With yet another Snow White adaptation currently in theaters, CU Boulder scholar Suzanne Magnanini reflects on the enduring appeal of fairy tales

Once upon a time—this time, in fact, and many of the ones that came before it—there was a story that never grew dull in its telling.

It possibly leaped the porous cultural and national borders of narrative, carried by caravans or ships or ethernet cables and planted in the ready imaginations of successive generations of story lovers—those who tell them and those who hear them.

Maybe it’s the story of a young person who ventures into the unknown, where they encounter magic and beasts of all sizes and a resolution specific to the tale’s time and place. Maybe there really even are fairies involved.

 

Suzanne Magnanini, a CU Boulder associate professor of Italian and chair of the Department of French and Italian, notes that fairy tales' malleability helps them remain fresh and relevant over centuries of retellings.

And we never seem to tire of hearing about them.

The recent theatrical release of Disney’s live-action Snow White—one of countless retellings of the tale over more than 400 years—highlights the place of honor that fairy tales occupy in cultures around the world and in the hearts of people hearing them for the first time or the thousandth.

One of the reasons they remain fresh through countless years and iterations is their malleability, says Suzanne Magnanini, a University of Colorado Boulder associate professor of Italian and chair of the Department of French and Italian. “The Italian author Italo Calvino, who also edited a seminal collection of Italian folktales, writes of fairy tales as being like a stone fruit, where you have that hard core center that is always the same—you’ll usually recognize a Sleeping Beauty story, for example—but the fruit can be radically different around that.”

Stories of time and place

As a researcher, Magnanini has published broadly on fairy tales, including her 2008 book Fairy-Tale Science: Monstrous Generation in the Fairy Tales of Straparola and Basile. She began studying fairy tales while working on her PhD, finding in them a fascinating dovetailing between her interests in monstrosity and otherness.

“As a scholar, I take what’s called a social-historical approach,” she explains. “I’m really interested in all those little details that link a tale to a very precise place in time where it was told, and I’ve written about the ways in which fairy tales are used to elaborate on and think about scientific theories of reproduction that hadn’t really been nailed down at the time—questions that were still being circulated about whether humans could interbreed with animals, for example, and would that produce a monstrous child?

“You look at a some variations of Beauty and the Beast, like Giovan Francesco Straparola’s story of a pig king, where it’s a magical version of these questions, and maybe what’s actually happening is that fairy tales are a way to think through the anxieties and interests of the time.”

Though fairy tales may be spun in response to what’s happening in a specific time and place, they also often address concerns that aren’t specific to one location or culture but are broadly pondered across humanity. “Andrew Teverson has written that fairy tales are literature’s migrants because they can move across borders, they can move across boundaries and then make themselves at home and assimilate to a certain extent in different cultures,” Magnanini says.

For example, the Brothers Grimm heard a tale called “Sneewittchen” (Snow White) from folklorist Marie Hassenpflug, as well as from other sources, and included it as tale No. 53 in their seminal 1812 Grimm’s Fairy Tales. However, says Magnanini, there was a similar tale called “The Young Slave” in Giambattista Basile’s 1634 work Pentamerone. In fact, Snow White is type 709 in the Aarne–Thompson–Uther Index (ATU Index), which catalogs and describes common motifs and themes in fairy tales and folklore around the world.

Not so happily ever after

The origins of many fairy tales can be traced as far back as ancient Greece, Rome and China, Magnanini says, which speaks to their ability not only to help people of particular times and places explore their anxieties and questions, but to address the feelings that have been central to the human condition almost since our species emerged from caves.

“When I think about fairy tales, I think about number of characteristics that make them really appealing across time and space,” Magnanini says. “If you think about it, the protagonists are almost always young people heading out into the world—much like our students are heading out—leaving home behind, having to make their way in world, facing challenges. That experience can be very transformational, so in a way these stories are all about metamorphosis and change.

“A lot of times that’s when you’re living your life in Technicolor and all the emotions are new. So, even if you’re no longer in that moment of life, fairy tales tap into experiences like the first falling in love, the first adventure from home. And they often end right after the wedding, so you don’t see someone having to do their taxes or being like, ‘Oh, my god, I’ve been in this relationship for 30 years and I’m bored.’ I think part of the reason we don’t get tired of fairy tales is because they capture this fleeting time in life.”

 

“If you think about it, the (fairy tale) protagonists are almost always young people heading out into the world—much like our students are heading out—leaving home behind, having to make their way in world, facing challenges," says CU Boulder scholar Suzanne Magnanini. (Photo: Disney Studios)

While fairy tales, particularly as they’ve been interpreted and simplified by Disney, are stereotyped as having “and they lived happily ever after” endings, fairy tales pre-Disney more commonly ended with justice served, Magnanini says. For example, the version of “Snow White” in the 1812 Grimm’s Fairy Tales ends with the evil queen being forced to step into a pair of red-hot iron shoes and dance until she dies.

“A lot of people will say, ‘Oh, it’s the happy ending that’s the appeal of fairy tales,’ but it’s important to remember the vast majority of fairy tales end with the deliverance of justice—something really unjust has happened, someone has been discriminated against, there’s some evil in the world, and justice is delivered,” Magnanini explains. “People who study the formal aspects of fairy tales always talk about how the ‘happy ending’ is found in justice.

“Disney Studios has a tendency to remove the ambiguity from these tales and remove most of the violence—simplifying them in a lot of ways. If you read the French version of Beauty and the Beast, Charles Perrault’s version, there were other siblings in there; there was a complex family structure with complex interactions and a lot of really heavy issues—the family must deal with economic disaster.”

In fact, the field of fairy tale scholarship addresses everything from feminist interpretations of the stories to the ways in which children use fairy tales to help navigate psychosexual rites of passage. Generations of authors have told and continue to retell these familiar stories through different lenses of gender, sexuality, geography, racial identity, economic status and many, many others.

“What makes these stories different, and what I think is a big part of the appeal of fairy tales, is the magic or the marvel,” Magnanini says. “For it to be a fairy tale, scholars would say there has to be magic in there—not just the presence of magic, but magic that facilitates the happy ending by allowing the protagonist to overcome whatever obstacles are in the way of what they desire, maybe the marriage, the wealth, the happy ending. There’s something so satisfying about that, because it doesn’t happen in your quotidian day-to-day life. I mean, imagine if you met a talking deer.” 

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