Grimms' Fairy Tales

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For the comic series, see Grimm Fairy Tales (comics).
Not to be confused with Grimm Tales (disambiguation) or Grimm's Fairy Tale Classics.
Children's and Household Tales
or
Grimm's Fairy Tales

Frontispiece of first volume of Grimms' Kinder- und Hausmärchen (1812)
Author(s) Jacob and Wilhelm Grimm
Country Germany
Language German
Genre(s)
Publisher Various
Publication date 1812
ISBN n/a

Children's and Household Tales (German: Kinder- und Hausmärchen) is a collection of German fairy tales first published in 1812 by the Grimm brothers, Jacob and Wilhelm. The collection is commonly known in the Anglosphere as Grimm's Fairy Tales (German: Grimms Märchen).

Contents

Composition[edit]

The first volume of the first edition was published, containing 86 stories; the second volume of 70 stories followed in 1814. For the second edition, two volumes were issued in 1819 and a third in 1822, totalling 170 tales. The third edition appeared in 1837; fourth edition, 1840; fifth edition, 1843; sixth edition, 1850; seventh edition, 1857. Stories were added, and also subtracted, from one edition to the next, until the seventh held 211 tales. All editions were extensively illustrated, first by Philipp Grot Johann and, after his death in 1892, by Robert Leinweber.

The first volumes were much criticized because, although they were called "Children's Tales", they were not regarded as suitable for children, both for the scholarly information included and the subject matter.[1] Many changes through the editions—such as turning the wicked mother of the first edition in Snow White and Hansel and Gretel (shown in original Grimm stories as Hansel and Grethel) to a stepmother, were made with an eye to such suitability. They removed sexual references—such as Rapunzel's innocently asking why her dress was getting tight around her belly, and thus naïvely revealing her pregnancy and the prince's visits to her stepmother—but, in many respects, violence, particularly when punishing villains, was increased.[2]

In 1825 the Brothers published their Kleine Ausgabe or "small edition", a selection of 50 tales designed for child readers. This children's version went through ten editions between 1825 and 1858.

Background[edit]

The 19th century rise of romanticism, Romantic nationalism and trends in valuing popular culture revived interest in fairy tales, which had otherwise been in decline since their late-17th century peak.[3] In Germany a popular collection of tales by Johann Karl August Musäus had been published between 1782 and 1787;[4] the Grimms aided the revival with their folklore collection, built on the conviction that a national identity could be found in popular culture and with the common folk (volk). They published tales they decided were a reflection of German cultural identity, but in the first collection they also included the tales of Charles Perrault, published in Paris in 1697, that were written for the literary salons of an aristocratic audience. Scholar Lydia Jean explains that to reconcile Perrault's aristocratic audience with the idea that the tales originated with the common people, a myth was created that Perrault's work, much of which was original, was an "exact reflection of folklore".[3]

The Grimms defined "Little Red Riding Hood", shown here in an illustration by Arthur Rackham, as representative of a uniquely German tale although it existed in various versions and regions.[5]

Directly influenced by Brentano and von Arnim who edited and adapted the folksongs of Des Knaben Wunderhorn (The Boy's Magic Horn or cornucopia),[4] the brothers began the collection with the purpose of creating a scholarly treatise of traditional stories and of preserving the stories as they had been handed from generation to generation—a practice that was threatened by increased industrialization.[6] Maria Tatar, professor of German studies at Harvard University, explains that it is precisely in the handing from generation to generation, and the genesis in the oral tradition, that gives folk tales an important mutability. Versions of tales differ from region to region, "picking up bits and pieces of local culture and lore, drawing a turn of phrase from a song or another story, and fleshing out characters with features taken from the audience witnessing their performance."[7]

However, as Tatar explains, the Grimms appropriated as uniquely German stories such as "Little Red Riding Hood", which had existed in many versions and regions throughout Europe, because they believed that such stories were reflections of Germanic culture.[5] Furthermore, the brothers saw fragments of old religions and faiths reflected in the stories which they thought continued to exist and survive through the telling of stories.[8]

Methodology[edit]

