Cashdan, Sheldon. 1999. The Witch Must Die: The Hidden Meaning of Fairy Tales. New York: Basic Books.
Author Sheldon Cashdan’s parents read the more popular fairy tales such as Hansel and Gretel and Jack in the Beanstalk to him as a child. Still, he admits his most vivid childhood memories of fairy tales were brought to him courtesy of Walt Disney. He recalls “sitting in a darkened movie theater watching Snow White and holding (his) breath as the gamekeeper prepared to cut out the heroine’s heart” (Cashdan, 1). However, as an adult, teaching undergraduate courses; particularly a seminar titled “The Psychology of Fantasy and Folklore”, he became aware of fairy tales as both a teaching tool and a forum for understanding child psychological development.
In chapter one Cashdan discusses some of the myths concerning fairy tales.
· Myth 1-Fairy tales are stories written for children. During his research of fairy tales Cashdan found that many of them “never made their way into children’s storybooks” (Cashdan, 2). Of the hundreds of fairy tales Cashdan unearthed only a few, those free of incest, sexual innuendo, and other perversions, were appropriate for children. Their intended use, Cashdan asserts, was entertainment at adult social gatherings.
· Myth 2-All fairy tales were written by The Brothers Grimm. Wilhelm and Jacob Grimm collected centuries-old stories, gleaned from the memories of and relatives, and created an anthology that “many consider the most comprehensive fairy-tale collection of all time” (Cashdan, 7).
· Myth 3-The intent of fairy tales is to teach children lessons. Morality in fairy tales was added later by Charles Perrault. For example, the never talk to strangers caution in Little Red Riding Hood was not part of the original story, but added by Perrault for didactic purposes. According to the author Little Red Riding Hood is about “food and cannibalism” (Cashdan, 9).
In chapter two Cashdan discusses why, although they were not originally intended for children, fairy tales are so appealing to children and why they are helpful psychologically. Fairy tales contain insight into feelings all children struggle to understand. Things such as loving and being loved, fear of abandonment, and even where they stand in the hierarchy of the family find a voice and a release through fairy tales.
Chapters three through ten provide a breakdown of inappropriate behaviors and feelings all children struggle to overcome and compares them to the seven deadly sins; vanity, gluttony, envy, deceit, lust, greed, and sloth. Cashdan points to the witch-like character in various fairy tales; the evil step-mother in Snow White is vain, the witch in Hansel and Gretel is gluttonous, the evil step-mother in Cinderella is envious, the maid-servant in The Goose Girl is deceitful, the Sea Witch in The Little Mermaid is lustful, the giant in Jack and the Beanstalk is greedy, the evil step-sister in Mother Hulda is slothful; and associates the witch’s death in each story with a child’s ability to overcome inappropriate feelings and behavior.
As a method for understanding the inner workings of a child’s mind and an historical index of both well and lesser known traditional tales The Witch Must Die is an excellent resource for parents, teachers, and child psychologists attempting to help children navigate some of the more terrifying impulses, feelings, and actions associated with childhood.
Author Sheldon Cashdan’s parents read the more popular fairy tales such as Hansel and Gretel and Jack in the Beanstalk to him as a child. Still, he admits his most vivid childhood memories of fairy tales were brought to him courtesy of Walt Disney. He recalls “sitting in a darkened movie theater watching Snow White and holding (his) breath as the gamekeeper prepared to cut out the heroine’s heart” (Cashdan, 1). However, as an adult, teaching undergraduate courses; particularly a seminar titled “The Psychology of Fantasy and Folklore”, he became aware of fairy tales as both a teaching tool and a forum for understanding child psychological development.
In chapter one Cashdan discusses some of the myths concerning fairy tales.
· Myth 1-Fairy tales are stories written for children. During his research of fairy tales Cashdan found that many of them “never made their way into children’s storybooks” (Cashdan, 2). Of the hundreds of fairy tales Cashdan unearthed only a few, those free of incest, sexual innuendo, and other perversions, were appropriate for children. Their intended use, Cashdan asserts, was entertainment at adult social gatherings.
· Myth 2-All fairy tales were written by The Brothers Grimm. Wilhelm and Jacob Grimm collected centuries-old stories, gleaned from the memories of and relatives, and created an anthology that “many consider the most comprehensive fairy-tale collection of all time” (Cashdan, 7).
· Myth 3-The intent of fairy tales is to teach children lessons. Morality in fairy tales was added later by Charles Perrault. For example, the never talk to strangers caution in Little Red Riding Hood was not part of the original story, but added by Perrault for didactic purposes. According to the author Little Red Riding Hood is about “food and cannibalism” (Cashdan, 9).
In chapter two Cashdan discusses why, although they were not originally intended for children, fairy tales are so appealing to children and why they are helpful psychologically. Fairy tales contain insight into feelings all children struggle to understand. Things such as loving and being loved, fear of abandonment, and even where they stand in the hierarchy of the family find a voice and a release through fairy tales.
Chapters three through ten provide a breakdown of inappropriate behaviors and feelings all children struggle to overcome and compares them to the seven deadly sins; vanity, gluttony, envy, deceit, lust, greed, and sloth. Cashdan points to the witch-like character in various fairy tales; the evil step-mother in Snow White is vain, the witch in Hansel and Gretel is gluttonous, the evil step-mother in Cinderella is envious, the maid-servant in The Goose Girl is deceitful, the Sea Witch in The Little Mermaid is lustful, the giant in Jack and the Beanstalk is greedy, the evil step-sister in Mother Hulda is slothful; and associates the witch’s death in each story with a child’s ability to overcome inappropriate feelings and behavior.
As a method for understanding the inner workings of a child’s mind and an historical index of both well and lesser known traditional tales The Witch Must Die is an excellent resource for parents, teachers, and child psychologists attempting to help children navigate some of the more terrifying impulses, feelings, and actions associated with childhood.
