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Link 4: "The Real Haunting Tale of the Little Mermaid"

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Link 4: "The Real Haunting Tale of the Little Mermaid"

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Informative video on Hans Christian Andersen's fairy tale

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The Real Haunting Tale of the Little Mermaid - Scary Story Time // Something Scary | Snarled

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Subscribe to SNARLED: http://bit.ly/Snarled Sapphire tells the real haunting tale of "The Little Mermaid" by Hans Christian Andersen, and it's not the Disney story you remember... ↓↓↓↓ DEMAND YOUR CITY! For a Something Scary Live Show ↓↓↓↓ http://bit.ly/2hRE6lN SNARLED SWAG!!!

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Link 5: Sam the Sham & the Pharaohs- Lil' red riding hood

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Link 5: Sam the Sham & the Pharaohs- Lil' red riding hood

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--> Motif: Little Red Riding Hood: Adaptation

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Sam the Sham & the Pharaohs- Lil' red riding hood

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Link 6: "Lenor Parfum Des Secrets" Advertisement 

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Link 6: "Lenor Parfum Des Secrets" Advertisement 

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--> Motif: The Little Red Riding Hood: Safe guarding sexuality

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Lenor Parfum Des Secrets - Red Riding Hood Ad

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--> Motif: Little Red Riding Hood: "Men just want to get in girls' pants"

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Começo de Vida Print Advert By Z+: Little Red Riding Hood | Ads of the World™

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Print advertisement created by Z+, Brazil for Começo de Vida, within the category: Media.

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Prior to conducting this research, I wanted to ensure that the sources I gather would supplement the three areas I aim to focus on in the creation of my final project:

1. Format → How would I be able to adapt my chosen textual stories into a picturebook?

2. Production → How to best utilize text and illustrations to create my picture book?

3. Context → What is the importance and relevance of the motifs I aim to focus on? How can I modernize these motifs

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Adaptation, as defined by the Oxford English Dictionary, has a plurality of meanings and applications, most of which allude to the process of changing to suit an alternative purpose, function, or environment; the alteration of one thing to suit another.

In a media context, adaptation is defined as:
An altered or amended version of a text, musical composition, etc., (now esp.) one adapted for filming, broadcasting, or production on the stage from a novel or similar literary source.[1] A process of change or modification by which an organism or species becomes better suited to its environment or ecological niche, or a part of an organism to its biological function, either through phenotypic change in an individual or (esp.) through an evolutionary process effecting change through successive generations.[3]
Although this definition is accurate, it is somewhat incongruous with contemporary theories of media adaptation, which have moved beyond the unidirectional movement of literature to film. As content moves away from notions of a single, stable source, and an identifiable author, and towards an era of transmedia creation by multiple entities and media conglomerates[2], it is the biological meaning of the word which would appear to have greater relevance to more contemporary notions of adaptation, namely:

A text can not only survive the shift from one form to another, but it can also thrive in ways not previously possible in the original form[4]. Consider a property such as Star Trek, which began as a failing television program, but survived extinction through adaptation into other media such as animated television, comic books, novels, and feature films, before returning to television and commencing the cycle again. Since 1966, Star Trek has leapt back and forth from medium to medium, capitalizing on new platforms and technology, reinventing itself again and again for new audiences.

Of course, just as countless biological organisms have failed to adapt to changes in their environment, a text can also fail to survive when attempts are made to adapt it to a new form. This is often the case when an adaptation does not live up to audience expectations regarding casting, mood, or fidelity[5]. While Star Trek has survived multiple adaptations, attempts to adapt other television series such as The A Team, Lost in Space, and The X Files into film franchises have met with limited success.

Much like a biological organism, the field of Adaptation Theory is also constantly evolving in response to changes in its environment. On a basic level, the field is concerned with the "transport of form and/or content from a source to a result in a media context"[6]. For theorists such as Linda Hutcheon, the term adaptation has a multi-layered application, referring simultaneously to (a) the entity or product which is the result of transposing a particular source, (b) the process through which the entity or product was created (including reinterpretation and re-creation of the source), and (c) the process of reception, through which "we experience adaptations as palimpsests through our memory of other works that resonate through repetition and variation", or in other words, the ways in which we associate the entity or product as both similar to and a departure from the original[7].

Humans have a long history of adapting " texts" into different forms. Historical events and spoken legends were the inspiration for paintings and sculptures, plays, written tales, stained glass windows, and later, stories in the form of the novel[8]. Cinematic adaptations of literary and theatrical texts are as old as the medium of cinema itself[9], and as long as screen adaptations have existed, so has the tension between literature and film. Leo Tolstoy considered film "a direct attack on the methods of literary art"[10], while Virginia Woolf felt that cinema and literary adaptations in particular, were responsible for the moral decline and vulgarization of modern society, invoking the biological in her description of cinema as a "parasite" and literature as its "prey"[11] .

According to Robert Stam, there are several factors which have informed the traditional privileging of literature over film (and other media forms), including class prejudice, iconophobia (suspicion of the visual), logophilia (a belief in the primacy of the written word), and anti-corporeality (distaste for the ways in which the medium of cinema engages with the body of the spectator)[12].

This disciplinary tension between literature and film has also informed adaptation theory, which, until recently, was primarily concerned with the translation of the literary into the cinematic. Such analysis traditionally focused on the notion of fidelity, and the perpetuation of a hierarchy which situated the literary text as a primary, touchstone, or "source" text, and the adaptation as a weaker, derivative text[13]. Accordingly, adaptations from literature to film (and other media such as comic books and animation) have often been branded in derogatory terms implying sacrilege, theft, impurity, dilution, and failure to preserve the integrity of the source[14]. Such texts were also often judged on the misunderstood assumption that the goal of the adaptation was simply one of replication, rather than other motivations such as interrogation, reinvention, or exploration[15].

However, recent trends in adaptation theory have moved away from the dichotomy of film and literature and toward a focus on multidirectional flows across a transmedia model, concentrating less on what has been lost by a text during the process of adaptation, and more on what the text has gained by taking on a new form or variation[16]. Theories of Intertextuality have also become a central element of adaptation theory, as the user compares the adapted text with not only the original, but other adaptations and similar texts in an ongoing dialogical process[17].

The entertainment industry has embarked into what Thomas Leitch refers to as an era of post-literary adaptation, in which non-literary and sometimes non-narrative sources are adapted into storylines for feature films and other forms of media. Building on an established tradition of mining the superhero comic book and graphic novel mediums for inspiration, film companies have built successful film franchises based on video games such as Resident Evil and Silent Hill, board games such as Battleship, and even theme park rides such as Disneyland's Pirates of the Caribbean[18].

