Fairy Tales and Censorship Analysis

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(Critical Guide to Censorship and Literature)

The fairy tale, or a tale that features some prominent supernatural element, is a common narrative form throughout the world. Though each country’s tradition of tale-telling bears recognizable differences, enough similarity in structure exists for scholars to create categories and patterns that cross cultural boundaries. Of these, the creation of types of subgenres of tales is the most common. The term fairy tale has been interpreted to include all types of tales, from fables to miraculous legends, to anecdotes. The most-censored varieties of fairy tales fall into two categories: the literary fairy tale and the children’s fairy tale. Of these, the children’s tales are much better known and more popular, but each has a long history of censorship, almost as long as their existence in print.

Literary Fairy Tales

(Critical Guide to Censorship and Literature)

Literary fairy tales are as old as the print medium. That they have a close relationship to censorship is not surprising: Scholars have theorized that the genre developed partly as a response to censorship. Writers have long recognized the possibilities of safely changing the human objects of their criticism into ogres, animals, and other nonrealistic and fantastic forms.

Literary fairy tales also allow their authors to tap into the stories of popular culture, which are often political or utopian in nature. The most popular narratives of the Middle Ages were often compendia of folk stories placed in the framework of larger narrative structures, such as Giovanni Boccaccio’s The Decameron and Marguerite de Navarre’s The Heptameron.

The single most-popular work of the late Middle Ages, Gargantua and Pantagruel, written by a former monk and medical doctor, François Rabelais, is the tale of a family of giants who experience a series of outlandish and often obscene adventures while traveling throughout Europe. Based on popular French folk stories, the book went through numerous editions and sequels. The text begins as a parody of medieval miracle stories, with the birth of the hero Gargantua through the ear of his mother, the giantess Gargamelle. Rabelais notes that such a thing is in fact possible in reality, arguing that the Bible does not strictly eliminate such an occurrence from happening. This logic did not amuse the hierarchy of the medieval Christian church, so the book was banned in many places in Europe. Although Rabelais published the book pseudonymously, using the pen name “Alcofribas Nasier,” an anagram of his own name, he was identified as the author, and found his own life in peril. He was able to find personal safety only because of the protection of his patron, Queen Marguerite de Navarre, author of The Heptameron.

The nation most indebted to the tradition of literary fairy tales is Germany, which is also the nation most closely identified with the fairy tale genre. Almost every German writer in the past three centuries has written literary fairy tales. Many of those tales were banned during the Nazi regime in the 1930’s and 1940’s; the Nazis preferred to create their own filmic fantasies, based on their close imitation of Hollywood films.

A final example of the literary fairy tale is George Orwell’s transparently satirical twentieth century novel, Animal Farm (1945). A critique of the centralizing tendencies of twentieth century governments, the novel is an allegorical story of a farm gone bad, the institution having been taken over by the animals. At least one contemporaneous ruler, Joseph Stalin, found the characterization of the pig Napoleon too familiar for comfort, so he had the book banned in the Soviet Union.

Children’s Fairy Tales

(Critical Guide to Censorship and Literature)

The idea of a separate literature written by adults and directed specifically toward an audience made up entirely of children is a relatively modern idea. Much of the credit for the invention of children’s literature can be given to European literature, and the ideology that sprang up around Enlightenment- and Romantic- era ideas concerning culture and children. Children, the argument ran, are essentially...

(The entire section is 1,262 words.)