Forests in Children's Lit
The Dark Forest of Fairy Tales
Fairy tales are rightly seen by many authors and critics from Jung to Bruno Bettelheim as repositories for archetypes and for vital social messages. Additionally, they must be seen as a literary genre by themselves, and elements which may be seen archetypically must also be taken in terms of their literary function. In this light, one can study the role of the forest in fairy tales both as a reference to the archetype of the dark forest and as a social reference to the land outside civilization, and simultaneously be aware of the way in which the forest operates as a literary device to isolate the characters quickly from their familiar world by placing them into another realm. The ways in which forests seem to function in fairy tales to isolate the characters ranges from the very physical to the very esoteric. The forest is something that isolates the characters by nature of its physical properties, which puts them outside the confines on civilization and the realm of human experience, while symbolizing the subconscious and representing the death and rebirth of the characters; this isolation in turn creates a world in which the improbable and the insane becomes both possible and necessary.
Jane Tompkins writes that forests are important in literature because when a person enters into a forest, he or she becomes in a sense automatically lost by virtue of not being able to see through the trees. The vertical composition, competitive detail, and obscurity of the shadows lends a sense of physical confusion. This sense of physical lostness is important in many of the fairy tales recorded by the Grimm brothers. For example, in the story of Snowdrop (also known as Snow White), the little princess gets physically lost in the woods and her physical sense of confusion is a large part of the reason she becomes so vulnerable. She is quickly taken away from everything that seems safe and comfortable to her and left in a disorienting environment. It is perhaps partly because she is so disoriented physically that she is willing to so quickly trust her stepmother in all those disguises, because any other human in this alien landscape is somehow more trustworthy than the unknown woods.
According to Robert Harrison and his book on Forests: The Shadow of Civilization, the forest is important because it is always that space which defines the limits of civilization. He explains that civilization has always taken place in a clearing in the middle of forests, and that this sylvan fringe is what limits and defines civilization. Civilization ends at the fringe of the forest, and so those that step beyond it symbolically step beyond the protection of the civilized world. This meaning of the forest is apparent in fairy tales such as Little Red-Cap, where the woods between grandmother's house and the home of Red Cap are the domain of wolves who will eat the little girl. One line in Grimm's version as translated Edgar Taylor and Marian Edwardes says that the wolf has "such a wicked look in his eyes, that if they had not been on the public road she was certain he would have eaten her up." The forest from which the wolf comes is fundamentally opposed to the civilization represented by the road.
In addition to such physical aspects as the forest's relationship to civilization and its tangled way of confusion wayfarers, the forest is also generally thought to symbolize the subconscious. Bruno Bettelheim speaks of the importance of the forest in fairy tales, as a place which symbolizes a great inner darkness that must be confronted. He says that since the most ancient of times, the impenetrable forest represents the impenetrable world of the unconscious, and that being lost within the forest is representative of being lost in life without the structure which our socially constructed super-conscious might give us. Those who are able to emerge from this shadow have a higher and more evolved humanity. One could theoretically cite any reference to forests within fairy tales as referring to the subconscious and the inner structure of the mind. In particular, one can see such an idea of the depths of the subconscious being present in the story of Briar Rose. In this tale, the princess...
Thus, Rapunzel and the prince's relationship develops over time, so that the prince must bring "a skein of silk every time" he visits. Before continuing on with this analysis of the prince, however, it will be useful to briefly examine Rapunzel's reaction to him, because it complicates the story and provides some insight into the later scene of the prince's (possible) attempted suicide. Rapunzel decides to marry the prince because
Analysis of Movie Character Introduction Tangled, released in 2010 by Walt Disney Pictures, is a 3D computer-animated American musical adventure movie produced by the famous Walt Disney Animation Studios. This paper is an analysis of the film’s main character, Rapunzel. This paper will discuss the psycho-analytical breakdown, stressors, and conflicts experienced by Rapunzel and how she deals with them. Summary The film is about a young, naïve girl called Rapunzel. A long time ago,
FolkloreOne great thing about folklore is how it weaves fantasy into the stories. Cinderella and Rapunzel both are stories that feature some fantastic elements but that end with happy endings. There is some conflict in each, and there is also a prince involved in each. The idea of a prince rescuing a maiden is a popular one in folklore. The prince is a hero figure, while the maiden is the
This has been interpreted as overprotective behavior and is directly linked to being a parent. One cannot be overprotective of a child he or she does not have. It is only logical to conclude that the witch is to Rapunzel a sort of a stepmother; also, one could gather that the witch wanted Rapunzel not only to hurt and get back at the child's natural father, but for her
This is perhaps most notable in the punctuating words of the witch. "One midnight gone!" cries the witch at the mid-point of the first act, then sings "It's the last midnight," before she leaves the play. The return to the words and themes of the woods is the only constant of the play. This is because the play is about journeys, not about coming to some final moral conclusion.
Children's Literature Picture Books Allard, Harry and James Marshall. Miss Nelson Is Missing. New York: Houghton Mifflin, 1977. Print. Miss Nelson is a non-threatening instructor whose students take advantage of her gentle personality by misbehaving. One day Miss Nelson disappears and is replaced by an ill-tempered substitute, Miss Viola Swamp, who makes the children appreciate their good-natured teacher. The book is designed for primary and early elementary readers. Beaumont, Karen. I Ain't Gonna
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