When content undergoes adaptation, it is subject to a variety of forces and factors, which are dictated by the nature of the source text, the reason for adapting the text, medium, market, and culture into which it is adapted. Large novels, for example, have traditionally undergone a process of compression in order to fit into a two-hour film format, while short stories have required some measure of expansion. An older text may undergo a process of correction or amendment if it contains anachronistic elements such as racial stereotypes, or may be shifted into an entirely different setting for purposes of social or market relevance. A story which is adapted into a video game may lose elements such as pacing and narrative flow, but gain other qualities such as tactile interactivity and more scope for an extended and varied experience[19].

Like biological organisms, some texts need to change their characteristics in order to survive in a new environment. One successful example of transnational adaptation is the process undertaken to successfully adapt the British television sitcom The Office to the North American market. While the medium of the text itself did not change, elements such as scene locations, dialogue (including slang and cultural references), the look and demeanor of the characters, and even the storylines, were all changed to meet the sensibilities of an American audience[20].

A more controversial application of adaptation theory is that of the non-sanctioned adaptation of content which is protected under copyright law. Some theorists such as Linda Hutcheon, consider fan fiction, parodies, and other "unofficial" texts to be outside the realm of adaptation theory[21]. Others such as Simone Murray, note the success of texts such as Seth Grahame Smith's Pride and Prejudice and Zombies, and query whether it is even possible to separate such texts from unofficial fan fiction, fan films, mash-ups, and video game "mods"[22]. Leitch, in an amusing take on the situation, even gives consideration to pornography films which appropriate the name of the original work, but empty the adaptation of most of the source text's qualities, citing titles such as Flesh Dance and Flash Pants as loose adaptations of the film Flash Dance[23].

Like the biological organism that thrives in its new environment, successful adaptations change over time, adapting to new conditions, migrating to new areas, and ultimately, doing their best to perpetuate their existence. The test of a good adaptation is one which achieves repetition without replication, - rather than being a mere a copy which sheds its Benjaminian aura[24], the adaptation both evokes and is amplified by a user's experience of the original, while also taking on distinct qualities of its own. A successful adaptation balances "the comfort of ritual and recognition with the delight of surprise and novelty"[25], not only carrying the aura with it, but contributing to its continual expansion.

- Mark Brokenshire

[1] Oxford English Dictionary, "adaptation", accessed January 23 2014, http://www.oed.com

[2] Deborah Cartmell, Imelda Whelehan, Screen Adaptation: Impure Cinema (London: Palgrave MacMillan, 2010) 128-9;

Simone Murray, The Adaptation Industry: The Cultural Economy of Contemporary Literary Adaptation, (New York & London: Routledge, 2012) 186.

[3] Oxford English Dictionary, "adaptation", accessed January 23 2014, http://www.oed.com

[4] Linda Hutcheon, A Theory of Adaptation, (London & New York: Routledge, 2006), 32

[6] Jorgen Bruhn, Anne Gjelsvik, Eirik Hanssen, Adaptation Studies: New Challenges, New Directions, (London & NY: Bloomsbury, 2013), 9.

[7] Linda Hutcheon, A Theory of Adaptation, (London & New York: Routledge, 2006), 8-9.

[8] Andre Bazin, "Adaptation, or the Cinema as Digest", in Film Adaptation, ed James Naremore (New Jersey: Rutgers, 2008), 23-4

[9] Thomas Leitch, Film Adaptation and its Discontents: From Gone with the Wind to The Passion of the Christ. (Baltimore, Maryland: John Hopkins University Press, 2007), 22.

[10] Robert Stam, "Introduction: The Theory and Practice of Adaptation", in Literature and Film: A Guide to the Theory and Practice of Film Adaptation, ed. Robert Stam & Alessandra Raengo, (USA, UK, and Australia: Blackwell Publishing, 2008), 4.

[12] Stam, Literature and Film, 5-7

[16] Cartmell & Whelehan, Screen Adapatation: Impure Cinema, 13; Murray, The Adaptation Industry, 41.

[18] Leitch, Film Adaptation and its Discontents, 250.

[19] Ibid, 99-101

[21] Hutcheon, A Theory of Adaptation, 9.

[22] Murray, The Adaptation Industry, 189.
Works Cited
[23] Leitch, Film Adaptation and its Discontents, 110.

[25] Hutcheon, A Theory of Adaptation, 173

"Adaptation". OED Online. 2013. Oxford University Press. http://www.oed.com.proxy.uchicago.edu/view/Entry/2115?redirectedFrom=adaptation (accessed January 23, 2014).

Bazin, Andre. "Adaptation, or the Cinema as Digest", in Film Adaptation, edited by James Naremore, 19-27. (Article originally translated by Alain Piette and Bert Cardullo). New Jersey: Rutgers, 2008.

Benjamin, Walter. Illuminations. New York: Schocken Books, 1968.

Bruhn, Jorgen; Gjelsvik, Anne, and Hanssen, Eirik. Adaptation Studies: New Challenges, New Directions, London & New York: Bloomsbury, 2013.

Cartmell, Deborah, and Whelehan, Imelda. Screen Adaptation: Impure Cinema. London: Palgrave MacMillan, 2010.

Griffin, Jeffrey. "The Americanization of The Office: A Comparison of the Offbeat NBC Sitcom and Its British Predecessor." Journal of Popular Film & Television 35, no. 4 (Winter2008 2008): 154-163. Academic Search Complete, EBSCO host (accessed February 3, 2014).

Hutcheon, Linda. A Theory of Adaptation. London & New York: Routledge, 2006.

Leitch, Thomas. Film Adaptation and its Discontents: From Gone with the Wind to The Passion of the Christ. Baltimore, Maryland: John Hopkins University Press, 2007.

Murray, Simone. The Adaptation Industry: The Cultural Economy of Contemporary Literary Adaptation. New York & London: Routledge, 2012.

Stam, Robert. "Introduction: The Theory and Practice of Adaptation", in Literature and Film: A Guide to the Theory and Practice of Film Adaptation, edited by Robert Stam and Alessandra Raengo, 4 th edn, 1-52. USA, UK, and Australia: Blackwell Publishing, 2008

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adaptation | The Chicago School of Media Theory

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Adaptation, as defined by the Oxford English Dictionary, has a plurality of meanings and applications, most of which allude to the process of changing to suit an alternative purpose, function, or environment; the alteration of one thing to suit another.

