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Good and evil in literature
Good and evil in literature
Good and evil in literature throughout history
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“The Girl Who Trod on the Loaf” Hans Christian Anderson’s “The Girl Who Trod on the Loaf” is a captivating and descriptive story of a girl, Inge, who is stuck in hell but eventually makes it to heaven. Anderson’s fairy tales are unique in the sense that he makes them up himself, without the help of oral retelling. Inge is the definition of a child protagonist. She is very naughty from the time she was a young girl into her teenage years. When she was young she would torment flies and beetles by picking of their wings or sticking them with needles. When Inge is submerged into the mud puddle, a hell like state, these flies come back to haunt her by enveloping her face. Being naughty is looked down upon in all social classes in this tale. …show more content…
When Inge is gone all of the people utter bad things about her. How she was vain and how she did not care for others. Her rich guardians even stated “Inge was a sinful girl who did not value the girl of God, but trampled them under her feet” (Anderson). Strangely enough, trampling on Gods gifts is exactly what she did to send her into this wicked place.
She threw her starving mothers loaf of bread into the mud to step across, so her shoes were spotless. This final act of cruelness sent her straight down under. Even when Inge was covered in mud and had a snake wrapped in her hair she “was still vain and proud”. It took a very special lady to turn Inges naughtiness around. There was a girl who wondered if Inge were sorry for her sins she would go to heaven? This was the only time someone felt sorry for her, and it made Inge “feel quite strange and she would gladly have wept herself, and it added to her torment to find she could not do so. As the years went on Inge was becoming less like a stone stature and started to evoke feelings to her wrong doings. The young girl who wept for Inge was now dying and her tears set Inge free. Anderson described Inge’s feelings by saying “It seemed impossible that the gates of mercy could ever be opened to her, but while she acknowledged this in deep penitence, a beam of radiant light shot suddenly into the depths of her” (Anderson). The key word in this phrase is the fact that she was finally sorry for all the things she had done and that ultimately set her
free. The once naughty and foul girl was now a seagull flying above the sky. Inge had a change to find her way to heaven and finally she did. As a bird she was totally opposite of how she was on earth. She found bread for the starving birds, just like she should have for her mother. Children saw the bird fly right into the sunlight and finally she was free. After a long realization of her wrong doings she was saved. This moral for children is if they are sorry and wept for their sins that the naughty children they once were can be turned around and be reunited with God at last.
Throughout the years, the story of Cinderella has changed as different authors, including the Brothers Grimm and Walt Disney have weaved their perspectives, morals, and agendas into their retellings. Just as varying rhetors can ha...
Everyone remembers the nasty villains that terrorize the happy people in fairy tales. Indeed, many of these fairy tales are defined by their clearly defined good and bad archetypes, using clichéd physical stereotypes. What is noteworthy is that these fairy tales are predominately either old themselves or based on stories of antiquity. Modern stories and epics do not offer these clear definitions; they force the reader to continually redefine the definitions of morality to the hero that is not fully good and the villain that is not so despicable. From Dante’s Inferno, through the winding mental visions in Shakespeare’s Hamlet, spiraling through the labyrinth in Kafka’s The Trial, and culminating in Joyce’s abstract realization of morality in “The Dead,” authors grapple with this development. In the literary progression to the modern world, the increasing abstraction of evil from its classic archetype to a foreign, supernatural entity without bounds or cure is strongly suggestive of the pugnacious assault on individualism in the face of literature’s dualistic, thematically oligopolistic heritage.
...n” is a great example of an old myth or tale reconstructed and adapted for a modern audience in a new medium. It is a progression on one hand in its use of modern language, setting, and style but it is also the product of the old myths in that it is essentially the same on the thematic level. In addition, the level of self-awareness on the part of the narrator and, by extension, the author marks it out as an illustration of the very notion of evolutionary changes of myths and fairy tales. Adaptation is the solution to the fairy tale, and fairy tales have been endlessly changing themselves throughout history and, by some strange transforming or enchanting power endlessly staying the same.”
As the world has transformed and progressed throughout history, so have its stories and legends, namely the infamous tale of Cinderella. With countless versions and adaptations, numerous authors from around the world have written this beauty’s tale with their own twists and additions to it. And while many may have a unique or interesting way of telling her story, Anne Sexton and The Brother’s Grimm’s Cinderellas show the effects cultures from different time periods can have on a timeless tale, effects such as changing the story’s moral. While Sexton chooses to keep some elements of her version, such as the story, the same as the Brothers Grimm version, she changes the format and context, and adds her own commentary to transform the story’s
Tatar, Maria. Off with their Heads! Fairy Tales and the Culture of Childhood. Princeton: Princeton University Press, 1992.
At first glance, what makes a fairy tale a fairy tale may seem obvious—some kind of magic, hidden symbols, repetition, and of course it’s evident it’s fiction—but fables are more than that. As Arthur Schelesinger puts it, it’s about “[expanding] imagination” and gaining understanding of mysterious places (618). While doing this, it also helps children to escape this world, yet teach a lesson that the reader may not be conscious of. A wonderful story that achieves all of this is Cinderella, but not the traditional tale many American’s have heard. Oochigeaskw, or The Rough-Faced Girl, and Ashputtle would be fitting for a seven-year-old because they get the gears of the mind turning, allowing for an escape on the surface, with an underlying enlightenment for children of the ways of the world.
