Grimms' Fairy Tales, originally known as the Children's and Household Tales (German: Kinder- und Hausmrchen, .mw-parser-output .IPA-label-small{font-size:85%}.mw-parser-output .references .IPA-label-small,.mw-parser-output .infobox .IPA-label-small,.mw-parser-output .navbox .IPA-label-small{font-size:100%}pronounced [knd nt hasmn], commonly abbreviated as KHM), is a German collection of fairy tales by the Grimm brothers or "Brothers Grimm", Jacob and Wilhelm, first published on 20 December 1812. Vol. 1 of the first edition contained 86 stories, which were followed by 70 more tales, numbered consecutively, in the 1st edition, Vol. 2, in 1815. By the seventh edition in 1857, the corpus of tales had expanded to 200 tales and 10 "Children's Legends". It is listed by UNESCO in its Memory of the World Registry.
The Grimms believed that the most natural and pure forms of culture were linguistic and based in history.[2] 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.[7] Among those influenced were the Russian Alexander Afanasyev, the Norwegians Peter Christen Asbjrnsen and Jrgen Moe, the English Joseph Jacobs, and Jeremiah Curtin, an American who collected Irish tales.[8] 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;[9] in his own words, "What Perrault began, the Grimms completed".
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Such lasting fame would have shocked the humble Grimms. During their lifetimes the collection sold modestly in Germany, at first only a few hundred copies a year. The early editions were not even aimed at children. The brothers initially refused to consider illustrations, and scholarly footnotes took up almost as much space as the tales themselves. Jacob and Wilhelm viewed themselves as patriotic folklorists, not as entertainers of children. They began their work at a time when Germany had been overrun by the French under Napoleon, who were intent on suppressing local culture. As young, workaholic scholars, single and sharing a cramped flat, the Brothers Grimm undertook the fairy-tale collection with the goal of saving the endangered oral tradition of Germany.
This first edition is wholly unlike the so-called definitive edition of 1857. In the process of publishing seven different editions over forty years, the Grimms made vast changes in the contents and style. The stories in the first edition are closer to the oral tradition than the tales of the final, which can be regarded more as a literary collection, because Wilhelm, the younger brother, continually honed the tales so that they would resonate with a growing literary public. Their books would become second in popularity only to the Bible in German-speaking lands. By the twentieth century, they would become the most famous collection of folk and fairy tales in the western world.
All of the tales in the first edition bear the marks of their diverse storytellers who believed in the magic, superstitions, and miraculous transformations of the tales. It may be difficult for us to understand why this is the case, but for the storytellers and writers of these tales, the stories contained truths about the living conditions of their times. The tales in the first edition were collected not from peasants, as is commonly believed, but mainly from literate people whom the Grimms came to know quite well. Evidence shows that these people often obtained their tales from illiterate or anonymous informants. Even if they did not know their informants, the Grimms came to trust almost everyone who contributed to their collection. It is this mutual trust that marks the tales as something special and endows them with a certain humanity, what Germans call Menschlichkeit, and it is this mutual trust among folklorists in the nineteenth century that marks it as the golden age of folk and fairy tales. The tales in the first edition set a certain standard that collectors began to follow and still follow even today.
This then is the strange rags-to-riches tale of two mild-mannered librarians, Jacob and Wilhelm Grimm (affectionately known as the Brothers Grimm), who went hunting for fairytales and accidentally ended up changing the course of historical linguistics and kickstarting a whole new field of scholarship in folklore.
Most people are aware that the Grimm brothers collected fairy stories, to the delight of children everywhere. For logical, rational folk, such statistically improbable stories, with their witches, fairies, princes and princesses, woodcutters, tailors, lost children, talking animals, all frolicking about the woods from May Day to the bleak midwinter, are often dismissed as sometimes strange, sometimes silly, never serious and certainly not scholarly. Why should we care about such tales?