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Link 2: “A Word about Pictures" Reading Contemporary Picturebooks: Picturing Text

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Link 2: “A Word about Pictures" Reading Contemporary Picturebooks: Picturing Text

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David, Lewis. “A Word about Pictures.” Reading Contemporary Picturebooks: Picturing Text. Taylor & Francis, 2012. Print.

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Hyperlink: https://moodle.yorku.ca/moodle/pluginfile.php/3260920/mod_resource/content/1/Sipe%2C%20Lawrence%20-%20The%20Art%20of%20the%20PBK.pdf

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What I learned from these sources & What I still need to learn

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What I learned from these sources & What I still need to learn

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From the sources I have gathered, I had found answers to my three focuses: format, production and context. To begin, Link 1, “Adaptation,” is one that I find to best allude to my understanding of how to adapt my two focused stories of Perrault’s Little Red Riding Hood and Hans Christian Andersen's The Little Mermaid into a picture book. From points such as the process of adaptation, the positive outcomes and the warning of losing the original story line during transposing, I am able to incorporate what I had learn through the process and common experiences met with the adaptation to how I format my picturebook. In the next two links attached: “A Word about Pictures” (Link 2)  and “The Art of the Picturebook” (Link 3); I had found these sources to best contribute to my approach on the production of my picturebook. Where the “A Word about Pictures” informs me of important factors in illustrations such as the size and locations of drawings and the symbolism that can be portrayed; in “The Art of the Picturebook,” this article has taught me about how the synergy between text and word can form something bigger than what the two can do separately. While from these sources I was able to enhance my understanding of how I can effectively format and produce my story, I still need to learn how to effectively format and produce this story in a way that appeals to the youth demographics in hopes that they don’t dismiss the story as just a child’s picturebook.

Given the freedom to select the last 7 sources, I used the opportunity to help me gather information as well as inspiration on what I think is the most crucial to my final project and that is the motifs involved. As my project aims to combine motifs from Perrault’s Little Red Riding Hood and Hans Christian Andersen's The Little Mermaid, I wanted to find inspiration for my for how I can incorporate the motifs of naivety, obedience, coming of age and safeguard sexuality found in  Little Red Riding Hood, and curiosity and the desire for a soul to live like humans found in The Little Mermaid. Through articles, advertisements, explanatory videos and adaptations (Link 4-8) of the fairytales I have was able to see the different ways that these motifs can be utilized. Additionally, from the free choice in sources, I had also wanted to learn about how I can effectively modernize my story to best set it in the time period of the 21st century. A specific source that I had found to contribute to this is an article provided by the Washington Post on catfishing (Link 9). The last source that I had found that I thought would inform my work is an example of an adaptation created by a student (Link 10). While this student had combined the story of Little Red Riding Hood and The Three Little Pigs I am able to see how they had balance the motifs and formed an original plot. While from these sources I was able to learn more as well as feel inspired, there are many aspects of the motifs in particular that I still need to learn and that is how to find the balance between motifs that can be interpreted as juvenile with the mature content of rape that I want to demonstrate through the way that my protagonist leads herself to the consequences of being strip from her sexual autonomy.

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Link 8: Fairy-Tale Symbolism: An Overview

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Link 8: Fairy-Tale Symbolism: An Overview

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Summary and Keywords

Because the marvelous elements in fairy tales call for an explanation, a cohort of bright minds have pored over the problem of fairy-tale symbolism. Models sharing the nineteenth-century penchant for genetic inquiries have assumed that symbols are the survivals of archaic metaphors. Thus, Max Müller proposed that myths and fairy tales stem from obscured metaphors about solar phenomena; Sigmund Freud speculated that fairy-tale symbolism is the fossilized residue of primordial sexual metaphors; and Carl Jung submitted that symbols express immanent archetypes of the human psyche. Such early approaches assume that symbols convey fixed meanings, and they disregard the effects of folklore variation on meanings.

Jacob and Wilhelm Grimm did take variation into account. They conceived Märchen in terms of immanent blueprints incessantly recreated in myriad retellings, but they never tried to make sense of the themes by means of the variants. This path was taken by folklorists influenced by Freud. Alan Dundes proposed to harness tale variants to grasp symbolic equivalences, and he pioneered the study of folk metaphors. But Dundes focused on preset Freudian symbols, a trend that Bengt Holbek followed. To this day, the prospect of addressing fairy-tale symbolism beyond Freud's assumption of fixed translations remains elusive.

Nevertheless, the basic tools are available. Maria Tatar remarked that fairy tales are metaphoric devices, and Claude Lévi-Strauss pointed out that metaphors-in switching terms that belong to different codes-lay bare the broader semantic field underlying each transposition. Müller, Freud, Dundes, Tatar, and Lévi-Strauss variously glimpsed metaphoric patterns in tale variations. The time is ripe to synthesize these intuitions in the light of contemporary cognitive research on conceptual metaphor, so as to address the creative dynamics of symbolism in fairy tales.

Keywords: interpretation, initiation, fairy tale, folklore, meaning, metaphor, psychoanalysis, puberty, symbolism, tradition

Symbolism Matters

Fairy tales refer to events taking place once upon a time, in a faraway realm-not here and now-and the opening and ending formulas of the tales underscore the otherness of the themes. A deceased mother takes the shape of a cow to help her daughter, boys turned into ravens dwell in a crystal mountain, girls prick themselves into a long sleep in the woods ... Scores of such unreal stories have kept audiences and readers captive for untold generations, which suggests that-as Friedrich Max Müller put it long ago-the "epidemic" of "incredible and impossible" matter in Märchen and myth must "possess some raison d'être."

One way to understand the otherness of fairy tales is to assume that they are literally true to the reality of other times and places. Such was the prevailing understanding in the 19th century. The assumption that fairy tales are the narrative survival of customs and beliefs from other times and places has inspired two sorts of explanatory models. On the one hand, the evolutionist hypothesis stresses survival in time. As the British folklorist Andrew Lang put it, folklorists find in "proverbs and riddles, and nursery tales and superstitions ... the relics of a stage of thought, which is dying out in Europe, but which still exists in many parts of the world." Specifically, fairy-tale imagery-being rife with magic, cannibalistic episodes, and a general lack of distinction between animals and humans-bespeaks "an age of savage fancy." On the other hand, the diffusionist persuasion stresses resilience in space. The notion that tales were invented only once and then traveled, while carrying the cultural mark of their place of origin, had a worthy exponent in Emmanuel Cosquin. This French folklorist embraced the view that fairy tales originated in India, and he repeatedly argued that fairy-tale motifs match Hindu representations.