When Jacob returned to Marburg from Paris in 1806, their friend Brentano sought the brothers' help in adding to his collection of folk tales, at which time the brothers began to gather tales in an organized fashion.[9] By 1810 they had produced a manuscript collection of several dozen tales, written after inviting storytellers to their home and transcribing what they heard. These tales were heavily modified in transcription and many had roots in previously written sources.[10] At Brentano's request, they printed and sent him copies of the 53 tales they collected for inclusion in his third volume of Des Knaben Wunderhorn.[11] Brentano either ignored or forgot about the tales, leaving the copies in a church in Alsace where they were found in 1920. Known as the Ölenberg manuscript, it is the earliest extant version of the Grimms' collection, and has become a valuable source to scholars studying the evolution of the Grimms' collection from the time of its inception. The manuscript was published in 1927 and again in 1975.[12]

Although the brothers gained a reputation for collecting tales from peasants, many tales came from middle-class or aristocratic acquaintances. Wilhelm's wife Dortchen Wild and her family, with their nursery maid, told the brothers some of the more well-known tales, such as “Hansel and Gretel” and “Sleeping Beauty”.[13] Wilhelm collected a number of tales after befriending August von Haxthausen, whom he visited in 1811 in Westphalia where he heard stories from von Haxthausen's circle of friends.[14] Several of the storytellers were of Huguenot ancestry, telling tales of French origin such as those told to the Grimms by Marie Hassenpflug, an educated woman of French Huguenot ancestry,[10] and it is probable that these informants were familiar with Perrault’s Histoires ou contes du temps passé (Stories from Past Times).[3] Other tales were collected from the wife of a middle-class tailor, Dorothea Viehmann, also of French descent. Despite her middle-class background, in the first English translation she was characterized as a peasant and given the name Gammer Gretel.[6]

Stories such as "Sleeping Beauty", shown here in a Walter Crane illustration, had been previously published and were rewritten by the Brothers Grimm.[3]

According to scholars such as Ruth Bottigheimer and Maria Tatar some of the tales probably originated in written form during the medieval period with writers such as Straparola and Boccaccio, but were modified in the 17th century, and again rewritten by the Grimms. Moreover, Tatar writes that the brothers' goal of preserving and shaping the tales as something uniquely German at a time of French occupation was a form of "intellectual resistance", and in so doing they established a methodology for collecting and preserving folklore that set the model to be followed later by writers throughout Europe during periods of occupation.[6]

Writing[edit]

From 1807 onward the brothers added to the collection. Jacob established the framework that was maintained through many iterations. By 1815 until his death, Wilhelm assumed sole responsibility for editing and rewriting the tales. Zipes explains that the process of editing included re-composing the tales in a stylistically similar manner, adding dialogue, removing pieces "that might detract from a rustic tone", improving the plots and incorporating psychological motifs.[14] Ronald Murphy writes in The Owl, the Raven, and the Dove that the brothers, and in particular Wilhelm, additionally added religious and spiritual motifs to the tales. He believes that Wilhelm "gleaned" bits of old Germanic faiths, Norse mythology, Roman and Greek mythology and from biblical stories that he reshaped.[8]

Over the years, Wilhelm worked extensively on the prose, expanded and added detail to the stories to the point that many grew to be twice the length as in the earliest published editions.[15] In the later editions Wilhelm polished the language to make it more enticing to a bourgeois audience, eliminated sexual elements, and added Christian elements. After 1819 he began writing for children (children were not initially considered the primary audience), adding entirely new tales or adding new elements that were often strongly didactic to existing tales.[14]

Some changes were made in light of unfavorable reviews, particularly from those who objected that not all the tales were suitable for children because of scenes of violence and sexuality.[16] He worked to modify plots for of the many stories: for example, "Rapunzel" in the first edition of Kinder- und Hausmärchen clearly shows the relationship between the prince and the girl in the tower as sexual, which he edited out in subsequent editions.[15] Tatar writes that morals were added (in the second edition a king's regret was added to the scene in which his wife is burned at the stake), and often the characters in the tale were amended to appear more German: "every fairy (Fee), prince (Prinz) and princess (Prinzessin) (all words of French origin) was transformed into a more Teutonic-sounding enchantress (Zauberin) or wise woman (weise Frau), king's son (Königssohn), king's daughter (Königstochter)."[17]

Themes and analysis[edit]

