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November 21, 2017

The Golden Age of Illustration - Kay Nielsen & Arthur Rackham

This month, EC is shining a spotlight on two of our favorite European artists from The Golden Age of Illustration (1880s - 1920s) - Kay Nielsen and Arthur Rackham.

Both Nielsen and Rackham's art was influenced by the Arts and Crafts movement, Art Nouveau, and the Pre-Raphaelite and Post Impressionist artists of their time, and Nielsen and Rackham, in turn, have influenced modern illustrators, as well.

Read more about them and see some of their art below:

Kay Nielsen
Kay Rasmus Nielsen (March 12, 1886 - June 21, 1957) was a Danish illustrator who was popular in the early 20th century.

After studying art in Paris from 1904 to 1911, Nielsen moved to England where he received his first commission from Hodder and Stroughton in 1913 to illustrate a collection of fairy tales. His 24 color plates and 15 monotone illustrations for the book, In Powder and Crinoline, Fairy Tales Retold by Sir Arthur Quiller-Couch, led to The Illustrated London News hiring him to produce illustrations for the tales of Charles Perrault (Sleeping Beauty, Puss in Boots, Cinderella, and Bluebeard) for their 1913 Christmas edition.

From 1914 to 1925, Nielsen produced illustrations for several books including East of the Sun and West of the Moon; Fairy Tales by Hans Christian Andersen; and Hansel and Gretel and Other Stories by the Brothers Grimm. He also worked, during this time, for the Royal Danish Theatre in Copenhagen where he painted stage scenery.

In 1937, after moving to California, he was hired by the Walt Disney Company where his art was used in the film, Fantasia, in the "Ave Maria" and "Night on Bald Mountain" sequences.

To me, Kay Nielsen's striking art has a timeless, graphic quality that still speaks to modern viewers. Check out his art below:
from East of the Sun and West of the Moon 1914
Kay Nielsen
L'art Magique 1913
Kay Nielsen
from The 12 Dancing Princesses 1913
Kay Nielsen
from In Powder and Crinoline 1913
Kay Nielsen
Special thanks to our guest art editors:
Christina Johnson
and Teresa Robeson

Arthur Rackham
Arthur Rackham (September 18, 1867 - September 6, 1939) is widely regarded as one of the leading illustrators from the Golden Age of British book illustration. His work is seen as a fusion of a northern European Nordic style with the Japanese woodblock tradition of the early 19th century. His background in journalistic illustration, combined with a subtle use of watercolor created a unique look that was able to be mass produced in high quality illustrated books due to technological developments in photographic reproduction.

Notable works of his include his illustrations for Peter Pan by J.M. Barrie, Gulliver's Travels by Jonathan Swift, A Midsummer Night's Dream by William Shakespeare, Alice's Adventures in Wonderland by Lewis Carroll, The Sleeping Beauty by Charles Perrault and the Brothers Grimm, The Valkyrie by Richard Wagner, and many more.

Rackham's art defined how fairy tales looked inside my mind, and his work still resonates with fairy tale enthusiasts all over the world. Check out his art below:
Little Red Riding Hood 1908
Arthur Rackham
from Jack and the Beanstalk 1918
Arthur Rackham
The Old Woman in the Wood 1917
Arthur Rackham
from Undine 1909
Arthur Rackham
Special thanks to our guest art editors:
Jude Tulli
and Kevin Hopson

Let us know your favorites in the Comments section below.

July 1, 2016

Dawn Thread, By Judy Darley


Her room is full of feathers, dyed crimson,
scarlet, burgundy, blood.
Each hollow shaft sliced to a needlepoint.
She kneels among their flaming shards
at the foot of her naked toile, weaves
them in place, fastened with filaments.
 
Eyes closed, she sees eighteen shades
of red, one to denote each month in this cell.
 
From solstice moon to solstice sun
twice over, she’s stitched,
hands raw with the snip, shove, sew.
Lungs gasping against barbs inhaled;
eyes clogged with fragments of quill.
The tower walls are ablush with innocent dust.
 
The midsummer day cracks open,
and her plumage is complete.
On the furthest edge of the sky,
she hears her brothers’ thunderous wings.

Judy Darley is a UK-based fiction writer, poet and journalist. Her words have been published by literary magazines and anthologies, and performed on BBC radio, in cafés, in caves, in artist’s studios and in a disused church. She blogs about art and other things at www.SkyLightRain.com.

Image by Kay Nielsen

August 9, 2014

Another Treasure From Great-Grandmother's Trove, By Cristina Ruth Johnson, Vintage Fairy Tale Sleuth

I’ve mentioned before that my great-grandmother collected some beautiful books. Undine, which I wrote about in an earlier post, is one of them. Another is an exquisite edition of East of the Sun and West of the Moon: Old Tales from the North, illustrated by the great Kay Nielsen.


 Kay Nielsen was born in Denmark in 1886. His career blossomed early, but the tides of war and of a declining interest in the illustrative arts left a magnificent talent to end his days in poverty. He died in 1957. Posthumously, he was eventually recognized as one--if not the--greatest illustrator of the Golden Age of Illustration.

