When Merrill mentions "Grimm", he needs to say no more: we all know what he means. For most western readers and writers in the past two hundred years, the Kinder- und Hausmärchen( Children's and Household Tales) of the Brothers Grimm has been the fountain and origin of the western fairy tale, the greatest collection, the most widely distributed in the largest number of languages, the home of all we feel to be unique in that kind of story.

Jean, Lydie (2007). "Charles Perrault's Paradox: How Aristocratic Fairy Tales became Synonymous with Folklore Conservation" (PDF). Trames. 11 (61): 276–283. doi: 10.3176/tr.2007.3.03. S2CID 55129946. Archived (PDF) from the original on 9 October 2022. In the comic book series Fables by Bill Willingham, Thrushbeard is a fable that resides at Fabletown and first appears in Fables Vol 4. The popularity of the Grimms' collected folktales has endured well. The tales are available in more than 100 translations and have been adapted by renowned filmmakers, including Lotte Reiniger and Walt Disney, with films such as Snow White and the Seven Dwarfs. In the mid-20th century, the tales were used as propaganda by Nazi Germany; later in the 20th century, psychologists such as Bruno Bettelheim reaffirmed the value of the work in spite of the cruelty and violence in original versions of some of the tales, which were eventually sanitized by the Grimms themselves. The tale is retold in an episode of Grimm's Fairy Tale Classics under the title King Grizzlebeard. In this version, the princess' name is Elena. In addition, her father decrees that Elena will be married to the man with the lowest standing who comes to the castle the next day. In one story, however, there is a passage that successfully combines beautiful description with the relation of events in such a way that one would not work without the other. The story is "The Juniper Tree", and the passage I mean comes after the wife has made her wish for a child as red as blood and as white as snow. It links her pregnancy with the passing seasons:Simpson, Jacqueline; Roud, Steve (2000). A Dictionary of English Folklore. Oxford University Press. ISBN 978-0-19-210019-1. While the Brothers Grimm did include a version of the „Puss in Boots“ story in their collection, it is important to note that the most famous version of the story is from Charles Perrault. However, interpretations of the tale can apply to both versions, as they share many similarities. Here are some interpretations of the „Puss in Boots“ story: There was once a king and queen with twelve sons, but when the queen became pregnant, the king rashly claimed that he would kill each and every one of them if the baby was a girl, and give everything they had to her instead. He even had twelve coffins prepared for his sons. When the girl was born, the boys fled to the woods, where they hid for many years, until one day their sister, the princess, came to look for them… You may think you know some of the Grimms’ fairy tales, but did you know that these folk tales are from the brother’s large collection known as Household Tales (also known as Kinder- und Hausmärchen, Children’s and Household Tales). Household Tales was first published in 1812 and introduced the world to the amazing collection of European folklore that had been present for so many years. Jakob and Wilhelm Grimm had collected the fairy tales from storytellers they met, including aristocrats, peasants, and other figures. Some of the Grimm fairy tales were also rewritten from the original work of authors like Charles Perrault.

Four months went by, and all the twigs on all the trees in the forest grew stronger and pressed themselves together, and the birds sang so loud that the woods resounded, and the blossom fell from the trees.Suddenly that story stops sounding like a fairy tale and begins to sound like something composed in a literary way by a Romantic writer such as Novalis or Jean Paul. The serene, anonymous relation of events has given way, for the space of a sentence, to an individual sensibility: a single mind has felt this impression of nature, has seen these details in the mind's eye and written them down. A writer's command of imagery and gift for description is one of the things that make him or her unique, but fairy tales don't come whole and unaltered from the minds of individual writers, after all; uniqueness and originality are of no interest to them. Pullman, Philip (2012). "Introduction". In Pullman, Philip (ed.). Fairy Tales from the Brothers Grimm. New York: Viking. ISBN 978-0-670-02497-1. The Grimm brothers were naturally interested in this, but not uncritically: Jacob wrote in a letter to Wilhelm in May 1809 of his disapproval of the way in which Brentano and Von Arnim had treated their material, cutting and adding and modernising and rewriting as they thought fit. Later, the Grimms (and Wilhelm in particular) would be criticised on much the same grounds for the way they treated their source material for the Kinder- und Hausmärchen.

