Picturing Fairyland: Illustrated Fairy Tale Books and the Rise of The - DocsLib

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Home , Andrew Lang, Bluebeard, Catskin, Charles Dodgson (priest), Fairyland, Fairy riding

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Special Collections at McGill University, The Osborne Collection of Early Children’s Literature

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7DEOHRIRQWHQWV /LVWRIFigures…...………………………………………………………………………………x ,QWURGXFWLRQ……………………………………………………………………………………….. Fantasy and the Fairy tale…………………………………...…...……………………….. &KLOGKRRG&RQFHSWVDQGthe Child’s Book…………………………….……………………8 3. Fairy Tale ScholarshipŚ Jack Zipes…………………………………….….…………….....15 3.1. Gender and Fairy Tale Scholarship………………………………….………………1 Postcolonial Feminism…………………………………………………………....2 /DFNRIWWHQWLRQLYHn to the Pictorial...……………………………….………………2 7RZDUGVD3Lcture Book Methodology…………………………………….…………….2 GGLWLRQDO&RQFHSWXDO&RQVLGHUDWLRQV)DQWDVYHUVXV(PSDWK…………………..3 2XWOLQHRIChapters………………………………………………………….…………... ………………………………………6HFWLRQ2QH2HULHZ..….………..……….…..……… &KDSWHU7KH)DLU7DOHIRUGXOWVDQGWKH/LPLWVRf Andrew Lang’s FantasyScape…...….. 3KDVH2QH6WRUWHOOLQJDQGWKH'HYHORSPHQWRIWKH)DLU7DOH&DQRQ…...….……48 3KDVH7ZR6WRULHVIRU&KLOGUHQDQGthe Myth of the Noble Savage……...……….5 QGUHZ/DQg……………………………………………………………...………...60 1.3.1. Lang in his Victorian Era Ethnocultural Milieu………………………...6 5HVSRQVHVWR/DQJDQG)DLUland’s Revival………………………………...………71 1.4.1. G.K. Chesterton………………………………………………………… -557Rlkien………………………………..…………………………....78 1.5. Phase ThreeŚ Subversion and CivilizationŚ A New Set of Conditions………………8 Chapter Conclusion………………………………………………………………………90 &KDSWHUURZLQJRXWRIDQGLQWR)DLUODQG9LFWRULan Pictorial Diversity…………………...92 2.1. John Ruskin’s Fairyland and Beloved Childhood………………………………...... 96 7KH.LQJRIWKHROGHQ5LYHU9Lctorian Fairy Tale Novel…………...103 2Q6H[DQGHQGHrŚ Beyond the Reaches of Ruskin’s Childhood Fairyland……...1 RZ'DUNLVWKH5DEELWROHDQGWKH&XULRVLWies That Alice Found There………115 2Q7DNLQJWKH3LFWRULDO6HULRXVOLQPublishing History…..……………………… 6FHQHVRI%HDXW6DYLQJWKHBeast…………………………..…………..126 RZWKH3LFWRULDO0DWWHUVWRRace Relations……………………...……………….128

2.6. Racialization in Andrew Lang’s “Coloured Fairy Books”……………...…………134 2.7. The Pictorialization of Aladdin’s Racial IdentitiesŚ Crane versus Ford………...…138 &KDSWHU&RQFOXVLRQ...…………………………………………………………………..141 ………………………………………6HFWLRQ7ZRHVWKHWLF0RGHV……...…..…………….142 &KDSWHU7KH&XWH…………………………………………………………………………….147 :KDWLV&XWHQHVV7KHRUHWLFDOOy Speaking?……………………………………...... 148 3UH1LQHWHHQWK&HQWXU)RXQGDWLRQV………………………………………………156 7URXEOHVRPH)DLUBodies……………………………………...………………….159 9LFWRULDQ&DVWRI)DLry Figures………………………………………………….164 7KH&XWe and the Toy Book……………………………………………………... UHWKH7DPHVWRI)DLUODQGV5HDlly That Safe? ..…………………..……….……175 &KDSWHU7KH6DWLULFDO………………………………………………...……………………...177 4.1. Locating Satire’s Visual Kin……………………………………….………………180 4.2. George Cruikshank’s Cartoons andthe Fairy Tales………...……………………..183 9LFWRULDQ3XQFK7KH3URIHVVLRQDOL]DWLRQof Graphic Satirists……………...... …189 )DLU7DOH&URVVRYHUVLQWKH9LFWRULDQ3XQFK………………………………...…...191 )DOOLQJIURPWKH,GHDOVRIGXOWKRRd into the Punchbowl……………………...…194 7KH3XQFK9HUVLRQRIWKHFairy Tale………………………………………...…….200 4.7. On How to Grow up Amongst Childish Adults……………………………………206 7KH5RVHDQGWKH5LQJ………………………………………………...…206 7KHOLFH6WRULHV….…………………………………………………...…209 Chapter 5Ś The Utopian………………………………………………………………………… ,QWHUVHFWLRQVEHWZHHQ)DLU7DOHVDQG8WRSLDQ1DUUDWLYHV…………………...…... 5.2. Visual Dimensions of Utopia………………………………………………………2 7KH)DLU7DOH8topianism or Fantasy……………………………………………2 ZDNHQLQJVLQ1HZV)URP1RZKHUH…………………………………………...…224 &UDQHDQG0RUULV6RFLDOLVW)ULHQds and Craftsmen……………………………….227 .HOPVFRWW3XEOLVKLQJDQGWKH(DUO3XEOLVKLQJRI1HZVIURP1RZKHUH…………..2 5.7. Walter Crane’s UtopianAllegory………………………………………………….232 7KH8WRSLDQWKDWOLPPHUVLQ:DOWHU&Uane’s Fairy Tale Books…………………236 9LVXDOL]LQJ)DLU7DOHVLQ1HZVIURP1RZKHUH…………………………………...241

&RQFOXVLRQWR6HFWLRQ7ZR7KH&XWH6DWLULFDODQG8WRpian Chapters...…….………...……..242 ………………………………………6HFWLRQ7KUHHLQGHUHOOD……………………………..2 &KDSWHU&LQGHUHOODDQGKHU0DQ/Rst Slippers……………………………………………..246 &LQGHUHOOD7UDYHOVWKURXJK)DLU7DOH6FKRODUVKLS………………………..………249 6.1.1. Cinderella’s Feminist Journey…………………………………………...251 7H[WDQG,PDJH7KH6WRU(QYLURQPHQWVIRU7ZR&LQGHUHOODV……………….…..255 6.2.1. Perrault’s “Cendrillon”………………...……………………………...... 256 6.2.2. D’Aulnoy’s “Finette Cendron”.…………………………………….……259 (QJOLVK3XEOLVKLQJLVWRU)URP&KDSERRNWR7R%RRN…………………….….261 7KH'LFNHQV&UXLNVKDQNExchange……………………………………….………266 9LHZLQJ%HDXWLIXO&LQGHUHOODDQGWKH8JO6WHSVLVWHUVLQ&RORXU…………...…...268 . Cinderella’s Suffering and the Suffragette’s Cinderella………………….….……270 6.7. “Aschenputtel” versus &LQGHUHOOD………………………………………….………275 &KDSWHUConclusion……………………………………………………………………. Chapter 7Ś The Disney Version, or Cinderella’s Tale of Cat and Mouse………………………280 RLQJ%HRQGD6Hcond Wave Feminist Critique…………………………….... 'LVQH(GXFDWLRQDQGChildhood…………………………………………………286 3. Snow White as Different Heroine in the Princess Triad………………………...… &LQGHUHOODOOAmerican Girl…………………………………………………… 'LVQH%UDQGof Animality in Cinderella……………………………………… 7.5.1. Nature Films…………………………………………………………...… QLPDOVLQ6QRZ:KLWH………………………………………………… 7.5.3. Cinderella’s Entourage of Mice……………………...………………... .5.4. Cat versus Male Mice…………………………………………………… 7.5.5. Animality and Race……………………………………………………… 0RYLQJ3LFWXUHVSources…………………………………………………...…... 7KH&RGH[7RZDUGVD&RQFOXGLQJ&RQWHQWLRQ…………………………………... 7KHVLV&RQFOXVion and New Beginnings………….………………………………………… 9DOXHRI)DLUTale Fantasy………………………………………………………… )DLU7DOHPictures…...………………………………………………………………3 4XHVWLRQVRI5HDGHU9Lewership and Agency……………………………………….3

)DLU7DOHVDQGContemporary Art…………………………………..……………… %LEOLRJUDSK……...……………….……………………..………………………………… Secondary Sources...……………………………………………………...………...322 3ULPDU6RXUFHV%RRNV3HULRGLFDOVDnd Illustration…………...…...…………….335 3ULPDU6RXUFHV)LOPV…………………………………...………………………3 Image Appendix…...……………………….…………………………………………………...342 ImagesŚ Introduction…………………………………………………………...……….342 ,PDJHV&KDSWHU1……………………………………………………………...…….…343 ,PDJHV&KDSWHU2……………………………………………………………...……….345 ,PDJHV&KDSWHU3……………………………………………………………...……… 359 ,PDJHV&KDSWHU4……………………………………………………………...…….…364 ,PDJHV&KDSWHU5……………………………………………………………...…….…377 ,PDJHV&KDSWHU6……………………………………………………………...…….…388 ,PDJHV&KDSWHU7……………………………………………………………...…….…400 ,PDJHV&RQFOXVLon………………………………………………………………….….404

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,QWURGFWLRQ )LJV Richard Doyle, “She runs away, and this is his conditionŚ A Little Play in Three Acts,” and “Climbing” illustrations in ,Q)DLUODQG6HULHVRI3LFWXUHVIURP WKH(OI:RUOG/RQGRQ/RQJPDQVUHHQDQG&RSODWHVYLLLLLL )LJ Richard Doyle, “The Fairy Queen Takes a Drive,” illustration in ,Q)DLUODQG 6HULHVRI3LFWXUHVIURPWKH(OI:RUOG/RQGRQ/RQJPDQVUHHQ5HDGHU 'HUSODWH KDSWHU )LJ Antoine Clouzier, “Contes de ma mère L’Oye,” frontispiHFHLQ&KDUOHV3HUUDXOW LVWRLUHVRX&RQWHVGXWHPSVSDVVpYHFGHV0RUDOLWH3DULV&ODXGH%DUELQ )LJ Anonymous (Antoine Clouzier?), “Contes des Fées,” frontispiece in Marie Catherine D’Aulnoy, /HV&RQWHVGH)pHVYRO/DDH )LJ Ludwig Grimm, “Dorothy Viehmann,” frontispiece in .LQGHUXQGDXVPlUFKHQ YRO%HUOLQ5HLPHU )LJ &RORXUHG%RRN&RYHUVIRUQGUHZ/DQJ“Coloured Fairy Books,” (LondonŚ /RQJPDQVUHHQDQG&R KDSWHU )LJ -DPHV1RUWKFRWH-RKQ5XVNLQ2LORQOLQHQ1DWLRQDO3RUWUDLWDOOHU )LJ John Ruskin, “The Dwarf,” drawing and detail in 7KH3XSSHW6KRZRUPXVLQJ &KDUDFWHUVIRU&KLOGUHQXWRJUDSK0DQXVFULSWF )LJ George Cruikshank, “Blue Light,” illustration in Jacob Grimm and Wilhelm ULPPLQHUPDQ3RSXODU6WRULHV/RQGRQ-RKQ&DPGHQRWWHQ )LJ GHODLGH&OD[WRQ:RQGHUODQG:DWHUFRORXUF )LJV 0HODQFKROLFOXFNDQGWKH%ODFN%URWKHUV5LFKDUG'ROHLOOXVWUDWLRQVLQ-RKQ 5XVNLQ7KH.LQJRIWKHROGHQ5LYHUVWHG/RQGRQ6PLWK(OGHU )LJ WKLUVWJLUO5LFKDUG'ROHLOOXVWUDWLRQGHWDLOLQ-RKQ5XVNLQ7KH.LQJRIWKH ROGHQ5LYHUVWHG/RQGRQ6PLWK(OGHU )LJ Esquire Wind’s long nose. Richard Doyle, frontispiece detail in -RKQ5XVNLQ 7KH.LQJRIWKHROGHQ5LYHUVWHG/RQGRQ6PLWK(OGHU )LJ Esquire Wind’s short nose. Richard Doyle, frontispiece detail in John Ruskin, 7KH.LQJRIWKHROGHQ5LYHU%RVWRQ0DKHZ%DNHU

)LJ Arthur Hughes, “I felt two large soft arms thrown round me from behind,” LOOXVWUDWLRQLQHRUJH0DF'RQDOG3KDQWDVWHV)DHULH5RPDQFHUHSXEOLFDWLRQ RIHGLWLRQ1HZRUN'RYHU3XEOLFDWLRQV )LJV 0DXGXPSKUHLOOXVWUDWLRQVLQHRUJH0DF'RQDOG7KH/LJKW3ULQFHVVDQG 2WKHU)DLU7DOHV(LondonŚ G. P. Putnam’s Sons, 1893), 33 & 59. )LJV Maria Louise Kirk, “She Learnt Nearly all of that Evening,” “They cam and alighted in a row upon the Coil, and Turned into Diamonds Directly,” and “In three minutes they were floating among the clouds,” illustrations in Jean ,QJHORZ0RSVDWKH)DLU3KLODGHOSKLD-%/LSSLQFRWW&RPSDQ )LJ Walter Crane, “The Happy Prince,” frontispiece in Oscar Wild,LQ7KHDSS 3ULQFHDQG2WKHU7DOHV/RQGRQ'DYLG1XWW )LJ 'DQWHDEULHO5RVVHWWLIURQWLVSLHFHLQ&KULVWLQD5RVVHWWLREOLQ0DUNHWDQG 2WKHU3RHPVQGHG/RQGRQ0DFPLOODQ )LJ RRGEHIHHW-RKQ7HQQLHOLOOXVWUDWLRQLQ/HZLV&DUUROO7KURXJKWKH/RRNLQJ ODVVDQG:KDWOLFH)RXQG7KHUH/RQGRQ0DF0LOODQ&R )LJ -RKQ7HQQLHOLOOXVWUDWLRQLQ/HZLV&DUUROO7KURXJKWKH/RRNLQJODVVDQG:KDW OLFH)RXQG7KHUH/RQGRQ0DF0LOODQ&R )LJ /HZLV&DUUROOOLFH/LGGHOODV7KHHJJDULUOOEXPHQSULQWF )LJ John Tenniel, “Advice from a Caterpillar,” illustration in Lewis Carroll, Alice’s GYHQWXUHV,Q:RQGHUODQG/RQGRQ0DFPLOODQDQG&R )LJ John Tenniel, “And hast though slain the Jabberwok,” illustration in Lewis &DUUROO7KURXJKWKH/RRNLQJODVVDQG:KDWOLFH)RXQG7KHUH/RQGRQ 0DF0LOODQ&R )LJ Laurence Housman, illustration in Christina Rossetti’s REOLQ0DUNHW/RQGRQ 0DF0LOODQ&R )LJ 6DYLQJ6FHQH:DOWHU&UDQHLOOXVWUDWLRQLQHDXWDQGWKHHDVW/RQGRQ HRUJH5RXWOHGJHDQG6RQV )LJ 6DYLQJ6FHQH-)RUGLOOXVWUDWLRQLQQGUHZ/DQJ“Beauty and the Beast,” 7KHOXH)DLURRNVWHG&RORXUHG)DLU%RRNV/RQGRQ/RQJPDQVUHHQ DQG&R )LJ H.J. Ford, illustration in Andrew Lang, “Fairy Gifts,” 7KHUHHQ)DLURRNVW HG&RORXUHG)DLU%RRNV/RQGRQ/RQJPDQVUHHQDQG&R )LJ H.J. Ford, “Hok Lee,” illustration in Andrew Lang, “The Story of Hok Lee and the Dwarfs,” 7KHUHHQ)DLURRNVWHG&RORXUHG)DLU%RRNV/RQGRQ /RQJPDQVUHHQDQG&R