“The Golden Age of Illustration was a period of unprecedented excellence in book and magazine illustration. It developed from advances in technology permitting accurate and inexpensive reproduction of art, combined with a voracious public demand for new graphic art. In Europe, Golden Age artists were influenced by the Pre-Raphaelites and by such design-oriented movements as the Arts and Crafts Movement, Art Nouveau, and Les Nabis” (ArtCyclopedia).

Nielsen’s work is often noted as being inspired by fellow illustrator Aubrey Beardsley and, more generally, the Art Nouveau movement. He was also inspired from a young age by the art of Japan (example, Katsushika Hokusai), especially wood-block prints, as can be seen in his asymmetrical compositions and elements flattened by the use of rich and intricate patterns.

The first volume that Nielsen illustrated to great acclaim was In Powder and Crinoline, published in America as The Twelve Dancing Princesses, a collection of tales retold by Sir Arthur Quiller-Couch (1913).
 
From Powder and Crinoline, Kay Nielsen

East of the Sun and West of the Moon: Old Tales from the North was published the following year. Nielsen’s illustrations in this collection of fantastic and unusual stories are without a doubt his best work. (Admittedly, I’m biased, since I’ve seen them in person.) His creations have an oddness to them that catches the eye immediately, but the depth of beauty within this oddness keeps the eye’s attention. They are rich, they are compelling, they are . . . fairy-tale. Perfectly, wonderfully fairy tale.

"The Lassie and Her Grandmother," Kay Nielsen

Old Tales from the North was published by Hodder & Stoughton (1914). The first edition deluxe copies (of which 500 were made) are signed by Nielsen. They are bound in vellum with gilt lettering and decoration. The first edition trade copies are bound in blue cloth and likewise decorated in gilt. The tales within the anthology were mainly culled from George Webbe Dasent’s “Popular Tales from the Norse” (translated from Peter Christen Asbjørnsen and Jørgen Moe’sNorske Folkeeventyr in 1859) though one tale, “Prince Lindworm,” was actually translated specifically for this anthology. You can read the full text of the book online here.

Nielsen’s publishing career was stymied for the next 10 years by World War I and also by his interests in theater production, though he worked during this period on illustrations for a volume of stories from Arabian Nights, which was never completed. 1924 and 1925 saw the back-to-back publications of his work in anthologies of tales by Hans Christian Andersen and the Grimm brothers. The final book to feature his illustrations was the little-known Red Magic, published in 1930.  

Red Magic,  Kay Nielsen

Nielsen and his wife moved to California in 1936, where he spent the remainder of his life. His final illustrative work was done as an employee of Walt Disney Studios. We can see his creations in Fantasia (1940), including the “Night on Bald Mountain” and “Ave Maria” scenes. He also did early creative work for a proposed film based on Andersen’s “The Little Mermaid”--a project which, as we know, would not see completion for another 50 years. The Little Mermaid film still credited Nielsen for “visual development.” 

The Little Mermaid, Kay Nielsen

Which of Nielsen’s illustrations is your favorite? Join Enchanted Conversation and let us know!

Christina Ruth Johnson recently received her Masters in Art History with a focus on the ancient Mediterranean and a side interest in the 18th and 19th centuries. Her other great love is fantasy literature from ancient times to present day.



References:
Link to illustrations
Link to full text
https://archive.org/stream/eastofthesunandw30973gut/pg30973.txt

July 5, 2012

Rumpelstiltskin, By Jacob and Wilhelm Grimm

Editor's note: Poor old Rumpelstiltskin. In my book, he was more sinned against than sinning. He always just seemed like a lonely guy who wanted a child -- and really, how great would the greedy king and thoughtless miller's daughter be as parents? And the miller? A dolt. Everyone knows that you do not, do not, try to gain the attention of the greedy and powerful -- unless you are attempting a palace coup.

The miller was not up to anything like a palace takeover, but in any case, the brag about his daughter's alleged ability to spin straw into gold sets the whole story of "Rumpelstiltskin" motion. 

The king, even for a figure of power in a fairy tale, is notably greedy and cruel. Not only does he want all the gold he can get (which, admittedly, is a pretty common failing), but he threatens her with death if she fails to produce. The miller, meanwhile, is not seen to throw himself at the feet of the kind, begging for mercy for his daughter.

The miller's daughter is pretty vacant, in this version of the tale, and this version is a standard text. All she can do is cry. Then, she ultimately promises away one of the things the king would most want from her: His future child. Granted, she is scared, but surely, a man who would kill a woman who couldn't spin straw into gold would also kill her if she gave away his child -- but he'd probably torture her first. Perhaps she needed to think harder.

Rumpel is the only decent person in the story. He even gives the "heroine" a chance to keep her baby by guessing his name. And she cheats.

But you know that, because you already know the story. The Brothers Grimm version below is from 1922. 

What do you think of my surly take on this story? I say, "Team Rumpel!"