Alas, it is hard to envision individuals bothering to learn something and pass it on if it means nothing to them. Cosquin thought nothing of branding a chain of metamorphoses in a French text as an "ultra-bizarre ending" and then, one step ahead, professing that "such an Indian ending" is a true "Made in India" mark of origin. This perilous line of argument raises various issues but focus on the main question: Why, if India's conceptions were so unique, would Indian tales have been borrowed and nurtured by people who found them "bizarre"? A related problem plagues the evolutionist model. Lang acknowledges that some tale "forms are fitter than others, survive more powerfully, and are more widely spread." This notion of differential fitness supposes a process of cultural selection that would discard any meaningless contents while preserving those themes that make sense to the taletellers and their audiences. This is a sensible assumption. But, crucially, it contradicts the notion that the "savage fancy" of bygone eras might survive in the modern fairy tale.

In short, the assumption that fairy tales might carry alien cultural traits fails to explain why those traits should have survived at all. Alternatively, the premise of symbolism assumes that the bizarre elements in fairy tales are (somehow) relevant to the taletellers and their audiences. Models that address fairy-tale contents as the symbolic expression of notions that are relevant to individuals and communities have no trouble explaining how fairy tales persist in tradition.

Fixed Symbols: Models with a Key

A Disease of Language: Max Müller

Symbols in Dreams and Folklore: Sigmund Freud

Freud's Followers

This remark on the use of sources is relevant. Notably, it applies to Darnton himself. The fact that he lambasts Fromm's unfaithfulness to the original folktale suggests that Darnton thinks he knows what the urtext of "Little Red Riding Hood" is. Indeed, he argues that an oral variant collected around 1885 represents "the tale more or less as it was told around firesides in peasant cottages during long winter evenings in eighteenth-century France." Darnton makes the case that the peasants of 18th-century France had lives "nasty, brutish, and short," and that their folktales feature a matching worldview. Quite remarkably, Darnton excises the happy end in his chosen source to suit his grim argument.

This methodological choice raises the issue of what to do with all the unheeded tale variants. It is clear that the practice of selecting one variant over the others befits projects bent on reading meanings into tales. Conversely, abstention from cherry-picking variants should be a condition for apprehending meanings from the tales. The lesson here is that understanding a fairy tale involves discovering the commonalities among all tale variants-it requires a comparative endeavor that might capture the inner workings of the tale. This open-ended sort of approach contrasts with the one-sidedness of psychoanalytical models that transpose the unfamiliar imagery of myth and fairy tale into (as Nadia Sels put it) "the safe register of an already familiar truth."

Yet, heeding variation is not enough. The Jungian canon provides a case study in the obfuscation caused by the wholesale metaphorical transposition of fairy tales-variants and all-into preset templates.

Jungian Interpretations

Carl Gustav Jung proposed that the structural elements of the collective unconscious, which he called archetypes, are expressed in myriad images he called symbols. The archetype itself is that which is symbolized, and each symbol captures an aspect of it. These principles yield a comparative approach to fairy tales. Marie-Louise von Franz explains that before you can understand a symbol in a fairy tale, you have to amplify it: " Amplification means enlarging through collecting a quantity of parallels." Thus, you get "to know the comparative anatomy of all the symbols" in the tale, and you can proceed to "construct the context." Then comes "the last essential step, which is the interpretation itself-the task of translating the amplified story into psychological language"-and von Franz is adamant that "we must use strictly psychological language. Only then do we know what the interpretation is."

Note that interpretation does not stem from comparing the parallel images across tale variants; rather, it springs from translating the "amplified" tale into psychological language. This caveat addresses a fundamental point in Jungian interpretation. Jung maintains that "[c]ontents of an archetypal character are manifestations of processes in the collective unconscious," and because they refer to something unconscious, " it is impossible to say what they refer to." Jung adds that even "the best attempts of explanation are only more or less successful translations into another metaphorical language." The most one can do "is to dream the myth onwards and give it a modern dress." In precisely this vein, von Franz acknowledges that her own translation of "the fairy tale myth into Jungian psychology" amounts to "replacing one myth by another-by our myth, the Jungian myth."

So the Jungian psychological "myth" becomes the template for all interpretations-again, we find meanings read into tales. Fairy tales read as so many variations on a psychological story line permeated with Self, Shadow, Anima, and Animus. And, given Jung's notion that archetypical contents are a "twilight ... which too much clarity only dispels," interpreters enjoy untrammeled freedom in that "twilight." Not surprisingly, as Robert Segal remarks, Jung "is prepared to rule out all non-Jungian interpretations [of myth], but he is not prepared to rule in any one Jungian interpretation." In the same vein, von Franz states that "many so-called Jungian attempts at interpretation," by colleagues she does not deign to "assail ... by name," have strayed. Here, we are reminded of the conflicting interpretations by Freudian authors, and the underlying cause is the same. Invasive approaches tend to illuminate the nooks and crannies of the interpretive models, rather than the tales.

One reason why Jungians find it hard to agree on meanings is that Jung himself found symbols inscrutable. Because it is impossible to grasp unconscious contents, "every interpretation necessarily remains an 'as-if,'" Jung wrote. This is to say that "an archetypal content is first and foremost a figure of speech," and likewise all attempts at explanation are but "translations into another metaphorical language." By implication, the "ultimate meaning" of symbols is inaccessible to rational inquiry.

Jung's tenet that the references of symbols are beyond the pale of rational inquiry is most clear in the work of Joseph Campbell. Since his early inquiry on the heroic pattern of myths and fairy tales, this prodigiously erudite researcher brought together "a host of myths and folk tales from every corner of the world" in order to "let the symbols speak for themselves." In truth, Campbell liberally used the ideas of Freud and Jung to grapple with "the grammar of the symbols." Rather than following Freud's assumption that rational inquiry may transform "what is unconscious into what is conscious," Campbell shared Jung's belief in unfathomable archetypes. "Such wonders simply are," Campbell writes-archetypes "are antecedent to meaning, though 'meanings' may be read into them." On this assumption, he strives for "the release of the archetypical symbolic images of mythic thought from their various local matrices of culturally conditioned references and 'meaning.'" This approach amounts to addressing archetypes "as natural phenomena." Indeed, Campbell reckons that myth is "an expression of the self-regulation of the psyche," comparable to "the compensatory action ... of the body throwing off disease." Insofar as archetypes have meaning, "such a 'meaning' [is] as that of a sneeze, the festering of an infected wound, or a fever." In other words, the "meaning" of symbols is their biological function -an absent meaning.

