"Terrorist Fiction" is a VERY witty critique of the genre. Do you believe that the anonymous author is seriously disturbed by it or not? Why? Also, what do you think of his (or her?) recipe for creating a piece of this kind of fiction? Also discuss here the opening of Coleridge's review of The Monk.
I think the anonymous author simply dislikes this new genre. They don’t care for murders and fantastical things such as these. They are probably of Wordsworth’s mind set and think this sort of writing is dulling down the population with its own popularity. The fact that female readers are specifically mentioned however makes the point clear. They find these novels too dark for ladies. They feel that ladies will get ideas in their heads about murderers and bandits being made up as romantic characters, and then they’ll start traipsing about looking for these dark dismal castles where they’ll find a fantastic but terrifying adventure of their own. I find this ridiculous, not because women won’t do this but because anyone could easily get these ideas into their heads! Its books and stories, they’re supposed to be an escape, but just some ho-hum every day event. I’d much rather read about a lady being chased about a castle full of dead bodies and ghosts than sitting quietly and knitting socks. But I’m hopelessly flawed in that, I’m sure. There will of course be people in the world discontent with their lives and wish they could be a part of a novel, but they could think that about Coleridge’s “Kubla Khan” or the wildlife of Wordsworth’s “Prelude” just as easily. Also, while I think the recipe could be true, there’s obviously more to it, as can be said for a guilty pleasure genre of mine, romance.
Coleridge at least sees the excellence in construction of “The Monk” though he makes it clear that he doesn’t care for this genre either. He hopes that the world will become “wearied with fiends” and does tear down the genre he comes at it from a more academic standpoint I feel. Coleridge suggests that “the merit of a novelist is in proportion to the pleasurable effect which he produces” and I feel that Coleridge takes no pleasure in these novels and feels others cannot do so either. He feels the books are too full of romance to be proper for younger readers as well, which looking back at “The Castle of Otranto” I do feel he could have a point, but this relates back to a point brought up in another course, What should your child be reading? What is the definition of literature for children? I think it might be safe to say that it was generally thought during this time that parents were not keen on the idea of their children reading this genre of novels.
Friday, January 29, 2010
Biographia Literaria
In the second excerpt from Chapter 4 "[On Fancy and Imagination . . .]" and the excerpt from Chapter 13, how does he define fancy and imagination, and what distinctions does he make between them?
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Coleridge feels that “fancy” and “imagination” are two fully separate concepts, though they are often confused for the same idea. Imagination he felt was “the living power and prime agent of all human perception” though it also came in a secondary form that seems to be on a slightly more conscious level. This secondary Imagination sort of takes what you process from the real world and messes with it, “dissolves, diffuses, dissipates in order to recreate”. It’s striving to make things perfect, “to idealize and to unify”. While Fancy he seems to think is recalling things, but changing them by your own means. “The fancy is indeed no other than a mode of memory emancipated from the order of time; and blended with… Choice.” Though Fancy too requires reality to base things off of.
By these terms, I’m curious where he feels his own works fall. Taking him and Wordsworth and example, I feel that Coleridge’s Rime of the Ancient Mariner falls into Fancy. He is purposefully changed events that he might not recall directly, but he has a good basis for their forming. Wordsworth I feel just in general is more towards the Imagination area with his work. Something like “The Prelude” that has such a strong basis in life and reality, but it likely gently shifted and added to by the means of imagination, which Wordsworth admitted to when he showed concern for his recollections truly getting across his feelings of the events he described in his past in Book First.
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Coleridge feels that “fancy” and “imagination” are two fully separate concepts, though they are often confused for the same idea. Imagination he felt was “the living power and prime agent of all human perception” though it also came in a secondary form that seems to be on a slightly more conscious level. This secondary Imagination sort of takes what you process from the real world and messes with it, “dissolves, diffuses, dissipates in order to recreate”. It’s striving to make things perfect, “to idealize and to unify”. While Fancy he seems to think is recalling things, but changing them by your own means. “The fancy is indeed no other than a mode of memory emancipated from the order of time; and blended with… Choice.” Though Fancy too requires reality to base things off of.
By these terms, I’m curious where he feels his own works fall. Taking him and Wordsworth and example, I feel that Coleridge’s Rime of the Ancient Mariner falls into Fancy. He is purposefully changed events that he might not recall directly, but he has a good basis for their forming. Wordsworth I feel just in general is more towards the Imagination area with his work. Something like “The Prelude” that has such a strong basis in life and reality, but it likely gently shifted and added to by the means of imagination, which Wordsworth admitted to when he showed concern for his recollections truly getting across his feelings of the events he described in his past in Book First.
The Kubla Khan
5) Discuss the poem in terms of Coleridge's introduction to it. How is it like a dream? What makes him call it "A Fragment"? NOTE: "a person from Porlock" has since become a saying common to poets and other writers who speak of work that has been interrupted.
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The Kubla Khan came to him in a dream that was likely brought on by the drugs Coleridge had been prescribed. The images still seem to flow well. Personally, from the way he was introduced this piece I don’t feel like it’s a fragment of the dream, I feel like this is not the same beautiful piece he saw in his mind. “As a contrast to this vision, I have annexed a fragment of a very different character…” This is something entirely different, not what had come into his head, but a couple of verses that describe the scene about him. In this, I wonder if the actual piece that had come to him is more narrative, as this to me sounds like a description of a vision as opposed to the vision itself.
The images are interesting and capture your attention with direct use of colors and images. This poem does seem to crave to be read out loud though. The repeating sounds and rhyme scheme catch your ear easily. What makes me feel he was at least under some influence is the fact that he does in fact claim it is based from a dream and the fact that it sounds like one with “incense-burning trees”, a “woman wailing for her demon-lover”, and this “dome of pleasure” are all strange images amongst many strange images.
He calls it “A Fragment” because he feels it isn’t complete. Of course, that gets subjective, when is a work actually complete? When the author/poet/artist/whatnot says so is generally my belief. He originally had much more in his mind, “he could not have composed less than from two or three hundred lines” but that was before the interruption from this “person from Porlock.” He then says he had only retained “some vague and dim recollection of the general puport of the vision” and all that was left to him then was “some eight or ten scattered lines and images”. I think though the poem is unusual and not the result of a perfectly aware and lucid mind exactly, it could easily just be on its own and be acceptable. If the poet says it’s a fragment, I’m inclined to believe him, but that’s just me.
Let me add, this made me recall a page in a certain webcomic I like and thought might be interesting to some folks. http://sydneypadua.com/2dgoggles/the-person-from-porlock/
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The Kubla Khan came to him in a dream that was likely brought on by the drugs Coleridge had been prescribed. The images still seem to flow well. Personally, from the way he was introduced this piece I don’t feel like it’s a fragment of the dream, I feel like this is not the same beautiful piece he saw in his mind. “As a contrast to this vision, I have annexed a fragment of a very different character…” This is something entirely different, not what had come into his head, but a couple of verses that describe the scene about him. In this, I wonder if the actual piece that had come to him is more narrative, as this to me sounds like a description of a vision as opposed to the vision itself.
