I once asked my seventh grade class what a fairy tale was, and one student said, “It’s a story that begins with Tinker Bell waving her wand over the Disney Castle.” She was joking, of course, but her words were illuminating.

Many children today associate fairy tales with the magical world of Disney and know little of the literary let alone the historical background behind them. That’s because Disney has a type of cultural monopoly over fairy tales that allows them to dictate storylines (and insert social politics) according to their commercial business preferences.

Some of their changes are small—just have Cinderella’s dad die so he doesn’t seem like such a deadbeat. No big deal to lose one measly character. Some of the changes are big—let Ariel live happily ever after with Prince Eric. Turning the little mermaid into seafoam as punishment for disobeying her father doesn’t exactly make for a box office hit. Other changes are complete transformations. How exactly is Frozen supposed to be based on The Snow-Queen?

I get it. It’s all about the bottom line. And frankly, Disney’s versions are just as authentic as the so-called “originals.” After all, fairy tales come from a long tradition of oral storytelling which allows the teller to add, subtract, stretch, and reinvent as desired. Even Jacob and Wilhelm Grimm did that.

(Yup! They didn’t “write” the tales that now bare their name. They actually traveled from town to town collecting and recording stories that were already being told.)

Defining Fairy Tales

So what holds a fairy tale together? What do they all have in common?

When I first started teaching fairy tales, I tried to find a definition to share with my students that would answer those precise questions. Most definitions talked about good conquering evil. That certainly rings true, but Disney’s version of “good” is totally different than, say, Hans Christian Andersen’s.

Let’s return to The Mermaid for a moment, which inspired Disney’s The Little Mermaid. The “goodness” of obedience was swapped out for a modern “goodness” of independence. Throw cultural differences into the mix, and you’re left with an even more ambiguous understanding of what constitutes “good.”

What’s more, most stories boil down to some kind of good versus evil paradigm, so there needs to be something further that sets fairy tales apart from other genres. This is where my student’s playful comment about Tinker Bell comes in handy because it captures the dreamy side of fairy tales and the promise of “happily ever after.” No doubt Disney’s branding with the “magical kingdom” depicts the essence of this.

Putting it all together, I eventually came up with the following definition: a fairy tale is a fanciful, make-believe story that reveals a particular set of values about society and pivots around the rewards of virtue overcoming vice.

I like this definition because it allows for differences across time and place (e.g., values which are changeable) while still maintaining a set of universal principals (e.g., virtues which are unchanging). While fairy tales originated in the Middle Ages and are generally set in that time period, they are not constrained by it. Likewise, they are not limited to Western culture.

Just think of the many versions of Cinderella told all over the world. Yeh-Shen, which is a Chinese version, was one of my favorites when I was little. Like the Disney version and the Brothers Grimm version before that, it has the basic “rags to riches” storyline. A major difference, however, is that a magical fish grants Yeh-Shen’s wish to go to the ball. This reflects significant cultural differences in China wherein fish are symbols of good fortune. Nevertheless, the reasons the fish rewards Yeh-Shen are consistent with those of Disney’s Fairy Godmother and the Grimms’ magical tree: Cinderella is being rewarded for her virtues.

Fairy tales are told to bestow lessons and to offer the promise of reward if those lessons are followed. The “happily ever after” motif was a particularly powerful one in the Middle Ages where the vast majority of the population was plagued with hardship. They taught young children that if you live a life of virtue, then you will be rewarded. Of course, that reward was not really expected to be found in an earthly palace but rather in a heavenly one.   

Continuing the Tradition

There are countless reasons to study the “original” fairy tales today. They’re enjoyable, for one, but they’re also a lens into the hopes and fears of the common people of the Middle Ages and the Renaissance. Given how dominated historical accounts of the time were by the affairs of royalty and nobility, fairy tales offer a type of anthropology into the lives of everybody else.

But that’s still not all. Fairy tales give us pause to reflect on our own lives. They remind us that though the world is a scary place wrought with danger, we should take heart. Virtue will prevail, if not in life then in death. As G.K. Chesterton put it, 

“Fairy tales do not tell children the dragons exist. Children already know that dragons exist. Fairy tales tell children the dragons can be killed.”

And that’s the number one reason why children should read fairy tales, especially the “originals” that tend to be starker. To that end, this series will analyze some of the fairy tales I use in my classroom, including those that are both well-known and lesser-known: Cinderella, Godfather Death, The Snow-Queen, Little Red Cap, The Twelve Brothers, The Mermaid, The Fisherman and His Wife, Cat and Mouse in Partnership, The Little Match Seller, and The Emperor’s New Clothes. Finally, I will share the types of classical exercises I use them for with my students.

