We will use Rumpelstiltskin by Jakob and Wilhelm Grimm as a textbook example of a fairy tale. Before that, we should know what is the crucial element of a classic fairy tale - transformation. The main character (and often several other characters) in the story should change so much that his or her life at the end would never be the same as at the beginning.
We can also say that at least one of the characters should at least symbolically grow up, what is in fairy tales is mostly shown by getting a job, finding a spouse, or establishing his or her new home. Such transformation is a necessary although not a sufficient condition for a fairy tale.
This means we should be able to notice some kind of transformation in Rumpelstiltskin as well. Let me show you, not one, but ten such transformations!
Your Thoughts on Rumpelstiltskin
Yes, DerdriuMarriner, growing up is an essential part of classic fairy tales. There are mainy two goals for a grown-up - to marry and establish a new family or to earn some important life-changing amount of money. In the later case this money can be used for the main character or for his family (think about Hansel and Gretel or The Wishing Table).
I am not familiar with details of Grimm's drafts of Rumpelstiltskin. I beleive they coined their version from various different resources and compiled the story as we know it after several rewritings.
I am glad. It seems there are still a few of us here.
Yes, Jo_Murphy, it's a new article.
The summary statement attributes our acquaintance with Rumpelstiltskin to the Grimm Brothers' assiduous fairy-tale collecting.
English Wikipedia and English Wiktionary commence the name with Johann Fischart (1546/1547?-1590/1591?) considering in his Geschichtklitterung (Distortion of history) the children's game Rumpele stilt oder der Poppart (little rattle-stilt [structure-supporting pole/post) or the goblin).
English Wikipedia defers to Ricdin-Ricdon as "an earlier literary variant" by Mme L'Héritier (Nov. 12, 1664-Feb. 24, 1734).
Is it known from when and from where the Grimm Brothers collected the Rumpelstiltskin fairy tale?
The second paragraph to your introduction directs us to the fairy-tale truth that "We can also say that at least one of the characters should at least symbolically grow up, what is in fairy tales is mostly shown by getting a job, finding a spouse, or establishing his or her new home. Such transformation is a necessary although not a sufficient condition for a fairy tale."
Rose Red and Snow White both grow up, correct?
Otherwise, my ever-increasing -- thanks to your wizzlies ;-D -- fairy-tale knowledge inspires thinking about family and friends of the hero/heroine.
Is it typical that, apart Rose Red and Snow White, one person -- such as Hop o' my thumb -- gets to enable and enrich family (and perhaps friends?) by growing up?
This is an interesting article, thank you. Can I ask, did you just publish it? I am having trouble knowing who is still writing here. My friend publishes fairy tales.
All three options are legitimate, although we obviously prefer happy endings. But, for instance, at classic fairy tales, we often focus only on the happy end for one character, forgetting about punishment or even death of his nemesis.
The first paragraph to your introduction approaches fairy tales as articulating transformation. It approaches that transformation as something that attends both the "main character (and often several other characters)."
Can that transformation always make it so that the afore-mentioned life and lives "at the end would never be the same as at the beginning" in only posiitive, part positive part negative or some negative ways?