The Grimms' legacy contains legends, novellas and folk stories, the vast majority of which were not intended as children's tales. Deeply concerned by the content of some of the tales—such as those that showed children being eaten—von Armin suggested they be removed. Instead the brothers added an introduction with cautionary advice that parents steer children toward age-appropriate stories. Despite von Armin's unease, none of the tales were eliminated from the collection, in the brothers' belief that all the tales were of value and reflected inherent cultural qualities. Furthermore, the stories were didactic in nature at a time when discipline relied on fear, according to scholar Linda Dégh, who explains that tales such as "Little Red Riding Hood" and "Hansel and Gretel" were written to be "warning tales" for children.[18]

Hansel and Gretel, illustrated by Arthur Rackham, was a "warning tale" for children.[18]

The stories in Kinder- und Hausmärchen include scenes of violence that have since been sanitized. For example the Grimms' version of "Snow White" ends with the stepmother dancing at Snow White's wedding wearing a pair of red-hot iron shoes that kill her; another story has a servant being pushed into a barrel "studded with sharp nails" and then rolled down the street.[19] The Grimms' version of "The Frog Prince" describes the princess throwing the frog against a wall instead of kissing him. To some extent the cruelty and violence may have been a reflection of medieval culture from which the tales originated, such as scenes of witches burning, as described "The Six Swans".[19]

Tales with a spinning motif are broadly represented in the collection. In her essay "Tale Spinners: Submerged Voices in Grimms' Fairy Tales", children's literature scholar Bottigheimer explains that these stories reflect the degree to which spinning was crucial in the life of women in the 19th century and earlier. Spinning, and particularly the spinning of flax, was commonly performed in the home by women. Although many stories begin by describing the occupation of a main character, as in "There once was a miller", as an occupation spinning is never mentioned, probably because the brothers did not consider it an occupation. Instead, spinning was a communal activity, frequently performed in a Spinnstube (spinning room), a place where women most likely kept the oral traditions alive by telling stories while engaged in tedious work.[20] In the stories, a woman's personality is often reflected by her attitude toward spinning: a wise woman might be a spinster, and Bottigheimer explains the spindle was the symbol of a "diligent, well-ordered womanhood."[21] In some stories, such as "Rumpelstiltskin", spinning is associated with a threat; in others spinning might be avoided by a character who is either too lazy or not accustomed to spinning because of her high social status.[20]

The tales were also criticized for being insufficiently German, which not only influenced the tales the brothers included, but their use of language; whereas scholars such as Heinz Rölleke say the stories are an accurate depiction of German culture, showing "rustic simplicity [and] sexual modesty".[19] German culture is deeply rooted in the forest (wald), a dark dangerous place to be avoided, most particularly the old forests with large oak trees, and yet a place to which Little Red Riding Hood's mother sent her daughter to deliver food to grandmother's house.[19]

"Rumpelstiltskin", shown here in an illustrated border by Walter Crane, is an example of a "spinning tale".

Some critics such as Alistair Hauke, use Jungian analysis to say that the deaths of the brothers' father and grandfather are the reason for the Grimms' tendency to idealize and excuse fathers, as well as the predominance of female villains in the tales such as the wicked stepmothers, such as the evil stepmother and stepsisters in "Cinderella", but this disregards the fact that they were collectors, not authors of the tales.[22] Another possible influence can be found in the selection of stories such as "The Twelve Brothers", which mirrors the brothers' family structure of one girl and several brothers overcoming opposition.[23] Zipes believes that a number of the stories show autobiographical elements and that the brothers may have used their work as a "quest" to replace the family life they lost when their father died. The collection includes 41 tales about siblings, which Zipes believes are representative of Jacob and Wilhelm. Many of the sibling stories follow a simple plot in which the characters lose a home, work industriously at a specific task, and in the end find a new home.[24]

Editions[edit]

Between 1812 and 1864 Kinder- und Hausmärchen was published 17 times: seven of the "Large edition" (Große Ausgabe) and ten of the "Small edition" (Kleine Ausgabe). The Large editions contained all the tales collected to date, extensive annotations and scholarly notes written by the brothers; the Small editions had only 50 tales and were intended for children. Emil Grimm, Jacob and Wilhelm's younger brother, illustrated the Small editions adding Christian symbolism to the drawings, such as depicting Cinderella's mother as an angel and adding a bible to the bedside table of Little Red Riding Hood's grandmother.[25]

