Unicorns are one of the fantasy genre’s most renowned mythical creatures. Typically, when authors introduce unicorns into their narrative it is as a symbol of hope, innocence, and purity; these traits inevitably rub off onto characters that interact with them. In contrast, unicorns in The King of Elfland’s Daughter by Lord Dunsany serve a darker purpose. In this novel, unicorns symbolize the fallen nature of the world. This is best shown by the envy unicorns arouse in humans and elvish creatures alike and through the nonstop hunt for the creatures. The fallen nature of the world, its inability to be completely uncorrupted, is exemplified through the envy aroused in human and elvish creatures for the unicorns. Dunsany recognizes that unicorns …show more content…
are heavenly creatures and retains the tried and true tradition of presenting them as symbols of purity. However, whenever unicorns appear characters such as Orion, Lurulu, the Parliament of Erl, and the Will-o-the-Wisps all become subject to the ugliest and most basic part of human nature: envy. Orion in particular is grasped by this deadly sin. Orion, the Lord of Erl, is a remarkable hunter; however, once Orion encounters unicorns he forgoes hunting any other beast. Dunsany explains this obsession stating: “for they knew that nothing that followed that magical scent would turn aside after any earthly thing” (Dunsany 129). After his first successful kill of a unicorn, Orion becomes determined to hunt nothing else; he even enlists Lurulu, the troll, to whip his dogs expressly for this purpose. Orion chases the unicorns so relentlessly because of his envy for the unicorns’ magical lives. Born half elf, Orion was born with the power to hear the horns of Elfland; horns that constantly call him to the other world. Being only half human, Orion never felt truly at home on Erl. He always longed to own up to his magical blood. Orion’s desire to acknowledge his magical blood is evident at a very early age when he tells his father, “And some day I will go a long way over the hills and hunt stranger things” (Dunsany 95). The ‘hills’ in this line meaning the boarder to Elfland and ‘stranger things’ refer to magical creatures. It becomes even more evident when he stands near the twilight boarder. At the boarder his elvish blood takes hold and he is drawn toward the twilight. Dunsany describes this pull saying, “And to all that was elvish in Orion’s blood, to all that he had of magic from his mother, the little lights of the twilight-builded boundary lured and tempted and beckoned” (Dunsany 142).Orion’s envious nature is only revealed when unicorns set on the stage; it is by juxtaposing the unicorns’ extreme purity with Orion’s dark side that Dunsany exposes the fallen nature of the world. In order to reveal that the fallen nature of the world is universal, Dunsany subjects even the elvish creatures to feeling envy towards the unicorns. Trolls in particular are severely envious of unicorns. When Orion enlists Lurulu to carry his whip Lurulu returns to Elfland to retrieve more trolls for the hunt. In order to rally the trolls, Lurulu plays on their envy for the unicorns: “he spoke of the haughty, reserved, high, glittering unicorns, who tarry to speak to trolls no more than cattle when they drink in pools of ours trouble to speak to frogs” (Dunsany 164). What the trolls experience here is envy for the unicorns’ status and elegance. The envy of the trolls for the unicorns is much like the envy of a pauper for a prince, an envy that can quickly lead to resentment. Dunsany cultivates the trolls’ envy to show how one slip in character can lead to another, how envy can lead to resentment which can lead to violence. This domino effect is how the world fell into disorder, one sin leading to the collapse of the original pure world, based off of Christian philosophy. The will-o’-the-wisps, another elvish creature, also become subject to envy of unicorns.