)LJ H.J. Ford, “Iwanich seizes the Magician bKLVEHDUGDQGGDVKHVKLPWRWKH ground,” illustration in Andrew Lang, “The Witch and her Servants,” 7KHHOORZ )DLURRNUGHG&RORXUHG)DLU%RRNV/RQGRQ/RQJPDQVUHHQDQG&R )LJ 3ULQFHERZVWRSULQFHVV3-DFRPEHood, illustration in Andrew Lang, “The White Cat,” 7KHOXH)DLURRNVWHG&RORXUHG)DLU%RRNV/RQGRQ /RQJPDQVUHHQDQG&R )LJ XWKRULWDWLYH)DLURGPRWKHU3-DFRPERRGLOOXVWUDWLRQLQQGUHZ/DQJ “Cinderella,” 7KHOXH)DLURRNVWHG&RORXUHG)DLU%RRNV/RQGRQ /RQJPDQVUHHQDQG&R )LJ H.J. Ford, “How the boys were half turned into bears,” illustration in Andrew Lang, “How the Little Brother set Free his Big Brothers,” 7KHURZQ)DLU RRNVWHG&RORXUHG)DLU%RRNV/RQGRQ/RQJPDQVUHHQDQG&R )LJ H.J. Ford, “The Bunyip,” illustration in Andrew Lang, “The Bunyip,” 7KH URZQ)DLURRNVWHG&RORXUHG)DLU%RRNV/RQGRQ/RQJPDQVUHHQ DQG&R )LJ H.J. Ford, illustration in Andrew Lang, “Prince Hyacinth and the Dear Little Princess,” 7KHOXH)DLURRNVWHG&RORXUHG)DLU%RRNV/RQGRQ /RQJPDQVUHHQDQG&R )LJ H.J. Ford, “King Loc Carries Abeille away from her Mother,” illustration in Andrew Lang, “The Story of King Loc,” 7KH2OLYH)DLURRNVWHG &RORXUHG)DLU%RRNV/RQGRQ/RQJPDQVUHHQDQG&R )LJ H.J. Ford, “The Princess carriedoff by the Bees,” illustration in Andrew Lang, “Rossanella,”7KHUHHQ)DLURRNVWHG&RORXUHG)DLU%RRNV/RQGRQ /RQJPDQVUHHQDQG&R )LJ H.J. Ford, “Samba found skulking by his wife,” in Andrew Lang, “Samba the Coward,” 7KH2OLYH)DLURRNVWHG&RORXUHG)DLU%RRNV/RQGRQ /RQJPDQVUHHQDQG&R )LJ :DOWHU&UDQHLOOXVWUDWLRQLQODGGLQDQGWKH:RQGHUIXO/DPSQGHG" /RQGRQHRUJH5RXWOHGJH6RQV )LJ H.J. Ford, “The African Magician gets the Lamp from the slave,” illustration in Andrew Lang, “Aladdin and the Wonderful Lamp,” 7KHUDELDQ1LJKWV (QWHUWDLQPHQWV/RQGRQ/RQJPDQVUHHQ&R )LJ H.J. Ford, “Aladdin's mother brings the sODYHVZLWKWKHIRUWEDVLQVRIJROG before the sultan,” illustration in Andrew Lang, “Aladdin and the Wonderful Lamp,” 7KHUDELDQ1LJKWV(QWHUWDLQPHQWV/RQGRQ/RQJPDQVUHHQ&R

)LJ :DOWHU&UDQHLOOXVWUDWLRQLQODGGLQDQGWKH:RQGHUIXO/DPSQGHG" /RQGRQHRUJH5RXWOHGJH6RQV )LJ Walter Crane, illustration in “Cinderella,” &LQGHUHOOD3LFWXUHRRN&RQWDLQLQJ &LQGHUHOOD3XVVLQRRWV9DOHQWLQHDQG2UVRQ1HZRUN'RGG0HDGDQG FRPSDQ )LJ :DOWHU&UDQHLOOXVWUDWLRQLQ7KH)URJ3ULQFH/RQGRQHRUJH5RXWOHGJHDQG 6RQV )LJ H.J. Ford, “The Death of the African Magician,” illustration in Andrew Lang, “Aladdin and the Wonderful Lamp,” 7KHUDELDQ1LJKWV(QWHUWDLQPHQWV /RQGRQ/RQJPDQVUHHQ&R )LJ :DOWHU&UDQHLOOXVWUDWLRQLQODGGLQDQGWKH:RQGHUIXO/DPSQGHG" /RQGRQHRUJH5RXWOHGJH6RQV KDSWHU )LJ Anonymous, “Robin GoodfellowŚ His mad pranks and merry jests,” TitleSDJH LOOXVWUDWLRQ )LJ -RVKXD5HQROGVPuck from a Midsummer Night’s DreamUHSURGXFHGE 6DPXHO&RXVLQVHQJUDYHU )LJ HQU)XVHOL3XFNUHSURGXFHGE-DPHV3DUNHUHQJUDYHU )LJ HQU)XVHOL7LWDQLDDQG%RWWRPF2LORQFDQYDV )LJ (GZDUGRSOH3XFNDQGD0RWKF )LJ -RVHSK1RHO3DWRQ4XDUUHORI2EHURQDQG7LWDQLDDQGGHWDLO2LORQ FDQYDV )LJ %DEZLWKKDPPHUDQGERRN:DOWHU&UDQHIURQWLVSLHFHDQGGHWDLOLQ7KH Baby’s Opera: A Book of Old Rhymes, with New Dresses/RQGRQDQG1HZ York Ś Frederick Warne and Co., 1900). )LJ .DWHUHHQDZDIURQWLVSLHFHLQ8QGHUWKH:LQGRZ3LFWXUHV5KPHVIRU &KLOGUHQ/RQGRQ5RXWOHGJH6RQV )LJ Kate Greenaway, “Three little girls sitting on a rail,” illustration in 8QGHUWKH :LQGRZ3LFWXUHV5KPHVIRU&KLOGUHQ/RQGRQ/RQGRQ1HZRUN 5RXWOHGJH6RQV )LJ Kate Greenaway, “You see Merry Phillis that dear little maid,” illustration in 8QGHUWKH:LQGRZ3LFWXUHV5KPHVIRU&KLOGUHQ/RQGRQ/RQGRQ1HZ RUN5RXWOHGJH6RQV )LJ Kate Greenaway, “The laughter sprite,” illustration in 'ROl’s Tea Party%RVWRQ /RWKURS3XEOLVKLQJ&R

)LJ Jessie Willcox Smith, “Beauty and the Beast,” illustration in Anna Alice Chapin, 7KH1RZ'DV)DLURRN1HZRUN'RGG0HDG )LJ Florence Mary Anderson, “It was very cold in the Milky Way,” illustration in /LWWOH)RONV7KH0DJDLQHIRURVDQGLUOV/RQGRQ&DVVHODQG&R/WG )LJ M.T. Penny Ross, “Tiger SwallowTail,” illustration The Butterfly Babies’ Book &KLFDJR5DQG0F1DOO )LJ Arthur Rackham, “Peter Pan in the fairies’ orchestra,” illustration in J. M Barrie 3HWHU3DQLQ.HQVLQJWRQDUGHQV/RQGRQRGGHUDQG6WRXJKWRQ KDSWHU )LJ Thomas Stothard, “Belinda smiled, and all the world was gay. All but the sylph,” IURQWLVSLHFHLQOH[DQGHU3RSH5DSHRIWKH/RFN )LJV George Cruikshank, “Hard Frost,” 1836, and “February—Valentines Day,”1837, LOOXVWUDWLRQVLQ7KH&RPLFOPDQDFN)LUVW6HULHVYRO/RQGRQ &KDWWRDQG:LQGXVDQG )LJ George Cruikshank, “Splendid Spread,” 1850, in 7KH&RPLFOPDQDFN6HFRQG 6HULHVYRO/RQGRQ&KDWWRDQG:LQGXV )LJ George Cruikshank, “RLJKWVRI:RPHQRUWKH(IIHFWVRI)HPDOH Enfranchisement,” 1853 in 7KH&RPLFOPDQDFN6HFRQG6HULHV YRO/RQGRQ&KDWWRDQG:LQGXV )LJ HRUJH&UXLNVKDQNIURQWLVSLHFHLQ-DFREULPPDQG:LOKHOPULPPHUPDQ 3RSXODU6WRULHVWUDQV(GJDU7DORUYRO/RQGRQ%DOGZQ )LJ George Cruikshank, “The Travelling Musicians, or The Waits of Bremen,” LOOXVWUDWLRQLQ-DFREULPPDQG:LOKHOPULPPHUPDQ3RSXODU6WRULHV WUDQV(GJDU7DORUYRO/RQGRQ%DOGZQ )LJ George Cruikshank, “Jew in the Bush,” illustration in Jacob Grimm and Wilhelm ULPPHUPDQ3RSXODU6WRULHVWUDQV(GJDU7DORUYRO/RQGRQ%DOGZQ )LJ George Cruikshank, “Fearful Quarrels, and BUXWDO9LROHQFHDUHWKH1DWXUDO Consequences of the Frequent Use of the Bottle,” illustration in Charles Mackay, 7KHRWWOH/RQGRQSODWHYL )LJ George Cruikshank, “The Giant Ogre discovers Hop’ o my Thumb…” LOOXVWUDWLRQLQHRUJH&UXLNVKDQN7KH&UXLNVKDQN)DLURRN)RXU)DPRXV 6WRULHV(New YorkŚ G.P. Putnam’s Sons, 1911) 133. )LJ Richard Doyle, “Punch,” Sept. 10 1859, cover illustration LQ3XQFK

)LJ Anonymous, “Turkey in Danger,” Mar. 29 1853, cartoon inMr. Punch’s 9LFWRULDQ(UDYRO/RQGRQ%UDGEXUJQHZ&RPSDQ )LJ Anonymous, “The French Game of LeapFrog over the British Lion,” Jan. 31, FDUWRRQLQMr. Punch’s Victorian EraYRO/RQGRQ %UDGEXUJQHZ&RPSDQ )LJ Anonymous, “Royal Nursery Rhymes,” Jan. 7, 1843, cartoon inMr. Punch’s 9LFWRULDQ(UDYRO/RQGRQ%UDGEXUJQHZ&RPSDQ )LJV Anonymous, “Pets of Manchester School,” Apr. 18, 1854, and “The Game of Speculation,” Mar. 29, 1852, cartoons in Mr. Punch’s Victorian Era YRO/RQGRQ%UDGEXUJQHZ&RPSDQ )LJ Richard Doyle?, “The Irish Tom Thumb,” Mar. 9, 1844, cartoon inMr. Punch’s 9LFWRULDQ(UDYRO/RQGRQ%UDGEXUJQHZ&RPSDQ )LJ Richard Doyle?, “Cinderella, or Lord John Trying it on Again,” Feb. 20, 1851, FDUWRRQVLQMr. Punch’s Victorian EraYRO/RQGRQ%UDGEXU JQHZ&RPSDQ )LJ John Tenniel, “New Crowns for old ones, Aladdin,” Mar. 20, 1876, cartoon in Mr. Punch’s Victorian EraYRO/RQGRQ%UDGEXUJQHZ &RPSDQ )LJV Randolph Caldecott, “With one another they did fight, about the children’s life,” and “And he that was of mildest mood, Did slaye the other there,” illustrations in DEHVLQWKH:RRG/RQGRQ)UHGHULFN:DUQH

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LOOXVWUDWLRQVLQ:LOOLDP0DNHSHDFH7KDFNHUD7KH5RVHDQGWKH5LQJVWHG /RQGRQ6PLWK(OGHUDQG&R )LJ Richard Doyle, “Gruffanuff, and her What her Station,” illustration in William 0DNHSHDFH7KDFNHUD7KH5RVHDQGWKH5LQJVWHG/RQGRQ6PLWK(OGHU DQG&R )LJ Richard Doyle?, “The IrishTom Thumb,” detail of figure 83 )LJ 5RVDOEDGDQFHVLJOLRZDWFKHV.LQJDQG4XHHQ9DOHURVRDQGQJHOLFDDUH VLGHEside, Gruffanuff stands in the background. Richard Doyle, “How the Little Beggar Baby” illustration in William Makepeace Thackeray, 7KH5RVHDQG WKH5LQJVWHG/RQGRQ6PLWK(OGHUDQG&R )LJ Disraeli. John Tenniel, “Good Bye,” cartoon detail in Mr. Punch’s Victorian Era YRO/RQGRQ%UDGEXUJQHZ&RPSDQ )LJ John Tenniel, “A Mad TeaParty,” illustration in Lewis Carroll, Alice’s GYHQWXUHV,Q:RQGHUODQG/RQGRQ0DFPLOODQDQG&R )LJ John Tenniel, “The Monster SlainŚ And hast though slain the WaggaZRHN" Come to my arms, my Beamish Boy,” caUWRRQLQMr. Punch’s Victorian Era YRO/RQGRQ%UDGEXUJQHZ&RPSDQ KDSWHU )LJ :DOWHU&UDQHLOOXVWUDWLRQLQ7KH6OHHSLQJHDXW3LFWXUHRRN&RQWDLQLQJ Sleeping Beauty, Bluebeard, The Baby’s Own Alphabet1HZRUN'RGG0HDG DQG&R )LJ 7KHVHYHQWKIDLUDVWKHDOOHJRULFDOILJXUHRI'HDWK:DOWHU&UDQHLOOXVWUDWLRQ GHWDLORIILJXUH )LJV :DOWHU&UDQHLOOXVWUDWLRQVLQ7KH6OHHSLQJHDXW3LFWXUHRRN&RQWDLQLQJ Sleeping Beauty, Bluebeard, The Baby’s Own Alphabet1HZRUN'RGG0HDG DQG&R )LJ Walter Crane, “Labour’s May DayŚ Dedicated to the Workers of the World,” Cover page illustration in William Morris, “Chapter XVII” of 1HZVIURP 1RZKHUHSULQWHGLQ7KH&RPPRQZHDO0D/RQGRQ/RQGRQ 6RFLDOLVW/HDJXH2IILFH )LJ %RRN&RYHUIRU:LOOLDP0RUULV1HZVIURPQRZKHUHRUQHSRFKRIUHVWEHLQJ VRPHFKDSWHUVIURPDXWRSLDQURPDQFHDPPHUVPLWK.HOPVFRWW3UHVV /RQGRQ )LJ Walter Crane, “Labour’s May DayŚ Dedicated to the Workers of the World,” GHWDLORIILJXUH )LJ :DOWHU&UDQHOWHUQDWH'HVLJQIRU7KH&DSLWDOLVW3HQDQGSHQFLOF

)LJ :DOWHU&UDQH8QWLWOHG'UDZLQJIRU7KH&DSLWDOLVW9DPSLUH,QNRQ SDSHUQG )LJ :DOWHU&UDQH'HDWKDQG&RPPHUFH3HQDQGLQNF )LJ /LWWOHKRXVH:DOWHU&UDQHIURQWLVSLHFHVLQRXVHKROG6WRULHVIURPWKH &ROOHFWLRQRIWKHURWKHUVULPPWUDQV/XF&UDQHVWHG/RQGRQ 0DFPLOODQ )LJ Walter Crane, “Gardez le Clef,” illustration detail in OXHEHDUG/RQGRQHRUJH 5RXWOHGJH6RQV )LJ Freedom. Walter Crane, “Labour’s May DayŚ Dedicated to the Workers of the World,” detail of figure 106. )LJ )UHHGRP)LJXUH:DOWHU&UDQHLOOXVWUDWLRQIURP-DFNDQGWKHHDQVWDON /RQGRQHRUJH5RXWOHGJHDQG6RQV )LJ )UHHGRP)LJXre! Walter Crane, illustration in “Cinderella,” &LQGHUHOOD3LFWXUH RRN&RQWDLQLQJ&LQGHUHOOD3XVVLQRRWV9DOHQWLQHDQG2UVRQ1HZRUN 'RGG0HDGDQGFRPSDQ )LJ :DOWHU&UDQHIURQWDQGEDFNSDJHVLQHDXWDQGWKHHDVW/RQGRQ-RKQ/DQH )LJ :DOWHU&UDQHLOOXVWUDWLRQLQHDXWDQGWKHHDVW/RQGRQ-RKQ/DQH )LJ 0HQDFLQJ%HDVW:DOWHU&UDQHLOOXVWUDWLRQLQHDXWDQGWKHHDVW/RQGRQ -RKQ/DQH )LJ 0HQDFLQJ%OXHEHDUG:DOWHU&UDQHLOOXVWUDWLRQLQOXHEHDUG/RQGRQHRUJH 5RXWOHGJH6RQV )LJ Ogre. Walter Crane, “Puss in Boots,” illustration in &LQGHUHOOD3LFWXUHRRN &RQWDLQLQJ&LQGHUHOOD3XVVLQRRWV9DOHQWLQHDQG2UVRQ1HZRUN'RGG 0HDGDQGFRPSDQ )LJ DUGHQRI(GHQ:DOWHU&UDQHLOOXVWUDWLRQLQOXHEHDUG/RQGRQHRUJH 5RXWOHGJH6RQV )LJ DUGHQRI(GHQ:DOWHU&UDQHLOOXVWUDWLRQLQHDXWDQGWKHHDVW/RQGRQ -RKQ/DQH )LJ George Cruikshank, “The King of the Golden Mountain,” illustration detail in -DFREULPPDQG:LOKHOPULPPHUPDQ3RSXODU6WRULHVWUDQV(GJDU 7DORUYRO/RQGRQ%DOGZQ )LJ Walter Crane, “Frog Prince,” tailpiece in Walter Crane, RXVHKROG6WRULHVIURP WKH&ROOHFWLRQRIWKHURWKHUVULPPWUDQV/XF&UDQHVWHG/RQGRQ 0DFPLOODQ

