wrong man, the man can take away
the happiness from you but also your family
Questions to consider?:
oHow would this fairy tale’s moral affect the male readers?
oNot all readers of The Little Red Riding Hood are females
oWhat would be the lessons to boys?
Grimm: turns the moral of the fairytale disobedience
Grimm: introduces the “Red Cap”
Perrault: “Red Riding Hood”
oMeaningful cues that the author sets up
oForeshadowing the blood and victimization at the end of the story
oRed velvet wouldn’t be a color of clothes that country girls wear
during that period of time
oTouches upon the theme of “Coming of Age”
oThe Red hoods adds sexuality to the target and victimization of the
The grandmother could be blame for giving the girl a red hood
oDepicts how the grandmother might have brought upon this tragic
Jacob & Wilhelm Grimm – Kinder und Haumarchen:
Romantic imagination + interest in folklore and folk forms
Grimm’s go through multiple versions increasingly skewed towards current
ideas of suitable children’s literature
oRomantic + moral didactism
Andrea Dworkin: “Cinderella, Sleeping Beauty, Snow-white, Rapunzel—all
are characterized by passivity, beauty, innocence, and victimization. They are
archetypal good women—victims by definition. They never think, act, initiate,
confront, resist, challenge, feel, care, or question. …They are moved as if
inert, from the house of the mother to the house of the prince. First they are
object of malice, then they are objects of romantic adoration. They do nothing
to warrant either” (Woman Hating, 1974).
Disobey the father = disobeying god
Father = god
Two contrast of good and bad mother: Fairy-godmother and the stepmother
Forgiveness: In Perrault’s Cinderella, she gives the stepmother and
stepsisters something despite how bad they had treated her, but in the
original version, she gave nothing away
Father’s authority have been replaced by the prince
Little Women:
From contemporary reviews:
o“ a capital story for girls – sure to please them, sure to influence them
for good”