This is what the Brothers Grimm did as they set about collecting as many tales as they could, in the vernacular, all over the country, no matter how violent, offensive, or grim. In those days, the fairytales that were fashionable in upper class social circles were written to be literary or moral teaching moments, such as the tales of Charles Perrault. The Grimm brothers thought this kind of sanitized French style to be more fakelore than folklore, with the language, artificially literary, clearly written to be read by the educated classes. Their novel approach was to include folktales as a kind of Naturpoesie, and to write them down not just for literature, but for science.
Notes: This fairy tale collection contains 52 of the Grimm's fairy tales.This new Dover edition, first published in 1963,is an unabridged republication of the work firstpublished by Macmillan and Company in 1886.
Read a selection of the most popular Grimms' fairy tales and consider why they have remained so popular. What is it about fairy tales that has made them such a lasting source of creative inspiration into our time? Learn to understand and critique fairy tales and their role in Western cultures through analysis of the tales and creative adaptation of a tale for a modern audience. This course may be subject to Enforced Prerequisites that restrict registration into the course. Check the offerings below for more information.
Although dozens of disabled characters appear in the Grimms' Children's and Household Tales, the issue of disability in their collection has remained largely unexplored by scholars. In Disability, Deformity, and Disease in the Grimms' Fairy Tales, author Ann Schmiesing analyzes various representations of disability in the tales and also shows how the Grimms' editing (or "prostheticizing") of their tales over seven editions significantly influenced portrayals of disability and related manifestations of physical difference, both in many individual tales and in the collection overall.
 Schmiesing begins by exploring instabilities in the Grimms' conception of the fairy tale as a healthy and robust genre that has nevertheless been damaged and needs to be restored to its organic state. In chapter 2, she extends this argument by examining tales such as "The Three Army Surgeons" and "Brother Lustig" that problematize, against the backdrop of war, characters' efforts to restore wholeness to the impaired or diseased body. She goes on in chapter 3 to study the gendering of disability in the Grimms' tales with particular emphasis on the Grimms' editing of "The Maiden Without Hands" and "The Frog King or Iron Henry." In chapter 4, Schmiesing considers contradictions in portrayals of characters such as Hans My Hedgehog and the Donkey as both cripple and "supercripple"a figure who miraculously "overcomes" his disability and triumphs despite social stigma. Schmiesing examines in chapter 5 tales in which no magical erasure of disability occurs, but in which protagonists are depicted figuratively "overcoming" disability by means of other personal abilities or traits.
 The Grimms described the fairy tale using metaphors of able-bodiedness and wholeness and espoused a Romantic view of their editorial process as organic restoration. Disability, Deformity, and Disease in the Grimms' Fairy Tales shows, however, the extent to which the Grimms' personal experience of disability and illness impacted the tales and reveals the many disability-related amendments that exist within them. Readers interested in fairy-tales studies and disability studies will appreciate this careful reading of the Grimms' tales.
Your post struck a few chords. As a child my father would take us a few times across the Grossglockner Pass, among others. One journey was precarious, when the mist was so thick we drove with our car doors open to gage where the road fell away down the cliffs. Thanks for the lovely photos.
Also, I grew up with the fairy tales of the Grimm Brothers and Anderson. I remember being so impressed by The Princess and the Pea, I got my friends to stage the story, with stacks of mattresses, curtain and all, in my bedroom, and we invited the grown-ups to watch. ?
MCGILL: It definitely speaks to the human side of fairy tales, and in selecting and reading and looking back at the essence of the tales, no matter what is going on, it is representative of the human situation, the human struggle. We were able to use the familiarity of the original pieces, but with a different context that can make different contemporary points.
Few people look to fairy tales for models of humane, civilized behavior. The stories have taken hold for a far more important reason: the hard facts of fairytale life offer exaggerated visions of the grimm realities and outlandish fantasies that touch and shape the livesof every child and adult. e24fc04721
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