Charles Robinson

There was once a poor Miller who had a beautiful daughter, and one day, having to go to speak with the King, he said, in order to make himself appear of consequence, that he had a daughter who could spin straw into gold. The King was very fond of gold, and thought to himself, "That is an art which would please me very well"; and so he said to the Miller, "If your daughter is so very clever, bring her to the castle in the morning, and I will put her to the proof."

As soon as she arrived the King led her into a chamber which was full of straw; and, giving her a wheel and a reel, he said, "Now set yourself to work, and if you have not spun this straw into gold by an early hour to-morrow, you must die." With these words he shut the room door, and left the maiden alone.

There she sat for a long time, thinking how to save her life; for she understood nothing of the art whereby straw might be spun into gold; and her perplexity increased more and more, till at last she began to weep.

All at once the door opened, and in stepped a little Man, who said, "Good evening, fair maiden; why do you weep so sore?"

"Ah," she replied, "I must spin this straw into gold, and I am sure I do not know how."

Anne Anderson

 The little Man asked, "What will you give me if I spin it for you?"

"My necklace," said the maiden.

The Dwarf took it, placed himself in front of the wheel, and whirr, whirr, whirr, three times round, and the bobbin was full. Then he set up another, and whir, whir, whir, thrice round again, and a second bobbin was full; and so he went all night long, until all the straw was spun, and the bobbins were full of gold. At sunrise the King came, very much astonished to see the gold; the sight of which gladdened him, but did not make his heart less covetous. He caused the maiden to be led into another room, still larger, full of straw; and then he bade her spin it into gold during the night if she valued her life. The maiden was again quite at a loss what to do; but while she cried the door opened suddenly, as before, and the Dwarf appeared and asked her what she would give him in return for his assistance. "The ring off my finger," she replied. The little Man took the ring and began to spin at once, and by morning all the straw was changed to glistening gold. The King was rejoiced above measure at the sight of this, but still he was not satisfied, but, leading the maiden into another still larger room, full of straw as the others, he said, "This you must spin during the night; but if you accomplish it you shall be my bride." "For," thought he to himself, "a richer wife thou canst not have in all the world."

Charles Folkard

When the maiden was left alone, the Dwarf again appeared and asked, for the third time, "What will you give me to do this for you?"

"I have nothing left that I can give you," replied the maiden.

"Then promise me your first-born child if you become Queen," said he.

John Gruelle
The Miller's daughter thought, "Who can tell if that will ever happen?" and, ignorant how else to help herself out of her trouble, she promised the Dwarf what he desired; and he immediately set about and finished the spinning. When morning came, and the King found all he had wished for done, he celebrated his wedding, and the Miller's fair daughter became Queen.

The gay times she had at the King's Court caused her to forget that she had made a very foolish promise.
About a year after the marriage, when she had ceased to think about the little Dwarf, she brought a fine child into the world; and, suddenly, soon after its birth, the very man appeared and demanded what she had promised. The frightened Queen offered him all the riches of the kingdom if he would leave her her child; but the Dwarf answered, "No; something human is dearer to me than all the wealth of the world."

The Queen began to weep and groan so much that the Dwarf pitied her, and said, "I will leave you three days to consider; if you in that time discover my name you shall keep your child."

AH Watson

All night long the Queen racked her brains for all the names she could think of, and sent a messenger through the country to collect far and wide any new names. The following morning came the Dwarf, and she began with "Caspar," "Melchior," "Balthassar," and all the odd names she knew; but at each the little Man exclaimed, "That is not my name." The second day the Queen inquired of all her people for uncommon and curious names, and called the Dwarf "Ribs-of-Beef," "Sheep-shank," "Whalebone," but at each he said, "This is not my name." The third day the messenger came back and said, "I have not found a single name; but as I came to a high mountain near the edge of a forest, where foxes and hares say good night to each other, I saw there a little house, and before the door a fire was burning, and round this fire a very curious little Man was dancing on one leg, and shouting:

Warwick Goble
"'To-day I stew, and then I'll bake,
To-morrow I shall the Queen's child take;
Ah! how famous it is that nobody knows
That my name is Rumpelstiltskin.'"

When the Queen heard this she was very glad, for now she knew the name; and soon after came the Dwarf, and asked, "Now, my lady Queen, what is my name?"

First she said, "Are you called Conrade?" "No."

"Are you called Hal?" "No."

"Are you called Rumpelstiltskin?"

"A witch has told you! a witch has told you!" shrieked the little Man, and stamped his right foot so hard in the ground with rage that he could not draw it out again. Then he took hold of his left leg with both his hands, and pulled away so hard that his right came off in the struggle, and he hopped away howling terribly. And from that day to this the Queen has heard no more of her troublesome visitor.

Kay Nielsen

May 24, 2012

Snow White, By Jacob and Wilhelm Grimm, 1812 Version

Editor's Note: I've taught "Snow White," to college students and read countless submissions to EC updating it, and still, the tale enthralls me. It's been played with in so many ways and forms, for so long, I should be tired of the whole story. But how others see it still often surprises me. What's more, "Snow White," in this variant, is so very different from the pastel cypher of the Disney movie, that I never grow tired of remembering that Snow, in 1812, was a rule-breaking runaway.