The images are interesting and capture your attention with direct use of colors and images. This poem does seem to crave to be read out loud though. The repeating sounds and rhyme scheme catch your ear easily. What makes me feel he was at least under some influence is the fact that he does in fact claim it is based from a dream and the fact that it sounds like one with “incense-burning trees”, a “woman wailing for her demon-lover”, and this “dome of pleasure” are all strange images amongst many strange images.
He calls it “A Fragment” because he feels it isn’t complete. Of course, that gets subjective, when is a work actually complete? When the author/poet/artist/whatnot says so is generally my belief. He originally had much more in his mind, “he could not have composed less than from two or three hundred lines” but that was before the interruption from this “person from Porlock.” He then says he had only retained “some vague and dim recollection of the general puport of the vision” and all that was left to him then was “some eight or ten scattered lines and images”. I think though the poem is unusual and not the result of a perfectly aware and lucid mind exactly, it could easily just be on its own and be acceptable. If the poet says it’s a fragment, I’m inclined to believe him, but that’s just me.
Let me add, this made me recall a page in a certain webcomic I like and thought might be interesting to some folks. http://sydneypadua.com/2dgoggles/the-person-from-porlock/
The Rime of the Ancient Mariner
The wedding guest is an important part of Coleridge's strategy here, in part a stand-in for the reader. Look at his speeches. How does he react to the Mariner's tale as it unfolds? How do his reactions compare to your own?
First the wedding guest is completely against whatever it is this “grey-beard loon” has to tell him. Once the Mariner “hath his will,” or rather has the Wedding Guest mesmerized. The next time the Guest speaks it’s in fear of the Mariner. We as the reader would fear him as well, consider he had just told his tale up to the point where his shipmates had just fallen down dead “With heavy thump, a lifeless lump,//They dropped down one by one.” Without knowing the rest, it is easy to assume that the Mariner is dead and either a walking dead-man or a ghost. Neither are good signs. I’d be rather bothered by that as well, but I’d like to think I wouldn’t jump to conclusions, but that much is hard to say. The Mariner is “long, and lank, and brown,//As is the ribbed sea-sand.” and has a “skinny hand” that could easily be associated with a corpse at this point. Later, the Wedding guest again claims to fear the Mariner, and that’s rightfully so, but the Mariner puts him at ease swiftly. The fear is essentially for the same reasons as before, there was just a scary part in the tale where the Mariner’s crewmates rose from the dead.“The mariners all ‘gan work the ropes,//Where they were wont to do;//They raised their limbs like lifeless tools” and honestly, the fact that “Twas not those souls that fled in pain… But a troop of sprits blest” would not comfort me much. We see in the end that the Mariner had to tell someone his story. The Wedding Guest might not be happy for it, but he is taught from the amazing story and will take this lesson to heart.
When I see the Wedding Guest and the Mariner, I think of a young person being bothered by a homeless man for money. The Mariner is much more than just some ragged man we learn as we listen, but the Wedding Guest as any of us would be is reluctant and worries that this will be nothing but madness. In the end, it might be a story of madness with spirits and bodies come to life, but this storyteller has learned a lesson that was hard on him mentally and physically. This is more than he would have experienced at the joyous event of his friends’ marriage.
First the wedding guest is completely against whatever it is this “grey-beard loon” has to tell him. Once the Mariner “hath his will,” or rather has the Wedding Guest mesmerized. The next time the Guest speaks it’s in fear of the Mariner. We as the reader would fear him as well, consider he had just told his tale up to the point where his shipmates had just fallen down dead “With heavy thump, a lifeless lump,//They dropped down one by one.” Without knowing the rest, it is easy to assume that the Mariner is dead and either a walking dead-man or a ghost. Neither are good signs. I’d be rather bothered by that as well, but I’d like to think I wouldn’t jump to conclusions, but that much is hard to say. The Mariner is “long, and lank, and brown,//As is the ribbed sea-sand.” and has a “skinny hand” that could easily be associated with a corpse at this point. Later, the Wedding guest again claims to fear the Mariner, and that’s rightfully so, but the Mariner puts him at ease swiftly. The fear is essentially for the same reasons as before, there was just a scary part in the tale where the Mariner’s crewmates rose from the dead.“The mariners all ‘gan work the ropes,//Where they were wont to do;//They raised their limbs like lifeless tools” and honestly, the fact that “Twas not those souls that fled in pain… But a troop of sprits blest” would not comfort me much. We see in the end that the Mariner had to tell someone his story. The Wedding Guest might not be happy for it, but he is taught from the amazing story and will take this lesson to heart.
When I see the Wedding Guest and the Mariner, I think of a young person being bothered by a homeless man for money. The Mariner is much more than just some ragged man we learn as we listen, but the Wedding Guest as any of us would be is reluctant and worries that this will be nothing but madness. In the end, it might be a story of madness with spirits and bodies come to life, but this storyteller has learned a lesson that was hard on him mentally and physically. This is more than he would have experienced at the joyous event of his friends’ marriage.
Wednesday, January 27, 2010
Puss In Boots
I think as an auntie, I'd share Perrault's "Puss in Boots" with my nephew. I think the initial concept of it, a cat walking around in boots, is something he'd enjoy. We have cats and I know he'd find it hilarious to see them going around in boots and I'd have to agree with him.
Also, I feel it's a story of over coming what's been given to you. The youngest son was just given a cat, as opposed to a mill or an ass (though I'll confess, kids giggle and I would have to just say donkey) which are productive things. The brother whines at first, as we all do, but then the cat makes himself useful to keep his skin. Truthfully, it might not be the best story to tell a kid that has a habit of lying and making things up (my nephew), but I think he'd still enjoy it. As Erikcon goes, I think both my nephew and this story fall easily within the Latency stage. While this teaches to be industrious and work with what you're given, the child himself is trying to develop such skills already.
Of course, I'm not sure if he'd take away the second moral Perrault purposes, about dressing well and all that.
Also, I feel it's a story of over coming what's been given to you. The youngest son was just given a cat, as opposed to a mill or an ass (though I'll confess, kids giggle and I would have to just say donkey) which are productive things. The brother whines at first, as we all do, but then the cat makes himself useful to keep his skin. Truthfully, it might not be the best story to tell a kid that has a habit of lying and making things up (my nephew), but I think he'd still enjoy it. As Erikcon goes, I think both my nephew and this story fall easily within the Latency stage. While this teaches to be industrious and work with what you're given, the child himself is trying to develop such skills already.
Of course, I'm not sure if he'd take away the second moral Perrault purposes, about dressing well and all that.
The Lady and the Merman
Pick one tale, and discuss it in terms of how a child at a particular age and stage of development might benefit from reading it or having it read to her or him.
Just as a side note, children's stories especially fairy tales can sometimes be terribly depressing. I'm curious if this is common in the "Little Mermaid" sort of tales moreso than just fairy tales in general.
I'm taking "The Lady and the Merman" by Jane Yolen. Here, the woman is practically an orphan with a father who finds her plain and can't bare to look at her. Though the woman is good and caring, she keeps her pain in her heart after revealing it once to her father who recommended "salt for such wounds" which while he might have meant the salt he encunters on his journeys to sea by sweat, tears, and ocean water, it brings up the classic image of someone "rubbing salt in your wounds" to increase the pain. Bourne, our heroine, still watches the sea for his return and one day falls for a merman. Her father finally shows some concern for her, but not much, but she continues wishing for her merman to reappear. He does, but he can not stay so she follows him into the sea. While depressing, it could also be a happy ending. She died in the pursuit of love, and might not actually be dead as though the final line states "She was beautiful for the first time. And for the last." it is still vague enough to suggest she live. Then the father is of course happy to be rid of this burden, though as a reader I at least hope he regrets this one day.
