Happily ever after…
😀 😀 😀 😀 😀
This is a new entry in Oxford World’s Classics gorgeous hardback series, which so far seems to be concentrating on classic collections of short stories. Like most people, I know some of the Grimms’ stories from childhood, though in a bowdlerised version, and from Disney, pantomimes, ballets, etc. However, I’ve only tried to read the originals once before, in Philip Pullman’s version. He’d modernised the language horribly and tried to put in some archly knowing little jokes, and I disliked it all so much I only got about a third of the way through. So when I saw that this collection is a modern translation too, I was a bit apprehensive. Of course, I needn’t have worried – as always the OWC have treated the stories with respect and the translator, Joyce Crick, has done an excellent job of using standard modern English, making the stories easily approachable and enjoyable, while still retaining the sense of antiquity which gives them part of their charm. She tells us she has striven to return the stories as far as possible to the Grimms, by stripping out the layers that some later translations and adaptations have added over the years.
The book includes the Grimms’ Preface to the Second Edition where they explain how the stories were collected, from where, and that the point was to preserve the stories before the custom of oral storytelling died out. However the interesting main introduction, also by Joyce Crick, reveals that some at least of the stories were not collected from peasants but from friends of the Grimms from their own social class, recounting tales they had been told in their childhoods. Crick uses the introduction to supply some historical context to the stories, an insight into the then-contemporary drive to collect folklore, and to give some background about the brothers’ lives, while also looking more academically at the relevance of the stories to their own time and place.
While many of the stories could be shared with children, either to read themselves or to have read aloud to them, others may be less suitable, either because of some fairly strong images of horror or simply because of the more adult themes they contain. This volume is clearly aimed primarily at the adult reader, with the introductions, appendices and notes, and also because it lacks illustrations. Crick explains: “The present edition has no pictures, though its conversations have certainly invited them, taking place as ever between a princess and a frog, or a wolf and a girl in a red bonnet, or two frightened children in the forest, but also between a disgruntled fiddler and a Jew, and between a boy-giant and an officious bailiff. So this selection finds itself aimed at readers who once read these tales in their childhood, or had them read to them, and are returning to them late, apple bitten, naivety lost, in history. It was Jacob Grimm who spoke of a ‘lost Paradise of poesy’.”
There are 82 stories in the collection, including all the best known ones, like Rapunzel, Snow White, Cinderella, although sometimes not going by those names – here we have the originals rather than the versions that have developed over time. So Cinderella appears here as Ashypet, and we have the spirit of her dead mother sending her aid rather than a wand-wielding fairy godmother. But there are also lots that I either didn’t know or hadn’t heard for many years, so I found it an excellent mix of the familiar and the new. There’s humour, horror, lots of poor girls finding their Princes and even some poor men finding their Princesses, animal fables, morality tales, supernatural intervention and human goodness and evil. There are quite a lot of stories that repeat or echo other ones, but each time with enough of a different take to allow them to stand as individual.
I loved the retellings of all the stories I already loved – Rapunzel, The Singing Bone, The Tale of the Boy Who Set Out to Learn Fear (some great horror imagery and lots of humour in that one), The Tale of the Fisherman, etc. But I found lots of new favourites too, including Cat and Mouse as Partners (a timely warning of the perfidy of our beloved felines), Faithful John (horrific in parts, but they all live happily ever after, even the beheaded children!), The Three Little Men in the Forest (which I’m sure I’ve come across before but for some reason particularly enjoyed the way it’s told here), Clever Hans (lots of humour enhanced by some lovely repetition). And on and on… too many to list. There were very few I didn’t enjoy – a couple that felt unnecessarily cruel, like Sensible Elsie whose fate seemed rather worse than she deserved, and a couple which had rather ugly depictions of Jews – of their time, but didn’t sit comfortably with me in today’s world.
Overall, I loved this collection, and will undoubtedly dip into it again often. I heartily recommend it to anyone who doesn’t know the stories and would like to, or to people who are already familiar with them but would have their appreciation enhanced by the great extras always found in OWC editions.
NB This book was provided for review by the publisher, Oxford World’s Classics.