As for Disney, while there is much good and bad I could say, and have said, about the 1937 movie classic, I must point this out: Much is written about how the mirror in Snow White" is the voice of male dominance and judgment. Yet, in most of the illustrations of the magic mirror before the movie, the queen's reflection is genderless or a some version of her own reflection. As far as I can tell, it became male with the Disney film. 

And the prince? Dear God! What a creep! In almost every version.

Once upon a time in mid winter, when the snowflakes were falling like feathers from heaven, a beautiful queen sat sewing at her window, which had a frame of black ebony wood. As she sewed, she looked up at the snow and pricked her finger with her needle. Three drops of blood fell into the snow. The red on the white looked so beautiful, that she thought, "If only I had a child as white as snow, as red as blood, and as black as this frame." Soon afterward she had a little daughter that was as white as snow, as red as blood, and as black as ebony wood, and therefore they called her Little Snow-White.

WC Drupsteen

Now the queen was the most beautiful woman in all the land, and very proud of her beauty. She had a mirror, which she stood in front of every morning, and asked:
Mirror, mirror, on the wall,
Who in this land is fairest of all?
And the mirror always said:
You, my queen, are fairest of all.
And then she knew for certain that no one in the world was more beautiful than she.
Now Snow-White grew up, and when she was seven years old, she was so beautiful, that she surpassed even the queen herself. Now when the queen asked her mirror:
Mirror, mirror, on the wall,
Who in this land is fairest of all?
The mirror said:
You, my queen, are fair; it is true.
But Little Snow-White is still
A thousand times fairer than you.
When the queen heard the mirror say this, she became pale with envy, and from that hour on, she hated Snow-White. Whenever she looked at her, she thought that Snow-White was to blame that she was no longer the most beautiful woman in the world. This turned her heart around. Her jealousy gave her no peace. Finally she summoned a huntsman and said to him, "Take Snow-White out into the woods to a remote spot, and stab her to death. As proof that she is dead bring her lungs and her liver back to me. I shall cook them with salt and eat them."

Maxfield Parrish
 
The huntsman took Snow-White into the woods. When he took out his hunting knife to stab her, she began to cry, and begged fervently that he might spare her life, promising to run away into the woods and never return. The huntsman took pity on her because she was so beautiful, and he thought, "The wild animals will soon devour her anyway. I'm glad that I don't have to kill her." Just then a young boar came running by. He killed it, cut out its lungs and liver, and took them back to the queen as proof of Snow-White's death. She cooked them with salt and ate them, supposing that she had eaten Snow-White's lungs and liver.
Snow-White was now all alone in the great forest. She was terribly afraid, and began to run. She ran over sharp stones and through thorns the entire day. Finally, just as the sun was about to set, she came to a little house. The house belonged to seven dwarfs. They were working in a mine, and not at home. Snow-White went inside and found everything to be small, but neat and orderly. There was a little table with seven little plates, seven little spoons, seven little knives and forks, seven little mugs, and against the wall there were seven little beds, all freshly made.

Snow-White was hungry and thirsty, so she ate a few vegetables and a little bread from each little plate, and from each little glass she drank a drop of wine. Because she was so tired, she wanted to lie down and go to sleep. She tried each of the seven little beds, one after the other, but none felt right until she came to the seventh one, and she lay down in it and fell asleep.
When night came, the seven dwarfs returned home from the work. They lit their seven little candles, and saw that someone had been in their house.

Artist: ??
 
The first one said, "Who has been sitting in my chair?"

The second one, "Who has been eating from my plate?"

The third one, "Who has been eating my bread?"

The fourth one, "Who has been eating my vegetables?"

The fifth one, "Who has been sticking with my fork?"

The sixth one, "Who has been cutting with my knife?"

The seventh one, "Who has been drinking from my mug?"

Then the first one said, "Who stepped on my bed?"

The second one, "And someone has been lying in my bed."

And so forth until the seventh one, and when he looked at his bed, he found Snow-White lying there, fast asleep. The seven dwarfs all came running, and they cried out with amazement. They fetched their seven candles and looked at Snow-White. "Good heaven! Good heaven!" they cried. "She is so beautiful!" They liked her very much. They did not wake her up, but let her lie there in the bed. The seventh dwarf had to sleep with his companions, one hour with each one, and then the night was done.

When Snow-White woke up, they asked her who she was and how she had found her way to their house. She told them how her mother had tried to kill her, how the huntsman had spared her life, how she had run the entire day, finally coming to their house. The dwarfs pitied her and said, "If you will keep house for us, and cook, sew, make beds, wash, and knit, and keep everything clean and orderly, then you can stay here, and you'll have everything that you want. We come home in the evening, and supper must be ready by then, but we spend the days digging for gold in the mine. You will be alone then. Watch out for the queen, and do not let anyone in."