As far as reading this to children and having children read it, I'd place it in the 3-6 age range. On a superficial level, the story is bittersweet, but not everything can be outright "happily ever after." As far as Freud goes, this age range is perfect. 3-6 is where he places the Oedipus complex and Jung adds in the Electra complex. The mother figure and the daughter both wanted nothing more than to please the father and the males in their lives. The mother died because she hadn't pleased him, and one could in a sense say that the birth of this daughter that the father didn't care for was the death of the mother. Then the daughter expected to take the other woman's place, but never recieved an equal amount of love as to what she put out, so she sought out the only other male that remotely struck her interest, the Merman, and he only really occured to her because he wsa part of what her father did love, the sea. In the end, she ventures into the sea to please them both she thinks, the merman who might love her back and the father she has wronged by being born. The story is also rather egocentric. While Bourne helps others, this is all just side business that we don't see her actually doing. She is still looking for what she wants, her father's love and later the Merman's love. This can also fit into Piaget's stages in this. Then also as it fits with Freud, so it fits with Erikson. At 3-6 the child is learning more about becoming independent, which though Bourne feels a need for others, she is an independent character. She cares for herself, her father, and others around her. She takes her watch for her Merman in the end upon herself and tries to reach him when she knows fears can not. When the Merman leaves, he doesn't tell her to jump into the water to follow him, she decides this on her own.
Just as a side note, children's stories especially fairy tales can sometimes be terribly depressing. I'm curious if this is common in the "Little Mermaid" sort of tales moreso than just fairy tales in general.
I'm taking "The Lady and the Merman" by Jane Yolen. Here, the woman is practically an orphan with a father who finds her plain and can't bare to look at her. Though the woman is good and caring, she keeps her pain in her heart after revealing it once to her father who recommended "salt for such wounds" which while he might have meant the salt he encunters on his journeys to sea by sweat, tears, and ocean water, it brings up the classic image of someone "rubbing salt in your wounds" to increase the pain. Bourne, our heroine, still watches the sea for his return and one day falls for a merman. Her father finally shows some concern for her, but not much, but she continues wishing for her merman to reappear. He does, but he can not stay so she follows him into the sea. While depressing, it could also be a happy ending. She died in the pursuit of love, and might not actually be dead as though the final line states "She was beautiful for the first time. And for the last." it is still vague enough to suggest she live. Then the father is of course happy to be rid of this burden, though as a reader I at least hope he regrets this one day.
As far as reading this to children and having children read it, I'd place it in the 3-6 age range. On a superficial level, the story is bittersweet, but not everything can be outright "happily ever after." As far as Freud goes, this age range is perfect. 3-6 is where he places the Oedipus complex and Jung adds in the Electra complex. The mother figure and the daughter both wanted nothing more than to please the father and the males in their lives. The mother died because she hadn't pleased him, and one could in a sense say that the birth of this daughter that the father didn't care for was the death of the mother. Then the daughter expected to take the other woman's place, but never recieved an equal amount of love as to what she put out, so she sought out the only other male that remotely struck her interest, the Merman, and he only really occured to her because he wsa part of what her father did love, the sea. In the end, she ventures into the sea to please them both she thinks, the merman who might love her back and the father she has wronged by being born. The story is also rather egocentric. While Bourne helps others, this is all just side business that we don't see her actually doing. She is still looking for what she wants, her father's love and later the Merman's love. This can also fit into Piaget's stages in this. Then also as it fits with Freud, so it fits with Erikson. At 3-6 the child is learning more about becoming independent, which though Bourne feels a need for others, she is an independent character. She cares for herself, her father, and others around her. She takes her watch for her Merman in the end upon herself and tries to reach him when she knows fears can not. When the Merman leaves, he doesn't tell her to jump into the water to follow him, she decides this on her own.
Tuesday, January 26, 2010
Lines (Tintern Abbey)
In the last verse paragraph, the speaker addresses another. This is why the poem is considered a "conversation poem". For purposes of this prompt, how does the poem change here? What does the speaker wish for his companion?
This poem starts off in a beautiful description of the land and things that he (technically the speaker, but here Wordsworth is certainly the speaker) has seen, recalled, and experienced. These are landscapes he would remember fondly when alone. He makes the state of remembrance almost like meditation. Throughout, it's not as much about him as it is about the beauty and what it brings out in him. Then in the final verse, he changes. Instead of simply speaking, a Friend is being addressed. This friend is found to be his sister. Here he sees in her his former self, how he once was and remembers being. Also though his tone shifts. This part is not as much about the nature and peace that he had missed, but about how he is advising her to do as he has done and use the joys of the land and the appreciation of it when things might bring her down. He says in his final lines, "And this green pastoral landscapes, were to me//More dear, both for themselves and for thy sake!" In the end, he seems to hold the land's memories dear because with it he can recall his sister as well.
This poem starts off in a beautiful description of the land and things that he (technically the speaker, but here Wordsworth is certainly the speaker) has seen, recalled, and experienced. These are landscapes he would remember fondly when alone. He makes the state of remembrance almost like meditation. Throughout, it's not as much about him as it is about the beauty and what it brings out in him. Then in the final verse, he changes. Instead of simply speaking, a Friend is being addressed. This friend is found to be his sister. Here he sees in her his former self, how he once was and remembers being. Also though his tone shifts. This part is not as much about the nature and peace that he had missed, but about how he is advising her to do as he has done and use the joys of the land and the appreciation of it when things might bring her down. He says in his final lines, "And this green pastoral landscapes, were to me//More dear, both for themselves and for thy sake!" In the end, he seems to hold the land's memories dear because with it he can recall his sister as well.
We Are Seven
Is Wordsworth the "I" in this poem? Don't just answer "yes" or "no"--support your answer with references to the text and the material I provide above. In doing this, also explicate the poem, keeping in mind that it's a dialogue, and relate the rest of the poem to the opening stanza.
Wordsworth is in the fact that the speaker can not understand the logic of the child initially. I feel he very much relates to the speaker. Our poet starts with the final line in the final stanza when the speaker had given up trying to explain to the Girl why she is wrong and he feels he is right. He still does not accept it, but it sounds that he will accept that she will not agree with him. "'Twas throwing words away; for still/The little Maid would have her will" He even knows here that she won't agree as he speaks out. This leads us to believe that the poet went into this knowing the frustration of the speaker.
We also see him in his admiration of the child. At the start he speaks of her fair eyes and her beauty, going as far to say that "Her beauty made me glad" which is not at all a matter of enjoying the beauty of the child both in her appearance and in her spirit. While our Speaker gets frustrated with this girl, he continues to try with her, explaining that her two siblings are gone so she is no longer of seven children. Where he suggests that she is alive because she can move and live, "You run about, my little Maid//Your limbs they are alive" she counters that their graves are alive, "Their graves are green, they may be seen" and though I'm sure in her mind she understands that they no longer function and are not alive, she also does not see them as gone from her family either.