)LJ Walter Crane, The Six Swans,” illustration in Walter Crane, “RXVHKROG6WRULHV IURPWKH&ROOHFWLRQRIWKHURWKHUVULPPWUDQV/XF&UDQHVWHG/RQGRQ 0DFPLOODQ )LJ 0DU/LJKWERG)DLU7DOHV2LORQFDQYDV )LJ :DOWHU&UDQHLOOXVWUDWLRQLQ7KH)URJ3ULQFH/RQGRQHRUJH5RXWOHGJHDQG 6RQV KDSWHU )LJ Adolphe Lalauze, “Charles Perrault,” frontispiece in Andrew Lang, Perrault’s 3RSXODU7DOHV2[IRUG&ODUHQGRQ3UHVV )LJ Prayerful Cinderella by the Fireplace. John Absolon, “Cinderella,” illustration in 6LUHQU&ROHSVHXGRQP)HOL[6XPPHUOHGERRNRI6WRULHVIURPWKH RPH7UHDVXU/RQGRQ0F/HDQ&XQGDOOF )LJ :DOWHU&UDQHLOOXVWUDWLRQLQ&LQGHUHOOD/RQGRQHRUJH5RXWOHGJH6RQV )LJ George Cruikshank, “The prince picking up Cinderella’s glass slipper,” illustration in “Cinderella,” 7KH&UXLNVKDQN)DLURRN)RXU)DPRXV6WRULHV (New YorkŚ G.P. Putnam’s Sons, 1911), 183 )LJ :DOWHU&UDQHLOOXVWUDWLRQGHWDLOLQ:DOWHU&UDQH&LQGHUHOOD/RQGRQHRUJH 5RXWOHGJH6RQV )LJ Antoine Clouzier, “Cendrillion,” Headpiece illustration in Charles Perrault, “Cendrillon, Ou La Petite Pantoufle de Verre,” LQLVWRLUHV2X&RQWHV'X 7HPSV3DVVp3DULV%DUELQ )LJ Antoine Clouzier?, “Finette Cendron,” Headpiece illustration in Marie&DWKHULQH D’Aulnoy, “Finette Cendron,” in Les Contes de Fées, vol. 4 (ParisŚ Barbin, )LJ /DVWZRUGV([FHUSWLQ7KH'LYHUWLQJLVWRURI&LQGHULOOD2U7KH/LWWOHODVV 6OLSSHU(PEHOOLVKHGZLWK&XWV(GainsbroughŚ Mozley’s Lilliputian Book 0DQXIDFWRU )LJ %DOOVFHQHDQG&LQGHUHOODFULQJQRQPRXVLOOXVWUDWLRQVLQ7KH'LYHUWLQJ LVWRURI&LQGHULOOD2U7KH/LWWOHODVV6OLSSHU(PEHOOLVKHGZLWK&XWV (GainsbroughŚ Mozley’s Lilliputian Book Manufactory, 1793), 11 & 18. )LJV &LQGHUHOODLQDZLGHOHJJHGSRVWXUHQRQPRXVLOOXVWUDWLRQLQ7KHLVWRURI &LQGHUHOOD2U7KH/LWWOHODVV6OLSSHU'HUE7KRPDV5LFKDUGVRQ )LJ %RRN&RYHUIRU3UHWWRRNIRU&KLOGUHQWKHG/RQGRQ-RKQ1HZEHULQ St. Paul’s ChurchDUG

)LJ Ball scene. Anonymous, illustration in “Cinderella,” 3UHWWRRNIRU&KLOGUHQ 10th ed., (LondonŚ John Newbery in St. Paul’s ChurchDUG )LJ Anonymous, “2IEUDKDPRIIHULQJXSKLVVRQ” illustration in 3UHWWRRNIRU &KLOGUHQ, 10th ed., (LondonŚ John Newbery in St. Paul’s ChurchDUG )LJ QRQPRXV7LWOHSDJHLQLangley’s History of Cinderella and Her Glass 6OLSSHU/RQGRQ/DQJOH )LJ LQWVRIFXWHQHVV'HWDLORIILJXUHDQGILJXUHVDQG )LJV 0RWKHUILJXUHVQRQPRXVLOOXVWUDWLRQLQ7KHLVWRURI&LQGHUHOOD2WOH RUNVKLUH3XEOLVKLQJ6WDWLRQDU&RF )LJ George Cruikshank, “The pumpkin and the Rat and the mice and the lizards EHLQJFKDQJHGEWKH)DLULQWRDFRDFKKRUVHVDQGVHUYDQWVWRWDNH&LQGHUHOOD to the Ball at the Royal palace,” illustration in “Cinderella and the Glass Slipper,” 7KH&UXLNVKDQN)DLURRN)RXU)DPRXV6WRULHV1HZRUN3 Putnam’s Sons, 1911), 173. )LJ George Cruikshank, “The fairy changing Cinderella’s kitchen dress into a beautiful ball dress,” illustration in “Cinderella and the Glass Slipper,” 7KH &UXLNVKDQN)DLURRN)RXU)DPRXV6WRULHV(New YorkŚ G.P. Putnam’s Sons, )LJV &LQGHUHOODEWKHILUHSODFH'HWDLOVRIILJXUHV )LJ )LUHSODFHVFHQH:DOWHU&UDQHLOOXVWUDWLRQVLQ:DOWHU&UDQH&LQGHUHOOD /RQGRQHRUJH5RXWOHGJH6RQV )LJ )LUHSODFHVFHQH3-DFRPERRGLOOXVWUDWLRQLQQGUHZ/DQJ7KHOXH )DLURRNVWHG&RORXUHG)DLU%RRNV/RQGRQ/RQJPDQVUHHQDQG&R )LJV &LQGHUHOODDV/DERXUDQGIDLUJRGPRWKHUDV/LEHUW'HWDLOVRIILJXUH )LJ Sylvia Panhurst? or Joseph Southall?, “Peace or Famine–Which?,” Cover image LQ6OYLD3DQNKXUVWHGWoman’s Dreadnought-XQH )LJV 6OYLD3DQNKXUVWQJHORI)UHHGRPDQG6OYLD3DQNKXUVW9RWHVIRU :RPHQ/RJRF )LJ 6OLSSHUV:DOWHU&UDQHLOOXVWUDWLRQVLQ&LQGHUHOOD/RQGRQHRUJH5RXWOHGJH 6RQV )LJ /XGZLJULPP“Aschenputttel,” illustration in Brüder Grimm, .OHLQHXVJDEH GHU.LQGHUXQGDXVPlUFKHQ%HUOLQ5HLPHU )LJ Edward H. Wehnert, “Cinderella,”LOOXVWUDWLRQLQRXVHKROG6WRULHV&ROOHFWHG EWKHURWKHUVULPPYRO/RQGRQGGHDQG&R

KDSWHU )LJ &LQGHUHOOD%RRN&LQGHUHOOD:DOW'LVQH3URGXFWLRQV'9'VFUHHQVKRW )LJ &LQGHUHOODERRN0DU%ODLUDQLPDWRUDQGZDWHUFRORXULVWVFHQHLQ&LQGHUHOOD :DOW'LVQH3URGXFWLRQV'9'VFUHHQVKRW )LJ -DTDQGXVLQDWHDFXS6FHQHLQ&LQGHUHOOD:DOW'LVQH3URGXFWLRQV '9'VFUHHQVKRW )LJ :RPHQPLFHVLQJDQGVRZ6FHQHLQ&LQGHUHOOD:DOW'LVQH3URGXFWLRQV '9'VFUHHQVKRW )LJV /XFLIHU:DUG.LPEDOODQLPDWRUVFHQHVLQ&LQGHUHOOD:DOW'LVQH 3URGXFWLRQV'9'VFUHHQVKRW )LJ 6KRH7ULDO6FHQHLQ&LQGHUHOOD:DOW'LVQH3URGXFWLRQV'9' VFUHHQVKRW )LJ Mice sewing the mayor’s coat. Beatrix Potter, illustration for 7KH7DLORURI ORXFHVWHUF )LJ Beatrix Potter, “Lady Mouse curtsying in front of a teacup,” watercolour and SHQFLO )LJV 6QRZ:KLWH%RRN6FHQHVLQ6QRZ:KLWHDQGWKH6HYHQ'ZDUIV:DOW'LVQH 3URGXFWLRQV'9'VFUHHQVKRW )LJ 6OHHSLQJ%HDXW%RRN6FHQHLQ6OHHSLQJHDXW:DOW'LVQH3URGXFWLRQV '9'VFUHHQVKRW )LJ 3LQRFFKLR%RRN6FHQHLQ3LQRFFKLR:DOW'LVQH3URGXFWLRQV'9' VFUHHQVKRW )LJV %ODQN6ODWH6FHQHLQOLFHDQG:RQGHUODQG:DOW'LVQH3URGXFWLRQV '9'VFUHHQVKRW RQFOVLRQ )LJ 6DULQGDU'KDOLZDOWKHJUHHQIDLUVWRUERRNIURQWYLHZERRNZRUN[ [FP )LJ 6DULQGDU'KDOLZDOWKHJUHHQIDLUVWRUERRNEDFNYLHZERRNZRUN[ [FP

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Richard Doyle’s (1824FRORXUHGZRRGHQJUDYLQJVLQWKHFRIIHHWDEOHERRN,Q)DLUODQGD

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Evans’ contribution to mass printing technology.FKLOGZRXOGGLVDSSHDUEHKLQGLWEXWZDVLW

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HQWLUHIDLUWDOHWUDGLWLRQZDVSUHGHWHUPLQHGWRUHVHPEOHD'LVQHILOPWKHQWKHFRORXUHGSODWHV in Doyle’s original,Q)DLUODQGPDFRPHDVDGHOLJKWIXOVXUSULVH

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RQHIDLUNLVVHVDQHOIDQGUXQVDZDOHDYLQJKLPFULQJILJQRWKHUHOIUHMHFWVKHUVXLWRU

Jan Susina, “‘Like the Fragments of Coloured Glass in a Kaleidoscope’Ś Andrew Lang Mixes Up Richard Doyle’s ‘In Fairyland,’” 0DUYHOV7DOHVQR-DQXDU (GPXQG(YDQV5HPLQLVFHQFHVRI(GPXQG(YDQVHG5XDUL0F/HDQ2[IRUG&ODUHQGRQ3 “Waterlilies and Water Fairies” in William Allingham, and Richard Doyle, illus., ,Q)DLUODQG6HULHVRI 3LFWXUHVIURPWKH(OI:RUOG/RQGRQ/RQJPDQVUHHQ5HDGHU'HUSODWH[L Doyle, “A Little Play, in three acts” in ibid., plate viii.

DQGHWDQRWKHUVWHDOVWKHKDWDZDIURPDPLVFKLHYRXVPDQFKLOGHOIZKRKDVWDNHQRYHUD robin’s nest (fig. 2). Through the clouds, the fairy queen appears, using a flower as her carriage.

7KLVVFHQHLVIURP“The Fairy Queen Takes a Drive,” which is the UDFLHVWRIWKHSODWHVILJ

The queen watches over her driver, a naked boy fairy who phallically rides upon the flower’s stem while giant butterflies propel them through the air. The fairies’ sexual expressLYLW

SODIXOQHVVDQGWKHLQWHUVSHFLHVFRPPXQLFDWLRQEHWZHHQIDLULHVDQGDQLPDOVLVTXDVLXWRSLDQLQ

WKDWWKHDUHIUHHIURPHYHUGDUHVSRQVLELOLWLHVQGHWLQPDQLQVWDQFHVSODIXOQHVVERUGHUV on crueltyś fairies and elves yank and pull on birds’ wings and steal robins’ eggs.

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DGXOWIDUHDQGLWVUHOHJDWLRQWRWKHPLGGOHclass children’s bedroom. Eventually, the illustrations

IRXQGLQ,Q)DLUODQGwould be tampered with and relegated to the children’s bookshelves. After

Doyle’s death, Andrew Lang copied, pasted, and reDUUDQJHGKLVLPDJHVDQGLQVRGRLQJKHFXW out the elements associated with feminine sexual agency. The most erotic of the plates, “The

Fairy Queen Takes a Drive,” was not included in Lang’s readaptation of Doyle’s pictorial

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EULGH—SUREDEOWRVHUYHDVKLVSUL]HGSRVVHVVLRQThis narrative formula is typical of Lang’s

ZRUNDVDQHGLtor of children’s books—namely the “Coloured Fairy Books” (1889ZKLFK

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Silver discusses the fairy’s cruelties in the paintings by Richard Doyle, Joseph Noel Paton, John Anster )LW]JHUDOGDQG5LFKDUG'DGG&DUROH6LOYHU6WUDQJHDQG6HFUHW3HRSOHV)DLULHVDQG9LFWRULDQ&RQVFLRXVQHVV 2[IRUG2[IRUG8QLYHUVLW3UHVV– 6XVLQDQRWHVWKHH[FOXVLRQRIWKLVSULQWLQ7KH3ULQFHVV1RERG:LWKRXWGLVFXVVLQJWKHVH[XDOQDWXUHRIWKH LPDJH6XVLQDVXJJHVWVWKDW/DQJPDKDYHfelt the plate to be too artificial. Susina, “Like the Fragments of Coloured Glass in a Kaleidoscope,” 106. QGUHZ/DQJDQG5LFKDUG'ROHLOOXV7KH3ULQFHVV1RERG7DOHRI)DLUODQG/RQGRQ/RQJPDQV UHHQDQG&RKWWSPFJLOOZRUOGFDWRUJRFOF

children’s book market, 7KH3ULQFHVV1RERGbecame a commercially viable children’s book,

ZKLFKDQWLFLSDWHGLang’s VHULHVRIFRORXUHGERRNV

Rather than downplay the importance of such picture books in relation to children’s literature, I want to emphasize their significance within Victorian England’s overarching culture.

VVXFKWKLVGRFWRUDOWKHVLVexamines the fairy tale’s visual evolution as part of a history of

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WRWKH“Golden Age of Children’s Literature,”ZKLFKIORXULVKHGLQ9LFWRULDQ(QJODQGXSWR:RUOG

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KLVWRULFDOPRGHVRIYLHZLQJWZHQWLHWKFHQWXUDWWLWXde is described by children’s literature

VFKRODU1DRPL:RRGVZKRVHIRUPHUHOHPHQWDUVFKRROVWXGHQWVSUHIHUUHGWKH“original” Disney version of Cinderella to Perrault’s and the Grimms’:KHQWKH'LVQHSULQFHVVILOPVFRPHWR

UHSUHVHQWWKHTXLQWHVVHQWLDOYHUVLRQRIWUDGLWLRQDOIDLUWDOHVWKLVVKXWVGRZQDQDSSUHFLDWLRQRI the genre’s pictorial wealth as found throughout its publishing history. Although animators of

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“Golden Age of Children's Literature,” is a term used by scholars in children’s literature to refer to a distinct time period when children’s literature and illustrated children’s book flourished. Jan Susina, “Children’s LiteratureŚ Facts, Information, Pictures,” (QFFORSHGLDRI&KLOGUHQDQG&KLOGKRRGLQLVWRUDQG6RFLHW httpŚ//www.encyclopedia.com/topic/childrens_literature.aspxś “Golden Age of Children’s Illustrated Books,” Children’s Literature ReviewKWWSZZZHQFFORSHGLDFRPFKLOGUHQDFDGHPLFDQGHGXFDWLRQDO MRXUQDOVJROGHQDJHFKLOGUHQVLOOXVWUDWHGERRNV Naomi Wood, “Domesticating Dreams in Walt Disney’s Cinderella,” 7KH/LRQDQGWKH8QLFRUQQR – Doyle’s whimsical fairies were recycled into )DQWDVLDDQGQXPHURXVQLQHWHHQWKFHQWXULOOXVWUDWLRQV LQVSLUHGSULQFHVVILOPVOLNH&LQGHUHOOD0XVpHGHVEHDX[DUWVGH0RQWUpDODQGDOHULHVQDWLRQDOHVGXUDQG3DODLV )UDQFH2QFH8SRQD7LPH:DOW'LVQH7KH6RXUFHVRI,QVSLUDWLRQIRUWKH'LVQH6WXGLRVHG%UXQRLUYHDX 0XQLFK3UHVWHO

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IDQWDVLWVHOI",WZDVLQWKHVWKDW&KDUOHV3HUUDXOWILUVWSXEOLVKHGVWRULHVZKLFKZRXOGODWHU

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Cinderella story, which alongside the Grimms’ publications, would come to influence how the

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DQGFRPPLWWHGVRFLDOLVW:DOWHU&UDQHDQG,FRPSDUHWKHLGHRORJLFDODQGDHVWKHWLF differences between these artists’ narrative scenes. In the case of :DOWHU&UDQHLWLVUDUHWKDW scholars consider his collective pictorial output both within and outside of the field of children’s

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Evans’ triumvirate of toy booNDUWLVWV:DOWHU&UDQH5DQGROSK&DOGHFRWW.DWHUHHQDZD

Children’s literature scholars have situated this triad as integral to the Golden Age of Children’s

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Morna O’Neill exceptionally draws attention to Walter Crane both as a children’s book illustrator and as DUWLVWZLWKVRFLDOLVWLQFOLQDtions. She emphasizes the importance of the latter over the former. Morna O’Neill, :DOWHU &UDQH7KHUWVDQG&UDIWV3DLQWLQJDQG3ROLWLFV1HZDYHQDOH8QLYHUVLW3UHVV

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OLVRQ/XULHDQGAnna Smol) have looked at Andrew Lang’s “Coloured Fairy Books,” and yet the books’ illustrators H.J. Ford and G.P. JacombRRGDUHQRWSDUWRIWKHGLVFXVVLRQ,FRQVLGHU

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Disney’s many unFUHGLWHGIHPDOHDQLPDWRUV

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SXEOLVKLQJKLVWRUFDQEURDGHQWKHLQWHUSUHWLYHUDQJHRIIDLUWDOHVFKRODUVKLS'UDZLQJIURP literary studies (including children’VOLWHUDWXUHIRONORUHVWXGLHVFKLOGKRRGVWXGLHVDQGERRN

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WKHSULQFLSDOWHUPVRIWKHWKHVLVUHODWHGWRIDQWDVand the fairy tale, childhood and the child’s

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GHIpHVDIWHU0DULH&DWKHULQHG’Aulnoy coined the term. These stories were both written and

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IpHVand Germanic ‘household tales’ were translated into English books, where they were given

WKHQDPH“fairy tale.”The French and German tales, alongside Shakespeare’s fates, fairies, and

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J.R.R. Tolkien, “On FairyStories,” in 2Q)DLU6WRULHV1HZRUN%DOODQWLQH%RRNV–

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&DWKHULQHG’Aulnoy’s “Finette Cendron,” William Shakespeare’s A Midsummer’s Night’s

'UHDP, John Ruskin’s 7KH.LQJRIWKHROGHQ5LYHUDQGVXEVHTXHQW9LFWRULDQQRYHOODV—OLFH

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7KRPSVRQ1976) developed a classification system based on the stories’ essential