Kay Nielsen

 The queen thought that she was again the most beautiful woman in the land, and the next morning she stepped before the mirror and asked:
Mirror, mirror, on the wall,
Who in this land is fairest of all?
The mirror answered once again:
You, my queen, are fair; it is true.
But Little Snow-White beyond the seven mountains
Is a thousand times fairer than you.
It startled the queen to hear this, and she knew that she had been deceived, that the huntsman had not killed Snow-White. Because only the seven dwarfs lived in the seven mountains, she knew at once that they must have rescued her. She began to plan immediately how she might kill her, because she would have no peace until the mirror once again said that she was the most beautiful woman in the land. At last she thought of something to do. She disguised herself as an old peddler woman and colored her face, so that no one would recognize her, and went to the dwarf's house. Knocking on the door she called out, "Open up. Open up. I'm the old peddler woman with good wares for sale."

Warwick Goble

 Snow-White peered out the window, "What do you have?"

"Bodice laces, dear child," said the old woman, and held one up. It was braided from yellow, red, and blue silk. "Would you like this one?"

"Oh, yes," said Snow-White, thinking, "I can let the old woman come in. She means well." She unbolted the door and bargained for the bodice laces.

"You are not laced up properly," said the old woman. "Come here, I'll do it better." Snow-White stood before her, and she took hold of the laces and pulled them so tight that Snow-White could not breathe, and she fell down as if she were dead. Then the old woman was satisfied, and she went away.

Nightfall soon came, and the seven dwarfs returned home. They were horrified to find their dear Snow-White lying on the ground as if she were dead. They lifted her up and saw that she was laced up too tightly. They cut the bodice laces in two, and then she could breathe, and she came back to life. "It must have been the queen who tried to kill you," they said. "Take care and do not let anyone in again."

The queen asked her mirror:
Mirror, mirror, on the wall,
Who in this land is fairest of all?
The mirror answered once again:
You, my queen, are fair; it is true.
But Little Snow-White with the seven dwarfs
Is a thousand times fairer than you.
She was so horrified that the blood all ran to her heart, because she knew that Snow-White had come back to life. Then for an entire day and a night she planned how she might catch her. She made a poisoned comb, disguised herself differently, and went out again. She knocked on the door, but Snow-White called out, "I am not allowed to let anyone in."

Jennie Harbour
 
Then she pulled out the comb, and when Snow-White saw how it glistened, and noted that the woman was a complete stranger, she opened the door, and bought the comb from her. "Come, let me comb your hair," said the peddler woman. She had barely stuck the comb into Snow-White's hair, before the girl fell down and was dead. "That will keep you lying there," said the queen. And she went home with a light heart.
The dwarfs came home just in time. They saw what had happened and pulled the poisoned comb from her hair. Snow-White opened her eyes and came back to life. She promised the dwarfs not to let anyone in again.

The queen stepped before her mirror:
Mirror, mirror, on the wall,
Who in this land is fairest of all?
The mirror answered:
You, my queen, are fair; it is true.
But Little Snow-White with the seven dwarfs
Is a thousand times fairer than you.
When the queen heard this, she shook and trembled with anger, "Snow-White will die, if it costs me my life!" Then she went into her most secret room -- no one else was allowed inside -- and she made a poisoned, poisoned apple. From the outside it was red and beautiful, and anyone who saw it would want it. Then she disguised herself as a peasant woman, went to the dwarfs' house and knocked on the door.
Snow-White peeped out and said, "I'm not allowed to let anyone in. The dwarfs have forbidden it most severely."

Jennie Harbour

"If you don't want to, I can't force you," said the peasant woman. "I am selling these apples, and I will give you one to taste."

"No, I can't accept anything. The dwarfs don't want me to."

"If you are afraid, then I will cut the apple in two and eat half of it. Here, you eat the half with the beautiful red cheek!" Now the apple had been so artfully made that only the red half was poisoned. When Snow-White saw that the peasant woman was eating part of the apple, her desire for it grew stronger, so she finally let the woman hand her the other half through the window. She bit into it, but she barely had the bite in her mouth when she fell to the ground dead.

The queen was happy, went home, and asked her mirror:
Mirror, mirror, on the wall,
Who in this land is fairest of all?
And it answered:
You, my queen, are fairest of all.
"Now I'll have some peace," she said, "because once again I'm the most beautiful woman in the land. Snow-White will remain dead this time."

Marianne Stokes
 
That evening the dwarfs returned home from the mines. Snow-White was lying on the floor, and she was dead. They loosened her laces and looked in her hair for something poisonous, but nothing helped. They could not bring her back to life. They laid her on a bier, and all seven sat next to her and cried and cried for three days. They were going to bury her, but they saw that she remained fresh. She did not look at all like a dead person, and she still had beautiful red cheeks. They had a glass coffin made for her, and laid her inside, so that she could be seen easily. They wrote her name and her ancestry on it in gold letters, and one of them always stayed at home and kept watch over her.

Snow-White lay there in the coffin a long, long time, and she did not decay. She was still as white as snow and as red as blood, and if she had been able to open her eyes, they still would have been as black as ebony wood. She lay there as if she were asleep.