Fittingly, Campbell titled his "preliminary sketch" for The Masks of God (his mythological tetralogy) "The Symbol Without Meaning." This choice aligns his mythological master plan with Jung's tenet that "the symbol is a figure by which allusion is made to an unknown." In Campbell's own formulation, symbols are natural phenomena "opening back to mystery." "Mystery" is the gravitational core of Campbell's work on symbols.​

Variation and Meanings

All of this suggests that abstaining from translating tales into preset master narratives is a necessary condition for seeking meanings in the tales. Each folk story exists in the universe of its variants, and no single variant ever represents a tale; therefore, heeding tale variations is a necessary condition for apprehending the symbolic universe of each tale. Yet by the same token, taking the plurality of variation in the wrong way can dispel meanings. It is worth revisiting some influential approaches to tale variations and the study of meanings.

Tale Variation as Corruption: Kaarle Krohn and Followers

Start with a negative case. In the late 19th century, the so-called historical-geographic method-also dubbed the folkloristic method by Kaarle Krohn, its main popularizer-proposed that every tale should be tracked cartographically back to its original form. Krohn and his followers assumed that folktales are authorial texts-stories created once upon a time, then memorized and orally transmitted. They assumed that given the limitations of human memory, orally transmitted texts inevitably get garbled. As Krohn himself put it, "If we observe the laws whose effects are recognizable in the manifold modifications of the original form of a tradition, we encounter first the influence of faulty memory." This is to say that traditional variations stem from memory lapses-they are errors. As the Swedish folklorist Carl von Sydow pointed out, Krohn and his philologically trained collaborators transposed literary habits of thought into the study of oral traditions. They assumed that "the original form of a folktale should be the most complete and the best, also the most logical," and they presumed that the oral variations "are products of degeneration." By implication, folktales tend toward meaninglessness.

Alternatively, the assumption that tale variations are meaningful entails that the myriad variants are so many equivalent permutations on enduring themes. This view accounts for the correlated facts that folktales are stable, and yet no two variants are ever alike-an insight that has been available since the inception of modern fairy-tale studies.​

Tales and Variants: The Brothers Grimm

At the onset of the systematic collection and study of Märchen, Jacob and Wilhelm Grimm explicitly held the view that folktale retellings are meaningful variations on stable patterns. Their point, largely disregarded, deserves to be reinstated. The Grimms declined on principle to associate tale variations with corruption and inauthenticity. They reiterated this particular point in their prefaces to the second volume of the first edition (1815), and the first volume of the second editions (1819), of Kinder- und Hausmärchen. In two very similar passages, the brothers explain that they insist on preserving the variations of the tales because "these different variations appeared to us more noteworthy than they are to those who see in them nothing more than alterations and distortions of a once extant archetype [ eines einmal dagewesenen Urbildes]." The Grimms' own view is that variations "may be simply attempts to approach in manifold ways an inexhaustible prototype immanent in the spirit [ einem im Geist bloß Vorhandenen (Urbild)]." Thus, the brothers dismiss the idea of original forms and the entailment that variations are corruptions. Alternatively, they propose thinking about tales in terms of stable blueprints incessantly recreated in plural retellings.

The introduction to the 1812 volume of Kinder- und Hausmärchen clarifies that the Brothers Grimm felt free to conflate tale variants because they realized that a folktale exists in the set of its variants, and they wanted to convey a rounded view of each tale. In the introduction, they note that folktales, "never fixed, transform themselves in each region, almost in each mouth," and yet "tales truly preserve the same fundamentals." Indeed, "the tales as time went by continuously created themselves anew, but for that very reason their core must be very old." The particulars are valuable; hence, the Grimms often preserve in a single text "several expressions of one and the same tale owing to their pleasing and peculiar variations." In the second edition, they elaborate on this point: They say that they often conflated complementary tale variants in one text and kept diverging variants in the notes, so as to include everything they collected and to preserve every particularity they noticed. The same idea drives Jacob Grimm, in his 1815 circular on the collection of Volkspoesie, to emphasize that "incomplete fragments are not to be scorned ... [A]ll variations, repetitions, and versions of one and the same legend could each become important."

Yet the Grimms never set out to make sense of the themes by means of the variants. It took a Freudian folklorist to bring together variation and meanings.

Allomotifs and Symbols: Alan Dundes

Alan Dundes remarked that folktales have two defining characteristics. One is variation-for in folklore "there is no such thing as the text. There are only texts"-and the other is fantasy, "collective or collectivized fantasy." Much of that fantasy "is unconscious," in the Freudian sense of materials that are "repressed and disguised." Moreover, folklore "provides a socially sanctioned outlet for the expression of what cannot be articulated in the more usual, direct way." It contains, in other words, "projective materials devised by a people themselves." Dundes submits that it should be possible to "unlock" the "symbolic code in folktales." He does grant that Freudian readings "typically ... give the appearance of being arbitrary, subjective, and unsubstantiated," but he also points out that folktale variation can be called upon for the "empirical verification of purported symbolic equations." If a number of motifs can fill the same slot in a tale, then those allomotifs should be symbolically equivalent. By comparing them, "we may gain access to implicit native formulations of symbolic equivalences." This procedure, Dundes notes, can be of service to psychoanalytic theory.

Symbols as Projection: Bengt Holbek

Dundes's call for comparing allomotifs spurred a few other folklorists to pursue the idea that "careful attention to allomotifs can often validate psychoanalytic arguments." Most notably, Bengt Holbek developed Dundes's "plea for psychoanalytical semiotics" in fairy-tale studies. Besides showing that folklore may be of service to psychoanalytic theory (by means of allomotific comparison), Dundes argued that "psychoanalytic theory can greatly illuminate folklore." For this purpose, he proposed using "the crucial device of projection"-a psychoanalytical tool-to illuminate folk stories. Holbek followed this path. He assumes that the "symbolic" elements in fairy tales "convey feelings rather than thoughts"; and since symbols are "vivid emotional impressions," interpretation consists in retracing all the "marvelous" fairy-tale elements back to the real-world referents of such impressions. That is, "every element [in a fairy tale] may be read as pertaining to real life." This leaves "no room at all for the so-called supernatural beings, the witches, fairies, dragons, ogres, etc.," since-as he stresses-" they represent aspects of real persons."

