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?
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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.
...Continued from Part 1...
Tomi Ungerer paints a completely different picture of a story in his "Little Red Riding Hood." This Red Riding Hood is not wearing a cloak by choice, but by the suggestion of her mother to find the girl more easily. She's said to be a child at several points, but then also is referred to as "damsel" and "lady" at times, and considering Duke (the wolf) takes her off to marry her, I feel like she isn't as young as the other Red Riding Hoods. She's described as sensible, and it's true. She's kind in delivering food to her cruel grandmother, but she understands the woman is cruel and seems justified to the reader in her shying away from finishing that journey. When Duke approaches her, she does not immediately accept his offer, which speaks well for her. Then she doesn't even know the term "reputation", so she's obviously not supposed to be the brightest of girls. When she does give in, there's no suggestion of negative repercussions. She actually marries the wolf and lives "happily ever after" though her mean granny doesn't. So the moral here? The tale honestly feels like a shallow romp, but is by no means poorly written. The usual theme, warning against strangers is missing, as the stranger sweeps her off to a better life. Perhaps the moral here is obedience and doing for those who might not appreciate it can lead to good things in the end? I'm honestly quite iffy. This I think might be the start of fairytales being dulled down. Though Polly's story involved it as well, she was more self-aware I felt than muted. Though using familiar characters, I almost feel like this was a completely different story entirely from what we've been reading, even more so than Polly.
Tony Ross gives us another version with "Little Red Hood: A Classic Story bent Out of Shape." The style is drastically different and very dated with slang like "turkey" and bits of Yiddish even. Considering that Granny, or "Crazy Carmela," lived in Jersey, I'm thinking that Little Red Hood is out of New York, and I'm not surprised. She's sassy and strong, but she was still eaten along with Carmela. I thought it was funny that everyone got a name, mother "Linda," father "Rocky," granny was already mentioned, everyone except for Little Red Hood and the wolf. Then Little Red wasn't just for her hood, but for her father calling her a "commie" after she said she was going on strike. This is a Little Red Hood that wants to be independent, but still have that parental safety net. She's lucky for it in the end of course. The moral here harkens back to our previous stories: Don't stop to chat with strangers, and honestly, don't tickle strange dogs either.
"Ruby" by Michael Emberly I'll note wasn't officially intended to be a retelling. He said it had sounded like one so he "ended up just riding that wave to the beach" (pp 368). In this tale, Ruby, our heroine, is actually a little mouse. She doesn't want to visit her Granny, but does still as her mother asks. As most Red Riding Hoods, she disobeys direct orders by reading as she walks and talking to cats. The "wolf" who is a cat here actually rescues her from a reptile mugger. The cat is suave and Ruby tells her Granny's address, but she then calls her Granny's neighbor instead of the old woman, and the dog makes quick work of that cat when he arrives. Ruby is interesting because there's no real attention made to the red cloak, though she does wear one it's never spoken of, only shown. The contemporary feel it has with being placed in the city I think makes it appeal more to children from more modern days. This story does relate back to previous Red Riding Hoods, where the moral is about not trusting strangers, even strangers that act kindly to you and to mind your parents.
Francesa Lia Block's "Wolf" is the final spin on this tale. From the first paragraph, this is not a story for young children. It's from the first person, so again, she has no name and no physical hood. She tries to be strong for her mother who she also feels is her best friend. The "wolf" is her mother's boyfriend and he raped her regularly. She never told her mother because she was scared her mom would hate her. This to my understanding is common in this situation. She smokes, she swears, but when she describes her best dream involving a bed of puppies and kitties with a party full of balloons and so on, she's still very much a child. In the end, she takes matters into her own hands and deals with the attacker herself when she's scared he's after herself and her grandmother. She is the one that pulls the trigger and ends her pain. This story isn't about the wolves in the wild, but the ones that can enter our homes that we must watch out for. Many young girls end up like this one, maybe not killing a man, but keeping this all to themselves and not talking about their pain because they're scared. I enjoyed this story; it's a modern and sobering tale.
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.
Showing posts with label *fairytales. Show all posts
Showing posts with label *fairytales. Show all posts
Sunday, February 28, 2010
Saturday, February 13, 2010
Child Development with Hansel & Gretel
The various sets of sequences within childhood is interesting. I've only heard of Freud's theory in the past, but not the others. Between the ones we're currently studying, I think I most enjoy Erikson's and Kohlberg's. Erikson progresses as one might naturally expect and I appreciate how adulthood is also involved here. It's not as though you reach 18 are stop changing after all. Kohlberg is a different beast entirely, seeming to tackle moral levels as opposed to actual age versus behavior. I like to look for morals and lessons in stories aimed at younger readers, so this table caught my interest in that way.
