The dynamic German brotherly duo; Jacob Ludwig and Wilhelm Carl Grimm, are most known for their contributions in literature. Together they joined forces to collaborate on a written book that focuses on German culture and folklore (Nordhessen). Much of their stories come from older oral and written sources that originally told the tales of wars, plagues, and famine (Smith). In December 1812, they published Children’s and Household Tales, also referred to as Grimm’s Fairy Tales. It contains a combined total of 86 stories. Sales of the book did not immediately skyrocket, but the brothers continued to publish additional books as part of a larger collection (Ashliman).
While coming up with new fairy tales for their book each of the brothers had a different approach to writing. Jacob aimed for heavily annotated scholarly commentary about Germanic peoples and their history, while Wilhelm sought a lighter approach and aimed their works towards children (Nordhessen). In 1819 Wilhelm came up with a newly concocted formula of rewriting sanitized versions of their fairy tales. The length of the fairy tales almost doubled in size after he went on to remove most traces of blood and gore, such as cannibalism and violence, and rewrote them. Instead of writing about evil parents, the Grimms opted for the infamous wicked stepmother to substitute the natural mother as the villain (Seal, 470). The idea that a birth mother could be cruel, vile, and abandons her children was almost too scandalous for the public. As a result of tidying up the stories, parents and children alike preferred the newer versions released. It also lead to the Grimms becoming commercially successful wi...
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...From this unwelcome suitor have I saved my daughter’” (Grimm). Like Bettelheim says, “it is characterically of fairy tales to state an existential dilemma briefly and pointedly.” (8). The king will go above and beyond to destroy the boy and prevent him from marrying his daughter. He never clearly states as to why he is opposed to the idea of the princess getting married. The king’s subconscious, or the id, is secretly romantically in love with his daughter which is why he detests the young boy. “To understand this would mean he must accept the fact that his own emotions may so overpower him that he does not have control over them - a very scary thought” (Bettelheim, 30). Rather than allow the baby boy grow into a young man, the king prefers to kill him now before he matures. If he grows up, the boy could defend himself and have a real chance at marrying the princess.
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