Fairy Tales and the “Folklore of the Human Mind” Essay

It seems every child loves a fairy tale and every society has them. Sometimes scary, often teaching morals, fairy tales are fictional stories that include magical elements and non-human characters, from giants to talking animals. Although often considered nothing more than bedtime stories, author Maria Tatar argues fairy tales that have entertained generations actually serve to expose the existing realities of what she calls the “folklore of the human mind” (Tatar 57). Within the stories are embedded many of society’s cultural memories. These stories teach each successive generation how to behave and how to measure themselves as citizens. They explain how memories shape a person and what his values are. Thus, indicating fairy tales are not simply intended for children; adults have also been fascinated by the horrors and cruelties of fairy tales although they rarely consider them to be models of humane, civilized behavior. “The stories have taken hold for a few more important reasons: the hard facts of fairy-tale life offer exaggerated visions of the grimmer realities and fantasies that touch and shape the lives of every child and adult” (Tatar, p. 192). The purpose of the present research is to discover the inner meaning of fairy tales by examining a more popular tale in greater depths. After defining some of the limits of fairy tales, the current research will examine some of the archetypes that often represent basic realities of human existence. This will be conducted by investigating the Grimm brothers version of “Snow White” as well as Disney’s.

Before discussing the possibility of definitively applying the ideas of the fairy tales to pull out a clear image of the society it reflects, it is necessary to understand how clear of a picture it yields. As fairy tales have been passed through generations, they have been altered as a means of reflecting modern sensibilities and understandings. Even in collections as old as the Brothers Grimm, fairy tales are modified versions of stories that have been passed down for generations. “With so much lack of clarity about the social, national, and temporal origins of the texts in the Grimms’ collection, it becomes difficult to make considered judgments about the extent to which they reveal something about the German folk and about the Grimms” (Tatar, p. 48). Because we have no real background information regarding the stories the brothers collected, it is impossible to determine with any degree of certainty how much of these stories reflect the ideals of the people telling them. Within the writings of the Grimms, it is evident the fairy tales have been modified to keep with the brothers’ more conservative and genteel reading public of the early nineteenth century. “Those changes generally had more to do with cultural codes of conduct than with social and economic realities” (Tatar, p. 48). In other words, the Grimms found it necessary to change the stories somewhat in order to make them acceptable, or marketable, to the then-reading public. However, in making these changes, the fundamental ideas of the stories were not changed nor were the essential characters. “It takes no special degree of historical sophistication to recognize that the social structures, institutions, and economic networks of many fairy tales are based on medieval or, at least, pre-modern models” (Tatar 48). What is basically known about life and customs during different periods in history enables us to quickly link the living conditions of these characters with a much earlier point in history. Since the characters and the basic events of what happens to them remain relatively constant, it is helpful to study the characters of fairy tales in terms of the archetypes they represent.

Archetypes, as discussed by Carl Jung and studied ever since he published his theories, can be defined as models of expected behavior or patterns of activity. These are easily recognized and resonate throughout numerous human societies. According to philosopher and psychologist Carl Jung, archetypes are “the imperishable elements of the unconscious, but they change their shape continually” (Jung & Kerenyi, p. 98). This makes the fairy tales, as well as the characters identifiable, recognizable, and paradoxically flexible as a means of introducing change or of reflecting traditional values. As building blocks of the collective unconscious, Jung suggests archetypes can take any particular form, but habitually represents the same basic concepts. “Jung also called these components dominants or mythological primordial images. The archetype has no form of its own, but rather can be described as a need or an instinct. It is something that is not felt as a specific desire for any one particular thing” (Pierce, 2007). Based largely on knowledge of mythology and legend, archetypes can provide a great deal of information about various issues dealing with morality and professionalism as a citizen of the world. Some of the more common archetypes identified by Jung include the Mother, the Shadow, the Hero and the Teacher. These are not necessarily individuals or specific faces seen in a dream. Instead, the archetypes are used to refer to the concepts of security, comfort, and support a child would typically associate with images of mother, or the sequential growth process that occurs as part of a heroic journey. By giving them physical shape in the form of a symbol – the mother, the hero, etc. – complexity is reduced within the story while it remains present within the figure itself.