So in the end, the speaker is the poet, but not explicitly. The poem itself is actually sort of sweet in the way it flows with the ABAB fashion. You do get the feeling of being part of a discussion with a child who fully believes that she is correct. Not that she's wrong, of course.
Wordsworth is in the fact that the speaker can not understand the logic of the child initially. I feel he very much relates to the speaker. Our poet starts with the final line in the final stanza when the speaker had given up trying to explain to the Girl why she is wrong and he feels he is right. He still does not accept it, but it sounds that he will accept that she will not agree with him. "'Twas throwing words away; for still/The little Maid would have her will" He even knows here that she won't agree as he speaks out. This leads us to believe that the poet went into this knowing the frustration of the speaker.
We also see him in his admiration of the child. At the start he speaks of her fair eyes and her beauty, going as far to say that "Her beauty made me glad" which is not at all a matter of enjoying the beauty of the child both in her appearance and in her spirit. While our Speaker gets frustrated with this girl, he continues to try with her, explaining that her two siblings are gone so she is no longer of seven children. Where he suggests that she is alive because she can move and live, "You run about, my little Maid//Your limbs they are alive" she counters that their graves are alive, "Their graves are green, they may be seen" and though I'm sure in her mind she understands that they no longer function and are not alive, she also does not see them as gone from her family either.
So in the end, the speaker is the poet, but not explicitly. The poem itself is actually sort of sweet in the way it flows with the ABAB fashion. You do get the feeling of being part of a discussion with a child who fully believes that she is correct. Not that she's wrong, of course.
Saturday, January 23, 2010
Blake's Songs of Innocence and Experience: Shewing the Two Contrary States of the Human Soul
Blake subtitled Songs of Innocence and Experience "Shewing the Two Contrary States of the Human Soul." Having read selections from both, how would you characterize these two states? Does Blake show a preference for either?
Blake's use of these subtitle is actually somewhat straightforward. The first part, "Songs of Innocence" shows examples of innocence in mind or in action, as well as innocence being lost in some ways. "The Ecchoing Green" is a good example of this. To take it literally, we see children playing cheerful in the morning while their elder's watch on until darkness falls and the children run home to their mothers and fathers. Considering Blake's way of thinking from such things as this quote from the man himself, "That which can be made Explicit to the Idiot is not worth my care" (pp 78), we know that he doesn't want to be taken on the level of what he presents us. The children were of course youth that spring out in the morning and sunlight. The Narrator identifies himself as such. In the end, the children run home to their parents when darkness falls on the Green. However, when the children were playing, the elderly people were watching from the shade of the trees. One can see that this is a circle of life, especially when looking at the artwork meant to accompany the words. The children are shown to the left in the full sun, while the parents or at least mothers from what I can tell are in the center as the sun and shadow mix when you look at the ground beneath them. Then to the right in the full shade of both the night and the tree assumable are the elder folk. So really, the meaning is clear in this loss of innocence through age. Even just seeing the image in our book (pp 82) we see children who are possibly praying with their mother beneath a stylized tree.
The second part, "Songs of Expereince" is obviously darker, as though a life had been lived and is now being seen from further along. Again, I'll take the first poem presented to us, that being "Earth's Answer" in which the Earth personifies and tells the narrator of what sounds to be the Earth's capture in a state that could be compared to night or winter perhaps. Here, in the literal taking she is being held captive that is presented in a God-like fashion "I hear the Father of the ancient men//Selfish father of men" though the footnote also mentions this character is later identified and used in Blake's prophetic works. This poem of the earth taken into darkness could be many things. Considering the image given, with the snake at the bottom, perhaps this isn't just the personfication of night or winter on the planet, but the loss of innocence and the fall into sin and even as far as the first sin. Needless to say, this is a section that will have more bite than the first. The picture in our books (88) shows women grieving over to aged and likely dead figures, with what could be an angel or cherub flying above within the title. So where the first section was innocence with a transition, this section is perhaps aged or dying, with a smear of hope to latch on to.
"Nurses' Song" In Innocence is a literally a nurse watching over a bunch of children. She calls them in and they beg to stay out until the sun sets. she agrees and they run off to play again. They are given a second chance to enjoy themselves by this overseer who could easily represent God or Jesus sending out the innocence to continue on as they are looked down upon and watched after. The only thing that will hinder this joy and innocence in play will be the coming night. Through this poem, we see the world as a place where the innocence can be free to go about as they like with little care but the approaching darkness. "Nurse's Story" in Experience is very different however. This speaker also watches the children, but they do not seem to remember their childhood fondly, "The days of my youth rise fresh in my mind,//My face turns green and pale." Here to the children are asked to return home as darkness falls. This poem suggests the regrets felt when life has been wasted in play as the rest of your life will be a facade to the world. Fooling about will not help you in life is what we are to take from this poem. While the children of the first are enjoying their innocence, the idea of the latter poem seems to be a concern for lack of preparation in life perhaps. The first Nurse watches after the children happily, while the second seems ill at the memory of her own youth and probably mistakes made then. This helps illustrate the more hopeful outlook in Innocence while then showing the alternative recalling after experience in a not so fond way. Don't we often look back at more innocent days and cringe a bit at how thoughtless we were?
Given what we learned of Blake through the introduction, I feel like between the two parts, he ought to favor the "Songs of Expereince." He didn't like to have his work be taken litertally and I feel that mistake could have been much easier to make with the "Songs of Innocence." The images are too innocent, even when tinted in the hint of age, time, or sin. "Experience" shows a wiser and yes, experienced person looking back and contemplating these things.
(Though I assume the different versions have the same pictures, I made all of my images references that weren't from the book by way of Songs of Innocence and of Experience, copy B, 1789, 1794 (British Museum): electronic edition from the archive at http://www.blakearchive.org.)
Blake's use of these subtitle is actually somewhat straightforward. The first part, "Songs of Innocence" shows examples of innocence in mind or in action, as well as innocence being lost in some ways. "The Ecchoing Green" is a good example of this. To take it literally, we see children playing cheerful in the morning while their elder's watch on until darkness falls and the children run home to their mothers and fathers. Considering Blake's way of thinking from such things as this quote from the man himself, "That which can be made Explicit to the Idiot is not worth my care" (pp 78), we know that he doesn't want to be taken on the level of what he presents us. The children were of course youth that spring out in the morning and sunlight. The Narrator identifies himself as such. In the end, the children run home to their parents when darkness falls on the Green. However, when the children were playing, the elderly people were watching from the shade of the trees. One can see that this is a circle of life, especially when looking at the artwork meant to accompany the words. The children are shown to the left in the full sun, while the parents or at least mothers from what I can tell are in the center as the sun and shadow mix when you look at the ground beneath them. Then to the right in the full shade of both the night and the tree assumable are the elder folk. So really, the meaning is clear in this loss of innocence through age. Even just seeing the image in our book (pp 82) we see children who are possibly praying with their mother beneath a stylized tree.