FKDUDFWHULVWLFV&LQGHUHOODLVFODVVLILHGDVWKH“Persecuted Heroine –WSH”DQG%HDXWDQG

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-DFN=LSHV)DLU7DOHDV0WK0WKDV)DLU7DOH/H[LQJWRQ8QLYHUVLWRI.HQWXFN3UHVV Antti Aarne and Stith Tompson, “425Ś The Search for the Lost Husband,” Aarne7KRPSVRQ8WKHU &ODVVLILFDWLRQRI)RON7DOHV0XOWLOLQJXDO)RON7DOH'DWDEDVHDFFHVVHG-DQXDU httpŚ//www.mftd.org/index.php?action=atu&act=select&atu=425ś Antti Aarne and Stith Tompson, “510Ś Cinderella and Cap O’ Rushes,” Aarne7KRPSVRQ8WKHU&ODVVLILFDWLRQRI)RON7DOHV0XOWLOLQJXDO)RON7DOH'DWDEDVH DFFHVVHG-DQXDUKWWSZZZPIWGRUJLQGH[SKS"DFWLRQ DWXDFW VHOHFWDWX

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FHQWXUIDLUWDOHVDUHRIWHQPDUNHWHGDQGFDWHJRUL]ed as children’s literature. InsteDGWKHIDLU

WDOHEHFRPHVGHILQDEOHDVDGLVWLQFWLYHJHQUHZKHQWKHVWRUXQIROGVDWWKHFURVVURDGVEHWZHHQ fantasy’s expansive unknown, and the familiarity associated with a canon of household tales

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FKLOGKRRGERRNV

KLOGKRod Concepts and the Child’s Book

,QRUGHUWRH[SORUHWKHERQGEHWZHHQFKLOGKRRGDQGIDLUODQGDVLWHPHUJHVLQERRNFXOWXUHWKH question of what is meant by a child’s book is important. Building on the critical work by

VFKRODUVRIchildren’s OLWHUDWXUH/HUHUXQWDQG1RGHOPDQ,WDNHDGLIIHUHQWSRVLWLRQWR

3KLOLSSHULqVZKRFRQWURYHUVLDOOVWDWHGWKDWFKLOGKRRGGLGQRWH[LVWEHIRUHWKH seventeenth century. The English translation of Ariès’ book &HQWXULHVRI&KLOGKRRGLV

LQIOXHQWLDOIRUVFKRODUODWWLWXGHVWRZDUGVFKLOGKRRGLWLQGLFDWHVDQLGHRORJLFDOFRQWH[WIRUWKH tendency amongst children’s literature scholars in the decades following his book to focus on

Tolkien, “On FairyStories,” 20ś Amie A. Doughty, )RONWDOHV5HWROG&ULWLFDO2YHUYLHZRI6WRULHV8SGDWHG IRU&KLOGUHQ/RQGRQ0F)DUODQGDQG&RPSDQ,QF

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ULqVDVVHUWHGWKDWCharles Perrault’s Christian moralism PDUNHGKRZWKHIDLUWDOHZDVGHVWLQHG

IRUFKLOGUHQRQOUHFHQWOKDVthe purpose of Perrault’s socalled children’s stories FRPHLQWR

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Bettelheim concluded that the child’s subconscious behaves like fairy tale charactersŚ hHKDV

LQWHUSUHWHGWKHLPDJHRI&LQGHUHOODVOLSSLQJKHUIRRWLQWRWKHHPSWVKRHDVWKHRQLFDQGSKDOOLF working of a child’s inner desires and has interpreted Little Red Riding Hood’s punishment as

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FKLOGKRRGDQGXQUXOFKLOGUHQZLWKWKHGHVHUYHGSXQLVKPHQWVRIIDLUWDOHFKDUDFWHUVLVZRUN of interpreting the character’s inherent guilt, inner wishes, sexual thoughts, and aggressive drives

ZDVOLQNHGWRKLVSUDFWLFHDVa child psychologist. According to Maria Tatar’s critique, both the

FKLOGFKDUDFWHUVDQGKLVFOLHQWFKLOGUHQEHFRPH“selfsufficient adults”, but onlyLIWKHPDWXUH into the ultimate role of caring for their “unflawed elders”UHJDUGOHVVRIZKHWKHUWKHLUSDUHQWV

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Bettelheim’s ability “to know”DQGWRPDQLSXODWHthe child’s subconscious.

Heather Montgomery, “What Is a ChildŚ Childhood as a Modern IdeaŚ The Influence of Philippe Ariès,” in An Introduction to Childhood: Anthropological Perspectives on Children’s Lives0DOGHQ0:LOH%ODFNZHOO – )or example, Ariès’ assertions inform Zipes position on Perrault as a children’s author in the first of two HGLWLRQVRIKLVVXEYHUVLRQERRN-DFN=LSHV)DLU7DOHVDQGWKHUWRI6XEYHUVLRQ7KH&ODVVLFDOHQUHIRU &KLOGUHQDQGWKH3URFHVVRI&LYLOLDWLRQ1HZRUN5RXWOHGJH– -DFN=LSHVUHDNLQJWKH0DJLF6SHOO5DGLFDO7KHRULHVRI)RONDQG)DLU7DOHV/RQGRQHLQHPDQQ 0DULD7DWDU2IIZLWK7KHLUHDGV)DLU7DOHVDQGWKH&XOWXUHRI&KLOGKRRG3ULQFHWRQ1- 3ULQFHWRQ8QLYHUVLW3UHVV[YLLL 7DWDU2IIZLWK7KHLUHDGV[YLLL =LSHVUHDNLQJWKH0DJLF6SHOO7DWDU2IIZLWK7KHLUHDGV[[LL–[[LLL

It may seem odd that Ariès and Bettelheim assert the fairy tale’s predetermined rHOHYDQFH

IRUFKLOGUHQZKHQPXFKRISUHQLQHWHHQWKcentury children’s literature had little to do with fairy

WDOHVRZHYHUWhe concept of childhood is itself pivotal to what constitutes a child’s book.

Based on the philologist Seth Lerer’s work on the educational significance of children’s books, I acknowledge that shifting notions of romanticized childhood have influenced children’s

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KRZHYHUDGPLWVWKDWHGXFDWLRQDOWKHRULHVE-RKQ/RFNHDQG-HDQ-DFTXHV5RXVVHDXFDPHWR inform the production of children’s books once an official book market dedicaWHGWRFKLOGUHQZDV

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In “Defining Children’s Literature,” Peter Hunt states, “the concept of childhood is extremely complex.”He goes on to discuss “extreme versions of childhood, from the Romantic

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6HWK/HUHUChildren’s Literature: A Reader’s History, from Aesop to Harry Potter&KLFDJR7KH 8QLYHUVLWRI&KLFDJR3UHVV ,ELG–– Peter Hunt, “Defining Children’s Literature,” in Only Connect: Readings on Children’s LiteratureHG 6KHLOD(JRII2[IRUG2[IRUG8QLYHUVLW3UHVV ,ELG

SDUDGLJPZKHUHEWKH“XQNQRZLQJFKLOG”or “Romantic Child” LVQRORQJHUSUHVHQWHGOLNHD

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Roger Cox’s history of childhood concepts is useful because iWLOOXVWUDWHVKRZ5RPDQWLF and Enlightenment frameworks for imagining the child’s nature and growth (namely those

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LPSRUWDQWWRUHFRJQL]HWKHGLIIHUHQFHEHWZHHQWKHOLYHGH[SHULHQFHRIFKLOGKRRGDQGKRZ childhood as a concept emerges out of children’s publishing history, which was largely antiIDLU

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ZKDWLVH[SHULHQFHGDQGUHPHPEHUHGfrom childhood becomes part of the stories’ reader

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7ZR6KRHV(1765) introduced Lockean ideas about the child’s mind.FFRUGLQJWR/HUHU

Locke’s concept of the child persists in children’s literaturHZLWKVWRULHVLQZKLFKSODWKLQJV

,ELG– Ibid., 53ś Jamie Gianoutsos, “Locke and RousseauŚ Early Childhood Education,” 7KH3XOVHQR Seth Lerer, “Playthings of the MindŚ John Locke and Children’s Literature,” in Children’s Literature: A Reader’s Histor)URPHVRSWRDUU3RWWHU&KLFDJR8QLYHUVLWRI&KLFDJR3UHVV–LDQRXWVRV “Locke and RousseauŚ Early Childhood Education,” 3. Locke’s treatise was designed in response to his friend Samuel Clarke who asked for advice on how to UDLVHKLVVRQOWKRXJKIRFXVHGRQWKHUDLVLQJRIERVWREHFRPHJHQWOHPHQ/RFNHDGYLVHG0UV&ODUNHWKDWIRUWKH most part his approach to education would be the same for both genders. John Locke, “Letter to Mrs. Clarke, February 1685,” in 7KH(GXFDWLRQDO:ULWLQJVRI-RKQ/RFNHHG-DPHV/[WHOO&DPEULGJH&DPEULGJH8QLYHUVLW 3UHVV /HUHUWDONVDERXWKRZWKHERRNLQGXVWUEHJDQWRLQWHJUDWHSKVLFDOUHSUHVHQWDWLRQVRIWKHWDEXODUDVD within its publications of books. Lerer, “Playthings of the MindŚ John Locke and Children’s Literature,” 114, 120. ,ELG–

FRPHDOLYHDQGZKHUHDQLPDOVWDONZDONDQGIHHODQGLQERRNVWKDWKHOSPRXld the reader’s

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DQDOWHUQDWLve understanding of childhood, which has also influenced the production of children’s books. In response to Locke’s “blank SDJH”model, Rousseau’s pedagogical fiveSDUWQRYHO ePLOHJHQHUDWHGDURPDQWLFL]HGFRQFHSWRIFKLOGKRRG5RXVVHDXWKRXJKWWKDWSXEOLF

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WHDFKHULVQDWXUHKHUVHOIDQGWKHUHLVRQHERRNWKDWKHLVSHUPLWWHGWRUHDGEHIRUHWKHDJHRI twelveŚ the French translation of Daniel Defoe’s 5RELQVRQ&UXVRH

Educated by nature, and versed in Crusoe’s adYHQWXUHVWKHRXQJDGXOWJURZVXSDQG

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,ELG Gianoutsos, “Locke and RousseauŚ Early Childhood Education,” 13– Although the boy is the intended reader in Émile, Defoe’s book soon became widely accessibOHWRERWK JHQGHUVLQVFKRROURRPVDFURVV(XURSH/HUHUChildren’s Literature -HDQ-DFTXHV5RXVVHDXePLOHWUDQV%DUEDUD)R[OH1HZRUN-0'HQWDQG6RQV–

Rousseau’s emphasis on the boy’s maturation, his ideas about girls DUHDSDUWRIWKHWUHDWLVH

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LOOXVWUDWRUVGLVSXWHGhis view on the child’s sexualityVZLOOEHVHHQLQ&KDSWHU5XVNLQZDV a complex historical personage, who also promoted a view of the girl’s intellectual agencyś as a

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&UDIWV0RYHPHQW0RUHRYHUKLVLQIOXHQFHFDQEHIHOWLQVictorian picture books’ carefully

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&UXVRHand the Newbery printing press recycled John Locke’s views. Ruskin advocated for the

The fictive dimensions of Rousseau’s story become complicated when we also consider a biographical IDFWKHGHSRVLWHGKLVILYHLOOHJLWLPDWHFKLOGUHQDWDKRVSLWDOIRUDEDQGRQHGFKLOGUHQ3HUKDSVEHFDXVHKHFRXOGQRW JLYHWKHPKLVLGHDOYLVLRQRIFKLOGKRRG5RXVVHDXIHOWWKDWLWZDVIRUWKHLURZQJRRG5HJDUGOHVVRIZKHWKHU Rousseau was hypocritical in his life’s actions, it is worth questioning whether his ideas of the child’s ideal XSEULQJLQJZHUHXQWHQDEOHWREHJLQZLWKDQGLQVWHDGEHVWVXLWHGIRUWKHUHDOPRIILFWLRQ6HH5DFKHO)XFKV EDQGRQHG&KLOGUHQ)RXQGOLQJVDQG&KLOG:HOIDUHLQ1LQHWHHQWK&HQWXU)UDQFHOEDQ16WDWH8QLYHUVLW of New York Press, 1984), 63ś “JeanJacques Rousseau,” (QFFORSHGLDRI:RUOGLRJUDSKDFFHVVHG -DQXDUKWWSZZZQRWDEOHELRJUDSKLHVFRP5R6F5RXVVHDX-HDQ-DFTXHVKWPO 8&.QRHSIOPDFKHU9HQWXUHVLQWR&KLOGODQG9LFWRULDQV)DLU7DOHVDQG)HPLQLQLW&KLFDJR 8QLYHUVLWRI&KLFDJR3UHVV

SLFWXUHERRNDQGWKHIairy tale’s importance, and Victorian authors and illustrators of novellas

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“&RORXUHG)DLU%RRNV”were an essential training ground for the white child’s development. It

LVSRVVLEOHWKDWWKHLGHDRIWKHFKLOGDVDQREOHVDYDJHHPHUJHVQRWIURPWKH5RPDQWLF0RYHPHQW so much as from the intersection between Lang’s ethnologicDOFRQWH[WDQGKLVVRFDOOHGFKLOG

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LGHRORJUDFHHWKQLFLWQDWLRQFODVVJHQGHUDQGDJH)URPDFXOWXUDO0DU[LVWSRLQWRIYLHZ the goodness of the fairy tale hinges on the tale’VFLYLOL]LQJDQGVXEYHUVLYHSRWHQWLDO7KXVWKH

FDQEHMXGJHGWREHKDUPIXOZKHQVXSUHPDFLVW(XURFHQWULFDQGSDWULDUFKDOYDOXHVKDYHDQ

LQGRFWULQDWLQJHIIHFW2WKHUZLVHWKHIDLUWDOHFDQEHFHOHEUDWHGDVVXEYHUVLYHLIWKHSRVVLELOLWRI

VHOIautonomy is an integral part of the story’s textual narrative. Here, I narrow in on Jack Zipes’

FULWLTXHRIFODVVUHODWLRQVDQGFDSLWDOLVPZKLFKFOHDUODUWLFXODWHVWKHGQDPLFEHWZHHQDVR

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-DFN=LSHVLVRQHRIWKHPRVWFLWHGVFKRODUVLQIDLUWDOHVWXGLHVLVH[WHQVLYHZRUNIURP

WKHVVPDNHVDQHVVHQWLDOFRQWULEXWLRQWRIDLUWDOHVWXGLHVFRQGXFWHGLQ1RUWK

PHULFD5HFRQILJXULQJWKHGLVFLSOLQDUGLYLGHEHWZHHQDGXOWOLWHUDWXUHRQWKHRQHKDQGDQG

:HVWHUQIDLUWDOHVZKLFKRQWKHRWKHUKDQGZHUHRIWHQEHOLWWOHGDVWKHGRPDLQRIFKLOGUHQ=LSHV

declaresŚ “even though the fairy tale may be the most important cultural and social event in most children’s lives, critics and scholars have failed to study its historical development as a genre.”