Henry M. Rheam


One day a young prince came to the dwarfs' house and wanted shelter for the night. When he came into their parlor and saw Snow-White lying there in a glass coffin, illuminated so beautifully by seven little candles, he could not get enough of her beauty. He read the golden inscription and saw that she was the daughter of a king. He asked the dwarfs to sell him the coffin with the dead Snow-White, but they would not do this for any amount of gold. Then he asked them to give her to him, for he could not live without being able to see her, and he would keep her, and honor her as his most cherished thing on earth. Then the dwarfs took pity on him and gave him the coffin.

The prince had it carried to his castle, and had it placed in a room where he sat by it the whole day, never taking his eyes from it. Whenever he had to go out and was unable to see Snow-White, he became sad. And he could not eat a bite, unless the coffin was standing next to him. Now the servants who always had to carry the coffin to and fro became angry about this. One time one of them opened the coffin, lifted Snow-White upright, and said, "We are plagued the whole day long, just because of such a dead girl," and he hit her in the back with his hand. Then the terrible piece of apple that she had bitten off came out of her throat, and Snow-White came back to life.

She walked up to the prince, who was beside himself with joy to see his beloved Snow-White alive. They sat down together at the table and ate with joy.

Their wedding was set for the next day, and Snow-White's godless mother was invited as well. That morning she stepped before the mirror and said:
Mirror, mirror, on the wall,
Who in this land is fairest of all?
The mirror answered:
You, my queen, are fair; it is true.
But the young queen
Is a thousand times fairer than you.
She was horrified to hear this, and so overtaken with fear that she could not say anything. Still, her jealousy drove her to go to the wedding and see the young queen. When she arrived she saw that it was Snow-White. Then they put a pair of iron shoes into the fire until they glowed, and she had to put them on and dance in them. Her feet were terribly burned, and she could not stop until she had danced herself to death.

Creators of images are named directly beneath them.

Hansel and Gretel, By Jacob and Wilhelm Grimm, 1857

Editor's note:  "Hansel and Gretel" probably has done more to harm the reputation of stepmothers than any other fairy tale -- except, of course "Cinderella." But in many early versions, the mother figure wasn't a step at all. She was plain, old mom. Once people began to see fairy tales as children's stories, the stepmother label became more common.

But let's not forget that the father in this story is a weak man who knows he shouldn't give into his wife but does anyway. Oh, it's a bad tale for parents, "Hansel and Gretel" is.

Some other points to ponder: 

The mother figure and the witch are likely meant to be the same woman. The witch is burned at the end of the story and the mother is dead at the end as well. More telling is that both the "mother" and the witch call Hansel "lazybones." In a story where words are not wasted, these seems like it is probably not an accident.

Anne Anderson

Next, it seems that Hansel and Gretel are meant to be "regular" children with the charm and shortcomings of real children. Gretel is a classic crybaby for much of the story and Hansel is a solidly dependable big brother figure. Yet, after the witch imprisons them, Gretel ..., well, she cries some more, but after four weeks, she has grown a lot and it is through her initiative that she and her brother break free. 

Also, note that when the witch first encounters Hansel and Gretel literally eating her out of house and home, she asks them who they are and they seem to blame it on The Heavenly Child. Wouldn't that have been a Baby Jesus reference? It's a weird little scene.

Oh, notice the birds. They show up in important places in the story.

That little bit about the mouse at the end of story seems to have been a convention of the time that sometimes showed up in these stories.

Finally, the "gingerbread" house, you will note, is made of bread and cake in this version.

Next to a great forest there lived a poor woodcutter with his wife and his two children. The boy's name was Hansel and the girl's name was Gretel. He had but little to eat, and once, when a great famine came to the land, he could no longer provide even their daily bread.

One evening as he was lying in bed worrying about his problems, he sighed and said to his wife, "What is to become of us? How can we feed our children when we have nothing for ourselves?"

 Jennie Harbour

"Man, do you know what?" answered the woman. "Early tomorrow morning we will take the two children out into the thickest part of the woods, make a fire for them, and give each of them a little piece of bread, then leave them by themselves and go off to our work. They will not find their way back home, and we will be rid of them."

"No, woman," said the man. "I will not do that. How could I bring myself to abandon my own children alone in the woods? Wild animals would soon come and tear them to pieces."

"Oh, you fool," she said, "then all four of us will starve. All you can do is to plane the boards for our coffins." And she gave him no peace until he agreed.

"But I do feel sorry for the poor children," said the man.

Ethel Franklin Betts

The two children had not been able to fall asleep because of their hunger, and they heard what the stepmother had said to the father.

Gretel cried bitter tears and said to Hansel, "It is over with us!"

"Be quiet, Gretel," said Hansel, "and don't worry. I know what to do."

And as soon as the adults had fallen asleep, he got up, pulled on his jacket, opened the lower door, and crept outside. The moon was shining brightly, and the white pebbles in front of the house were glistening like silver coins. Hansel bent over and filled his jacket pockets with them, as many as would fit.

Then he went back into the house and said, "Don't worry, Gretel. Sleep well. God will not forsake us." Then he went back to bed.

At daybreak, even before sunrise, the woman came and woke the two children. "Get up, you lazybones. We are going into the woods to fetch wood." Then she gave each one a little piece of bread, saying, "Here is something for midday. Don't eat it any sooner, for you'll not get any more."

