Victorian Fantasy Literature
Victorian Fantasy Literature
Fairy tales sparked a wave of controversy when they were first introduced into England in the early nineteenth century; they were not immediately welcomed as they had been in Germany and France. Fairy tales were considered to be strictly for children, and children's literature was expected to be didactic and moral—not entertaining. As the notions about children changed during the century, however, so did ideas about literature for children. Fairy tales gradually became more accepted, and eventually a branch of wholly entertaining children's literature began to flourish.
In the early 1800s, children were thought of as imperfectly formed adults, and most literature for them was educational, designed to instruct them in their responsibilities to family and church. The Romantic notion of a child became more popular in the second half of the century. This view encouraged imagination in children and promoted the ideas that children were innocently wise, and that in their naivete they possessed rationales and virtues that were lost to adults. Gradually, writers adhered to this concept of children and began to write stories to entertain. Early fairy tales still promoted Christianity and values of the church, concentrating on the spiritual development of the protagonist. Even so, objections to fantasy came primarily from church organizations, which attacked fairy tales as corrupters of childhood. Some literary critics also renounced fairy tales, equating "fantastic" with "unrealistic" and therefore unsuitable for rational English citizens.
Indeed, critics have shown that even as fantasy gained acceptance as literature for children, it was considered unacceptable for adults to enjoy the genre. It is for this reason, critics suggest, that with very few exceptions fairy tales were written for children, featuring children as heroes. In fact, critics point out that adults are generally absent from fairy tales in spite of numerous hidden sexual references found in most stories; the adults that do appear are tyrannical and cruel. In most fantasy literature, the child protagonist leaves the familiar world run by adults and embarks on a quest in a land of enchantment and magic, free from the laws of nature and facts of science. He typically benefits from a power or energy from nature or the earth, and usually is taught a moral lesson before leaving the fantasy realm and returning home, often forgetting about the adventure altogether.
Before the adventure is over, however, and sometimes before it begins, the hero receives guidance and instruction from a powerful or magical female, usually in the form of a grandmother or fairy grandmother. These female characters were the exception to the characteristically evil adults found elsewhere in the stories—though the women were still secondary figures, leaving the child in the foreground. Critics have pointed out that powerful female characters were commonly found in children's fairy tales before appearing regularly in adult literature. Nearly every fairy tale had such a figure, and critics often refer to works by women fantasy writers, such as Christina Rossetti's narrative poem Goblin Market (1862), as examples of early feminist writing. Critics suggest that because fairy tales were neither suitable for adults nor realistic, women who felt repressed in society and in their homes found in them an acceptable channel for strong female characters.
Male authors also used fairy tales to comment on social conditions in Victorian England. Critics have suggested that many popular authors used fairy tales to comment on the Industrial Revolution, to create ideal alternatives to unsatisfactory conditions of the real world, and to contrast Christianity with the materialism of English society. Critics have also argued that the most celebrated authors of fantasy—Charles Dickens, Charles Kingsley, Lewis Carroll, and George MacDonald—believed that humanity had become too mechanized and serious with the arrival of the Industrial Revolution. These authors wanted to restore enjoyment and recreation to, and inspire compassion for, the working class, and, critics suggest, offer an escape from reality by reversing the known and accepted rules of the real world. Carroll is generally credited with removing all the rules from his tales and writing the first amoral, and therefore totally fantastic fairy tale, Alice's Adventures in Wonderland (1865). In Alice, Carroll offered complete escape from the logical with no definite moral value attached. Some critics claim that Carroll's story is a parody of the critics of children's fantasy literature.
Critics generally agree that Carroll, Kingsley, and MacDonald were the premier fantasy writers of this era. All three were clergymen but each had a distinctly different approach to fairy tales. Critics cite Carroll's fantasies as being filled with sublimated sexual content, but praise his works for offering a complete escape from reality by reversing or altering laws of science to create worlds that are purely fantastic. Kingsley's works, most notably The Water Babies (1863), are, according to critics, filled with moral and allegorical themes regarding spiritual and physical cleansing, and often contain sexual overtones as well. MacDonald is generally noted by critics to offer an escape from reality based on a religious point of view, providing outstanding physical and notable psychological descriptions. Critics typically agree that MacDonald's ability to achieve the best balance between morality and imagination makes him the father of fantasy.
Victorian fantasy literature began as a way to combine education and entertainment for a child, but by the end of the century it had developed into a way to challenge a child's imagination and offer a reprieve from the everyday world of English life. In their quest to capture the world of childhood innocence as paradise, works by fairy tale authors led to the study of the imagination and of dream-worlds, which in turn prompted the study of psychology by such figures as Sigmund Freud and Carl Jung, and served as a precursor to twentieth-century science fiction.