7KHUHIRUHVRcalled children’s fairy talesVKRXOGEHWDNHQVHULRXVOFFRUGLQJWR=LSHVWKHIDLU

WDOHZLWKLWVGRPLQDQWERXUJHRLVQRUPVDIIHFWVVRFLHWDVDZKROH%HFDXVHIDLUWDOHVKDYH

EHFRPHLQFUHDVLQJOGLUHFWHGWRZDUGVFKLOGUHQWKHVHWVWDQGDUGVRIQRUPDWLYHEHKDYLRXUZKLFK he associates with “Walt Disney’s civilizing mission.”RZHYHUWKLVLGHRORJLFDOPLVVLRQFDQ

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6FKRROWKHRULVW0D[RUNKHLPHU,QKLVLURQLFIDLUWDOHFRPPHQWDU

RUNKHLPHUPDLQWDLQHGWKDWWSLFDOIDLUWDOHs support the “operations of commodity fetishism in capitalist society.”HURHVPXFKOLNHWKHLUUHDGHUVZKRHLWKHUEHFRPHWULXPSKDQWRUWUDJLF

EHFDXVHRIFKDQJHVLQWKHLUEDQNDFFRXQWVQHYHUIXOOHPDQFLSDWHWKHPVHOYHVIURPWKH

H[SORLWDWLYHFRQGLWLRQVWKDWSHUPLWFDSLWDOLVPWRGRPLQDWHWKHFRPPRGLWLHVDQGFXOWXUDO expressions of the “culture industry”.7KHXVHRIIDLUWDOHVEWKHFXOWXUHLQGXVWUWRSDFLIWKH

PDVVHVLVSDUWRIZKDW=LSHVLVFULWLFDORI=LSHVVHHV'LVQHDVDGULYLQJIRUFHIRUPHULFDQ

FDSLWDOLVPDQGWKXVDVSURRIRIKRZFDSLWDOLVWLFVWRUOLQHVIRVWHUEHKDYLRXUWKDWDOORZVSHRSOHWR

UHPDLQFRQWHQWHGZLWKWKHVWDWXVTXR7KHUHLVQRQHWKHOHVVDQDQWLGRWHWRWKHSHVVLPLVWLF

FXOWXUHLQGXVWUYLHZWKDWIDLUWDOHVRQORIIHUIDOVHXWRSLDQSURPLVHV)RUWKLVSXUSRVH=LSHV

-DFN=LSHV)DLU7DOHVDQGWKHUWRI6XEYHUVLRQ7KH&ODVVLFDOHQUHIRU&KLOGUHQDQGWKH3URFHVVRI &LYLOLDWLRQQGHG1HZRUN5RXWOHGJH Jack Zipes, “Walt Disney’s Civilizing Mission,” in )DLU7DOHVDQGWKHUWRI6XEYHUVLRQQGHG1HZ RUN5RXWOHGJH– =LSHVUHDNLQJWKH0DJLF6SHOO– ,ELG

UHOLHGRQHVVDVEIDLUWDOHUHYLYDOLVWVQDPHO-557RONLHQZKRZDV&DWKROLFDQG(UQVW

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IUDPHZRUN)RUHDFKPDMRUJHRKLVWRULFDOPRPHQWLQWKHGHYHORSPHQWRIWKH:HVWHUQIDLUWDOH

=LSHVFRQWUDVWVWKHDXWKRUVZKRPKHGHHPVUHVSRQVLEOHIRUWKHFLYLOL]LQJPLVVLRQZLWKWKRVHZKR

SUHVHQWDVXEYHUVLYHDOWHUQDWLYH7KHOLQHDJHIURP3HUUDXOWWRWKHULPPVDQGQGHUVHQKHUH,

ZRXOGDGGQGUHZ/DQJWR'LVQHH[HPSOLILHVWKHFLYLOL]ing mission. Accordingly, Disney’s

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VLGHRIWKHIDLUWDOHWUDGLWLRQDQV&KULVWLDn Andersen solidified the canon’s patriarchal

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DWWUDFWLYHWRDJOREDOaudience. The Grimms (they appear on both sides of Zipes’ spectrum) and

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IHPLQLVWDXWKRUVH[HPSOLIVXEYHUVLYHDOWHUQDWLYHVWR'LVQH7KLVDOWHUQDWLYHJURXSLQJEULQJV

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Zipes’ work is at its most developed with regards to the impact of the German fairy tale

LQPHULFDLVIUDPHZRUNIRUFXOWXUDOVXEYHUVLRQGHYHORSHGDORQJVLGHKLVFRQWH[WXDODQDOVLV of the Grimms’ stories and Disney’s movies. However, when he GLVFXVVHVWKH9LFWRULDQIDLU

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WRFULWLTXHKRZUDFHFXOWXUHDQGJHQGHUSODRXWLQQGUHZ/Dng’s books. Also, while he

Zipes examines Bloch’s “The Fairy Tale Moves on its Own in Time” (1930) and Tolkien’s “On Fairy Stories” (1939). Jack Zipes, “Utopian Function of Fairy Tales and FantasyŚ ErnsW%ORFKWKH0DU[LVWDQG-55 Tolkien the Catholic,” in UHDNLQJWKH0DJLF6SHOO5DGLFDO7KHRULHVRI)RONDQG)DLU7DOHV/RQGRQHLQHPDQQ – =LSHV)DLU7DOHVDQGWKHUWRI6XEYHUVLRQ ,ELG

recognizes that Disney’s moving pictures absorb their viewers, he is strangely inattentive to the

SLFWXUHVLQQLQHWHHQWKcentury fairy books. These gaps in Zipes’ extensive overview of the fairy

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WKHGHYHORSPHQWRIPHWKRGVXVHGLQWKHDQDOVLVRIgendered power relations. In Donald Haase’s

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SULYLOHJHGWKHIHPLQLVWFULWLF0DUFLD/LHEHUPDQZKLOHexcluding Alison Lurie’s essays.7KH journalist and children’s boRNZULWHUOLVRQ/XULHZURWHDERXWWKHVXEYHUVLYHSRVVLELOLWLHVRIDQ

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JHnre’s harmful indoctrinating impactDQGDVVRFLDWHGWKHJHQGHUHGQDUUDWLYHSDWWHUQVRISDVVLYH

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5HFHQWIHPLQLVWoriented research has moved away from Lurie and Lieberman’s general

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'RQDOGDDVHHG)DLU7DOHVDQG)HPLQLVP1HZSSURDFKHV'HWURLW:DQH6WDWH8QLYHUVLW3UHVV L[ =LSHVGLVFXVVHV/LHEHUPDQDQGPHQWLRQVIHPLQLVWVVXFKDVQGUHD'ZRUNLQDQGHVWHU(LVHQVWHLQZKR KHOGVLPLODUYLHZVRQWKHDFFXOWXUDWLRQRIFKLOGUHQ-DFN=LSHVHGDon’t Bet on the Prince: Contemporary Feminist )DLU7DOHVLQ1RUWKPHULFDDQG(QJODQG1HZRUN0HWKXHQ–

specific fairy tales and their authors’ tacit understanding of maturation, class, culWXUHDQG

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EHWZHHQ&KDUOHV3HUUDXOWDQG0DULH&DWKHULQHd’Aulnoy’s source texts.

The question of the fairy tale’s appropriateness for children presents a different set of

LVVXHVIRU0DULD7DWDUHUFORVHreading of the seven editions of Jacob and Wilhelm Grimms’

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Tatar elaborates on the pivotal moments of violence found in the Grimms’ fairy tales,

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ZKHQIDFHGZLWKQLQHWHHQWKcentury criticism of the tales’ appropriateneVVDVOLWHUDWXUHDQGWKHLU

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YLROHQWmoments to create a stronger contrast between the hero’s tribulations and the villain’s

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0DULD7DWDUThe Hard Facts of the Grimms’ Fairy Tales3ULQFHWRQ1-3ULQFHWRQ8QLYHUVLW3UHVV 7DWDUDUG)DFWV[[LLL

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Snow White, which feature the hero’s trials and the villain’s comeuppance, “children, who

LQYDULDEOFRXQWWKHPVHOYHVDPRQJWKHGRZQWURGGHQDQGXQGHUSULYLOHJHGLGHQWLIDQG empathise with the protagonist.”7DWDUGRHVPRUHWKDQSURYLGHDZLQGRZRIVSHFXODWLRQLQWR

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VDVXEYHUVLYH—ZLWKWKHLUXVHRIIDQWDVDQGIHPDOHDXWKRUVWHQGHGWREHPRUHFRQVHUYDWLYH

HVXJJHVWVWKDWERWKPDOHDQGIHPDOHZULWHUVUHVSRQGHGWRWKHLURZQRXWKJLUOVVWDHGDW

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IRUWKHLUSURIHVVLRQDOVWDWXVDVZULWHUV0RUHVSHFLILFDOOWKHVHZULWHUVRWKHUZLVHUHIHUUHGDV the “six successors of Ruskin,”) collectively challenged Ruskin’VLGHDOL]DWLRQRIFKLOGKRRGDVD

VSDFHWKDWUHVLVWVPDWXUDWLRQDQGVH[XDOLWQGZKLOHGUDZLQJIURPWKHLURZQELRJUDSKLFDO

1RWDEO7DWDUGLIIHUHQWLDWHVDQWLIDLUWDOHVWKDWHQGLQWKHSXQLVKPHQWRIXQGHUGRJWSHFKDUDFWHUVLH “Jew in the Thornbush”) from the majority of the Grimms’ fairy tales. The majority of “true” fairy tales end in WKH VHHPLQJOMXVWSXQLVKPHQWRIWKHZURQJGRHUWSHFKDUDFWHUV,ELG .QRHSIOPDFKHU9HQWXUHVLQWR&KLOGODQG ,ELG ,ELG

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LQWHUWH[WXDOLWEHWZHHQ9LFWRULDQZULWHUVWRKLJKOLJKWWKHGLYHUVHYLHZVRQPDWXUDWLRQZLWKLQWKH period’s fairy tales. The illustrations from many of these books (authored by Ruskin, Carroll,

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Despite the stories’ crossFXOWXUDOKLVWRULHVIDLUWDOHVKDYHJHQHUDOOEHHQVWXGLHGDV:HVWHUQ children’s literature, whereas Orientalist studies have had jurisdiction over the Arabian NigKWV

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FRPSDUWPHQWDOL]DWLRQLQ)DLU7DOHVDQG)HPLQLVP'RQDOGDDVHGHVFULEHVWKH:HVWHUQ insularity of fairy tale scholarship. Haase states that “[p]rogress in feminist fairyWDOHVWXGLHV

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WKHPEXWDOVRDZLOOLQJQHVVWRH[SDQGWKHILHOGRILQTXLUDFURVVQDWLRQDODQGFXOWXUDO boundaries.”

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QRYHOV—DQG,ZRXOGDGGDUWZorks. Cristina Bacchilega reconfigures feminism’s Western insularity in her text “Genre, Gender in the Cultured Reproduction of India as Wonder Tale.”

HUHVKHGLVFXVVHVKRZWKH“,GHDRI,QGLD”DQGWKHwonderful “Orient”KDYHEHHQIXVHGLQWKH

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5XVKGLHLQWHJUDWHVUHIHUHQFHVWR7KH:LDUGRI2which ceases to appear as “Western” when its

DOOXUHLVFRPSDUHGWRKLVZRQGHUILOOHG,QGLD:KLOH%DFFKLOHJDDVVHUWVWKDWWKHUHLVDQ overarching “IGHDRI,QGLD”LQWKHFRQWHPSRUDUIL[DWLRQZLWKZRQGHUWDOHV,DPLQWHUHVWHGLQ

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Cristina Bacchilega, “Genre and Gender in the CulturalReproduction of India as ‘Wonder’ Tale,” in )DLU 7DOHVDQG)HPLQLVP1HZSSURDFKHVHG'RQDOGDDVH6HULHVLQ)DLU7DOH6WXGLHV'HWURLW:DQH6WDWH 8QLYHUVLW3UHVV– ,ELG– In reference to Salman Rusdie’s DURXQDQGWKH6HDRI6WRULHV,ELG ,ELG–

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LPSRUWDQFHRIHGLWLRQVSHFLILFLWZLWKLQWKHGerman context of Grimms’ fairy tales, and yet she

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SXEOLVKHGHLWKHULQ)UDQFHDQG(QJODQGRUGHFDGHVafter the Grimms’ original seven books.)RU

H[DPSOHDVVKHGLVFXsses violence in the Grimms’ version of “King of the Golden Mountain,”

English illustrator George Cruikshank’s picture of jovial beheadings appears on the opposite

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LQ:HVWHUQSXEOLVKLQJKLVERRNVDUHILOOHGZLWKORYHOLOOXVWUDWLRQV:KHQKHKLJKOLJKWVWKH progressive homosexual undertones in Oscar Wilde’s fairy tales, it is Walter Crane’s print of the

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HUD—such as Crane’s SLFWXUHRI%HDXWVDYLQJWKH%HDVW—DSSHDUPRUHWKDQRQFHZLWKRXWPXFK

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7DOHV7KH5HYROWRIWKH)DLULHVDQG(OYHVLVDQRWKHUH[DPSOH,WIHDWXUHVDQ enhanced detail of Richard Doyle’s little fairies that scramble up a leafś they are presumably there to emphasize Zipes’ point that everyday folk can revolt against the status quo, except that

WKLVLVQHYHUVSHOWRXWE=LSHV([FHSWLRQDOO.QRHSIHOPDFKHUQRWHVWKHVH[XDOLPSOLFDWLRQVRI different sizes of noses given to one character in Doyle’s picture for two editions of Ruskin’s7KH

7DWDUDUG)DFWV ,ELG -DFN=LSHV:KHQ'UHDPV&DPH7UXH&ODVVLFDO)DLU7DOHVDQG7KHLU7UDGLWLRQ1HZRUN5RXWOHGJH – 7DWDU2IIZLWK7KHLUHDGV=LSHV)DLU7DOHDV0WK This book is a collection of progressive Victorian fairy tales (gathered by Zipes), which includes Wilde’s 7KHDSS3ULQFHand Lang’s 7KH3ULQFHVV1RERG. Notably, attention to the cover image’s narrative source–– HLWKHU,Q)DLUODQGRU3ULQFHVV1RERG––LVQRWSURYLGHG-DFN=LSHV9LFWRULDQ)DLU7DOHV7KH5HYROWRIWKH )DLULHVDQG(OYHV1HZRUN5RXWOHGJH 0DWWKHZ6ZHHWInventing the Victorians: What We Think We Know About Them and Why We’re Wrong 1HZRUNSt. Martin’s Press, 2001), xii.

.LQJRIWKHROGHQ5LYHUHowever, consideration of how sexuality may shift within a story’s

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ORRNVDWSDLQWLQJDQGSRHWU6LOYHUORRNVDWIRONORULFDQGHWKQRJUDSKLFWH[WVEXWERWKSDPRUH attention to literature than to the books’ pictures.,ZLOOODWHUUHWXUQWRKRZ6LOYHUVLWXDWHV/DQJ and I will later consider Bown’s valuable insights on fairyland paintings in relation to

LOOXVWUDWLRQV)RUQRZLWPXVWEHHPSKDVL]HGWKDWWKHERWKUHJDUGWKHODWHQLQHWHHQWKFHQWXU picture books (Lang’s fairy books for children exemplify this trend) as a symptom of the decline of the fairy’s importance in Victorian England. Accordingly, the incUHDVHGSUHVHQFHRIIDLUORUH

LQERRNVPDUNHWHGIRUFKLOGUHQVLJQDOOHGDGHFUHDVHGUHFRJQLWLRQRIWKHYDOXHRIIDLUWDOHVIRU

DGXOWVOWKRXJKQRWVWDWHGGLUHFWOE%RZQDQG6LOYHUWKLVVHQVHRIGHFOLQHPDLQSDUWEH because children’s literature can rHDGLOEHVHHQDVLQIHULRUWRDGXOWOLWHUDWXUH:LWKWKDWVDLGE

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Aside from monographs on particular artists and studies on the representation of the child’s

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Bader’s PHULFDQ3LFWXUHRRN(1967) and Joyce Whalley’s A History of Children’s Book

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.QRHSIOPDFKHU9HQWXUHVLQWR&KLOGODQG– 1LFROD%RZQ)DLULHVLQ1LQHWHHQWK&HQWXUUWDQG/LWHUDWXUH&DPEULGJH&DPEULGJH8QLYHUVLW3UHVV 6LOYHU6WUDQJHDQG6HFUHW3HRSOHV -RFH,UHQH:KDOOHLstory of Children’s Book Illustration/RQGRQ0XUUD%DUEDUD%DGHU American Picturebooks from Noah’s Ark to the Beast Within1HZRUN0DFPLOODQ3XEOLVKLQJ&R

considering the picture’s chronological order, place of RULJLQDQGVWOLVWLFWHQGHQF%RWK surveys of picture books are useful for understanding trends in children’s book market and for

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Edmund Evan’s triumvirate (Crane&DOGHFRWWUHHQDZDEXWWKHQGRHVQRWGLVFXVVWKHIDLU

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6LPLODUGHVFULSWLYHRYHUYLHZVRI9LFWRULDQLOOXVWUDWLRQVH[LVWRXWVLGHRIWKHILHOGRI children’s literature. Morna Daniels’ 9LFWRULDQRRN,OOXVWUDWLRQORRNVDWWSHVRIERRNV–

–KLVWRUERRNVUHOLJLRXVERRNVHYHUGDVWRULHV––DQGVKHSURYLGHVLQWURGXFWRUSDUDJUDSKVIRU the illustrators. However, in her section “The Orient, fantasy, and the fairy world”DFULWLFDO

GLVFXVVLRQRIKRZ2ULHQWDOLVPDQGIDLUWDOHZRUOGVRYHUODSLVODFNLQJChristopher Wood’s

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ODWHU9LFWRULDQSLFWXUHVEZHOONQRZQDQGOHVVHUNQRZQSDLQWHUVDQGLOOXVWUDWRUV:KLOH

MX[WDSRVLQJIDLUORUHLllustration and painting within his survey, Wood’s book includes women

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TXHVWLRQWKHERXQGDULHVEHWZHHQWKHIDLUWDOHPHDQWIRUFKLOGUHQDQGDGXOWV

OWKRXJKVXUYHVKDYHWKHLUXVHVVFKRODUVKLSWKDWKDVDPRUHFULWLFDOEHQWRVFLOODWHV

EHWZHHQZRUGDQGLPDJHDVWKHPDLQVWRUWHOOLQJHOHPHQWEXWUDUHOFRQVLGHUVERWKV

GLVFXVVHGDERYHOLWHUDUVWXGLHVWHQGWRORRNDWNHWKHPHVDQGLVVXHVIURPWKHOLWHUDUDQJOH

DORQHLJQRULQJWKHDFFRPSDQLQJLPDJHVLQERRNV%FRQWUDVWDQDUWKLVWRULFDODSSURDFKPD

%DGHUAmerican Picturebooks from Noah’s Ark to the Beast Within– RZHYHUQRWDOO9LFWRULDQVWXGLHVLHE6LPRQ&RRNHDQG-XOLD7KRPDVRIYLVXDOFXOWXUHDUHVXUYHV Thomas emphasizes that the illustrations in her study of Tennyson’s illustrated books, Uncle Tom’s Cabin3XQFK PDJD]LQHVGHSLFWLRQVRIWKHFULQROLQHJUD]H7KHVHLPDJHVZHUHPDUNHGEVWOLVWLFLQIOXHQFHVIURPSDLQWLQJDQG related narrative arts, such as plays and novels that “cut across generic boundaries.” Julia Thomas, 3LFWRULDO 9LFWRULDQVWKHQV2KLR2KLR8QLYHUVLW3UHVV RZHYHULWVKRXOGEHQRWHGWKDW,GLVFRYHUHGPDQRIWKHIDLUWDOHLOOXVWUDWLRQVEXVLQJUHIHUHQFHVWR VWRULHVLQOLWHUDUVWXGLHVRIWKHJHQUHDQGEH[SORULQJYDULRXVUDUHERRNOLEUDULHVDQGGLJLWL]DWLRQSURMHFWV

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WKHWH[WXDOHOHPHQWV7KHUHDUHLQVLJKWIXOEHQHILWVWRVXFKDQDUWKLVWRULFDODSSURDFKDVFDQEH seen in Kazue Kobayashi’s overview of the illustrations in the publishing history of the Arabian

1LJKWVZKLFKGRHVPRUHWKDQSURYLGHDVXUYH,QPDNLQJVSDFHIRUWKHSLFWRULDO.REDDVKL

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UHODWHGLPDJHUFLUFXODWHVIURPRQHPHGLXPWRDQRWKHUAnne Higonnet’s 3LFWXUHVRI

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WKURXJKDfailure to recognize the child’s DJHQFDZDUHQHVVDQGLQQDWHVH[XDOLWFFRUGLQJWR

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SDLQWLQJVWRWKHQLQHWHHQWKcentury children’s boRNLOOXVWUDWLRQVE.DWHUHHQDZDDQG-HVVLH

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DUWLVWV6KHXVHVWKHWHUPV“XQNQRZLQJFKLOG”DQGthe “5RPDQWLF&KLOG”WRVLJQDOKRZWKLV

Kazue Kobayashi, “The Evolution of the Arabian Nights IllustrationsŚ An Art Historical Review,” in 7KH UDELDQ1LJKWVDQG2ULHQWDOLVP3HUVSHFWLYHVIURP(DVWDQG:HVWHGXULNRDPDQDNDDQG7HWVXR1LVKLR /RQGRQ,%7DXULV– HQHYLHYH9DOOHDXORRNVDWWKHLQIOXHQFHWKDWFRQWHPSRUDULOOXVWUDWRUVGHULYHIURPWKHILQHDUWVRI painting. Genevieve M.Y. Valleau, “Degas and Seurat and Magritte! Oh My! Classical Art in Picturebooks,” 7KH Looking Glass: New Perspectives on Children’s LiteratureQRWKHORRNLQJJODVVQHW LJRQQHW3LFWXUHVRI,QQRFHQFH–DQG–

ERGRILPDJHUVLJQDOVDFHUWDLQLGHDDERXWLQQRFHQFH––RQHWKDWLVOHVVDERXWIUHHGRPIURP wrongdoings and more about the idealization of the sitter’s naivité in bucolic and wild nature.