When asked if the will-o’-the-wisps loved the unicorns the wisps only giggled: “Unicorns! Little love had they for the haughty creatures” (Dunsany 205). One of the wisps ventured to respond, “No, none loves the proud unicorns” (Dunsany 206). Again, unicorns are referred to as “proud” and “haughty”, terms not typically attributed to such a magnificent creature. The hatred the will-o’-the-wisps harbor for the unicorns is, once again, born out of envy. In this novel, the envy and consequent hatred of unicorns is universal. In a fallen world, unicorns represent what has been lost and, subsequently, …show more content…
irretrievable. Another way unicorns are shown as symbols of the fallen world is through the incessant hunt for them. The hunt depicts how true purity cannot exist in the fallen world. Unicorns reside in the celestial world of Elfland, an almost heavenly place; they only venture into the land of Erl on extremely rare occasions. The reason for their rarity on Earth is because of how viciously they are hunted when they arrive. When they do cross the twilight boarder to Erl, the unicorns make sure not to venture too far inland. Naturally cautious, the unicorns never trusted the land of man: “If a dog barked, even if a late cock crew, up went all their ears at once and they stood watchful, not trusting anything in the fields of men, nor venturing into them far” (Dunsany 126). The Unicorns’ fear is well founded for, as the reader sees throughout the book, anytime one ventures too far into the fields of men it becomes the prey of Orion and his hounds. As stated previously, Orion and his pack are driven by the sinful emotion of envy. Therefore, Orion hunting unicorns is more than just a reflection of his own fallen nature; it is also a reflection of how sin corrupts even that which is pure. The King of Elfland’s Daughter does not shy away from religious themes.
The religion practiced in Dunsany’s novel is called Christom and has deep Christian roots. In Christianity, once Adam and Eve sinned their transgression affected the entire world, plants, animals, everything. Because of this, no perfect thing can exist in the world. Dunsany uses the continuous death of various unicorns to emphasize this Christian theme. Strangely, the Freer curses unicorns yelling, “Cursed be their horn, and the place where they dwell, and the lilies whereon they feed, curst be all songs that tell of them” (Dunsany 136). This passage reveals that the world’s corruption infects even those considered ‘holy’. Here Dunsany is reproaching the church which all too often focuses on earthly materials and traditions, giving worship to manmade things rather than to those which deserve it. The unicorns which are the embodiment of goodness, are hunted and cursed and never treated with the respect they deserve. It is also to be noted that the unicorns posed a possible threat to the Freer’s authority and so he sought to ostracize them, a parallel to how the Pharisees treated Jesus. Unicorns are hunted from all angles, their fellow elvish creatures denied them and men hunt them with greed and envy in their hearts. Dunsany makes it evident to the audience that if true purity exists in the world it will swiftly come to a destructive
end. Unicorns are simply incompatible with Erl. Their perfection only serves to bring out the worst in characters that interact with them. Orion is struck with envy for their magical lives, the trolls and will-o’-the-wisps for their status and prestige, even the parliament of Elf envies the unicorns for their renown. The unicorns’ perfection only highlights the fallen state of the world; the brighter their light the darker the shadow. Similarly, the nonstop hunt for the unicorns exemplifies how purity cannot exist in the world. It is far easier to corrupt the pure than to purify the corrupt. Overall, Dunsany writes unicorns as a symbol of the fallen world. This comparison carries with it heavy religious connotations. Readers do not see the world redeemed at the end of the novel, nor to they see any resolution between the unicorns and other creatures. The last ruin simply combines Erl and Elfland, throwing together two incompatible worlds on the selfish whim of Lirazel. Having no resolution for the conflict between unicorns and those who hunted them is an important piece of commentary by Dunsany. It can be interpreted that Dunsany does not believe that the world can be redeemed from its fallen state. In fact, by combining the two worlds Elfland became corrupted itself and lost its celestial beauty. The unicorns seem to disappear after the combination. Perhaps they were destroyed because Elfland, their one sanctuary, had become tainted with the sins of the world of man.
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.
In “The Company of Wolves” Carter employs conventions of gender construction and didacticism, which help establish a fairy tale space (Koske 323). Carter presents a world in which fairy tale notions of gender are upheld. In her paper, “In Olden Times, When Wishing was Having: Classic and Contemporary Fairy Tales”, Joyce Carol Oates explains that the girls and women in fairy tales “are the uncontested property of men”. Carter alludes to this male dominated reality in her tale (99). When the girl, Carter’s Red Riding Hood, insists on venturing into the woods, the narrator says that “[h]er father might forbid her, if he were home, but he is away in the forest, gathering wood, and her mother cannot deny her” (1224). There is perhaps no gendered element to a parent preventing his child from wandering into the wilderness, b...
...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.”
The myths which prove the contradictory behavior of the gods, acting as both benefactors and tormentors of man, can readily be explained when viewed in light of the prime directive for man, to worship the gods and not “overstep,” and the ensuing “Deus ex Mahina” which served to coerce man to fulfill his destiny as evidenced by the myths: “Pandora,” “Arachne, and “Odysseus.” Humankind and it’s range of vision over the gods beauty and power portrayed them to be benefactors but unseemingly it depicted their affliction towards humans.