The second part, "Songs of Expereince" is obviously darker, as though a life had been lived and is now being seen from further along. Again, I'll take the first poem presented to us, that being "Earth's Answer" in which the Earth personifies and tells the narrator of what sounds to be the Earth's capture in a state that could be compared to night or winter perhaps. Here, in the literal taking she is being held captive that is presented in a God-like fashion "I hear the Father of the ancient men//Selfish father of men" though the footnote also mentions this character is later identified and used in Blake's prophetic works. This poem of the earth taken into darkness could be many things. Considering the image given, with the snake at the bottom, perhaps this isn't just the personfication of night or winter on the planet, but the loss of innocence and the fall into sin and even as far as the first sin. Needless to say, this is a section that will have more bite than the first. The picture in our books (88) shows women grieving over to aged and likely dead figures, with what could be an angel or cherub flying above within the title. So where the first section was innocence with a transition, this section is perhaps aged or dying, with a smear of hope to latch on to.
"Nurses' Song" In Innocence is a literally a nurse watching over a bunch of children. She calls them in and they beg to stay out until the sun sets. she agrees and they run off to play again. They are given a second chance to enjoy themselves by this overseer who could easily represent God or Jesus sending out the innocence to continue on as they are looked down upon and watched after. The only thing that will hinder this joy and innocence in play will be the coming night. Through this poem, we see the world as a place where the innocence can be free to go about as they like with little care but the approaching darkness. "Nurse's Story" in Experience is very different however. This speaker also watches the children, but they do not seem to remember their childhood fondly, "The days of my youth rise fresh in my mind,//My face turns green and pale." Here to the children are asked to return home as darkness falls. This poem suggests the regrets felt when life has been wasted in play as the rest of your life will be a facade to the world. Fooling about will not help you in life is what we are to take from this poem. While the children of the first are enjoying their innocence, the idea of the latter poem seems to be a concern for lack of preparation in life perhaps. The first Nurse watches after the children happily, while the second seems ill at the memory of her own youth and probably mistakes made then. This helps illustrate the more hopeful outlook in Innocence while then showing the alternative recalling after experience in a not so fond way. Don't we often look back at more innocent days and cringe a bit at how thoughtless we were?
Given what we learned of Blake through the introduction, I feel like between the two parts, he ought to favor the "Songs of Expereince." He didn't like to have his work be taken litertally and I feel that mistake could have been much easier to make with the "Songs of Innocence." The images are too innocent, even when tinted in the hint of age, time, or sin. "Experience" shows a wiser and yes, experienced person looking back and contemplating these things.
(Though I assume the different versions have the same pictures, I made all of my images references that weren't from the book by way of Songs of Innocence and of Experience, copy B, 1789, 1794 (British Museum): electronic edition from the archive at http://www.blakearchive.org.)
"The Lamb" Vs. "The Tyger"
Compare any of the following pairs of poems, from Songs of Innocence and Experience:
"The Lamb" (Innocence, pp. 83-84) and "The Tyger" (Experience, pp. 92-93)
These two poems are actually very similiar and could almost be two parts of the same piece. "The Lamb" has the Narrator asking a lamb who has made them to be such a creature of joy and happy life. The answer is of course God, and the "lamb" is actually us, or rather human kind. This would be especially applicable to our younger ones who are without knowledge of the terrible vices and hardships far from home, or field rather. Frolic and rejoice as you know the name of your creator. Which is nice and lovely imagery. It reminds one of the concept of us all being part of God's flock, even in the image presented to us. It's a young man feeding a lamb within a flock.
"The Tyger" also has the Narrator asking a creature the question of who made them. However, this time it's the tyger or tiger. This is a being of muscle and beauty, very different from the lamb to the point the Narrator seems in disbelief that such a thing could be from the same creator ("Did he who made the Lamb make thee?". Here though, the Narrator doesn't talk about the actions of the Tyger, but it's creation and it's might. This is a creature of strength and will, with fire in it's eyes. The innocence of the lamb is gone. The images set forth here are full of words to horrify, "What dread hand? & what dread feet?" "...what dread grasp//Dare its deadly terror clasp?" The Tyger is a person of experienced, learned in the ways of the world and not as sweetly naive as any Lamb might be. In the image presented, though to a lesser extent the book version because it's black and white (pp 92), we see the sun setting, another image of aging that supports the rest.
What do you think Blake was trying to convey in these two opposites? I feel he's trying show us that while innocence is a thing to be treasured, but it cannot compare to the beauty of experience. Those lucky enough to possess it can sometimes appear rough and strong, but they're full of intelligence that the lamb cannot possess at that stage without drastically changing. This might not necessarily be from age, but at the very least through life and what we encounter throughout it.
"The Lamb" (Innocence, pp. 83-84) and "The Tyger" (Experience, pp. 92-93)
These two poems are actually very similiar and could almost be two parts of the same piece. "The Lamb" has the Narrator asking a lamb who has made them to be such a creature of joy and happy life. The answer is of course God, and the "lamb" is actually us, or rather human kind. This would be especially applicable to our younger ones who are without knowledge of the terrible vices and hardships far from home, or field rather. Frolic and rejoice as you know the name of your creator. Which is nice and lovely imagery. It reminds one of the concept of us all being part of God's flock, even in the image presented to us. It's a young man feeding a lamb within a flock.
"The Tyger" also has the Narrator asking a creature the question of who made them. However, this time it's the tyger or tiger. This is a being of muscle and beauty, very different from the lamb to the point the Narrator seems in disbelief that such a thing could be from the same creator ("Did he who made the Lamb make thee?". Here though, the Narrator doesn't talk about the actions of the Tyger, but it's creation and it's might. This is a creature of strength and will, with fire in it's eyes. The innocence of the lamb is gone. The images set forth here are full of words to horrify, "What dread hand? & what dread feet?" "...what dread grasp//Dare its deadly terror clasp?" The Tyger is a person of experienced, learned in the ways of the world and not as sweetly naive as any Lamb might be. In the image presented, though to a lesser extent the book version because it's black and white (pp 92), we see the sun setting, another image of aging that supports the rest.
What do you think Blake was trying to convey in these two opposites? I feel he's trying show us that while innocence is a thing to be treasured, but it cannot compare to the beauty of experience. Those lucky enough to possess it can sometimes appear rough and strong, but they're full of intelligence that the lamb cannot possess at that stage without drastically changing. This might not necessarily be from age, but at the very least through life and what we encounter throughout it.
Friday, January 22, 2010
Ever Changing Little Red Riding Hood Part 1
How does each version differ in its view/representation of Red or the main character (and, by extension, children/girls)? What lessons do the different versions offer?
We encounter several versions of this take in our book, and I'll take each one by one to make this hopefully simple in organization at least.
"The Story of Grandmother" is the first we encounter as a part of the introduction to this section. This is thought to be the story that inspired Charles Perrault's one story. This story shows red cloak, which perhaps suggests that though this girl is still young enough to stray the path and piddle about instead of staying on task, perhaps because she makes an escape and is never eaten, she actually is more mature than the girl in the cloak/cap of the later stories. Though she does undress as well as drinks and eats of her dead Granny's flesh, after seeing the werewolf close up, she plans her own escape and needs no helpful huntsman or father to rescue her. It's suggested in the reading that Granny's death and the girl's consumption is a sort of passing down of roles and responsibilities (pp 340), which looking back now I can certainly see. It's interesting that this is under the prompting of the werewolf, who is in a way helping her mature not just sexually, but in other fashions as well. This story gives the same lesson as many stories of Little Red Riding Hood; stay to your task and do not stray. Be aware of what's going on about you, especially strangers. However, as I mentioned before, this little girl is quick witted and saves herself despite her previous poor choices. That in itself is quite different and eliminates the need for a Huntsman or father figure, though here it is sure that the poor Granny is dead.