This perspective leaves no room for metaphorical patterns, either. When Holbek gets around to mapping allomotifs in one tale, he writes: " It makes no difference whether the queen is eating roses, onions or apples ... [I]t makes no difference whether the queen bears a wivern only or a wivern and a normal child ... It makes no difference whether the heroine's donor is an unidentified old woman or her dead mother." But saying "it makes no difference" is not so much about comparing allomotifs as it is about skirting the comparison. Holbek's actual indifference to allomotifs reflects his choice to approach symbols as psychological projections. Holbek surmises that the thematic axes of fairy tales express the "sensitive, even painful" problems of rural communities. He takes up Dundes's idea that folklore "provides a socially sanctioned outlet for the expression of what cannot be articulated in the more usual, direct way" and leads it to its logical conclusion: Fairy-tale symbolism is a conscious language that screens sensitive matters. Thus, Dundes's notional project of addressing folk metaphors by means of allomotifs effectively gives way to the psychoanalytically oriented notion of projection. In Holbek's model, fairy-tale symbols translate to the hypothetical psychological predicaments of abstract people, even while metaphoric patterns recede to the background.

Metaphors and Symbols

Metaphors in Fairy Tales: Maria Tatar

Metaphors and Symbols: Claude Lévi-Strauss

In this light, recall Lévi-Strauss's suggestion that "the writer's work might remind a carpenter of his own activity." "Might" is the crucial term here and it is misleading. While it may be illuminating to depict the intellectual labor of a writer in terms of the palpable craft of the carpenter, describing the act of planing a piece of wood in terms of the writer's exertions would merely befuddle the matter. The point, again, is that the thrust of metaphoric thought lies in using concrete imagery for abstract propositions. In fact, Lévi-Strauss's entire œuvre confirms this point. In the opening words of his tetralogy on mythical thought, he declares his aim of showing "how empirical categories ... can ... serve as conceptual tools to bring out abstract notions and articulate these in propositions," so as to bring out "a logic of sensory-based qualities." Again and again, Lévi-Strauss recalls that in myths, metaphorical thought raises concrete images to abstract propositions.

Fairy-Tale Symbolism

The foregoing discussion suggests that (i) fairy tales hinge on live metaphors; (ii) metaphors map relevant aspects of one conceptual domain to other conceptual domains; (iii) such mappings constitute a network of symbols, of which different tale variants choose alternative allomotifs; and (iv) metaphorical mappings often use concrete imagery to construct abstract propositions. These insights entail that (i) the meanings of fairy-tale symbols are not set once and for all; rather (ii) the values of symbols hinge on the metaphorical transpositions at play in tales; therefore (iii) comparing the allomotifs in tale variants is crucial for determining the active metaphors; and (iv) such metaphors likely use sensorial imagery to convey abstract propositions.

Fairy Tale as Metaphor

Propp's insights call for two comments. The first has to do with metaphor as a structural fairy-tale feature. Propp showed that fairy-tale adventures are journeys in space, their overarching theme being maturation into adulthood. Note that these two features correlate: fairy tales depict spatial journeys in order to talk about maturation processes. Differently put, fairy tales use the concreteness of spatial journeys to reason about maturation processes. This is a basic metaphorical process. Lakoff and Johnson note that "[m]ost of our understanding of time is a metaphorical version of our understanding of motion in space." Specifically, the time-orientation metaphor "has an observer at the present who is facing toward the future, with the past behind the observer" (linguistic expressions of this metaphorical mapping include "that's all behind us now," and "we're looking ahead to the future"). Moreover, in time's landscape metaphor, "each location in the observer's path is a time," so that "time is a path on the ground the observer moves over" (linguistic expressions of this mapping include "there's going to be trouble down the road," and "we're getting close to Christmas"). Fairy tales combine these two mappings of space to time as they depict characters struggling along the path of their own future.

The second comment to Propp's insights takes note of two shortcomings in his model. First, although Propp defined the optimal span of the fairy-tale genre, he never asked what the minimal condition that a fairy tale must fulfill might be. Second, he argued that the basic form of the fairy tale is about a hero who grabs magical powers in the forest, then slays a monster and liberates a princess. Crucially, this androcentric model both supposes and obfuscates the princess's prior enchantment. Accordingly, I submit that the minimal fairy tale features a feminine enchantment. The metaphorical expression "coming of age"- coming (as in space) of age (as in time)-arguably sums up the clockwork of fairy tales. In its minimal form, a girl walks into the woods (and comes of age).

In the Forest of Symbols

Consider the path. Virtually all the available variants (mostly from France) mention an innocent girl who strolls into the woods and meets the wolf. Charles Perrault's pointed revelation (in the moral he adds to the tale) that the wolf is a sexual predator accords with the folk saying that a girl who engaged in trysts "saw the wolf" (É Littré, Dictionnaire de la langue française, s.v. " Loup"). It follows that the forest path takes the girl from sexual innocence to experience. Now, the oral variants depict the path strewn with pins, needles, thorns, and other items that-as Yvonne Verdier summed up-"scratch, prick, cut." The plural hints of a thorny, pricking path suggest that the girl oozes blood as she proceeds-that is, she starts bleeding in the forest-a point that Perrault reiterates with flowers. While Perrault elides the pricking references, he describes the girl collecting flowers along the way. Relevantly, a girl decked with flowers literalizes the French metaphoric expression jeune fille en fleurs, which designates a menarcheal girl as someone who carries flowers (see É Littré, s.v. " Fleurs "). (Incidentally, this is a metaphor we still use when we call a virgin's first sexual experience "deflowering.") Overall, the tale variants hint that the girl walks the path of her maturation. Moreover, Perrault implies that the carrier of flowers heads to her deflowering.

It is noteworthy that the wolf meets the girl at the crossroads to set her on her blood path, and again at the forest cabin to take her to bed. The illustrator Walter Crane, in his Little Red Riding Hood illustrated booklet (1875), effectively summarizes this two-tiered intervention. As the sheepskin-clad wolf meets the girl at the crossroads, his cudgel points to (is actually lodged in) a spot of flowers that are white and red like the girl's own apparel.