A Christmas Carol (novel) 1843
C. L. Dodgson (Lewis Carroll)
Alice's Adventure in Wonderland (novel) 1865
Through the Looking-Glass (novel) 1871
Mopsa the Fairy (novel) 1869
The Water Babies: A Fairy Tale for a Land-Baby (novel) 1863
Phantastes (novel) 1858
At the Back of the North Wind (novel) 1871
The Princess and the Goblin (novel) 1872
The Princess and Curdie (novel) 1883
Goblin Market (poetry) 1862
The King of the Golden River (novel) 1840
William Makepeace Thackery
The Rose and the Ring (novel) 1855
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Michael C. Kotzin
SOURCE: "The Fairy Tale," in Dickens and the Fairy Tale, Bowling Green University Popular Press, 1972, pp. 7-31
[In the essay below, Kotzin recounts the history of the Victorian fairy tale by examining its origins in folklore and German fairy tales and outlining the growth of fantasy as literature.]
Fairy tales are perhaps more easily recognized than defined. Folklorists group them with other kinds of folktales, such as animal stories, jests, and fables. They are a type of narrative which has traditionally been told aloud by peoples throughout the world, and although some of the fairy tales in oral traditions have literary sources and many literary versions of the tales have been written, the popular, primitive origins of the fairy-tale genre are often thought of as having determined its character.
The tales get their name from their inclusion of "fairy," but that is a word with more than one meaning. Thomas Keightley speculated that the root of the word "fairy" was the Latin fatum. This led to the Latin verb fatare (to enchant) which in French became faer, from which was made the substantive faerie, "illusion, enchantment, the meaning of which was afterwards extended, particularly after it had been adopted into the English language." According to Keightley, then, the first meaning of "faerie" was illusion; the...
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C. N. Manlove
SOURCE: "George MacDonald (1824-1905)," in Modern Fantasy: Five Studies, Cambridge University Press, 1975, pp. 55-98.
[George MacDonald is considered by many to have been the greatest fantasy writer of the nineteenth century. In the following essay, Manlove argues that although MacDonald's scientific background and rigorous religious beliefs interfered with his ability to write a purely imaginative fantasy story free of intellectual explanations, MacDonald's stories still contain the feature of "myth," which MacDonald considered an important aspect of fairy tales. (Explanations for title abbreviations may be found at the end of the essay, preceding the Notes.)]
'I wis we war a' deid!'
Phantastes (1858), Dealings with the Fairies (1867), At the Back of the North Wind (1871), The Princess and the Goblin (1872), The Wise Woman (1875), The Princess and Curdie (1883) and Lilith (1895) are the main fantasies or fairy-tales by George MacDonald. They are very unlike in form. The first and the last are written as dream-romances in which many of the adventures are random and apparently unconnected, and for most of the time the protagonists are 'adrift' in fairyland. The others, except for 'The Golden Key' in Dealings with the Fairies, follow much steadier and more obvious narrative paths, and...
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Women In Victorian Fantasy Literature
Edith Lazaros Honig
SOURCE: "Magical Women: The Positive Force of Woman Power," in Breaking the Angelic Image: Woman Power in Victorian Children's Fantasy, Greenwood Press, 1988, pp. 111-32.
[In the following essay, Honig explores the role of the magical female figure in Victorian children's fantasies, noting that it was in children's literature, rather than in adult fiction, that powerful, vibrant female characters were first portrayed.]
In The Uses of Enchantment: The Meaning and Importance of Fairy Tales, Bruno Bettelheim tells us that the powerful witch, the magical woman who appears most prominently in classical fairy tales, can be good as well as evil. She can, like the witch in "Hansel and Gretel," be at first motherly and giving, but then her overwhelming power for evil asserts itself. It is this evil aspect of the witch that Bettelheim stresses. Bettelheim explains that the evil witch can be an important image for the developing child who can then view his or her own mother, when she seems harsh or punitive like the evil stepmother/witch of "Snow White," as a witch who has temporarily gained control of the good and loving mother's body. The child can hate the witch-mother without guilt and can be consoled by the assurance that the real mother will soon return.
Bettelheim's analysis has value for the study of child development, but it fails...
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Alderson, Brian. "Tracts, Rewards and Fairies: The Victorian Contribution to Children's Literature." In Essays in the History of Publishing in the Celebration of the 250th Anniversary of the House of Longman 1724-1974, edited by Asa Briggs, pp. 245-82. London: Longman Group Ltd., 1974.
Chronicles the development of children's literature both as a genre and a business.
Apter, T. E. Fantasy Literature: An Approach to Reality. Bloomington: Indiana University Press, 1982, 161 p.
Describes how psychoanalysis can be used to examine fantasy literature.
Auerbach, Nina and U. C. Knoepflmacher, eds. Forbidden Journeys: Fairy Tales and Fantasies by Victorian Women Writers. Chicago: The University of Chicago Press, 1992, 373 p.
Surveys works by nineteenth-century women fantasy writers.
Briggs, K. M. "The Poets: Nineteenth Century and After." In The Fairies in Tradition and Literature, pp. 165-73. London: Routledge and Kegan Paul, 1967.
Examines the consistency of fairy-tale themes despite changes in literary styles.
Carpenter, Humphrey. "Parson Lot Takes a Cold Bath: Charles Kingsley and The Water Babies." In...
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