Charles Perrault's version "Little Red Riding Hood" is one of the best known version and with the presence of the red cloak/cap, it's best said this though inspired by the previous tale is for these purposes is the original. I have to admit, this isn't a version I've known in my life. Oddly, I had heard a version of "The Story of Grandmother." This version was aimed at upper class girls, probably those that might go about men and have no inclination of these creations true intentions. Here, Red Riding Hood is a girl given all she could want with no reason to fear the world around her, including a lovely red hood that makes her likely more attractive with its striking color and almost difficult for the wolf to avoid. Considering it was supposed to be "perfectly suited to her", one would think she was of age and mindset to handle what it implies such as womanhood, but we see she is not as the wolf easily leads her to the longer path where she strays further to pick flowers and tricks her further once she arrives at her grandmother's house. Red Riding Hood is not as bright as the girl from the previous story, as she cannot get herself free of the situation and comes to be eaten. The mother again sends her daughter on this task with no warning and complete trust that she will accomplish this. While the girl thinks she's safe the entire time, and going to the home of her grandmother where she has known nothing but safety, the wolf changes this and uses the isolation against her. It's curious that there is no woodsman again, though this is not a story where the girl's sins are to be forgiven. The odd thing is that there are woodcutters mentioned near where the wolf and Little Red first meet. Perhaps their presence is suggesting that while others might be about, no one will simply worry about some poor foolish girl who happens to be stupid enough to chat with old wolves. The moral here is spelled out right at the end. Do not converse with old wolves, also meaning strange men that could easily take advantage of your naive and pure young self with their sly ways and seemingly kind words. I feel like more young girls should probably have read Perrault's version, but it's understandable that such a direct and somewhat violent version has been somewhat replaced by more tame things considering the way children's fiction has been going. I prefer this version.
The next version is one I know well. The Grimm brothers' tale of "Little Red Cap" is in my opinion much closer to the stories that circulate in these days. This story shows Little Red Cap as the girl we know well. She says she will follow her mother's directions not to stray and peek about her grandmother's house, but then is still led astray by the wolf as the previous girls had been. This Red Cap however realizes that something is not right in her grandmother's home when she enters, suggesting that she is realizing her folly, though too late to fix it. Though other girls have been trusting, Grimms' Red Cap even allows the wolf to accompany her for a time, thinking nothing strange of it. As a reader, this is shocking because he is not just some vulpine-father figure out to seduce her, but also a literal wolf. Her naiveté is obvious at this point almost more so than the previous girl. We also see this naiveté being made up for in a sort of second go for Red Cap and her grandmother. Once freed, Red Cap comes up with the sly plan that kills the creature instead of just allowing the Huntsman to do so, thus taking care of her own problems and growing. The moral here is to not disobey your parent and be careful who you trust. Trust I feel is a larger issue here than in Perrault's story; Mother has noticeably less trust in her daughter than previous tales as she warns her of what not to do, Red Cap has too much trust in the wolf, but loses this quickly once she gets to her grandmother's house, Grandmother doesn't even need a fake voice to believe the tricky wolf, the Huntsman rightfully trusts Red Cap's plan which kills the wolf as easily as he could have, and finally after learning their lesson, Grandmother and Red Cap trust each other enough to take care of the second wolf with no assistance.
Next is Charles Marelle's "The True History of Little Golden-hood" which in itself is definitely a change from the norm with the lack of red. The sound of this story is different, as though it's meant to be read aloud as opposed to read in a book. Our hooded heroine has a name, Blanchette, where as previously she was called by everyone by her lovely head coverings if anything at all, even by her mother and grandmother. Blanchette is still that girl that doesn't quite heed her mother and takes her time in her task, even conversing with the wolf that approaches like a dog as many a child might be more likely to trust. After again revealing her grandmother's exact location, she is still tricked to undress and to come to bed with this sly wolf. However, Blanchette noticed how like Friend wolf her poor Granny appeared and obviously knew something to be amiss, so she kept her hood on in protection. This was a smarter move than even she knew of course. Also noticeable is how instead of simply being eaten, this girl ducks down in fear, realizing her mistake and crying for her mama. This tale has a similar moral to those before; don't talk to strangers, which was specifically told to the child by her mother here. We also have a somewhat Christian and feminist take on things. Blanchette's enchanted golden hood saves her from the wolf, who dies in a dark, damp well, which draws the child to the light and warmth of Blanchette and her family as opposed to the dark evil that is the wolf. The feminine take is with how there is no male savior, only the male aggressor and the grandmother is the hero of the tale. This is a very different take from any other tales yet read.
The next is Walter De La Mare's take, classically titled "Little Red Riding-Hood" and is a takeoff of the Grimms' version with a sort of more humorous spin on some aspects. Red Riding-Hood is illustrated as being utterly vain and completely spoiled, begging for a red cloak just the same as an older woman's she had seen and envied. Obviously she's not mature enough to handle what this cloak implies as she just wants it because it's pretty. The child is also selfish, thinking she'll take all the treats she wants when she arrives at her sick Grannie's. She is even so absent minded here that she does not stray, but actually pauses to rest and falls asleep. Something can be said in her favor however, as she does fear the wolf at first, but quickly gives in to his charm. As the story ends, the moral of not straying and not forgetting the look of a wolf is restated, but this Red Riding-Hood is still as vain as ever.
Catherine Storr's version again names the hooded girl, "Little Polly Riding Hood." The characters here are actually aware of the existence of the original Little Red Riding Hood story, so it's hopeful that Polly will have learned from that tale. Polly is an incredibly sensible girl and the only truly fairytale factor of this story is the talking wolf. She knows that story this wolf has read and he cannot trick her because he's only attempting another wolf's tricks and failing miserably. Polly isn't caught off guard, and she shows no fear of the wolf, only confidence in her task and ease in something she's done often before. The moral here isn't quite the same as the other stories. Polly tells the wolf that life isn't a fairytale, which implies many things such as there is no one to save you should you falter besides yourself and that though there are always wolves, that doesn't mean you must always be caught by one. As we age, we see that the children in those old fairytales are sometimes shockingly silly and naive. I feel that Polly is a proper up-to-date little girl and a fine example of a modernized Red Riding Hood.
Ronald Dahl has an even more altered version of this fairytale in "Little Red Riding Hood and the Wolf." This Red Riding Hood is no victim either, much like Polly of the previous tale. She not only doesn't fall for the Wolfie's trick, she has a pistol hidden away that she uses to kill him and it's implied she even skins him for a coat later. Her vanity however still remains I feel, considering how she shows off her coat similar to how Blanchette showed off her red hood. This Red Riding Hood did everything on her own and was not about to be taken in by anyone. The moral isn't as much about Red Riding Hood here as it is about Wolfie. Not everything will go as you planned, and watch out for little girls with pistols in their knickers.