Frontispiece and title-page, illustrated by Ludwig Emil Grimm of the 1819 edition of Kinder- und Hausmärchen

The first volume was published in 1812 with 86 folktales,[13] and a second volume with 70 additional tales was published late in 1814 (dated 1815 on the title page); together the two volumes and their 156 tales are considered the first of the Large (annotated) editions.[26][27] A second expanded edition with 170 tales was published in 1819, followed in 1822 by a volume of scholarly commentary and annotations.[11][16] Five more Large editions were published in 1837, 1840, 1843, 1850 and 1857. The seventh and final edition of 1857 contained 211 tales—200 numbered folk tales and the rest were legends.[11][16][27]

In Germany Kinder- und Hausmärchen was also released in a "popular poster-sized Bilderbogen (broadsides)"[27] format and in single story formats for the more popular tales such as "Hansel and Gretel". Pirated editions became common; the stories were often added to collections by other authors as the tales became a focus of interest for children's book illustrators,[27] with well-known artists such as Arthur Rackham, Walter Crane and Edmund Dulac illustrating the tales; a popular edition that sold well, released in the mid-19th century, included elaborate etchings by George Cruikshank.[28] At the deaths of the brothers, the copyright went to Hermann Grimm (Wilhelm's son) who continued the practice of printing the volumes in expensive and complete editions, however after 1893 when copyright lapsed the stories began to be published in many formats and editions.[27] In the 21st century, Kinder- und Hausmärchen, commonly called Grimms' Fairy Tales in English, is a universally recognized text. Jacob and Wilhelm's collection of stories has been translated to over 160 languages with 120 different editions of the text are available for sale in the US alone.[19]

Philology[edit]

Deutsche Sagen, (German Legends) included stories such as "The Pied Piper of Hamelin", shown here in an illustration by Kate Greenaway.

During their studies at the University of Marburg the brothers came to see culture as tied to language, and regarded the purest cultural expression in the grammar of a language. For this reason they began to distance themselves from the practices of Brentano and the other romanticists who frequently changed the original oral style of folk tales to fit a literary style that the brothers considered artificial; they believed that the style of the people (the volk) represented a natural and divinely inspired poetry (naturpoesie) as opposed to the kunstpoesie (art poetry) which they thought of as artificially constructed.[29][30] As literary historians and scholars they delved into the origins of stories and attempted to retrieve them from the oral tradition without loss of the original traits of oral language.[29]

The brothers strongly believed the dream of national unity and independence relied on a full knowledge of the cultural past that was reflected in folklore.[30] They worked to discover and crystallize a kind of Germanness in the stories they collected because they believed that folklore contained kernels of ancient mythologies and beliefs, crucial to understanding the essence of German culture,[6] and by examining culture from a philological point-of-view they sought to establish connections between German law, culture, and local beliefs.[29]

Frontispiece of 1854 edition of German Dictionary (Deutsches Wörterbuch)

The Grimms considered the tales to have origins in traditional Germanic folklore, which they thought had been "contaminated" by later literary tradition.[6] In the shift from the oral tradition to the printed book, tales were translated from regional dialects to Standard German (Hochdeutsch or High German),[31] however, over the course of the many modifications and revisions, the Grimms sought to reintroduce regionalisms, dialects and low German to the tales—to re-introduce the language of the original form of the oral tale.[32]

As early as 1812, they published a version of the Lay of Hildebrand, a 9th-century German heroic song, along with Die beiden ältesten deutschen Gedichte aus dem achten Jahrhundert: Das Lied von Hildebrand und Hadubrand und das Weißenbrunner Gebet, (The Two Oldest German Poems of the Eighth Century: The Song of Hildebrand and Hadubrand and the Wessobrunn Prayer), the earliest known German heroic song.[33]