Jennie Harbour

Gretel put the bread under her apron, because Hansel's pockets were full of stones. Then all together they set forth into the woods. After they had walked a little way, Hansel began stopping again and again and looking back toward the house.

The father said, "Hansel, why are you stopping and looking back? Pay attention now, and don't forget your legs."

"Oh, father," said Hansel, "I am looking at my white cat that is sitting on the roof and wants to say good-bye to me."

The woman said, "You fool, that isn't your cat. That's the morning sun shining on the chimney."

However, Hansel had not been looking at his cat but instead had been dropping the shiny pebbles from his pocket onto the path.

When they arrived in the middle of the woods, the father said, "You children gather some wood, and I will make a fire so you won't freeze."

Hansel and Gretel gathered together some twigs, a pile as high as a small mountain. The twigs were set afire, and when the flames were burning well, the woman said, "Lie down by the fire and rest. We will go into the woods to cut wood. When we are finished, we will come back and get you."

Jessie Wilcox Smith

Hansel and Gretel sat by the fire. When midday came each one ate his little piece of bread. Because they could hear the blows of an ax, they thought that the father was nearby. However, it was not an ax. It was a branch that he had tied to a dead tree and that the wind was beating back and forth. After they had sat there a long time, their eyes grew weary and closed, and they fell sound sleep.

When they finally awoke, it was dark at night. Gretel began to cry and said, "How will we get out of woods?"

Hansel comforted her, "Wait a little until the moon comes up, and then we'll find the way."

After the full moon had come up, Hansel took his little sister by the hand. They followed the pebbles that glistened there like newly minted coins, showing them the way. They walked throughout the entire night, and as morning was breaking, they arrived at the father's house.

They knocked on the door, and when the woman opened it and saw that it was Hansel and Gretel, she said, "You wicked children, why did you sleep so long in the woods? We thought that you did not want to come back."

But the father was overjoyed when he saw his children once more, for he had not wanted to leave them alone.

Not long afterward there was once again great need everywhere, and one evening the children heard the mother say to the father, "We have again eaten up everything. We have only a half loaf of bread, and then the song will be over. We must get rid of the children. We will take them deeper into the woods, so they will not find their way out. Otherwise there will be no help for us."

Kay Nielsen

The man was very disheartened, and he thought, "It would be better to share the last bit with the children."

But the woman would not listen to him, scolded him, and criticized him. He who says A must also say B, and because he had given in the first time, he had to do so the second time as well.

The children were still awake and had overheard the conversation. When the adults were asleep, Hansel got up again and wanted to gather pebbles as he had done before, but the woman had locked the door, and Hansel could not get out. But he comforted his little sister and said, "Don't cry, Gretel. Sleep well. God will help us."

Early the next morning the woman came and got the children from their beds. They received their little pieces of bread, even less than the last time. On the way to the woods, Hansel crumbled his piece in his pocket, then often stood still, and threw crumbs onto the ground.

"Hansel, why are you always stopping and looking around?" said his father. "Keep walking straight ahead."

"I can see my pigeon sitting on the roof. It wants to say good-bye to me."

"Fool," said the woman, "that isn't your pigeon. That's the morning sun shining on the chimney."

But little by little Hansel dropped all the crumbs onto the path. The woman took them deeper into the woods than they had ever been in their whole lifetime.

Charles Robinson

Once again a large fire was made, and the mother said, "Sit here, children. If you get tired you can sleep a little. We are going into the woods to cut wood. We will come and get you in the evening when we are finished."

When it was midday Gretel shared her bread with Hansel, who had scattered his piece along the path. Then they fell asleep, and evening passed, but no one came to get the poor children.

It was dark at night when they awoke, and Hansel comforted Gretel and said, "Wait, when the moon comes up I will be able to see the crumbs of bread that I scattered, and they will show us the way back home."

When the moon appeared they got up, but they could not find any crumbs, for the many thousands of birds that fly about in the woods and in the fields had pecked them up.

Hansel said to Gretel, "We will find our way," but they did not find it.

They walked through the entire night and the next day from morning until evening, but they did not find their way out of the woods. They were terribly hungry, for they had eaten only a few small berries that were growing on the ground. And because they were so tired that their legs would no longer carry them, they lay down under a tree and fell asleep. It was already the third morning since they had left the father's house.

They started walking again, but managed only to go deeper and deeper into the woods. If help did not come soon, they would perish. At midday they saw a little snow-white bird sitting on a branch. It sang so beautifully that they stopped to listen. When it was finished it stretched its wings and flew in front of them. They followed it until they came to a little house. The bird sat on the roof, and when they came closer, they saw that the little house was built entirely from bread with a roof made of cake, and the windows were made of clear sugar.


"Let's help ourselves to a good meal," said Hansel. "I'll eat a piece of the roof, and Gretel, you eat from the window. That will be sweet."

Hansel reached up and broke off a little of the roof to see how it tasted, while Gretel stood next to the windowpanes and was nibbling at them. Then a gentle voice called out from inside:





Nibble, nibble, little mouse,
Who is nibbling at my house?
The children answered:




The wind, the wind,
The heavenly child.