Because of print culture’s massPDUNHWFLUFXODWLRQWKHLOOXVWUDWLRQVDQGFDOHQGDUZRUWK

SKRWRVRISUHWWJLUOVDQGLQIDQWVZKRIUROLFLQQDWXUHFRPHLQWRFRQIOLFWZLWKDPRUHWUXHWROLIH way of representing children. Also located in the field of photography are Sally Mann’s

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GHVFULEHVDVWKHNQRZLQJFKLOG7KHFULWLFDOSRLQWDULVHVZKHQWKHKLVWRULFDOOURRWHG“XQNQRZLQJ

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Building on Higonnet’s study, I add the fairy figure WRKHUWSRORJRIUHSUHVHQWDWLRQVRIFKLOGUHQ and consider how the fairy’s sexuality shifts from eighteenthFHQWXUSDLQWLQJVWRQLQHWHHQWK century children’s book illustrations. While focusing on the picture books, I additionally explore

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GLVFLSOLQDULQWHUHVWLQYLVXDOLWKDVPXFKWRRIIHUSLFWXUHERRNstudies, children’s literature

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DUWHGXFDWLRQHVSHFLILFDOOUHIHUVWRDWHQGHQFin response to children’s literature toH[DPLQH

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,ELG– LJRQQHW3LFWXUHVRI,QQRFHQFH 3HUU1RGHOPDQWords about Pictures: The Narrative Art of Children’s Picture BooksWKHQV 8QLYHUVLWRIHRUJLD3UHVVYLL ,ELG

PHDQLQJPDNLQJSRWHQWLDORIYLVXDOOLWHUDFQDGGLWLRQDOFRQWULEXWLQJIDFWRULVWKHFRPPRQ assumption that children are simplistic, and therefore that children’s books with pictures—

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Arguing for the importance of examining the picture book’s detailed elements, Nodelman

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VWUHVVHVYLVXDOOLWHUDFLQKLVVHPLRWLFDSSURDFKWRSLFWXUHERRNVWhile suggesting that “learned assumptions” are part of the “codes of signification,” he considers format, style, design, mood,

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Sendak’s :KHUHWKH:LOG7KLQJVUHIXQFWLRQDVDZKROHDOEHLWIRUDFRQWHPSRUDUDXGLHQFHLV useful for studies that aim to narrow in on the storytelling aspects. The hero and heroine’s

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When Nodelman examines style (otherwise described as the book’s overarching identit

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SHULRGIDVKLRQVDQGLQWHULRUV––ZKLFKSURYLGHVDVVRFLDWLYHPHDQLQJIRUPRGHUQGDYLHZHUV)RU example, Brown’s elaborate costumes for her Cinderella and her “energetic cartoons” place the figure in Charles Perrault’s lightKHDUWed “elegant lateVHYHQWHHQWKcentury court.”%XW/H

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Cain’s “exuberant style” and “sombre mood” place the figures in the “opulence” of Elizabethan

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Addressing the assumption that picture books are for children, Nodelman’s assertion that the convention of bright colours in “very small and very large books” automatically implies the

FKLOGUHDGHUGHVHUYHVWREHHODERUDWHGXSRQWhen discussing Beatrix Potter’s rabbits (one of

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(GPXQG'XODF,DPVSHFLILFDOOLQWHUHVWHGLQWKHKLVWRULFDOSUHFHGHQWVWR5DFNKDPZKRVH illustrations are firmly situated in the field of children’s literature) and of the utRSLDQSRVVLELOLWLHV

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9LFWRULDQVFKRODUVDUHSHUKDSVPRUHLQFOLQHGWRVWXGQLQHWHHQWKFHQWXUQDUUDWLYHFXOWXUH as distinct from children’s OLWHUDWXUH,QKHUVWXGRIKRZDGXOWPHQZHUHLQWHUHVWHGLQIDLUODQG paintings and poems, Nicola Bown pays close attention to the fairy’s erotic appealś fairies are

SDUWRIDGHOLJKWIXOLUUDWLRQDOUHDOPSUHFLVHOEHFDXVHWKHDUHXQOLNHFODVVLFDOLPDJHVRIWKH human body, which symbolize rationality. In other words, attention given to the fairy’s size and bodily appeal is important. Also useful is Victorian scholar Julia Thomas’ point that from

SDLQWLQJDQGUHODWHGQDUUDWLYHDUWVVXFKDVSODVDQGQRYHOVVictorian images and texts “cut across generic boundaries.”Thomas’ study of various illustrations––Tennyson’s illustrated books, Uncle Tom’s Cabin, 3XQFKGHSLFWLRQVRIWKHFULQROLQHJUD]H––LVGLVWLQFWIURPPIDLU

WDOHIRFXVRZHYHUWKHFRQFHSWRIVKLIWLQJERXQGDULHVUHODWHVWRWKHTXHVWLRQRIZKHWKHUWKHUH was such a firm divide between children’s and adult’s literature and picture books (including

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,ELG Words direct our attention from left to right (or vice versa) and are thus more or less “linear”ś whereas, pictures “do not give us direct instruction as tohow to read them,” and are comparatively “nonlinear.” Ibid. ,ELG 7KRPDV3LFWRULDO9LFWRULDQV

7KHthesis’SULQFLSDOPHWKRGRORJLFDODLPLVWRXQGHUVWDQGDQGXQGHUOLQHWKHLPSRUWDQFH

RIWKHSLFWRULDOLQWKHKLVWRURIIDLUWDOHV0RUHRYHUWKLVVHUYHVWRUHLQIRUFHPFRQWHQWLRQWKDW the fantasy component of fairy tales is part of the genre’s vitalityś and, that diverse historical

LOOXVWUDWLRQVH[SDQGWKHLQWHUSUHWLYHrange, which in turn confirms the book’s value as more than

VHFRQGrate child’s fare. My methodological approach integrates questions inspired by children’s

OLWHUDWXUHVWXGLHVDQGIDLUWDOHVFKRODUVKLS:KLOHIHPLQLVWRULHQWHGVFKRODUVKDYHLQIOXHQFHGP understanding of the fairy tale’s evolution and its subversive possibilities, here too my focus on

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KHQFHIRUWKEHXQGHUVWRRGDs the shaping of an image’s meaning based on references to another

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LQWHUSLFWRULDOLWZKLFKH[SDQGHGRXWVLGHRIWKHGRPDLQRf children’s literature.

,QWHUWH[WXDOLWLVDWHUPIUHTXHQWOXVHGLQOLWHUDUVWXGLHV7KURXJKOLWHUDUGHYLFHVVXFKDVSDURGDQG TXRWDWLRQEXWDOVRWKURXJKSVFKRDQDOWLFDQGSRVWVWUXFWXUDOLVWWKHRUDJLYHQWH[WGHSHQGVRQRWKHUVIRULWV PHDQLQJFFRUGLQJWROODQLQWHUWextuality signals the text’s plurality of meaning in the eyes of the readers, and it also “foregrounds notions of relationality, interconnectedness and interdependence,” such as between the dominant PDOHGLVFRXUVHDQGWKHGLVFRYHURIWH[WVEPDUJLQDOL]HGZULWHUVLHZRPHQDQGFXOWXUDORWKHUV7KHWHUPKDV DOVREHHQXVHGLQFLQHPDDQGPXVLFRORJDQGWRDOHVVHUH[WHQWLQDUWKLVWRUWRH[SORUHWH[WWRLPDJHUHODWLRQVKLSV UDKDPOOHQ,QWHUWHWXDOLWQGHG1HZRUN5RXWOHGJH–

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(marketed for children). Shakespeare’s 0LGVXPPHU1ight’s DreamLQVSLUHGWKHIDLUODQG

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VH[XDOLWJHQGHUDQGUDFLDOSRZHUGQDPLFV––ZKLOHalso making space for the fantasy’s utopian

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LQWHQGHGFKLOGDQGDGXOWUHDGHUYLHZHU":KDWHPEHGGHGFRQFHSWVRIFKLOGKRRGHPHUJHIURPWKH stories, and how might greater attention to the illustrations’ aesthetic modes expanGWKHUDQJHRI

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7KHTXHVWLRQRIZKHWKHUIDQWDVLVSURGXFWLYHIRUVHOIRWKHUUHODWLRQVKDVIDOOHQXQGHUVFUXWLQ from a variety of theoretical lenses. Children’sVWRULHVKDYHEHHQUHDGIRUELRJUDSKLFWUDFHVRIWKH

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This kind of reading has been applied to both Ruskin and Carroll’s stories.6LPLODUOVHYHUDO

SRVWFRORQLDOFULWLTXHVRI2ULHQWDOLVPKDYHVRXJKWHYLGHQFHRI:HVWHUQVH[XDOIDQWDVLHVRI dominion over the erotized Eastern other. Walt Disney’s fantasies allegedly have the power to

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Michael Patrick Hearn, “Mr. Ruskin and Miss Greenaway,” Children’s LiteratureQR– doiŚ10.1353/chl.0.0361ś Jacqueline Labbe, “Illustrating AliceŚ Gender, Image, Artifice,” in UW1DUUDWLYHDQG &KLOGKRRG6WHUOLQJ867KUHQWKDP%RRNV–

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SDUDGLJPRIWKHLQQRFHQWEODQNslate child, (decontextualized from Locke, it presumes the child’s

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Suzanne Keen’s (PSDWKDQGWKH1RYHOTXHVWLRQVZKHWKHUWKHDFWRIUHDGLQJ

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HQGV,QRWKHUZRUGVVKHWHVWVRXWWKHFRQGLWLRQVXQGHUZKLFKUHDGHUVIHHODQGWKLQNDQGWKHQ act. She distinguishes between a reader’s empathy and that of the author’s to demonstrate that

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RIHPRWLYHVWRULHVILQGHPSDWKVXVSLFLRXVRZHYHU.HHQLVUHIHUULQJVLPXOWDQHRXVOWRWKH reader’s feelings towards the characters of tKHVWRUDQGWKHVLWXDWLRQVEDVHGLQWKHQRYHORULQ

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6X]DQQH.HHQ(PSDWKDQGWKH1RYHO2[IRUG2[IRUG8QLYHUVLW3UHVV Keen’s article was written in anticipation of her book. Suzanne Keen, “A Theory of Narrative Empathy,” 1DUUDWLYHQR ,ELG

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In phenomenologist Edith Stein’s problematization of empathy, the empathizer (she who

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7KHHUPDQZRUG(LQIKOXQJtranslates as “feeling into another,” and for Stein (in the

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DUDQJHRIOLYHGH[SHULHQFHVLQFOXGLQJRWKHUDZDUHQHVVDQGVHOIDZDUHQHVVThe ‘self’ is however made up of one’s inner contentś Stein is referring to the sum of one’s experiences,

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SURFHVVDQGLWLVYHUy much a process in Stein’s eyes, she states that “the “content” of someone else’s experience is tested through reflection, which reveals whether it is my own or someone else’s.”,QRWKHUZRUGVWKHJHQHUDODELOLWWRUHFRJQL]HRWKHUVDVVHSDUDWHVHOYHVLQIRUPVWKH

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When a cultural artefact acts as an interface, the trace of an author’s or artist’s inner

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Keen’s finding, namely that selfRWKHUXQGHUVWDQGLQJVEHWZHHQUHDGHUVEHFRPHPRVWDFWLYHLQ

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interpretations, misunderstandings, and the story’s larger socioFXOWXUDOVLJQLILFDQFHIRVWHU

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ZRUWKZKLOHWRWDNHDOHDSLQWRDQDOWHUQDWHZRUOGDQGIHHODEVRUEHG:KHQLWFRPHVWR acknowledging the reader’s agency, I side with Stein, Keen, Tolkien, and Zipes (with regards to

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RILPDJLQLQJWKHZRUOGIURPPXOWLSOHcharacters’ perspectives. For example, a girlPLJKWLGHQWLI

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It is difficult to begin the empathetic process without the fantasist’s skill of imagining

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WKHOLYHGH[SHULHQFHRIDQRWKHUDVGLVWLQFWLWZRXOGEHGLIILFXOWWRGLIIHUHQWLDWHSULYDWHIDQWDVLHV from someone’s else’s inner content. For these reasons, the trouble with reading PDOHYROHQFH

into an author’s private realm and cODLPLQJLWVQHJDWLYHLPSDFWRQYXOQHUDEOHFKLOGUHQLVWKDWLW risks misunderstanding their proposed fairyland as well as the artist’s vision. It also

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GLIIHUHQWLQYLVXDOWHUPVZKLFKLVZKDWPDQIDLUWDOHSLFWXUHERRNVRIIHU3LFWXUHVDIWHUDOO add a narrative layer, which fosters thought, emotion, and increases the story’VLQWHUSUHWLYH

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7KHILUVWRIWKHWKUHHPDLQVHFWLRQVLQWKLVWKHVLVprovides a historical overview. “Chapter 1Ś The

)DLU7DOHIRUGXOWVDQGWKH/LPits of Andrew Lang’s Fantasy6cape” defines three phases of fairy tale scholarship. I historicize the impact of late Victorian Andrew Lang’s “&RORXUHG)DLU

%RRNV”VHULHVDQGTXHVWLRQWKHDWWLWXGHWKDWWKHIDLUWDOHZDVGHVWLQHGIRUFKLOGUHQUJXPHQWV over the value of the “Coloured Fairy %RRNV”arise in the chapter’s grouping of pivotal essays

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QRWHGKHUHWKDW0DULH&DWKHULQHG’Aulnoy and Lang also wrote their own fairy stories. A closer look at Lang’s “The Origin of Exogamy and Totemism” (1913) written within an ethnological

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(whom I refer to as the revivalists), offer reasons in their respective “Ethics of Elfland” and “On

Fairy Stories” essays for why the fairy tale had gone out RIIDVKLRQDQGZKLWVKRXOGEH renewed in the name of fantasy’s power to foster hope, renewal, and liberation. The third phase

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Lieberman and Alison Lurie. Lurie’s review “Fairy Tale Liberation” and Lieberman’s canonicDO essay “Someday My Prince Will Come” answer the question of whether the traditional fairy tale characters and narrative patterns in Lang’s book FDQVHUYHWKHIHPLQLVWFDXVHIWHUTXHVWLRQLQJ

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“Chapter 2Ś Growing out of and into FairylandŚ Victorian Pictorial Diversity” provides an

RYHUYLHZRIGLYHUVH9LFWRULDQIDLUWDOHLOOXVWUDWLRQV7KURXJKRXWWKHFKDSWHU,SRVLWLRQWKH importance of the pictorial, not only within the “Coloured Fairy Books,” but also within a larger

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HYROXWLRQRIWKHODWHQLQHWHHQWKFHQWXUDWWLWXGHZKHUHEIDLUODQGEHFDPHVQRQPRXVZLWK childhood, and the child was seen as the fairy tale’s primary readerviewer. John Ruskin’s fairy

WDOHUHODWHGHVVDVDQGOHWWHUVSURYLGHDQHQWUSRLQWWRDGLVFXVVLRQRIKRZLGHDOL]HGJLUOKRRG

EHFDPHFHQWUDOWRIDLUODQG,IXUWKHUPRUHH[SORUHWKHLOOXVWUDWLRQVWKDWDFFRPSDQ9LFWRULDQ fairy tale novellas following Ruskin’s 7KH.LQJRIWKHROGHQ5LYHUHUH,DPEXLOGLQJRQWKH