Image courtesy of The National Gallery of Art, Washington

There is something about reading fairy tales that is quintessentially classical. After all, classical education considers the great stories of Western culture one of its core foundations. So if at the end of a school day I have read a fairy tale with my students, I am usually pleased. But, if that’s where it ends, I am all the more disappointed.

Rich as they are for the moral imagination, I try to draw as much from them as possible. Here is a breakdown of some of my favorite extension activities to do with students.

DISCOURSE

Socratic Discussion

A classical mainstay, Socratic discussion is at the heart of my approach to studying fairy tales. We discuss the stories in small groups and as a whole class, often rearranging the desks and chairs so we form one large circle or several smaller ones. This discursive format helps students break down the plot and unpack its core symbols.

I guide the discussions but play a limited role in order to encourage active engagement from the students. Plus, it lets them tease out the ideas that they find most interesting. In this way, students feel a greater sense of ownership in the discussions and make more personal contributions.

Disputation

This is a really fun one that serves as a natural outgrowth of Socratic discussion. Disputation involves debating key aspects of the story, typically those that pose moral dilemmas. For example, in reading Cat and Mouse in Partnership, we might debate whether the mouse should have formed a partnership with the cat. Or when reading Cinderella, we might debate whether or not it is a good story for little kids.

Sometimes our debates are very formal with preparation and regulated rounds. Other times, they are of a more impromptu style. Either way, the students get very animated and impassioned.

CREATIVE WRITING

Plot Reinvention

Another exercise I really like is plot reinvention. First, students have to thoroughly understand the original plot of the story, meaning they can express the inciting incident, climax, and resolution for themselves much as I have done in this blog series. Once they can do this, they choose an element to change.

If, for example, the father in Godfather Death were to choose God, then the whole story would change. The student’s job would be to tell that new story. One of the great things about this exercise is that it gives students a concrete place to start writing, which can be very difficult with more open-ended prompts.  

Character Reinvention

Character reinvention follows this same principle. What if Little Red Cap were a naughty girl? Or what if the fisherman had a tougher upper lip? Or how about making the youngest sister in Twelve Brothers a real chatter-box?

When students develop a whole new approach to a character, it affects all of his or her motives and actions and can lead to a different, not to mention highly entertaining, story altogether.

Working from Art

I also like projecting beautiful paintings or sketches from fairy tales and having students write just one scene based on the picture. This approach is a little more contained than the previous two, so it makes it easier for students to develop sharp, properly formatted dialogue and well-planned narration. As such, it readily doubles as a grammar lesson as well as a creative writing exercise.

In preparation for writing a scene for Cinderella, I might depict the painting above by John Everett Millais and prompt students with the following: Describe the moment in time depicted here. What are the character’s thoughts? Words? Actions? Draw your ideas together as a scene from the story. Be sure to include dialogue and narration.

ARTISTIC RENDERING

Reflective Journaling

There are a number of mediums one could use for reflective journaling, but one I really like is water color. This entails students painting something they found inspiring in a fairy tale.

After reading The Little Match Seller, one might paint a wood stove, another a Christmas tree, or even the little girl flying up to Heaven. Once students have painted their pictures, they reflect in writing on what they have depicted and why. When that’s done, they walk around and view everyone else’s journals in what we call a “museum walk.”

All the while, we play classical music and otherwise maintain silence. It makes for a very relaxing, thoughtful environment, not to mention beautiful work. 

Story Board

This one is borrowed from the publishing industry wherein editors lay out words on a story board and then contract illustrators to matches them with pictures. I have students do the same thing with a fairy tale.

Their story boards can be very elaborate or more of a quick sketch, true to the story or reinvented using one of the models above. Either way, students fine-tune their understanding of the plot and have the opportunity to do so in an artistic, visual way.

Act Them Out

Most of my students like acting out the fairy tales best of all. I give them liberty to keep or change whatever they want in the plots. For that matter, they can even combine plots as long as it makes sense. Their job is to write the script, memorize it, and present it in a formal production. Ideally, we invite other classes in the school to come and watch.

CONCLUSION

These types of exercises cause students to think deeply about the fairy tales. This is extremely valuable from an educational standpoint, not least because it helps students to really understand the stories and develop their own insights.

It is perhaps even more valuable from a moral standpoint because the lessons can serve as a guide for life’s real-world difficulties. When, for example, they are discerning the nature of a friendship, they can draw from Cat and Mouse in Partnership. They can look to The Mermaid or The Snow Queen when trying to understand the true meaning of love. Perhaps they will think about The Emperor’s New Clothes when they eventually come to critique politics. Or maybe, they will take heart from The Little Match Seller in the face of personal suffering, which no doubts awaits everyone at some point or another.

Whatever the case may be, by extending the fairy tales with additional exercises, students come to embody them in a way that will enrich their lives forever. At least that’s my hope.

Image in the public domain