Although the Grimms join Perrault in the implication that the path of flowers leads to the girl's deflowering, they avail themselves of another metaphor, which frames the entire story. At the outset, the mother's stark warning against straying from the path boils down to a single image: "otherwise you'll fall and break the glass." This warning of moral disgrace-metaphorically, a fall from grace-makes use of the pervasive equivalence between bodies and containers, which Freud acknowledges as he notes that female genitals are often symbolized by " vessels and bottles " and other receptacles, the breaching of which signifies lost virginity. In this metaphorical strain, breaking the glass connotes the broken hymen and thus the shattering of the girl's integrity. A shattered wine bottle involves, of course, a red flow. Thus, the brothers convey the basic fairy-tale leitmotif: a girl bleeds in the woods.

But the broken-bottle metaphor is actually transparent enough that the brothers moved to contain its implication. At story's end, we find a repentant girl bearing an intact bottle. Given the mother's precise warning, and the girl's actual straying, this turn of events looks surprising. Yet it agrees with the Grimms' well-attested zeal for expunging sexual scenes from the tales. What is more, displaying an intact bottle for a prim ending is a special use (a negative instance) of the broken-bottle metaphor. Denying that the glass ever broke whitewashes the girl's reputation while also reiterating the figure of speech embedded in the mother's warning. Therefore, the Grimms manage to preserve the sexual symbolism and to present a morally prim tale. (Such procedures should be heeded in debates about whether the Brothers Grimm were faithful to the tales they edited.)

A Metaphoric Kernel: Coming of Age

This discussion of a few allomotifs in "Little Red Riding Hood" is not a proper discussion of this tale. Rather, it is meant as a quick illustration of the point that fairy tales are built on metaphorical mappings among codes, which numerous variants express in various ways. Put in a nutshell, grasping the metaphors in the variants of a tale-that is, mapping the tale imagery to abstract propositions-is what the study of fairy-tale symbolism is about.

My remarks on "Little Red Riding Hood" also illustrate the hypothesis that a particular metaphor- coming (as in space) of age (as in time)-is the bedrock of fairy-tale symbolism. Although the study of fairy-tale symbolism is old, it is only just coming out of the woods, and a long, winding path lies ahead.

Notes:

(Lang, Edward B. Tylor, 3.) Custom and Myth (London: Longmans, Green, 1893), 12-13, 21, 22. Lang's view adapts the theory of "survival in culture" proposed by Primitive Culture: Researches into the Development of Mythology, Philosophy, Religion, Language, Art, and Custom (New York: Holt, 1889), 1: 70-111.

(Emmanuel Cosquin, Theodor Benfey, 5.) See a short, spirited comparison of Cosquin's diffusionist thesis with Lang's evolutionist outlook in L'Origine des contes populaires européens et les théories de M. Lang (Paris: Bibliothèque des Annales Économiques, 1891). Cosquin's view stems from a thesis proposed by Pantschatantra: Fünf Bücher indischer Fabeln, Märchen und Erzählungen, vol. 1 (Leipzig: Brockhaus, 1859). Cosquin discusses Benfey's thesis in the introduction to his own Contes populaires de Lorraine comparés avec les contes des autres provinces de France et des pays étrangers, et précédés d'un essai sur l'origine et la propagation des contes populaires européens (Paris: Vieweg, 1887).

(Emmanuel Cosquin, C. J. Mayer, ed., Hans-Jörg Uther, Christine Goldberg, 7.) Les Contes indiens et l'Occident: Petites monographies folkloriques à propos de contes maures recueillis à Blida par M. Desparmet (Paris: Champion, 1922), 245. (Unless otherwise stated, all translations from the French are my own.) The French text in question is in Le cabinet des fées, ou Collection choisie des contes de fées, et autres contes merveilleux, vol. 31 (Genève: Barde, 1786), 255-261. It is a variant of the tale type 408, "The Three Oranges" in the Aarne-Thompson-Uther (ATU) classification; see The Types of International Folktales: A Classification and Bibliography, Based on the System of Antti Aarne and Stith Thompson (Helsinki: Academia Scientiarum Fennica, 2004); and The Tale of the Three Oranges (Helsinki: Academia Scientiarum Fennica, 1997), 187, seems inclined to moor the transformation sequence in the Middle East.

( 8.) Lang, "Introduction," 10.

(Francisco Vaz da Silva, "Tradition Without End," in 9.) For a classic discussion of folklore as an ongoing selective process, see Roman Jakobson and Petr Bogatyrev, " Folklore as a Special Form of Creation." See an updated discussion in A Companion to Folklore, Wiley-Blackwell Companions to Anthropology, ed. Regina F. Bendix and Galit Hasan-Rokem (Chichester, U.K.: Wiley-Blackwell, 2012), 40-54.

(F. Max Müller, 11.) Chips from a German Workshop, vol. 2: Essays on Mythology, Traditions and Customs (New York: Scribner, 1895), 52-53, 72-73.

( 16.) Müller, "Solar Myths," 916.

(Henri Gaidoz, "Comme quoi M. Max Müller n'a jamais existé: Étude de mythologie comparée," R. F. Littledale, "The Oxford Solar Myth," was printed in 1870 in an obscure Irish magazine and then republished in Richard M. Dorson, "The Eclipse of Solar Mythology," in 18.) Mélusine 2.4 (1884): 73-90. The original English essay by Comparative Mythology: An Essay, ed. Abram Smythe Palmer (London: Routledge, 1909). See The Study of Folklore, ed. Alan Dundes (Englewood Cliffs, NJ: Prentice-Hall, 1965), 63 n. 22.

(Sigmund Freud, 24.) The Interpretation of Dreams, ed. Angela Richards, trans. James Strachey (Harmondsworth: Penguin Books, 1991), 469; Introductory Lectures on Psycho-Analysis, ed. and trans. James Strachey (New York: Norton, 1989), 184.

(Paul Delarue, Paul Delarue, ed, Paul Delarue, "The Story of Grandmother," in 48.) A representative list of the French oral variants of "Little Red Riding Hood" may be found in Le conte populaire français: Catalogue raisonné des versions de France et des pays de langue française d'outre-mer, 2d ed. (Paris: Maisonneuve et Larose, 1985), 1: 375-381. The text selected by Darnton is on pages 373-374. Translations are available in The Borzoi Book of French Folk Tales, trans. Austin E. Fife (New York: Arno Press, 1980, 230-232; Little Red Riding Hood: A Casebook, ed. Alan Dundes (Madison: University of Wisconsin Press, 1989), 15-16; and Zipes, Trials, 21-23.