Archetypes are fully applicable to the fairy tales recorded by the Grimm’s Brothers despite changes made. This is evident in the fairy tale “Snow White”. The character of Snow White has been identified variously as the Primordial Child, the Orphan, or the Damsel in Distress. Flynn (2005) describes how the story introduces the Primordial Child archetype within its first scene as Snow White is connected to the colors of creation: red, black and white. She also becomes representative of the transcendence of generations as Snow White’s mother envisions the nature of her daughter through the thoughtful contemplation of drops of blood that have ‘bloomed’ on the surface of the snow. The blood included in the scene is not intended to be gruesome or macabre, but is used as an affirmation of life. This metaphor extends its roots into the persona of the mother and extends its fruit to the blessings of the future. As the Orphan, Snow White is seen to gain an early independence from adult influence as her father is almost non-existent. He only appears long enough to take a second wife, then her step-mother actively tries to murder her. “Orphans who succeed at finding a path of survival on their own are celebrated in fairy tales and folk stories as having won a battle with a dark force, which symbolically represents the fear of surviving alone in this world” (Myss, 2007). However, Snow White can also be seen as the Damsel in Distress. This archetype is extremely ubiquitous. Therefore it is self-explanatory in its representation of the helpless female who depends upon her male counterparts to shield her from the wickedness of the outer world and protect her within the walls of his castle. In this representation of the ideal girl, then, there is simplicity in her actual form, complexity in her symbolic state and instruction in how she finally achieved happiness thus enabling her to serve as both model of behavior and, as her story becomes modified over time, motivation for change.

The archetype of the caring mother is illustrated in the image of the young queen as it is painted through the story’s opening description, placing her within the context of an outwardly defined role. In other words, Snow White’s queen mother is shown as she is expected to behave by others sitting in quiet reflection of the upcoming birth of her child. She is also seen as she is constrained by others as her behavior is described in the language of the tableau (Flynn, 2005). She is immediately understood as the archetypal Mother because she is blissfully pregnant as well as calm and reflective in her actions. The Mother archetype is described by Myss (2007) as embodying an “unconditional fountain of love, patience, devotion, caring and unselfish acts … [she] is the keeper and protector of life” and linked to Mother Nature. Specifically in the story of Snow White, the Mother’s drops of blood on the snow represent her powers of nurturing and nourishing her environment. Thus, bringing life to an otherwise colorless world and forming the triumvirate of the colors of creation (Flynn, 2005). However, she is not permitted to remain in the story long enough to provide Snow White with the guidance she needs to continue the cycle. As the story progresses the Mother dies and the step-mother takes over as the Shadow figure, soon to be discussed. In the Mother’s death Snow White must struggle through the Forest of darkness and uncertainty to find a safe place of rest where she can begin to discover, through her close association with Nature, the necessities of a Mother. This can be seen in Snow White’s care of the dwarves through housekeeping and cooking as well as her hiding place deep within the natural forest. This progression of the story thus seems to suggest that the archetypal mother exists naturally within the heart of the young girl and begins to shape concepts of what motherly behavior should look like. Anyone who does not fit this characterization is thus considered something less than a ‘true’ mother.

In opposition of the Mother is the wicked stepmother. She emerges as the Dark Queen, a figure of strength, power, and selfish desire. “She may also be depicted as prone to hysteria and dark powers, influences, or plots … Queens are rarely portrayed as having a trustworthy support system; instead, they are lonely figures surrounded by a court filled with potential traitors, rivals, and back-stabbers” (Myss, 2007). This is indeed how the Dark Queen of Snow White is understood, compelling the service of even something as personal as her magic mirror. The wicked stepmother figure transcends the boundaries of masculine and feminine thus perceived as threatening. However, Flynn (2005) suggests this threat is not the typically perceived concept of reinforcing gender roles. Instead, he sees this archetype as the shadow side of the psyche just as the figures of the Child and the Mother have been introduced in the form of Snow White and her mother as representations of the Self as innocent and mature. Before making the transition into adulthood, a fairy tale character must face the shadow self, as Snow White faces the Dark Queen. Failure to face the shadow results in failure to mature. Yet, awareness of this process comes at the cost of innocence and it is the anticipation of this loss that makes up the threatening aspect.