Bettelheim, Bruno. The Uses of Enchantment: The Meaning and Importance of Fairy Tales. New York: Vintage, 2010. Print.
Warner, Marina. From the Beast to the Blond on Fairy Tales and Their Tellers. New York: Chatto & Windus, 1994. Print.
The simplicity of fairy tales and non-specific details renders them ideal for manipulation allowing writers to add their own comments often reflecting social convention and ideology. Theref...
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.
The Chronicles of Narnia are veritably the most popular writings of C.S. Lewis. They are known as children’s fantasy literature, and have found favor in older students and adults alike, even many Christian theologians enjoy these stories from Lewis; for there are many spiritual truths that one can gleam from them, if familiar with the Bible. However, having said this, it is noteworthy to say that Lewis did not scribe these Chronicles for allegorical didactics of the Christian faith, but wrote them in such a well-knit fashion that young readers might understand Christian doctrine through captivating fantasy and thus gain an appreciation for it. With this in mind, and in the interest of this assignment, the purpose of this paper is an attempt to analyze one of the many doctrines of the Christian faith from The Lion, The Witch, And, The Wardrobe (LWW), namely, temptation and how Lewis illustrates it through an individual character, Edmund.
In Feminism and Fairy Tales, Karen E. Rowe asserts that “popular folktales” have “shaped our romantic expectations” and “illuminate psychic ambiguities which often confound contemporary women.” She believes that “portrayals of adolescent waiting and dreaming, patterns of double enchantment, and romanticizations of marriage contribute to the potency of fairy tales” makes “many readers discount obvious fantasy elements and fall prey to more subtle paradigms through identification with the heroine.” As a result, Karen Rowe contends “subconsciously women may transfer from fairy tales into real life cultural norms which exalt passivity, dependency, and self-sacrifice as a female’s cardinal virtues suggest that culture’s very survival depends upon a woman’s acceptance of roles which relegate her to motherhood and domesticity.” It is undeniable that numerous folk tales implant male chauvinism into women’s minds and thus convey an idea that woman should obey and depend on men. However, Rowe neglects the aspect that many other folk tales, on the contrary, disclose the evil and vulnerable sides of man and marriage and thus encourage women to rely on their own intelligence and courage other than subordinating to man. The Fairy tales “Beauty and Beast” and “Fowler’s Fowl” challenge Rowe’s thesis to some extent and exemplify that some fairy tales motivate women to be intelligent and courageous and to challenge patriarchy.
In a society unbridled with double standards and set views about women, one may wonder the origins of such beliefs. It might come as a surprise that these ideals and standards are embedded and have been for centuries in the beloved fairy tales we enjoyed reading as kids. In her analytical essay, “To Spin a Yarn: The Female Voice in Folklore and Fairy Tales”, Karen Rowe argues that fairy tales present “cultural norms which exalt passivity, dependency, and self-sacrifice as a female’s cardinal virtues.” Rowe presents an excellent point, which can be supported by versions of the cult classics, “Cinderella” and “Snow White”. Charles Perrault’s “ The Little Glass Slipper” and the Brothers Grimm’s “ Snow White” exemplify the beliefs that females are supposed to be docile, dependent on the male persona and willing to sacrifice themselves. In many cases, when strong female characters are presented they are always contradicting in these characteristics, thus labeled as villainous. Such is the case of the Cinderella’s stepsisters in Perrault’s “Cinderella” and the stepmother in the Brothers Grimm’s “Snow White.” These female characters face judgment and disapproval when they commit the same acts as male characters. With such messages rooted in our beloved fairy tales it is no wonder that society is rampant with these ideals about women and disapprove of women when they try to break free of this mold.
Rohrick, Lutz. Introduction. Fairytales and Society: Illusion, Allusion and Paradigm. Ed. R.B. Bottingheimer. Philadelphia: University of Pennsylvania Press, 1986. 1-9.
The unicorn is a symbolic representation of ways that Laura is unique or unusual. The first facet of the unicorn, its horn, refers to ways that Laura is an unusual person, such as in her may escape mechanisms. Laura's escape devices include her glass menagerie, list...
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.