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(one of Lang’s illustrators) stories such as “Beauty and the Beast” and“Aladdin”DFTXLUH

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Richard Doyle’s ,Q)DLUODQGSURYLGHVWKHKLVWRULFDOFXHIRUDVHWRIVKRUWHU9LFWRULDQ

IRFXVHGFKDSWHUVZKLFKDUHRUJDQL]HGDURXQGWKUHHSDUDGLJPVWKHFXWHWKHVDWLULFDODQGWKH utopian. “Chapter 3Ś The Cute” theorizes the place of the ‘cute’ in the toy books of the nineteenth

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aesthetic category’s significance in commodity culture, NgaiDUJXHVWKDWLQWHQVHOFXWHREMHFWV

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FRORXUHGWRERRNVRIthe nineteenth century. I am using Ngai’s insight that there are gradations

RIFXWHQHVVZKLFKFKLOGLPDJHUDQGWRFXOWXUHLQWHQVLIVVXFKWKHFKDSWHUWUDFHVWKH emergence of the cute from two trajectoriesŚ the child’s body (discussed by Anne HigonneWDQG

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(Ruskin’s protegée) and subsequent women illustrators who folORZHGLQKHUSDWKDVSURIHVVLRQDO

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Although Doyle’s coloured illustrations of fairyland relate to my discussion of fairies and children, the cute chapter focuses on the contributions by women illustrators. In “Chapter 4Ś The

Satirical,” I return to Richard DROHDORQJVLGHHRUJH&UXLNVKDQNDQG-RKQ7HQQLHOORRNLQJDW

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ZDVRQHRIWKHHDUOLOOXVWUDWRUVIRU3XQFK(the period’s most acclaimed satirical magazine), and he also illustrated William M. Thackeray’s 7KH5RVHDQGWKH5LQJ7HQQLel took over Doyle’s

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DEVXUGLWLHVRIOLIHEXVLQJWKHDUWRIUROHSODKHKROGVDFFRXQWDEOHWKHIRROLVKQHVVRIWKH targeted ideology’s unquestionedSULQFLSOHVHYHQDVKHUHIUDLQVIURPPDOLFLRXVODWWDFNLQJWKH

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YLROHQFHWRWKHFDULFDWXUL]HGDOVRH[SRVHVGXSOLFLW0RUHRYHUKHLGHQWLILHVKRZJUDSKLFVDWLUHV

DOORZVRFLRFXOWXUDOFRQIOLFWVDQGFRQWUDGLFWLRQVWRULVHWRWKHVXUIDFH%RWKWKHVHZDVRI

GHILQLQJWKHVDWLULFDOFDQEHIRXQGLQWKHLOOXVWUDWLRQVRIWKHPDJD]LQHNQRZQDV3XQFK

:KLOHGUDZLQJDWWHQWLRQWRWKHLQWHUSLFWRULDOLWEHWZHHQ3XQFKFDUWRRQVDQGUHODWHGWR

ERRNLOOXVWUDWLRQVRI5HG5LGLQJRRGDQG%DEHVLQWKH:RRGVWRQDPHWZRVWRULHV,DP

EXLOGLQJRQWKHZRUNRIOLWHUDUKLVWRULDQ&ODXGLD1HOVRQ,QKHUVWXGRIWKHSHULRGOLWHUDWXUH

VKHDUJXHVWKDW9LFWRULDQVZHUHZHOODZDUHRIWKHFKLOGPHQDQGZRPHQWKDWWKHFRXOGEHFRPH

,GHYHORSWKLVLQVLJKWZKHQDQDO]LQJ3XQFKLPDJHURIWKHFKLOGPHQZKRILJKWDQGSODOLNH

FKLOGUHQDQGZKRFURVVGUHVVDV&LQGHUHOOD7RP7KXPEDQGIDLUZLQJHGFKDUDFWHUV0

LQWHUSLFWRULDODQDOVLVRIVFHQHVIURP3XQFK’s absurd fairy tale scenarios and related images in

&UDQHDQG&DOGHFRWWWRERRNVHPSKDVL]HVUROHSODSRVVLELOLWLHVEHWZHHQRSSRVLQJSROLWLFDO

SRVLWLRQV7KHVDWLULFDOTXDOLWLQWKHVHLOOXVWUDWLRQVZDVYLWDOWRSROLWLFDOOHQJDJHGDGXOWVZKR

ZHUHZLOOLQJWRFULWLTXHWKHPVHOYHVRWKHUVDQGTXHVWLRQWKHVWDWXVTXR

Utopian fantasy is not without a satirical edge. From Thomas More’s 8WRSLDVW(QJOLVK

HGRQZDUGVXWRSLDQQRYHOVFULWLTXHSUHVHQWGDVRFLHWEPDNLQJYLVLEOHDQHEXORXV

SODFHXWRSRVQRSODFHLQZKLFKKXPDQVPLJKWLQIXWXUHEHUHOHDVHGIURPWKHLUIODZVDQG ordeals. “Chapter 5Ś The Utopian” defines the utopiaQPRGHEDVHGRQWKHQDUUDWLYHVWUXFWXUHDQG associated aesthetic experiences found in More’s quintessential utopian novel, which inspired

VRFLDOLVWRULHQWHGXWRSLDQQRYHOVLQWKHQLQHWHHQWKFHQWXUDVZHOODVXWRSLDQWKHRULHV([SDQGLQJ

IURP-DFN=LSHVXVHRIVRFLDOist theorist Ernst Bloch’s utopian perspective on fantasy fiction, I

DPIROORZLQJ7RONLHQDQG)UHGULF-DPHVRQZKHQ,FRQWHQGWKDWWKHXWRSLDQDSSHDUVLQJOLPSVHV

DQGJOLPPHUV7KLVFRQWHQWLRQHQJDJHVWKHGHEDWHDVWRZKHWKHUWKHXWRSLDQLVODQG—D

SDUDGR[LFDOSODFHRIVRFLDOHTXDOLWIUHHGRPIURPLQMXVWLFHVKDUHGKDSSLQHVV—FDQEHPDGH

YLVLEOHUJXLQJWKDWLWFDQWKLVFKDSWHUORRNVDWWKHLQWHUSODEHWZHHQVRFLDOLVWXWRSLDQQRYHOV especially William Morris’ 1HZVIURP1RZKHUH, and Walter Crane’s overt use oIWKHDOOHJRULFDO in political prints as well as in his fairy tale toy books. A utopian world glimmers in Crane’s

SLFWRULDOVFHQHVRIDOOHJRULFDOILJXUHVZKRH[SUHVVVRFLDODZDNHQLQJDQGIUHHGRPIURPWKH

VKDFNOHVRIJUHHGDQGVXERUGLQDWLRQ7KHLQWHUVHFWLRQVEHWZHHQWKHIDLUWDOHDQGWKHXWRSLDQ novel offer a reminder of the fairy genre’s productive potency for imagining a better world.

&ROOHFWLYHO&KDSWHUVWKURXJKDUJXHIRUWKHLPSRUWDQFHRIWKHSLFWRULDOLQWKH

SURGXFWLRQDQGSHUFHSWLRQRI9LFWRULDQSLFWXUHERRNVZLWKWKHLUIDLUERGLHVDQGIDLUODQGV7KH cute, the satirical, and the utopian persist within Victorian culture’s overarching love for

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FDSDELOLWLHVIRUJHQHUDWLQJWKHHPRWLYHDQGLQWHOOHFWXDOGQDPLFEHWZHHQWH[WDQGLPDJH

LQWHUDFWLRQVDQGWKHFUHDWHSDWKZDVEHWZHHQFKDUDFWHUVDQGUHDGHUYLHZHUVDQGEHWZHHQ

DGXOWKRRGDQGFKLOGKRRG7KHFXWHPDFDXVHGHOLJKWRUGLVJXVWWKHVDWLULFDOPDSURPSW

ODXJKWHUDQGLQWHUHVWDQGWKHXWRSLDQLHOGVWKHSURPLVHIRUDKDSSLHUOLIH

6HFWLRQRIWKHWKHVLVQDUURZVLQRQRQHSDUWLFXODUIDLUWDOHDVDZDWREULGJHKLVWRULFDO

FRQVLGHUDWLRQVDQGFRQWHPSRUDUPDQLIHVWDWLRQVRIWKHJHQUHOWKRXJKWKH&LQGHUHOODVWRUKDV

UHFHLYHGFRQVLGHUDEOHDWWHQWLRQRYHUWKHFRXUVHRIWKHWKUHHSKDVHVRIIDLUWDOHVFKRODUVKLSWKHUH is still more to say when it comes to the story’s visuality. I begin by historicizing assumptions about Cinderella’s beauty as an integralaspect of the character’s passivity, which leads to a

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VHYHUDO&LQGHUHOODILJXUHVHYROYHGLQERRNFXOWXUHEHIRUHVKHZDV'LVQHILHG

“Chapter 6Ś Cinderella and Her Many Slippers” counters the anti'LVQHIHPLQLVWOHQVLQ

0Drcia Lieberman’s canonical essay “Some Day My Prince Will Come,” which assumes that

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WH[WXDODQGSLFWRULDOQDUUDWLYHVFHQHVIURPYDULRXVERRNWSHVDQWKRORJFKDSERRNWRERRN

WKLVFKDSWHUH[SDQGVWKHLQWHUSUHWLYHUDQJHIRUZKDWEHDXWPDKDYHVLJQDOOHGWRSDVWUHDGHU viewers who looked not only at the suffering heroine’s victimisation, but also her liberation.

/RRNLQJDWHDUOHGLWLRQLOOXVWUDWLRQVKHUH,DPEXLOGLQJRQQQH(Duggan’s

OLWHUDUDQDOVLVRIKRZ0DULHCatherine d’Aulnoyresponded to Perrault’s subdued heroine with

WZR&LQGHUHOODstories of her own. Translated variations of Perrault and the Grimms’ versions of

WKHVWRUIRUHJURXQGWKHIORXULVKLQJRI&LQGHUHOODLPDJHULQ9LFWRULDQHUDERRNV(YHQWKRXJK

Perrault’s story is considered the source of the more oppressive variant (DFFRUGLQJWR&XOOHQ

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“Chapter 7Ś The Disney Version, or Cinderella’s Tale of Cat and Mouse” addresses how

WKHHDUO'LVQHYHUVLRQRISULQFHVVVWRULHV––&LQGHUHOODPDLQOEXWDOVR6QRZ:KLWHDQG

6OHHSLQJHDXW––risk supplanting the genre’s rich pictorial diversity. While aQDO]LQJKRZWKH

ILOPVDGDSWSUHYDOHQWFRQFHSWVRIFKLOGKRRG,DPDOVRFRQVLGHULQJLQVLJKWVIURP'LVQH

VFKRODUVLQFOXGLQJWKRVHZKRPDLQWDLQ0DU[LVWDQGIHPLQLVWSRVLWLRQV,DOVRGUDZIURP'DYLG

:KLWOHDQG5RELQOODQLQH[DPLQLQJKRZ'LVQHDQLPDWLRQUHFFOHVPRPHQWVRIKXPDQ

DQLPDOLQWHUDFWLRQIURPLOOXVWUDWLRQKLVWRU7KHFXWHDQGVDWLULFDODQLPDOVWKDWSRSXODWH'LVQH films complicate the question of the beautiful princess’ passive emotional state and the film’s

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7KHGQDPLFEHWZHHQ&LQGHUHOODDQGKHUPDOHDQGIHPDOHPLFHFRPSDQLRQVDQGWKHFKDVH

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Pictures matter, even in the Disney version. It is not only Disney’s contested impact as a

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QDWXUHDQGFXOWXUHWKDWDUHDWVWDNHZLWKLQ'LVQHrelated scholarship. When Disney’s

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IRUIXWXUHVWXGLHVRIKRZFRQWHPSRUDUDUWLVWVLQFOXGLQJZULWHUVLOOXVWUDWRUVDQGILOPPDNHUV

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ERRNVWKDWUHIHUHQFHVDERRNVHULHVWKDW,UHIHUWRWKURXJKRXWWKHWKHVLVŚ Lang’s “Coloured Fairy

%RRNV.” The global context of her work sheds new light on WKHERRNVGHVSLWHLang’s vision of

UDFHJHQGHUDQGFKLOGKRRG0RUHRYHUKHUSHUVRQDOL]HGQDUUDWLYHUHDGGUHVVHVWKHPRUHJHQHUDO attitude that the fairy tale forever belongs in the child’s domain.

V,WXUQWRWKHERGRIWKHWKHVLV,ZRXOGOLNHWRHPSKDVL]HWKHfairy tale’s expansive

QDWXUH7KHURRWVDQGEUDQFKHVRIHDFKIDLUWDOHFDQUHDGLOJURZIDUDZDIURPWKHLUIDLUWUHH they may also fall, or rot, or be transplanted over land and sea, and tumble out of the child’V

QXUVHUDQGEHFRPHFDQRQL]HGDQG'LVQHILHG—RUEXGDQHZLQWRERRNVUHSOHQLVKHGLQFRORXU

DQGIUHHGRIWH[W

KDSWHUDLU7DOHVIRUGOWVDQGWKH Limits of Andrew Lang’s Fantasy6FDSH

7KHDVVRFLDWLRQRIFKLOGUHQDQGIDLUVWRULHVLVDQDFFLGHQWRIRXUGRPHVWLFKLVWRU)DLU stories have in the modern lettered world been relegated to the “nursery,” as shabby or ROGIDVKLRQHGIXUQLWXUHLVUHOHJDWHGWRWKHSODURRPSULPDULOEHFDXVHWKHDGXOWVGRQRW ZDQWLWDQGGRQRWPLQGLILWLVPLVXVHG

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Tolkien’s argument about the relevance of fantasy for adults, this chapter sets out to unpack tKH fairy tale genre’s exclusive association with children. Tolkien’s critique of fairy tale books, which he encountered as a child (i.e. Andrew Lang’s “&RORXUHG)DLU%RRNV”) is an extension of

G.K. Chesterton’s earlier attempt to valorize the fairy tale. 7KHVHWZHQWLHWKFHQWXUUHYLYDOLVWVRI

WKHJHQUHDUJXHGWKDWDQHPSKDVLVRQKRSHDORYHIRUWKHPVWHULHVRIOLIHDQGDQRSHQQHVVWR

GHVLUHFRXOGRIIHUDGXOWVWKHNHWRUHHQWHUWKHIDQWDVGRRUVWRIDLUODQG)RUWKHVHWKLQNHUV

WKHUHDUHSVFKRORJLFDODQGRWKHUVRFLDOFDXVHVIRUWKHUHOHJDWLRQRIWKHIDLUWDOHWRWKH stagnation of the children’s room. Tolkien’s displeasure with unsophisticated fairy tale reading,

Chesterton’s distaste for the hubris of scientific determinism, and their combined awarenHVVRID

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IDLUWDOHVDWWKHWXUQRIWKHWZHQWLHWKFHQWXU%DVHGRQWKHLURZQFKLOGKRRGPHPRULHVRIERRNV

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Tolkien, “On)DLUStories,” 34.