Given these different systems, I'll take the story of Hansel and Gretel to take a stab at showing examples with. We all know Hansel and Gretel by the Grimm brothers. I'll be using the exact version from our textbook considering there are other altered versions of some of these stories. I'll start with Freud. The Phallic stage can apply here in a way. Though there's no overt affection for the daughter for her father, the two are both related. Both are the weaker of the pair they are placed in (Father and Mother, Hansel and Gretel) to the point where the father can't argue against his wife and Gretel is left to entirely depend on her brother for her survival after they're abandoned. Later both characters are champions, as the father welcomes his children happily and Gretel tricks the witch into the oven, saves her brother, and even returns with pearls and jewels to save the family from being tempted to leave the children in the woods again. Hansel obviously has more of a relationship with the witch that wants to eat them than he does with their mother, though both women are portrayed in a wicked light. The witch lusts after him in a way because she wishes to eat him. Hansel doesn't have much visible interest in her though, only her food.
Since the two are similiar, I'll move on to Erikson's 8 stages. His third stage speaks of initiative and guilt. We see Hansel showing this trait, where he thinks ahead after over hearing his parents talking about leaving the children in the forest. Instead of just crying in defeat like Gretel, he fetches white stones that he drops as his parents lead them off to show the children the way home. Of course this only worked the first time.
Now Piaget's is different and easier in a way. The stages are much simpler in concept which makes this exceedingly easy. The Concrete Operational stage works well into this story I feel. We see it from three points of view, the parents', the children's, and the witch's. The problems that everyone encounters are simple though difficult in a moral sense. A child might not agree with the decisions made consider several include murder and attempted murder, so they could think about other possible solutions as well. Though this could be closer to Formal Operational.
Finally the Kohlberg stages. The moral stages are very useful for this particular story. I'd identify much of this with the Preconventional level and the first stage within that. The children obey the parents who they know are taking them out to die. They obey the witch because they think they'll only be further rewarded. The mother has no consideration for anyone besides herself when it comes to the lack of food and honestly I feel if she could get rid of her husband as easily as the children, that she wold do exactly that.
Can you add on to this the child reading the tale (or having the tale read to her or him)?
As for the child's investment in the story, I think they might not take away everything I've mentioned, but I'd think given certain stages of development, they'd at least take away valuable lessons put into print: Don't accept candy from strangers, not everyone in the world has your best interests at heart. For younger children being read to, it might be good to explain to them the unlikelihood of the situation and how mom and dad have no intentions of leaving them out in the woods to starve. I always felt like this and other Grimm brothers' stories were a little too much for younger kids that may think that sort of thing.
Given these different systems, I'll take the story of Hansel and Gretel to take a stab at showing examples with. We all know Hansel and Gretel by the Grimm brothers. I'll be using the exact version from our textbook considering there are other altered versions of some of these stories. I'll start with Freud. The Phallic stage can apply here in a way. Though there's no overt affection for the daughter for her father, the two are both related. Both are the weaker of the pair they are placed in (Father and Mother, Hansel and Gretel) to the point where the father can't argue against his wife and Gretel is left to entirely depend on her brother for her survival after they're abandoned. Later both characters are champions, as the father welcomes his children happily and Gretel tricks the witch into the oven, saves her brother, and even returns with pearls and jewels to save the family from being tempted to leave the children in the woods again. Hansel obviously has more of a relationship with the witch that wants to eat them than he does with their mother, though both women are portrayed in a wicked light. The witch lusts after him in a way because she wishes to eat him. Hansel doesn't have much visible interest in her though, only her food.
Since the two are similiar, I'll move on to Erikson's 8 stages. His third stage speaks of initiative and guilt. We see Hansel showing this trait, where he thinks ahead after over hearing his parents talking about leaving the children in the forest. Instead of just crying in defeat like Gretel, he fetches white stones that he drops as his parents lead them off to show the children the way home. Of course this only worked the first time.
Now Piaget's is different and easier in a way. The stages are much simpler in concept which makes this exceedingly easy. The Concrete Operational stage works well into this story I feel. We see it from three points of view, the parents', the children's, and the witch's. The problems that everyone encounters are simple though difficult in a moral sense. A child might not agree with the decisions made consider several include murder and attempted murder, so they could think about other possible solutions as well. Though this could be closer to Formal Operational.
Finally the Kohlberg stages. The moral stages are very useful for this particular story. I'd identify much of this with the Preconventional level and the first stage within that. The children obey the parents who they know are taking them out to die. They obey the witch because they think they'll only be further rewarded. The mother has no consideration for anyone besides herself when it comes to the lack of food and honestly I feel if she could get rid of her husband as easily as the children, that she wold do exactly that.
Can you add on to this the child reading the tale (or having the tale read to her or him)?
As for the child's investment in the story, I think they might not take away everything I've mentioned, but I'd think given certain stages of development, they'd at least take away valuable lessons put into print: Don't accept candy from strangers, not everyone in the world has your best interests at heart. For younger children being read to, it might be good to explain to them the unlikelihood of the situation and how mom and dad have no intentions of leaving them out in the woods to starve. I always felt like this and other Grimm brothers' stories were a little too much for younger kids that may think that sort of thing.
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.
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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