Looked at from a psychoanalytic perspective, “Snow White” emerges as containing the archetype of the life cycle as Snow White becomes the Ego struggling against the dangerous nature of the Id, as represented by the Dark Queen, to attain the high standards of the Superego as it was glimpsed in the figure of her Mother. This reading is supported by Flynn’s argument (2005) regarding the necessary role of the Dark Queen and Snow White’s confrontation with her. It is also suggested by Golden & Canan (2004) in their discussion of the maturation process that can be tracked through Snow White’s progression through the story. Their summary includes the realization that Snow White as a child faced with an unfettered Id flees into the dark room of the interior where she begins to learn the skills she will need as a mature woman. Although she falls victim to the Id, this acceptance of her willful side enables her to awaken into maturity and rejoin the social world with a fully developed Superego. This demonstrates how the same fairy tale can begin to question these social ‘rules’ regarding accepted or expected behavior by encouraging deep self-awareness and reflection upon past behavior.

Moving beyond the interpretations of the fairy tale from the perspective of modern day; the story has also been interpreted from a Christian perspective as reinforcing the story of Jesus Christ coming for his bride, the church. This concept of “Snow White” is especially supported by the Disney version of the story as it is examined by Trish Carden (2005). Snow White is the archetype for the church herself. She begins life with the snowy purity of innocence and gains life through the blood-red opening of her lips. The Dark Queen then becomes the archetypal figure of the anti-Christ, particularly as Disney portrays her final moments in the form of a dragon, a giant and fire-breathing lizard with wicked intentions. This is reinforced by the Dark Queen’s obsession with outer beauty rather than concerning herself with inner character and good morals. The seven dwarves are archetypal representations of benevolent spirits. Only leaving the poisoned apple which is a blatant allusion to Original Sin. It serves also as a marker to pinpoint Snow White’s departure from innocence into maturity. Then enters the Prince; the archetypal hero figure but also the embodiment of Jesus himself, to save her from the sins of the world. Carden expresses her disagreement with the interpretations of the story offered by Jung and his supporters. She instead argues the archetypes identified by Jung as having “worldwide parallels either in cultures or in individuals … [that] are inherited from the ancestors of the race [and] form the substance of the collective unconsciousness” are instead the directives placed in the hearts of men by God and are thus recognizable as our inborn spiritual blueprint.

Through this analysis, it has been discovered that the characters within Snow White are identified as specific archetypal figures. The interpretation of what these archetypal figures mean within the context of the story and in relationship to each other, society and Self remain highly discussed and debated. Slight changes in the story or in the way in which it is delivered can bring emphasis to different elements of the tale and thus begin to shape the way in which those within hearing might think about the symbolic characters it presents. The story reinforces traditional gender roles, but can also be explained in terms of an inner spiritual quest of maturity as the individual progresses from childhood to adult. Through other approaches, these archetypes can be interpreted as offering a road map through the human psyche as the characters come to represent Freud’s concepts of the Id, the Ego and the Superego. Thus, it becomes apparent that the importance of the story to today’s society depends entirely upon how it is presented to the audience involved. By emphasizing or focusing upon specific elements of the story, new meanings can emerge that provide yet deeper understandings of how these archetypal figures speak through the centuries and how they help define the reader’s relationship to the figures.

Works Cited

1. Carden, Trish. Parallels Between the Gospel and Ancient Fairy Tales. Nashville, TN: (2005).
2. Flynn, Stephen. “Analysis of Snow White and The Seven Dwarves.” The Jung Page. (2005).
3. Golden, Joanne M. & Canan, Donna. “Mirror, Mirror, On the Wall’: Readers’ Reflections on Literature through Literary Theories.” English Journal. Denver: CO: Colorado State University, (2004).
4. Jung, C.G. & Kerenyi, C. Essays on a Science of Mythology. Princeton University Press, (1993).
5. Myss, Caroline. “A Gallery of Archetypes.” Sacred Contracts. (2007). Web.
6. Pierce, M.J. “The Life of Carl G. Jung and His Contributions to Psychology.” Quazen. (2007). Web.
7. Tatar, Maria. The Hard Facts of the Grimm’s Fairy Tales. Princeton University Press, 2003.