They continued to eat, without being distracted. Hansel, who very much like the taste of the roof, tore down another large piece, and Gretel poked out an entire round windowpane. Suddenly the door opened, and a woman, as old as the hills and leaning on a crutch, came creeping out. Hansel and Gretel were so frightened that they dropped what they were holding in their hands.

But the old woman shook her head and said, "Oh, you dear children, who brought you here? Just come in and stay with me. No harm will come to you."

She took them by the hand and led them into her house. Then she served them a good meal: milk and pancakes with sugar, apples, and nuts. Afterward she made two nice beds for them, decked in white. Hansel and Gretel went to bed, thinking they were in heaven. But the old woman had only pretended to be friendly. She was a wicked witch who was lying in wait there for children. She had built her house of bread only in order to lure them to her, and if she captured one, she would kill him, cook him, and eat him; and for her that was a day to celebrate.

Witches have red eyes and cannot see very far, but they have a sense of smell like animals, and know when humans are approaching.

John B. Gruelle

When Hansel and Gretel came near to her, she laughed wickedly and spoke scornfully, "Now I have them. They will not get away from me again."

Early the next morning, before they awoke, she got up, went to their beds, and looked at the two of them lying there so peacefully, with their full red cheeks. "They will be a good mouthful," she mumbled to herself. Then she grabbed Hansel with her withered hand and carried him to a little stall, where she locked him behind a cage door. Cry as he might, there was no help for him.

Then she shook Gretel and cried, "Get up, lazybones! Fetch water and cook something good for your brother. He is locked outside in the stall and is to be fattened up. When he is fat I am going to eat him."

Gretel began to cry, but it was all for nothing. She had to do what the witch demanded. Now Hansel was given the best things to eat every day, but Gretel received nothing but crayfish shells.

Every morning the old woman crept out to the stall and shouted, "Hansel, stick out your finger, so I can feel if you are fat yet."

But Hansel stuck out a little bone, and the old woman, who had bad eyes and could not see the bone, thought it was Hansel's finger, and she wondered why he didn't get fat.

When four weeks had passed and Hansel was still thin, impatience overcame her, and she would wait no longer. "Hey, Gretel!" she shouted to the girl, "Hurry up and fetch some water. Whether Hansel is fat or thin, tomorrow I am going to slaughter him and boil him."

Oh, how the poor little sister sobbed as she was forced to carry the water, and how the tears streamed down her cheeks! "Dear God, please help us," she cried. "If only the wild animals had devoured us in the woods, then we would have died together."

"Save your slobbering," said the old woman. "It doesn't help you at all."

The next morning Gretel had to get up early, hang up the kettle with water, and make a fire.

"First we are going to bake," said the old woman. "I have already made a fire in the oven and kneaded the dough."

She pushed poor Gretel outside to the oven, from which fiery flames were leaping. "Climb in," said the witch, "and see if it is hot enough to put the bread in yet." And when Gretel was inside, she intended to close the oven, and bake her, and eat her as well.

H.J. Ford

But Gretel saw what she had in mind, so she said, "I don't know how to do that. How can I get inside?"

"Stupid goose," said the old woman. The opening is big enough. See, I myself could get in." And she crawled up stuck her head into the oven.

Then Gretel gave her a shove, causing her to fall in. Then she closed the iron door and secured it with a bar.

The old woman began to howl frightfully. But Gretel ran away, and the godless witch burned up miserably. Gretel ran straight to Hansel, unlocked his stall, and cried, "Hansel, we are saved. The old witch is dead."

Then Hansel jumped out, like a bird from its cage when someone opens its door. How happy they were! They threw their arms around each other's necks, jumped with joy, and kissed one another. Because they now had nothing to fear, they went into the witch's house. In every corner were chests of pearls and precious stones.

"These are better than pebbles," said Hansel, filling his pockets.

Gretel said, "I will take some home with me as well," and she filled her apron full.

"But now we must leave," said Hansel, "and get out of these witch-woods."

After walking a few hours they arrived at a large body of water. "We cannot get across," said Hansel. "I cannot see a walkway or a bridge."

"There are no boats here," answered Gretel, "but there is a white duck swimming. If I ask it, it will help us across."

Then she called out:



Duckling, duckling,
Here stand Gretel and Hansel.
Neither a walkway nor a bridge,
Take us onto your white back.



The duckling came up to them, and Hansel climbed onto it, then asked his little sister to sit down next to him.
"No," answered Gretel. "That would be too heavy for the duckling. It should take us across one at a time."

That is what the good animal did, and when they were safely on the other side, and had walked on a little while, the woods grew more and more familiar to them, and finally they saw the father's house in the distance. They began to run, rushed inside, and threw their arms around the father's neck.

Unknown
The man had not had even one happy hour since he had left the children in the woods. However, the woman had died. Gretel shook out her apron, scattering pearls and precious stones around the room, and Hansel added to them by throwing one handful after the other from his pockets.

Now all their cares were at an end, and they lived happily together.



My tale is done,
A mouse has run.



And whoever catches it can make for himself from it a large, large fur cap.


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