(Carl Gustav Jung, "Psychological Aspects of the Mother Archetype," in Robert A. Segal, "Introduction," in 50.) The Archetypes and the Collective Unconscious, ed. Herbert Read, Michael Fordham and Gerhard Adler, trans. R. F. C. Hull (London: Routledge & Kegan Paul, 1969), 79, 81. For a fine discussion, see Jung on Mythology, ed. Robert A. Segal (Princeton, NJ: Princeton University Press, 1998), 40-41.

( 56.) Jung, "Paracelsus as a Spiritual Phenomenon," cited in Segal, "Introduction," 18.

( 57.) Segal, "Introduction," 9.

( 59.) Jung, "Psychology," 104-105 (italics in the original), 109.

(Alan Dundes, "The Method of Julius Krohn," in Stith Thompson, 67.) See International Folkloristics: Classic Contributions by the Founders of Folklore, ed. Alan Dundes (Lanham, MD: Rowman & Littlefield, 1999), 39; and "The Anthropologist and the Comparative Method in Folklore," Journal of Folklore Research 23.2-3 (1986): 131-132. For a lucid explanation of the historical-geographic method, see The Folktale (Berkeley: University of California Press, 1977), 413-448.

(Brüder Grimm,Brüder Grimm, Maria Tatar, Jacob Grimm and Wilhelm Grimm, 73.) I translate from Kinder- und Haus-Märchen: Gesammelt durch die Brüder Grimm, 2d ed., vol. 1 (Berlin: Reimer, 1819), 16. This statement first appeared in Kinder- und Haus-Märchen: Gesammelt durch die Brüder Grimm, 1st ed., vol. 2 (Berlin: Realschulbuchhandlung, 1815), 10. All translations from Kinder- und Haus-Märchen (henceforth KHM) benefit from the precious help of Teresa Bairos, whom I thank here. For other translations, see The Hard Facts of the Grimms' Fairy Tales (Princeton, NJ: Princeton University Press, 1987), 221, and The Original Folk and Fairy Tales of the Brothers Grimm: The Complete First Edition, ed. and trans. Jack Zipes (Princeton, NJ: Princeton University Press, 2014), 272.

(Brüder Grimm, 74.) Kinder- und Haus-Märchen. Gesammelt durch die Brüder Grimm , 1st ed., vol. 1 (Berlin: Realschulbuchhandlung, 1812), 13-14. See other translations of this statement in Tatar, Hard Facts, 208, and Grimm and Grimm, Original Folk and Fairy Tales, 6-7.

(Michael P. Carroll, "Allomotifs and the Psychoanalytic Study of Folk Narratives: Another Look at 'The Roommate's Death,'" 98.) Folklore 103.2 (1992): 226. Another line of Freudian interpretation, independent of Dundes, has been proposed in France by Belmont, Poétique du conte.

(Bengt Holbek, 99.) Dundes, Interpreting Folklore, 33. See Interpretation of Fairy Tales: Danish Folklore in a European Perspective (Helsinki: Academia Scientiarum Fennica, 1998), 407.

("Structure and Form," in 118.) Ibid., 186-187. That this argument applies to folktales as well as myths is made clear in his Theory and History of Folklore, ed. Anatoly Liberman, trans. Monique Layton (Minneapolis: University of Minnesota Press, 1984), 186-188.

("The Deduction of the Crane," in 131.) See Lévi-Strauss's many such pronouncements in, for example, L'origine des manières de table (Paris: Plon, 1968), 13-14; L'Homme nu (Paris: Plon, 1971), 483-501; Structural Analysis of Oral Tradition, ed. Pierre Maranda and Elli Köngäs Maranda (Philadelphia: University of Pennsylvania Press, 1971), 3-21.

(Mircea Eliade, N. J. Girardot, "Initiation and Meaning in the Tale of Snow White and the Seven Dwarves," Geneviève Calame-Griaule, 133.) Myth and Reality, ed. Willard R. Trask (Prospect Heights, IL: Waveland, 1998), 202. For a compelling development of this insight regarding one particular fairy tale, see Journal of American Folklore 90.357 (1977): 274-300. Des cauris au marché: Essais sur des contes africains (Paris: Mémoires de la Société des africanistes, 1987), showed the pronounced association in sub-Saharan societies between fairy-tale themes and initiation symbolism.

(Francisco Vaz da Silva, "Teaching Symbolism in 'Little Red Riding Hood,'" in Francisco Vaz da Silva, "Werewolf, Wolf, Wolves," in 147.) The text that Delarue gave as an example of the French oral variants in Conte populaire 1:375-381-translated in Delarue, Borzoi, 230-232, and Delarue, "Story," 15-16-features a werewolf. Indeed, such creatures are regular denizens of the forest cabin in French fairy tales; see New Approaches to Teaching Folk and Fairy Tales, ed. Christa Jones and Claudia Schwabe, 172-188 (Logan: Utah State University Press, 2016), 176. Angela Carter lucidly resurrected the werewolf motif in her contemporary rewritings of "Little Red Riding Hood"; see The Greenwood Encyclopedia of Folktales & Fairy Tales, ed. Donald Haase (Westport, CT: Greenwood, 2008), 1025-1027.

( 150.) I explore the lunar dimension of fairy-tale initiatory scenes in "Fairy-Tale Symbolism," 97-116, and in "Fairy-Tale Hybridity."

( 151.) The following highlights draw on my "Teaching Symbolism," 181-182.

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Fairy-Tale Symbolism: An Overview - Oxford Research Encyclopedia of Literature

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Because the marvelous elements in fairy tales call for an explanation, a cohort of bright minds have pored over the problem of fairy-tale symbolism. Models sharing the nineteenth-century penchant for genetic inquiries have assumed that symbols are the survivals of archaic metaphors.

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Link 9: What is catfishing? A brief (and sordid) history.

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Link 9: What is catfishing? A brief (and sordid) history.

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--> Motif --> Modernize

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Link 10: Little Red Riding Hood and The Three Little Pigs (feat. EXO’s Wolf)

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Link 10: Little Red Riding Hood and The Three Little Pigs (feat. EXO’s Wolf)

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Example of Adaption
- Incorporates Motifs

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Little Red Riding Hood and The Three Little Pigs (feat. EXO's Wolf)

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Little Red Riding Hood goes on a long trip to discover that her Grandmother needs her cookies, even if three hottie pigs and a scary wolf are in her way.

Update 2/17/16: I was being stupid and forcefully pulled out my usb before it finished.