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Dillingham, Anna. Happily Ever After: The Resolution of Trauma in Fairy Tales. 2016. Pacifica Graduate Institute, Master of Arts in Counseling Psychology dissertation. https://www.proquest.com/docview/1774020094?pq-origsite=primo. Accessed on 11 Feb 2022.

Lambert, Craig. The Horror and the Beauty Maria Tatar explores the dazzle and the “dark side” in fairy tales—and why we read them. pp. 37. https://www.harvardmagazine.com/sites/default/files/pdf/2007/11-pdfs/1107-36.pdf. Accessed on 11 Feb 2022.

McCourt, Jessica, R. Reading in the Dark : Horror in Children's Literature and Culture. Mississippi, 2016. https://ebookcentral.proquest.com/lib/york/detail.action?docID=4616953. Accessed on 11 Feb 2022.

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Grimm, Jacob, and Wilhelm Grimm. “The Robber Bridegroom.” Grimm 040: The Robber Bridegroom, 2 Dec. 2005, https://sites.pitt.edu/~dash/grimm040.html. Accessed on 11 Feb 2022.

Perrault, Charles. “Blue Beard.” Perrault: Blue Beard, 7 Oct. 2003,

https://sites.pitt.edu/~dash/perrault03.html. Accessed on 11 Feb 2022.

Perrault, Charles. “Little Red Riding Hood.” Perrault: Little Red Riding Hood, 21 September, 2003, https://sites.pitt.edu/~dash/perrault02.html. Accessed on 11 Feb 2022.

Grimm, Jacob, and Wilhelm Grimm. “‘How Some Children Played at Slaughtering.’” "How Some Children Played at Slaughtering" | World History Commons, 1812, worldhistorycommons.org/how-some-children-played-slaughtering. Accessed on 11 Feb 2022.

Snow White and the Seven Dwarfs. Directed by William Cottrell, David Hand, Wilfred Jackson, and Larry Morey, performances by Adriana Caselotti, Lucille La Verne, Harry Stockwell. 1937. Accessed on 11 Feb 2022.

Beauty and the Beast. Directed by Gary Trousdale, Kirk Wise, performances by Paige O’Hara, Robby Benson, Richard White. 1991. Accessed on 11 Feb 2022.

The Little Mermaid. Directed by Ron Clements, John Musker, performances by Jodi Benson, Christopher Daniel Barnes, Pat Carroll. 1989. Accessed on 11 Feb 2022.

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The Little Mermaid (1989)

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Beauty and the Beast (1991)

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Film Source: Snow White and the Seven Dwarfs 

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Film Source: Snow White and the Seven Dwarfs 

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Snow White and the Seven Dwarfs (1937)

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How Some Children Played at Slaughtering

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How Some Children Played at Slaughtering

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“How Some Children Played at Slaughtering” | World History Commons

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Charles Perrault

Once upon a time there lived in a certain village a little country girl, the prettiest creature who was ever seen. Her mother was excessively fond of her; and her grandmother doted on her still more. This good woman had a little red riding hood made for her. It suited the girl so extremely well that everybody called her Little Red Riding Hood.
One day her mother, having made some cakes, said to her, "Go, my dear, and see how your grandmother is doing, for I hear she has been very ill. Take her a cake, and this little pot of butter."

Little Red Riding Hood set out immediately to go to her grandmother, who lived in another village.

As she was going through the wood, she met with a wolf, who had a very great mind to eat her up, but he dared not, because of some woodcutters working nearby in the forest. He asked her where she was going. The poor child, who did not know that it was dangerous to stay and talk to a wolf, said to him, "I am going to see my grandmother and carry her a cake and a little pot of butter from my mother."

"Does she live far off?" said the wolf

"Oh I say," answered Little Red Riding Hood; "it is beyond that mill you see there, at the first house in the village."

"Well," said the wolf, "and I'll go and see her too. I'll go this way and go you that, and we shall see who will be there first."

The wolf ran as fast as he could, taking the shortest path, and the little girl took a roundabout way, entertaining herself by gathering nuts, running after butterflies, and gathering bouquets of little flowers. It was not long before the wolf arrived at the old woman's house. He knocked at the door: tap, tap.

"Who's there?"

"Your grandchild, Little Red Riding Hood," replied the wolf, counterfeiting her voice; "who has brought you a cake and a little pot of butter sent you by mother."

The good grandmother, who was in bed, because she was somewhat ill, cried out, "Pull the bobbin, and the latch will go up."