D’Aulnoy had no imitators in her brilliant crafting of miniature fantastic worlds – a precursor to spec fiction and fantasy. And into her tiny kingdoms she inserted critiques of the patriarchy – her kings, fathers and rulers were ineffective, passive, unreasonable. His Majesty was not less gratified by the brace of partridges, and handed the cat a present for himself. For two or three months Puss went on in this way, every now and again taking to the king, as a present from his master, some game which he had caught. There came a day when he learned that the king intended to take his daughter, who was the most beautiful princess in the world, for an excursion along the river bank. In most fairy tales, he would be given the hand of the princess in marriage and half the kingdom – something the king even promises to give whoever can save the life of the princess in this tale. But this is a tale about death and unfairness, and about the impossibility of cheating death, who, as the story notes, treats everyone the same, rich and poor alike. And so, Death strikes the doctor – and drags him down to a cavern filled with small candles, each representing someone’s life. A beautiful gift edition of Grimms' Fairy Tales featuring five classic stories, charmingly retold in rhyming verse with stunning illustrations. The Grimms' legacy contains legends, novellas, and folk stories, the vast majority of which were not intended as children's tales. Von Arnim was concerned about the content of some of the tales—such as those that showed children being eaten—and suggested adding a subtitle to warn parents of the content. Instead the brothers added an introduction with cautionary advice that parents steer children toward age-appropriate stories. Despite von Arnim's unease, none of the tales were eliminated from the collection in the brothers' belief that all the tales were of value and reflected inherent cultural qualities. Furthermore, the stories were didactic in nature at a time when discipline relied on fear, according to scholar Linda Dégh, who explains that tales such as " Little Red Riding Hood" and "Hansel and Gretel" were written as "warning tales" for children. [30]

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Murphy, Ronald G. (2000). The Owl, the Raven, and the Dove. Oxford University Press. ISBN 978-0-19-515169-5. The doctor can’t help but notice that his candle is currently rather short, and begs for a longer one. Ihms, Schmidt M. (1975). "The Brothers Grimm and their collection of 'Kinder und Hausmärchen". Theoria: A Journal of Social and Political Theory. 45: 41–54. The king received the marquis with many compliments, and as the fine clothes which the latter had just put on set off his good looks (for he was handsome and comely in appearance), the king“s daughter found him very much to her liking. Indeed, the marquis of Carabas had not bestowed more than two or three respectful but sentimental glances upon her when she fell madly in love with him. The king invited him to enter the coach and join the party. But a fairy tale is not a text of that sort. It's a transcription made on one or more occasions of the words spoken by one of many people who have told this tale. And all sorts of things, of course, affect the words that are finally written down. A storyteller might tell the tale more richly, more extravagantly, one day than the next, when he's tired or not in the mood. A transcriber might find her own equipment failing: a cold in the head might make hearing more difficult, or cause the writing-down to be interrupted by sneezes or coughs. Another accident might affect it too: a good tale might find itself in the mouth of a less than adequate teller.

If you will do as I tell you,“ said Puss to his master, „your fortune is made. You have only to go and bathe in the river at the spot which 1 shall point out to you. Leave the rest to me.“ The marquis of Carabas had no idea what plan was afoot, but did as the cat had directed. While he was bathing the king drew near, and Puss at once began to cry out at the top of his voice: „Help! help! the marquis of Carabas is drowning!“ At these shouts the king put his head out of the carriage window. Five months went by, and the woman stood under the juniper tree. It smelled so sweet that her heart leaped in her breast, and she fell to her knees with joy. Scholars of literature and folklore, of cultural and political history, theorists of a Freudian, Jungian, Christian, Marxist, structuralist, post-structuralist, feminist, postmodernist and every other kind of tendency have found immense riches for study in these 210 tales. The rise of romanticism, romantic nationalism, and trends in valuing popular culture in the early 19th century revived interest in fairy tales, which had declined since their late 17th-century peak. [15] Johann Karl August Musäus published a popular collection of tales called Volksmärchen der Deutschen between 1782 and 1787; [16] the Grimms aided the revival with their folklore collection, built on the conviction that a national identity could be found in popular culture and with the common folk ( Volk). They collected and published their tales as a reflection of German cultural identity. In the first collection, though, they included Charles Perrault's tales, published in Paris in 1697 and written for the literary salons of an aristocratic French audience. Scholar Lydie Jean says that Perrault created a myth that his tales came from the common people and reflected existing folklore to justify including them—even though many of them were original. [15]

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Operas and ballets: The story of „Puss in Boots“ has been adapted into several operas and ballets, including the opera „Der gestiefelte Kater“ by César Cui (1915) and the ballet „Le Chat botté“ by Marius Petipa and Cesare Pugni (1868).