...Continued in Part 2...
The Red Riding Hood stories have evolved and changed drastically over time, but many things stay the same; the girl going to grandma's encounters a wolf. How she deals with it is up to her. As Red Riding Hood has progressed though, she continues to take actions into her hands.
[Page references are from The Norton Anthology of Children's Literature: The Traditions in English, 2005]
We encounter several versions of this take in our book, and I'll take each one by one to make this hopefully simple in organization at least.
"The Story of Grandmother" is the first we encounter as a part of the introduction to this section. This is thought to be the story that inspired Charles Perrault's one story. This story shows red cloak, which perhaps suggests that though this girl is still young enough to stray the path and piddle about instead of staying on task, perhaps because she makes an escape and is never eaten, she actually is more mature than the girl in the cloak/cap of the later stories. Though she does undress as well as drinks and eats of her dead Granny's flesh, after seeing the werewolf close up, she plans her own escape and needs no helpful huntsman or father to rescue her. It's suggested in the reading that Granny's death and the girl's consumption is a sort of passing down of roles and responsibilities (pp 340), which looking back now I can certainly see. It's interesting that this is under the prompting of the werewolf, who is in a way helping her mature not just sexually, but in other fashions as well. This story gives the same lesson as many stories of Little Red Riding Hood; stay to your task and do not stray. Be aware of what's going on about you, especially strangers. However, as I mentioned before, this little girl is quick witted and saves herself despite her previous poor choices. That in itself is quite different and eliminates the need for a Huntsman or father figure, though here it is sure that the poor Granny is dead.
Charles Perrault's version "Little Red Riding Hood" is one of the best known version and with the presence of the red cloak/cap, it's best said this though inspired by the previous tale is for these purposes is the original. I have to admit, this isn't a version I've known in my life. Oddly, I had heard a version of "The Story of Grandmother." This version was aimed at upper class girls, probably those that might go about men and have no inclination of these creations true intentions. Here, Red Riding Hood is a girl given all she could want with no reason to fear the world around her, including a lovely red hood that makes her likely more attractive with its striking color and almost difficult for the wolf to avoid. Considering it was supposed to be "perfectly suited to her", one would think she was of age and mindset to handle what it implies such as womanhood, but we see she is not as the wolf easily leads her to the longer path where she strays further to pick flowers and tricks her further once she arrives at her grandmother's house. Red Riding Hood is not as bright as the girl from the previous story, as she cannot get herself free of the situation and comes to be eaten. The mother again sends her daughter on this task with no warning and complete trust that she will accomplish this. While the girl thinks she's safe the entire time, and going to the home of her grandmother where she has known nothing but safety, the wolf changes this and uses the isolation against her. It's curious that there is no woodsman again, though this is not a story where the girl's sins are to be forgiven. The odd thing is that there are woodcutters mentioned near where the wolf and Little Red first meet. Perhaps their presence is suggesting that while others might be about, no one will simply worry about some poor foolish girl who happens to be stupid enough to chat with old wolves. The moral here is spelled out right at the end. Do not converse with old wolves, also meaning strange men that could easily take advantage of your naive and pure young self with their sly ways and seemingly kind words. I feel like more young girls should probably have read Perrault's version, but it's understandable that such a direct and somewhat violent version has been somewhat replaced by more tame things considering the way children's fiction has been going. I prefer this version.
The next version is one I know well. The Grimm brothers' tale of "Little Red Cap" is in my opinion much closer to the stories that circulate in these days. This story shows Little Red Cap as the girl we know well. She says she will follow her mother's directions not to stray and peek about her grandmother's house, but then is still led astray by the wolf as the previous girls had been. This Red Cap however realizes that something is not right in her grandmother's home when she enters, suggesting that she is realizing her folly, though too late to fix it. Though other girls have been trusting, Grimms' Red Cap even allows the wolf to accompany her for a time, thinking nothing strange of it. As a reader, this is shocking because he is not just some vulpine-father figure out to seduce her, but also a literal wolf. Her naiveté is obvious at this point almost more so than the previous girl. We also see this naiveté being made up for in a sort of second go for Red Cap and her grandmother. Once freed, Red Cap comes up with the sly plan that kills the creature instead of just allowing the Huntsman to do so, thus taking care of her own problems and growing. The moral here is to not disobey your parent and be careful who you trust. Trust I feel is a larger issue here than in Perrault's story; Mother has noticeably less trust in her daughter than previous tales as she warns her of what not to do, Red Cap has too much trust in the wolf, but loses this quickly once she gets to her grandmother's house, Grandmother doesn't even need a fake voice to believe the tricky wolf, the Huntsman rightfully trusts Red Cap's plan which kills the wolf as easily as he could have, and finally after learning their lesson, Grandmother and Red Cap trust each other enough to take care of the second wolf with no assistance.
Next is Charles Marelle's "The True History of Little Golden-hood" which in itself is definitely a change from the norm with the lack of red. The sound of this story is different, as though it's meant to be read aloud as opposed to read in a book. Our hooded heroine has a name, Blanchette, where as previously she was called by everyone by her lovely head coverings if anything at all, even by her mother and grandmother. Blanchette is still that girl that doesn't quite heed her mother and takes her time in her task, even conversing with the wolf that approaches like a dog as many a child might be more likely to trust. After again revealing her grandmother's exact location, she is still tricked to undress and to come to bed with this sly wolf. However, Blanchette noticed how like Friend wolf her poor Granny appeared and obviously knew something to be amiss, so she kept her hood on in protection. This was a smarter move than even she knew of course. Also noticeable is how instead of simply being eaten, this girl ducks down in fear, realizing her mistake and crying for her mama. This tale has a similar moral to those before; don't talk to strangers, which was specifically told to the child by her mother here. We also have a somewhat Christian and feminist take on things. Blanchette's enchanted golden hood saves her from the wolf, who dies in a dark, damp well, which draws the child to the light and warmth of Blanchette and her family as opposed to the dark evil that is the wolf. The feminine take is with how there is no male savior, only the male aggressor and the grandmother is the hero of the tale. This is a very different take from any other tales yet read.
The next is Walter De La Mare's take, classically titled "Little Red Riding-Hood" and is a takeoff of the Grimms' version with a sort of more humorous spin on some aspects. Red Riding-Hood is illustrated as being utterly vain and completely spoiled, begging for a red cloak just the same as an older woman's she had seen and envied. Obviously she's not mature enough to handle what this cloak implies as she just wants it because it's pretty. The child is also selfish, thinking she'll take all the treats she wants when she arrives at her sick Grannie's. She is even so absent minded here that she does not stray, but actually pauses to rest and falls asleep. Something can be said in her favor however, as she does fear the wolf at first, but quickly gives in to his charm. As the story ends, the moral of not straying and not forgetting the look of a wolf is restated, but this Red Riding-Hood is still as vain as ever.