Between 1816 and 1818 the brothers published a two-volume work titled Deutsche Sagen, (German Legends) consisting of 585 German legends.[26] Jacob undertook most of the work of collecting and editing the legends that he organized according to region and historical (ancient) legends,[34] and which were about real people or events.[33] Meant to be a scholarly work, the historical legends were often taken from secondary sources, interpreted, modified and rewritten, resulting works "that were regarded as trademarks".[34] Although some scholars criticized the Grimm's methodology in collecting and rewriting the legends, conceptually they set an example for legend collections that was to be followed by others throughout Europe. Unlike the collection of folk tales, Deutsche Sagen sold poorly.[34]

Less well-known, is the brothers' monumental scholarly work on a German dictionary, the Deutsches Wörterbuch, which they began in 1838. Not until 1852 did they begin publishing the dictionary in installments.[34] The work on the dictionary could not be finished in their lifetime because in it they gave a history and analysis of each word.[33]

Reception and legacy[edit]

Berlin memorial plaque, Brüder Grimm, Alte Potsdamer Straße 5, Berlin-Tiergarten, Germany
Design of the front of the 1992 1000 Deutsche Mark showing the Brothers Grimm[35]

Kinder- und Hausmärchen was not an immediate bestseller, but its popularity grew with each edition.[36] The early editions attracted lukewarm critical reviews, generally on the basis that the stories were unappealing to children. The brothers responded with modifications and rewrites in order to increase the book's market appeal to that demographic.[6] By the 1870s the tales had increased greatly in popularity, to the point they were added to the teaching curriculum in Prussia. In the 20th century the work has maintained status as second only to the bible as the most popular book in Germany. Its sales generated a mini-industry of criticism which analyzed the tales folkloric content in the context of literary history, socialism and psychological elements often along Freudian and Jungian lines.[36]

In their research, the brothers made a science of the study of folklore (see folkloristics), generating a model of research that "launched general fieldwork in most European countries",[37] and setting standards for research and analysis of stories and legends that made them pioneers in the field of folklore in the 19th century.[38]

During the Third Reich the Grimms' stories were used to foster nationalism and the Nazi party decreed Kinder- und Hausmärchen was a book each household should own; later in occupied Germany the book was banned for a period.[39] In the US, the 1937 release of Walt Disney's Snow White and the Seven Dwarfs shows the triumph of good over evil, innocence over oppression, according to Zipes: a popular theme that Disney repeated in 1959 during the Cold War with the production of Sleeping Beauty.[40] The Grimms' tales have provided much of the early foundation on which the Disney empire was built.[19] In film, the Cinderella motif, the story of a poor girl finding love and success, continues to be repeated in movies such as Pretty Woman, Ever After, Maid in Manhattan, and Ella Enchanted.[41]

20th century educators debated the value and influence of teaching stories that include brutality and violence, causing some of the more grim details to be sanitized.[36] Dégh writes that some educators believe children should be shielded from cruelty of any form, that stories with a happy ending are fine to teach whereas those that are darker, particularly the legends, might pose more harm. On the other hand some educators and psychologist believe children easily discern the difference between what is a story and what is not and that the tales continue to have value for children.[42] The publication of Bruno Bettleheim's 1976 The Uses of Enchantment brought a new wave of interest in the stories as children's literature, with an emphasis on the "therapeutic value for children".[41] More popular stories such as "Hansel and Gretel" and "Little Red Riding Hood" have become staples of modern childhood presented in coloring books, puppet shows and cartoons. Other stories, however, have been considered too gruesome and have not made a popular transition.[39]

Regardless of the debate, the Grimms' stories have continued to be resilient and popular around the world,[42] although a recent study in England appears to suggest that parents consider the stories to be overly violent and inappropriate for young children, writes Libby Copeland for Slate.[43]

The university library at the Humboldt-Universität Berlin is housed in the Jacob and Wilhelm Grimm Center (Jakob-und-Wilhelm-Grimm-Zentrum).[44] Among its collections is a large portion of the Grimm Brothers' private library.[45]

Influence[edit]

Grimm Brothers

The influence of these books was widespread. W. H. Auden praised the collection, during World War II, as one of the founding works of Western culture.[46] The tales themselves have been put to many uses. Hitler praised them as folkish tales showing children with sound racial instincts seeking racially pure marriage partners, and so strongly that the Allied forces warned against them;[47] for instance, Cinderella with the heroine as racially pure, the stepmother as an alien, and the prince with an unspoiled instinct being able to distinguish.[48] Writers who have written about the Holocaust have combined the tales with their memoirs, as Jane Yolen in her Briar Rose.[49]