Parents play an important role in a child’s life so it is only natural that these roles are portrayed in fairytales meant for children. This is evident in the tale Donkeyskin by Charles Perrault and Cinderella by the Grim Brothers. The differing roles of the fathers in these tales, along with the similar roles of mothers, establish two different beliefs to impart on a child. Donkeyskin reminds a child that his/her parents love is undying and wants what is best for them; while Cinderella stresses the importance of becoming independent. Both of these beliefs recognize and address a child’s simple desires and fears.
Fairy tales are one of the longest lasting forms of literature. Though now they bring to mind classic movies engendered by Disney, many of these stories were first passed on in an oral manner, meant to convey a message, moral, or lesson. Alison Lurie’s “What Fairy Tales Tell Us” covers a broad range of classic tales, discussing how under the guise of an entertaining story comes life lessons we would all do well to follow. To begin this paper, some of the tales Lurie examines in her article will be looked at and critically examined beyond what she discusses. This will then move the text towards its remaining sections, which will take Lurie’s ideas and have them applied to folk and fairy tales that have not yet been contemplated; for the purpose
Fairy tales portray wonderful, elaborate, and colorful worlds as well as chilling, frightening, dark worlds in which ugly beasts are transformed into princes and evil persons are turned to stones and good persons back to flesh (Guroian). Fairytales have long been a part of our world and have taken several forms ranging from simple bedtime stories to intricate plays, musicals, and movies. However, these seemingly simple stories are about much more than pixie dust and poisoned apples. One could compare fairytales to the new Chef Boyardee; Chef Boyardee hides vegetables in its ravioli while fairytales hide society’s morals and many life lessons in these outwardly simple children stories. Because of this fairytales have long been instruments used to instruct children on the morals of their culture. They use stories to teach children that the rude and cruel do not succeed in life in the long run. They teach children that they should strive to be kind, caring, and giving like the longsuffering protagonists of the fairytale stories. Also, they teach that good does ultimately defeat evil. Fairy tales are not just simple bedtime stories; they have long been introducing cultural moral values into young children.
During the 19th century, Grimm’s fairytales were strongly disapproved of due to harsh, gruesome details and plots. One American educator from 1885 stated, “The folktales mirror all too loyally the entire medieval worldview and culture with all its stark prejudice, its crudeness and barbarities.” As childre...
The fairy tales that we have become so familiar with are embedded with love, imagination and enchantment. In truth, these are just common archetypes; originally fairy tales had a much darker backdrop. They were once symbols of sexualisation and brutality as not everything ended happily ever after. Deriving from promiscuous and overlooked on goings from the 19th century (such as molestation), these ideas were later suppressed when they became children’s tales. John Updike described traditional fairy tales as ‘The pornography of their day’, hence they contained elements of wish-fulfilment and gratification such as rape, pleasure and attainment. This is true to a certain extent but they also consisted of violence, mutiny and injustice. An exploration
Throughout the history of folklore and fairytales, many interpretations of tales have been created and introduced. When exchanged, many details have been lost in translation, only to be redistributed as a similar tale following a certain moral. But throughout the life of the tale “Cinderella,” one objective has never been misconstrued; the social structure and the status Cinderella falls and rises to. Many fairytales display a rise and fall of a protagonist, often in the case of social classes. The many versions of “Cinderella,” including Ever After, exhibit a definite, strong, monarchical settlement with a defined arrangement of classes that create and develop the beloved character of Cinderella, or Danielle De Barbarac, herself.
Anderson makes effective use of fantasy to teach a moral lesson. He builds up the story in such a way that the reader does not care for the validity of the incidents. The moral lesson is that the proud and the disobedient must suffer.
Some fairy tales are so iconic that they withstand the passing of time. One of those fairy tales is that of Cinderella. The rags to riches story that gives even the lowliest of paupers, hope that they may one day climb the social ladder. While the core message of the story has transcended time, over the years it has been adapted to address a variety of audiences. One of those renditions is Perrault’s Cinderella where the traditional idea of gender is conveyed and therefore associated with good/evil. This idea is challenged by a fellow 1600’s French author, L’heriter de Villandon’s, who’s version of Cinderella brings about a female protagonist who is also the heroine.
Our text book describes fairy tales as cautionary tales designed to frighten us, as children, into proper and obedient behavior (pg 169). They are to warn people of potential dangers. Through the years, we have all heard variations of the stories of “Little Red Riding Hood,” “Jack and the Beanstalk,” “Hansel and Gretel,” along with many more. In these narratives, we are supposed to notice the underlying dangers of talking to strangers, wondering around without adults, and the dangers of not listening to authority. There are also deeper meanings to these stories, such as protecting your virginity and to be wary of situations where death is possible. These may seem a little too dark for children, but it all depends on how deep you want to read into the narratives.