Catherine Storr's version again names the hooded girl, "Little Polly Riding Hood." The characters here are actually aware of the existence of the original Little Red Riding Hood story, so it's hopeful that Polly will have learned from that tale. Polly is an incredibly sensible girl and the only truly fairytale factor of this story is the talking wolf. She knows that story this wolf has read and he cannot trick her because he's only attempting another wolf's tricks and failing miserably. Polly isn't caught off guard, and she shows no fear of the wolf, only confidence in her task and ease in something she's done often before. The moral here isn't quite the same as the other stories. Polly tells the wolf that life isn't a fairytale, which implies many things such as there is no one to save you should you falter besides yourself and that though there are always wolves, that doesn't mean you must always be caught by one. As we age, we see that the children in those old fairytales are sometimes shockingly silly and naive. I feel that Polly is a proper up-to-date little girl and a fine example of a modernized Red Riding Hood.
Ronald Dahl has an even more altered version of this fairytale in "Little Red Riding Hood and the Wolf." This Red Riding Hood is no victim either, much like Polly of the previous tale. She not only doesn't fall for the Wolfie's trick, she has a pistol hidden away that she uses to kill him and it's implied she even skins him for a coat later. Her vanity however still remains I feel, considering how she shows off her coat similar to how Blanchette showed off her red hood. This Red Riding Hood did everything on her own and was not about to be taken in by anyone. The moral isn't as much about Red Riding Hood here as it is about Wolfie. Not everything will go as you planned, and watch out for little girls with pistols in their knickers.
...Continued in Part 2...
The Red Riding Hood stories have evolved and changed drastically over time, but many things stay the same; the girl going to grandma's encounters a wolf. How she deals with it is up to her. As Red Riding Hood has progressed though, she continues to take actions into her hands.
[Page references are from The Norton Anthology of Children's Literature: The Traditions in English, 2005]
Bettelheim on Fairytales
Many think that the only real benefit of reading for children is developing their language skills. In what other ways does Bettelheim suggest children might benefit from reading fairy tales or having them read to them?
Bettleheim suggests that children learn about life and human nature from reading. The reason this is good, moreso than say them learning it from a parent or teacher, is that it's put on a level that they can comprehend, even if they are only unconsciously comprehending it. Adults (because really, it's not just parents and teachers that teach your children anymore) don't fully understand the way a child's mind works, Bettleheim feels and I agree. They assume they understand things as fully as the adult or else they talk down to the child in a way that I know isn't always respectful. Children do notice that. Many parents want to sheild their children from the nasty things in the word, but then the child is taught things like how people are good, while the child knows they can't always be good. It confuses them.
Fairytales put things on their level, and don't always have the happiest of endings. Though a child might never have to get eaten by a wolf dressed in their grandmother's clothing to see Little Red's mistakes, they still see the consequences of her decisions. They also learn that many terrible obstacles can be over come and good things can still happen in the end. I previously sed Hansel and Gretel as an example, and they're perfect here as well. Their parents leave them alone in the woods twice, a witch tries to eat them, they can't cross a river to get home, but in the end they do and their father welcomes them with open arms. While there may be things going on within the story that aren't as obvious (which we'll probably hit on in Little Red), they are still given the problem in the story directly and in simple terms. It's much easier to read and feel like you're comprehending something on your own than to simply be told things, or so I like to think.
On condescending to children
It's hard because it's an almost entirely different way of thinking from what I've been doing. I know when I deal with my niece and nephew I almost always think "why can't they understand this like I do?" but they just can't. My niece is a teen now and I know she and I still think differently. We've recently found my nephew is actually mildly autistic, so it's honestly no wonder he doesn't get things like the rest of us sometimes.
What of the INNER drives, fears, conflicts?
A lot of the inner drives and such I think are dealt with on a subconscious level for the child. We might not be aware of the things going on within them because it's been so long for most of us since we've experienced these things whether either we or they are honestly that aware of it. The fairy tales show the child that these feelings are alright. The good fairy tale according to Bettleheim not just tells them it's alright, but shows an ending where it is not deadly or so harmful that this character that is easily related to can not recover from their actions. This is why the version of Little Red he examined was the Grimms' version. Little Red Cap gets into trouble, disobeys the female figure (mom) and places herself into a situation with the male figure (wolf), but is then also rescued by a male figure (huntsman) after which she learns to ally herself with a female figure (granny) to help solve her problems. Here we have an excellent example of the Elecktra complex at work in that the child defies the females leaders of her life and goes to the more knowledgeable male which has consequences that she does suffer, but she is then forgiven as she is rescued by a different male who represents the good father and what she needs. Then the girl is shown trusting in the female figures in her life, which leads another male that is after her in a bad way to his end. I feel like other versions we read, such as ones where the wolf gets eaten also touches on the oral drive, but that's not as big of an issue in the stories I don't feel.
Bettleheim suggests that children learn about life and human nature from reading. The reason this is good, moreso than say them learning it from a parent or teacher, is that it's put on a level that they can comprehend, even if they are only unconsciously comprehending it. Adults (because really, it's not just parents and teachers that teach your children anymore) don't fully understand the way a child's mind works, Bettleheim feels and I agree. They assume they understand things as fully as the adult or else they talk down to the child in a way that I know isn't always respectful. Children do notice that. Many parents want to sheild their children from the nasty things in the word, but then the child is taught things like how people are good, while the child knows they can't always be good. It confuses them.
Fairytales put things on their level, and don't always have the happiest of endings. Though a child might never have to get eaten by a wolf dressed in their grandmother's clothing to see Little Red's mistakes, they still see the consequences of her decisions. They also learn that many terrible obstacles can be over come and good things can still happen in the end. I previously sed Hansel and Gretel as an example, and they're perfect here as well. Their parents leave them alone in the woods twice, a witch tries to eat them, they can't cross a river to get home, but in the end they do and their father welcomes them with open arms. While there may be things going on within the story that aren't as obvious (which we'll probably hit on in Little Red), they are still given the problem in the story directly and in simple terms. It's much easier to read and feel like you're comprehending something on your own than to simply be told things, or so I like to think.
On condescending to children
It's hard because it's an almost entirely different way of thinking from what I've been doing. I know when I deal with my niece and nephew I almost always think "why can't they understand this like I do?" but they just can't. My niece is a teen now and I know she and I still think differently. We've recently found my nephew is actually mildly autistic, so it's honestly no wonder he doesn't get things like the rest of us sometimes.
What of the INNER drives, fears, conflicts?
A lot of the inner drives and such I think are dealt with on a subconscious level for the child. We might not be aware of the things going on within them because it's been so long for most of us since we've experienced these things whether either we or they are honestly that aware of it. The fairy tales show the child that these feelings are alright. The good fairy tale according to Bettleheim not just tells them it's alright, but shows an ending where it is not deadly or so harmful that this character that is easily related to can not recover from their actions. This is why the version of Little Red he examined was the Grimms' version. Little Red Cap gets into trouble, disobeys the female figure (mom) and places herself into a situation with the male figure (wolf), but is then also rescued by a male figure (huntsman) after which she learns to ally herself with a female figure (granny) to help solve her problems. Here we have an excellent example of the Elecktra complex at work in that the child defies the females leaders of her life and goes to the more knowledgeable male which has consequences that she does suffer, but she is then forgiven as she is rescued by a different male who represents the good father and what she needs. Then the girl is shown trusting in the female figures in her life, which leads another male that is after her in a bad way to his end. I feel like other versions we read, such as ones where the wolf gets eaten also touches on the oral drive, but that's not as big of an issue in the stories I don't feel.
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