The work of the Brothers Grimm influenced other collectors, both inspiring them to collect tales and leading them to similarly believe, in a spirit of romantic nationalism, that the fairy tales of a country were particularly representative of it, to the neglect of cross-cultural influence. Among those influenced were the Russian Alexander Afanasyev, the Norwegians Peter Christen Asbjørnsen and Jørgen Moe, the English Joseph Jacobs, and Jeremiah Curtin, an American who collected Irish tales.[50] There was not always a pleased reaction to their collection. Joseph Jacobs was in part inspired by his complaint that English children did not read English fairy tales;[51] in his own words, "What Perrault began, the Grimms completed".

Three individual works of Wilhelm Grimm include Altdänische Heldenlieder, Balladen und Märchen ('Old Danish Heroic Lays, Ballads, and Folktales') in 1811, Über deutsche Runen ('On German Runes') in 1821, and Die deutsche Heldensage ('The German Heroic Legend') in 1829.

On 20 December 2012 the search engine Google honoured the 200th anniversary of the Grimms' Fairy Tales with an interactive Doodle.[52]

List of fairy tales[edit]

Further information: List of fairy tales

The code "KHM" stands for Kinder- und Hausmärchen, the original title. All editions from 1812 until 1857 split the stories into two volumes.

Volume 1[edit]

Monument to brothers Grimm on the market place in Hanau. (Hessen, Germany)
Frontispiece used for the first volume of the 1840 4th edition

Volume 2[edit]

Frontispiece used for the second volume of the 1840 4th edition. The portrait by Ludwig Emil Grimm bears resemblance to the storyteller Dorothea Viehmann.

The children's legends (Kinder-legende) first appeared in the G. Reimer 1819 edition at the end of volume 2).

No longer included in last edition[edit]

  • Das Birnli will nit fallen
  • Blaubart (Bluebeard)
  • Die drei Schwestern (The Three Sisters)
  • Die Prinzessin auf der Erbse (Princess and the Pea)
  • Der Faule und der Fleißige (The sluggard and the diligent)
  • Der gestiefelte Kater (Puss in Boots)
  • Der gute Lappen (Fragment) (The good rag)
  • Die Hand mit dem Messer (The hand with the knife)
  • Hans Dumm
  • Die heilige Frau Kummernis (The holy woman Kummernis)
  • Hurleburlebutz
  • Die Krähen (The Crows)
  • Der Löwe und der Frosch (The Lion and the Frog)
  • Das Mörderschloss (The Murder Castle)
  • Der Okerlo (The Okerlo)
  • Prinzessin Mäusehaut (Princess Mouse Skin)
  • Der Räuber und seine Söhne (The Robber and His Sons)
  • Schneeblume (Snow Flowers)
  • Der Soldat und der Schreiner (The Soldier and the Carpenter)
  • Der Tod und der Gänsehirt (Death and the Goose herder)
  • Die treuen Tiere (The faithful animals)
  • Das Unglück (The Accident)
  • Vom Prinz Johannes (Fragment) (Of Prince Johannes)
  • Vom Schreiner und Drechsler (From the Maker and Turner)
  • Von der Nachtigall und der Blindschleiche (The nightingale and the slow worm)
  • Von der Serviette, dem Tornister, dem Kanonenhütlein und dem Horn (Of the napkin, the knapsack, the Cannon guarding flax, and the Horn)
  • Wie Kinder miteinander Schlachten gespielt haben (How children played slaughter with each other)
  • Der wilde Mann (The Wild Man)
  • Die wunderliche Gasterei (The strange Inn)

References[edit]