The wolf pulled the bobbin, and the door opened, and then he immediately fell upon the good woman and ate her up in a moment, for it been more than three days since he had eaten. He then shut the door and got into the grandmother's bed, expecting Little Red Riding Hood, who came some time afterwards and knocked at the door: tap, tap.

"Who's there?"

Little Red Riding Hood, hearing the big voice of the wolf, was at first afraid; but believing her grandmother had a cold and was hoarse, answered, "It is your grandchild Little Red Riding Hood, who has brought you a cake and a little pot of butter mother sends you."

The wolf cried out to her, softening his voice as much as he could, "Pull the bobbin, and the latch will go up."

Little Red Riding Hood pulled the bobbin, and the door opened.

The wolf, seeing her come in, said to her, hiding himself under the bedclothes, "Put the cake and the little pot of butter upon the stool, and come get into bed with me."

Little Red Riding Hood took off her clothes and got into bed. She was greatly amazed to see how her grandmother looked in her nightclothes, and said to her, "Grandmother, what big arms you have!"

"All the better to hug you with, my dear."

"Grandmother, what big legs you have!"

"All the better to run with, my child."

"Grandmother, what big ears you have!"

"All the better to hear with, my child."

"Grandmother, what big eyes you have!"

"All the better to see with, my child."

"Grandmother, what big teeth you have got!"

"All the better to eat you up with."

And, saying these words, this wicked wolf fell upon Little Red Riding Hood, and ate her all up.

Moral: Children, especially attractive, well bred young ladies, should never talk to strangers, for if they should do so, they may well provide dinner for a wolf. I say "wolf," but there are various kinds of wolves. There are also those who are charming, quiet, polite, unassuming, complacent, and sweet, who pursue young women at home and in the streets. And unfortunately, it is these gentle wolves who are the most dangerous ones of all.

Source: Andrew Lang, The Blue Fairy Book (London, ca. 1889), pp. 51-53. Lang's source: Charles Perrault,Histoires ou contes du temps passé, avec des moralités: Contes de ma mère l'Oye (Paris, 1697).

The French title of this famous tale is "Le Petit Chaperon Rouge."

Aarne-Thompson type 333.

Links to related sites
Revised September 21, 2003.

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Once upon a time there lived in a certain village a little country girl, the prettiest creature who was ever seen. Her mother was excessively fond of her; and her grandmother doted on her still more. This good woman had a little red riding hood made for her.

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Once upon a time there was a miller who had a beautiful daughter. When she came of age he wished that she was provided for and well married. He thought, “If a respectable suitor comes and asks for her hand in marriage, I will give her to him.”

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Based on my study, I learned that the horror genre plays an important role in traditional fairy tales, as well as why they were so popular at the time. In Anna Dillingham’s article, she talks about how traditional fairy tales are infused with stories of childhood trauma, my other source by Craig Lambert can back this up this information. In this journal, Craig talks about how Tatar explained that they started reading these traditional german tales after the Holocaust. Tatar also explains that she gravitated towards the Grimm Brothers fairy tales, which were pretty gruesome, and not anything like more modern fairy tale adaptions that we have seen today, (Lambert, 37). It does not come as much of a surprise that children are interested in gruesome fairy tales during this time, going back to Dillingham’s article, they talk about how when children are dealing with a lot of trauma, they may not understand it, and fairy tales may help them with this. As implied by the common opening phrase, "Once upon a time," fairy tales are archetypal stories that have given a method of comprehending and managing trauma and dissociation for as long as anyone can remember, (Dillingham, 13) Children may even feel fascinated by mischievous characters in these tales, which was a clever way for authors like the Grimm Brothers to teach lessons to children with these tales. For example, in my source by Jessica R. McCourt, she talks about the tale of Hansel and Gretel. She talks about how children might fear and anticipate what might happen to both characters. Importing the element of horror in these tales is a clever way of getting children to read them and enjoy them because the feeling of anticipation is both what the characters and the children are feeling. It is as if they are both going through the same experience, especially when it is a picture book, (McCourt, chp 1, pp 11).

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Despite the fact that my three primary sources are useful, I feel my secondary sources will assist me better grasp what my primary sources are saying. All of my secondary sources are movies and traditional books of fairy tales, which helps me to create powerful supporting arguments since they provide evidence to back up my three core sources.

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Passport York Current York University students, faculty, and staff will normally have a Passport York account and a library card (in the form of a YU-card for students and some employee groups) through which they will be authenticated as authorized York University users.

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Happily Ever After: The Resolution of Trauma in Fairy Tales

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