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whether of five, or fifty, or seventy-five.”
“And they all lived happily ever after.” It’s the fairy tale equivalent of “riding off into the sunset,” and it bespeaks a neat wrapping up of loose ends at the end of a harrowing yarn. The bad guys, vanquished; the good guys, triumphant. The village is spared, and the populace rejoices in the good fortunes of the hero and heroine who risked all to come to the rescue.
Tales - Decades - Exposure - Versions - Fairy
It’s what we’ve come to expect from fairy tales – or, perhaps, it’s what we’ve been conditioned to expect from decades of exposure to Disney-fied versions of fairy tales. Keep in mind that Disney is a business, and businesses seek to sell us stuff. Ambiguity, agony, and angst don’t sell as well as happy endings. From detergent and diapers to fairy tales and family films, it’s much easier to hawk what people are already clamoring for, and it seems that we prefer tidy narratives for our kids.
So much for the modern, free-market approach to fairy tales. In previous ages, it was not so. Here’s a few examples from Victorian times:
MacDonald - Classic - Influence - JRR - Tolkien
This particular MacDonald classic is noteworthy because of its influence on one J.R.R. Tolkien, who populated his own fantasy fiction with MacDonald-esque goblins: malevolent and seemingly irredeemable creatures who reside in the underworld of caves and mines. In MacDonald’s story, the goblins are so base that they can’t even “bear singing” because they “can’t sing themselves…and they don’t like other people to sing.” Nonetheless, they set their sights on securing a foothold in the overland world of men so they kidnap the Princess Irene as a bride for Harelip, their goblin prince.
Yet their schemes are thwarted by a young miner named Curdie who is humble and heroic and heedless of danger. Armed with song and his trusty mattock,...
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