  1. ^ Maria Tatar, The Hard Facts of the Grimms' Fairy Tales, p.15–17, ISBN 0-691-06722-8
  2. ^ A. S. Byatt, "Introduction" p. xlii–iv, Maria Tatar, ed. The Annotated Brothers Grimm, ISBN 0-393-05848-4
  3. ^ a b c d Jean 2007, pp. 280–282
  4. ^ a b Haase 2008, p. 138
  5. ^ a b Tatar 2004, pp. xxxviii
  6. ^ a b c d e f Tatar 2004, pp. xxxiv–xxxviii
  7. ^ Tatar 2004, pp. xxxvi
  8. ^ a b Murphy 2000, pp. 3–4
  9. ^ Zipes 1988, pp. 2–5
  10. ^ a b Haase 2008, p. 579
  11. ^ a b c Ashliman, D.L. "Grimm Brothers Home Page". University of Pittsburgh. Retrieved 11 March 2012. 
  12. ^ Zipes 2000, p. 62
  13. ^ a b Joosen 2006, pp. 177–179
  14. ^ a b c Zipes 1988, pp. 11–14
  15. ^ a b Tatar 2004, pp. xi–xiii
  16. ^ a b c Tatar 1987, pp. 15–17
  17. ^ Tatar 1987, p. 31
  18. ^ a b Dégh 1979, pp. 91–93
  19. ^ a b c d e f O'Neill, Thomas. "Guardians of the Fairy Tale: The Brothers Grimm". National Geographic. National Geographic Society. Retrieved March 18, 2012. 
  20. ^ a b Bottigheimer 1982, pp. 142–146
  21. ^ Bottigheimer 1982, p. 143
  22. ^ Alister & Hauke 1998, pp. 216–219
  23. ^ Tatar 2004, p. 37
  24. ^ Zipes 1988, pp. 39–42
  25. ^ Zipes 2000, pp. 218–219
  26. ^ a b Michaelis-Jena 1970, p. 84
  27. ^ a b c d e Zipes 2000, pp. 276–278
  28. ^ Haase 2008, p. 73
  29. ^ a b c Zipes 1988, pp. 32–35
  30. ^ a b Dégh 1979, pp. 84–85
  31. ^ Zipes 1994, p. 14
  32. ^ Robinson 2004, pp. 47–49
  33. ^ a b c Hetting 2001, pp. 154–155
  34. ^ a b c d Haase 2008, pp. 429–431
  35. ^ Deutsche Bundesbank (Hrsg.): Von der Baumwolle zum Geldschein. Eine neue Banknotenserie entsteht. 2. Auflage. Verlag Fritz Knapp GmbH, Frankfurt am Main 1996, ISBN 3-611-00222-4, S. 103.
  36. ^ a b c Zipes 1988, pp. 15–17
  37. ^ Dégh 1979, p. 87
  38. ^ Zipes & 1981 163
  39. ^ a b Dégh 1979, pp. 94–96
  40. ^ Zipes 1988, p. 25
  41. ^ a b Tatar 2010
  42. ^ a b Dégh 1979, pp. 99–101
  43. ^ Copeland, Libby. "Tales Out of Fashion?". Slate. Retrieved March 28, 2012. 
  44. ^ "Jacob-und-Wilhelm-Grimm-Zentrum — Universitaetsbibliothek der HU Berlin". Ub.hu-berlin.de. Retrieved 2012-12-20. 
  45. ^ "The Grimm Library — Universitaetsbibliothek der HU Berlin". Ub.hu-berlin.de. Retrieved 2012-12-20. 
  46. ^ A. S. Byatt, "Introduction" p. xxx, Maria Tatar, ed. The Annotated Brothers Grimm, ISBN 0-393-05848-4
  47. ^ A. S. Byatt, "-xxxix, Maria Tatar, ed. The Annotated Brothers Grimm, ISBN 0-393-05848-4
  48. ^ Lynn H. Nicholas, Cruel World: The Children of Europe in the Nazi Web p 77-8 ISBN 0-679-77663-X
  49. ^ A. S. Byatt, "Introduction" p. xlvi, Maria Tatar, ed. The Annotated Brothers Grimm, ISBN 0-393-05848-4
  50. ^ Jack Zipes, The Great Fairy Tale Tradition: From Straparola and Basile to the Brothers Grimm, p 846, ISBN 0-393-97636-X
  51. ^ Maria Tatar, p 345-5, The Annotated Classic Fairy Tales, ISBN 0-393-05163-3
  52. ^ interactive Google Doodle on the occasion of the 200th birthday of the Grimms' Fairy Tales
  • Grimm Brothers. The Complete Grimm's Fairy Tales. New York: Pantheon Books, 1944. ISBN 0394494156. (in English, based on Margarate Hunt's translation)

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