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9LFWRULDQVVXFKDV/DQJ7KHZRUNRIDGDSWLQJDQGFROOHFWLQJIDQWDVWLFVKRUWVWRULHVFKDUDFWHUL]HV

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SKDVHVRQHDQGWZR/DQJZDVDIRONORULVWDQGHWKQRORJLVWDVZHOODVDFROOHFWRURIVWRULHV explicitly destined for children’s books. After the genre KDGVWRSSHGEHLQJFRQVLGHUHGSRSXODU

UHDGLQJWKHHVVDVE&KHVWHUWRQDQG7RONLHQWULJJHUHGWKHIDLUWDOHVFKRODUVKLSWKDWUH

H[DPLQHGWKHKLVWRULFDOYDOXHRIWKHJHQUH, while Tolkien’s fictional writing is of course

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7RONLHQLQWKHV(UQVW%ORFKVKRXOGDOVREHFRXQWHGDVDUHYLYDOLVWZKRDUJXHGWKDWHUPDQ

IRONDQGIDLUWDOHVSUHVHQWHGDXWRSLDQYLVLRQRIKRZXQGHUGRJWSHFKDUDFWHUVFRXOGLQVSLUH

RUGLQDUSHRSOH6HWLQWKH(QJOLVKVSHDNLQJZRUOGDQDQDOVLVRI/DQJDVHGLWRUDVZHOODV

Chesterton and Tolkien as respondents compose this chapter’s VicWRULDQIRFXV

QLQWHUHVWLQIDLUWDOHVDQGWKHLUVXEYHUVLYHDQGFRXQWHUSURGXFWLYHSRWHQWLDOIRU

FKLOGUHQZRPHQDQGVRFLHWDVDZKROHLQIRUPVWKHWKLUGSKDVH%WKHVDQ

LQWHUGLVFLSOLQDUILHOGRIFRQWHPSRUDUIDLUWDOHVFKRODUVKLSHPHUJHGZLWKLQWKHLGHRORJLFDO

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second wave feminism’s assessment of the fairy tale’VPDOHYROHQFHRUEHQHYROHQFH0RUH

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OLQHDJHOHDGLQJWR'LVQHWKHVWRULHVLQTXHVWLRQZHUHDGDSWHGFROOHFWHGDQGSXEOLVKHGGXULQJ the Enlightenment’s emphasis on secular knowledge formation, which spilled over into the

Romantic Movement’s focus on the imagination, emotions, and the human psyche. During this

IRUPDWLYHSHULRG1900), the roots for today’s distinct fields of sociRORJDQGDQWKURSRORJ

DQGIRONORUHDQGOLWHUDUVWXGLHVZHUHHQWDQJOHG7KLVPHDQWWKDWFROOHFWLQJIDLUVWRULHVVHUYHG

WKHVWXGRIKXPDQRULJLQVWKHFUHDWLRQRIQDWLRQDOPWKVDQGWKHPRGHUQL]DWLRQRI(XURSHDQ

9RONLVWKHHUPDQZRUGIRUIRONDQGLQHUPDQLWVWLOOFDUULHVWKHPHDQLQJRIDFXOWXUDOERGRISHRSOH )RUH[DPSOHIRONORUHVWXGLHVZKLFKZDVVHHQDVWKHVWXGRIWKHFRPPRQSHRSOHDQGWKHLUVWRULHVRU ORUHGHYHORSHGZLWKthe rise folkloric societies in the nineteenth century, as well as the Grimms’ studies. It is related WRVRFLRORJZKLFKZLWK(PLOH'XUNKHLPRQOEHFDPHDGLVWLQFWDFDGHPLFGLVFLSOLQHDWWKHHQGRIWKHFHQWXU 0HDQZKLOHDQWKURSRORJZDVDOVRHPHUJLQJDVDGLVWLQFWDFDGHPLFGLVFLSOLQHLQWKHQLQHWHHQWKFHQWXUZLWK(% Tylor, who emphasized the importance of culture, but drew from ethnography. Simon J. Bronner, “Folklore Anthropology,” 2IRUGLEOLRJUDSKLHV2QOLQH2[IRUG8QLYHUVLW3UHVV2FWREHU httpŚ//www.oxfordbibliographies.comś Alexander Riley, “Émile Durkheim Sociology,” 2IRUGLEOLRJUDSKLHV 2QOLQH(Oxford University Press, July 27, 2011), httpŚ//www.oxfordbibliographies.comś Henrika Kuklick, “Social QWKURSRORJ%ULWLVK7UDGLWLRQAnthropology,” 2IRUGLEOLRJUDSKLHV2QOLQH2[IRUG8QLYHUVLW3UHVV-DQXDU KWWSZZZR[IRUGELEOLRJUDSKLHVFRP

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For more on the image of Sheherazade in publishing history seeŚ Margaret Sironval, “Image of 6KHKHUD]DGHLQ)UHQFKDQG(QJOLVK(GLWLRQVRIWKH7KRXVDQGDQG2QH1LJKWV(LJKWHHQWKNineteenth Centuries),” in 7KHUDELDQ1LJKWVDQG2ULHQWDOLVP3HUVSHFWLYHVIURP(DVWDQG:HVWHGXULNRDPDQDNDDQG7HWVXR1LVKLR /RQGRQ,%7DXULV– 0HOYLQ%UDJJ7KHUDELDQ1LJKWV,Q2XU7LPH&5DGLRDFFHVVHG2FWREHU KWWSZZZEEFFRXNSURJUDPPHVENGE 5REHUW,UZLQ7KHUDELDQ1LJKWV&RPSDQLRQ/RQGRQ,%7DXULV

ERGRIOLWHUDWXUHLQKLVVWRULHVDQGQRYHOV6FKRODUVRIWKHUDELDQ1LJKWVWSLFDOOIURPWKH

EUDQFKHVRI2ULHQWDOVWXGLHVVXVSHFWWKDWcertain tales such as “Aladdin” and “Ali Baba” were

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SXEOLFDWLRQ7KHVHWZRVWRULHVZHUHSXEOLVKHGLQRichard Burton’s (QJOLVK

WUDQVODWLRQRIDOODQG’s anthology 7KHUDELDQ1LJKWV. “Aladdin” ZDVDGGLWLRQDOO

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(XURSHDQQDWLRQDOVHOIFUHDWLRQDQGWKHVWXGRIWKHQRQEuropean “other” through

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.QRHSIOPDFKHU9HQWXUHVLQWR&KLOGODQG ,KDYHVHHQWKHDWWULEXWLRQRIWKHVHVWRULHVWRDOODQGRQVHYHUDORFFDVLRQV)RURQHH[DPSOHVHHXULNR DPDQDNDDQG7HWVXR1LVKLRHGV7KHUDELDQ1LJKWVDQG2ULHQWDOLVP3HUVSHFWLYHVIURP(DVW:HVW/RQGRQ ,%7DXULV 7KHLQWHUVHFWLRQEHWZHHQWKHUDELDQ1LJKWVDQGWKH(XURSHDQIDLUWDOHKDVEHHQFRQVLGHUHGLQOLWHUDU VWXGLHVQQH('XJJDQ6DORQQLqUHV)XULHVDQG)DLULHV7KH3ROLWLFVRIHQGHUDQG&XOWXUDO&KDQJHLQ EVROXWLVW)UDQFH1HZDUN8QLYHUVLWRI'HODZDUH3UHVV.QRHSIOPDFKHU9HQWXUHVLQWR &KLOGODQG=LSHV:KHQ'UHDPV&DPH7UXH– ,WLVZRUWKQRWLQJWKDW2ULHQWDOLVPZDVRULJLQDOOXQGHUVWRRGWREHWKHVWXGRIDOOWKLQJV2ULHQWDO6LQFH Edward Said’s 2ULHQWDOLVPSRVWFRORQLDOFULWLFLVPKDVLGHQWLILHG2ULHQWDOLVPDVDFRORQLDOSURMHFW

7KHERRN’s dedication letter to the Duchess of Loraine valorizes the “childish simplicity” of the stories, which the author associates with the “humble households of ordinary people.”%HPSKDVL]LQJPRUDOLWDQGEH[WROOLQJWKHYLUWXHVRIWKHIRONXQGHUVWRRGLQWKLV

FRQWH[WDVWKHRUGLQDUSHRSOHWKHWDOHVDUHFRQFHLYDEOPHDQWWROHVVHQWKHJDSEHWZHHQFODVVHV

Both men’s collecting practices were founded on the study of cultures learned through languageŚ

Galland’s edited tales areabout the exotic “cultural other,” and Perrault’s are about the “cultural self” in France.

0DULHCatherine d’AulnoyDWWHQGHGWKHVDPHFLUFOHRIVDORQVDV3HUUDXOW

Although d’Aulnoy was the woman who coined the term FRQWHVGHVIpHDQGZKRUHYLYHGDQ

LQWHUHVWLQWKHUHDOPRIPDJLFDQGHQFKDQWPHQWFRQQHFWHGZLWKFODVVLFOLWHUDWXUHDQG)UHQFK

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LQWHUHVWLQDVVHUWLQJWKHKLVWRULFDOUROHRIZRPHQQQH('XJJDQKDVUHFHQWOHPSKDVL]HGWKH

LPSRUWDQFHRIG’Aulnoy, who gave the fairy tales of her day (in the late 1600s and early 1700s) a

VHWRIGLVWLQFWFKDUDFWHULVWLFVZKLFKGLIIHUHQWLDWHVKHUVWRULHVIURPIRONORULFIRUPVRIVWRUWHOOLQJ

D’Aulnoy’s inspiraWLRQIURPWKHIDLUILOOHGRSHUDVRI/RXLV;,9GLIIHUHQWLDWHVWKHIODLUPRRG

DQGPRWLIVRIKHUZULWLQJIURPFODVVLFOLWHUDWXUHDQGWKH,WDOLDQIRONORULFWUDGLWLRQD’Aulnoy’s

WDOHVFDQEHUHJDUGHGDVDVLWHRIDULVWRFUDWLFIHPDOHSRZHUIUHHGRPSOHDVXUHDQGDPXVHPHQW

DQGDORYHIRUODQJXDJHDQGWKHDUWV7RJHWKHUERWK3HUUDXOWDQGG’Aulnoy are pivotal influences on the genre’s early institutionalization.

UWKXUXJXVWXV7LOOH7KH'HFOLQHRIWKHJHRI/RXLV;,92U)UHQFK/LWHUDWXUH1HZ RUN%DUQHV1REOH Bottigheimer includes a translated copy of Perrault’s original 1695 dedication letter. SeH5XWK% %RWWLJKHLPHU)DLU7DOHV)UDPHG(DUO)RUHZRUGVIWHUZRUGVDQG&ULWLFDO:RUGVOEDQ16WDWH 8QLYHUVLWRI1HZRUN3UHVV 'XJJDQ6DORQQLqUHV)XULHVDQG)DLULHV

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IURQWLVSLHFHVIRUWKHILUVWHGLWLRQVRIG’Aulnoy’s and Perrault’s compilations, as well as illustrations for individual stories. The frontispiece for Perrault’s &RQWHVGXWHPSVSDVVp

VKRZVDVWRUWHOOHUGUHVVHGLQSHDVDQWFORWKHVFORJVDQGDQDSURQ6PDOOFRXUWLHUVVLWE

WKHILUHSODFHOLVWHQLQJDWWHQWLYHOILJ7KHZRUGVContés de ma mère l’oyéDQQRXQFHWKDWWKH

SLFWXUHGVWRUWHOOHULVD‘Mother GRRVH’In the frontispiece for d’Aulnoy’s &RQWHGHVIpHV

ERWKWKHDQGHGLWLRQVDFXUWDLQLQthe engraving draws the reader’s attention to the enthroned storyteller’s status as a VDORQQLqUHILJELUGRUIHDWKHUFURZQVKHUDQGPDNHV

KHUWDOOHUDQGRIJUHDWHULPSRUWDQFHWRKHUHQWRXUDJHRIGDQFLQJFRXUWLHUV

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IURQWLVSLHFHVWRLOOXVWUDWHDPDWHUQDOVWRUWHOOHUVXUURXQGHGEFKXEEFKLOGUHQRZHYHUSODFHG

LQWKHFRQWH[WRIWKHVDORQVWRUWHOOLQJHQYLURQPHQWVWKHVHHDUOHGLWLRQSULQWVXVHWKHFRQYHQWLRQ

NQRZQDVKLHUDUFKRIVFDOHDQGWRJHWKHUWKHLOOXVWUDWHDVRFLDOFRQIOLFW,QWKHIURQWLVSLHFHIRU

Perrault’s &RQWHVGXWHPSVSDVVpWKH0RWKHURRVHPRFNVDQGHYHQVDWLUL]HVWKHHOHYDWHGVRFLDO

SRVLWLRQRIZRPHQVWRUWHOOHUVIURPWKHVDORQVWKDW3HUUDXOWDWWHQGHGLQFRQWUDVWWKHQREOHODG in d’Aulnoy’s frontispiece reconfirms women’s social status and feminine authority. The

SLFWRULDOHOHPHQWVLQWKHILUVWDQGVXEVHTXHQWHGLWLRQVRI3HUUDXOWDQGG’Aulnoy’s tales have not

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7KHHUPDQLFYHUVLRQVRIIDLUWDOHVNQRZQDV.LQGHUXQGDXVPlUFKHQRU

“&KLOGUHQDQGRXVHKROG7DOHV” included DXEHUPDUFKHQor “enchanted tales.” As a result, the

KRXVHKROGWDOHDQGWKHIDLUWDOHEHFDPHFRQIODWHGLQWKHHUPDQFRQWH[W&ROOHFWHGDQGHGLWHG

EWKH%URWKHUVULPPWKHVHWDOHVDUHVLJQLILFDQWLQWKHGHYHORSPHQWRIWKHWUDGLWLRQDOFRUSXVRI

3HUUDXOWZDVQRWWKHILUVWWRXVHWKHWHUm “mère l’oye.” The term appears in Saint5HQLHU/HVVDWUHVGH 6DLQW5HJQLHU7KHVHYHQWHHQWKFHQWXUVHQVHRIWKHWHUPDSSHDUVWRUHIHUWRZRPHQRIWKHFRXQWUVLGH 7KHLOOXVWUDWLRQVIRUERWKWKHDQGDSSHDUWREHWKHVDPH

IDLUWDOHSLFWXUHERRNV%HWZHHQ-DFREULPPDQG:LOKHOPULPP

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Germanic cultural origins. Any study of the Grimms’ significance to fairy tale scholarship must,

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LPDJHV7KHsecond edition in 1819 contains only a frontispiece image by Wilhelm and Jacob’s

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The Grimms’ editorial project grew out of Jacob’s interest in the philologicalOLQNVZLWKLQ

,QGREuropean languages and Wilhelm’s love of storytelling.-DFREULPPGUHZRQDUDQJHRI

PWKRORJLHVLQKLVDQDOVLVRIOLQJXLVWLFVLPLODULWLHVEHWZHHQWKHUHHNDQG/DWLQ,QGR(XURSHDQ

ODQJXDJHVSURWRHUPDQLFDQGPRGHUQHUPDQGLDOHFWV,QWKHLUH[SORUDWLRQRIWKHFXOWXUDODQG

OLQJXLVWLFURRWVRIWKHHUPDQLFSUH&KULVWLDQDQGPHGLHYDOSDVWWKHDGDSWHGWDOHVWDNHQIURP literary sources circulating in Europe’s aristocratic circles, from the Bible, and from varied Indo

(XURSHDQRUDOIRONORULFVRXUFHV7KHIUDPHVWRULQUDELDQ1LJKWVDQGWKHDQLPDOVLQERWK

Aesop’s Fables DQGORFDOHUPDQVWRULHVDUHVRPHRIWKHLUPDQLQIOXHQFHVGYDQFLQJWKH

FURVVRYHUEHWZHHQWKHFROOHFWLRQRIIRONORUHDQGWKHVWXGRIODQJXDJHSUHYLRXVOVHHQLQWKH

=LSHV)DLU7DOHVDQGWKHUWRI6XEYHUVLRQ 7DWDUDUG)DFWV– &KULVWD.DPHQHWVN7KHURWKHUVULPPDQG7KHLU&ULWLFV)RONWDOHVDQGWKH4XHVWIRU0HDQLQJ WKHQV2KLR8QLYHUVLW3UHVV– 5RQDOG0XUSK7KH2ZOthe Raven, and the Dove: The Religious Meaning of the Grimms’ Magic )DLU7DOHV2[IRUG2[IRUG8QLYHUVLW3UHVV .DPHQHWVNURWKHUVULPPDQG7KHLU&ULWLFV–

French context, the Grimms responded to Johann Gottfried Herder’s call for a renaissance of

HUPDQLFIRONORUH

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DWWHPSWHGWRSUHVHUYHUDWKHUWKDQUHLQYHQWORFDOVWRULHV

)RUWKHSXUSRVHVRIJHQHUDWLQJDFRPSHOOing body of literature in Germany, Jacob’s

OLQJXLVWLFVHQVLELOLWLHVJDYHWKHVWRULHVWKHLUOULFDOIORZSXQVLQWHJUDWLRQRIGLDOHFWVDQG

RQRPDWRSRHLFPRPHQWVThe stylistic flair of the stories was integrated with Wilhelm’s

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'UDZQE-DFREDQGWilhelm’s younger brother Ludwig, a portrait of Viehmann is the sole

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rimms’ book of storytelling. Her relationship to the Grimms’SURMHFWLVUHYHDOLQJRIWKH

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The Grimms’ fairy tales respond to Herder’s concerns. With tKDWVDLGWKHUHDUHGLIIHUHQFHVEHWZHHQWKH Grimms’ and Herder’s views on the 9RONDQGIRONORUH,WZRXOGEHLQDFFXUDWHWRVDWKDWWKHLUWDOHVPDSRQWR Herder’s theories. Ibid., 57–7DWDUDUG)DFWV–=LSHVUHDNLQJWKH0DJLF6SHOO .DPHQHWVNURWKHUVULPPDQG7KHLU&ULWLFV=LSHVUHDNLQJWKH0DJLF6SHOO .DPHQHWVNFRPSDUHVWKHULPPVZLWKHUGHU6KHLQVLVWVWKDWWKHULPPVZHUHPRUHVFKRODUO .DPHQHWVNURWKHUVULPPDQG7KHLU&ULWLFV– /HUHUChildren’s LiteraWXUH–

KHUSRUWUDLWFDQJLYHWKHLPSUHVVLRQWKDWWKHWDOHVDUHURRWHGLQHUPDQy’s matrilineal folkloric

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ZDVEHLQJGHILQHGEVKLIWVLQFODVVUHODWLRQVDQGIDPLOVWUXFWXUHAfter the Grimms’ fairy

WDOHVZHUHWUDQVODWHGLQWR(QJOLVKLQWKHZHUHDGDSWHGIRU%ULWLVKKRXVHKROGVDQG

UHFHLYHGPDUNHWVXFFHVVDEURDG,WLVDWWKLVMXQFWXUHWKDWWKHEURWKHUVEHJDQWRDOWHUWKHLUWDOHVDV

SDUWRIDQHZVHWRILQWHUHVWVWRVXLWD3URWHVWDQWHPSKDVLVRQKDUGZRUNPRGHVWDQGWKH mystical powers of God’s justice. They wanted to tap into the market of household literature.

2YHUWKHFRXUVHRIVXEVHTXHQWHGLWLRQVZKLFKFDPHLQWRSULQWEHWZHHQDQGWKHLU

IDLUVWRULHVEHFDPHLQFUHDVLQJOUHOLJLRXVLQVPEROLVPPRUHYLROHQWLQWKHFRPEDWEHWZHHQ

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=LSHV:KHQ'UHDPV&DPH7UXH=LSHV)DLU7DOHVDQGWKHUWRI6XEYHUVLRQ– .DPHQHWVNURWKHUVULPPDQG7KHLU&ULWLFV 0XUSK7KH2ZOWKH5DYHQDQGWKH'RYH7DWDUDUG)DFWV 7DWDUDUG)DFWV5HJLQD)UHEHUJHU0lUFKHQELOGHULOGHUPlUFKHQ,OOXVWUDWLRQHQX ULPPV0lUFKHQEHUHLQHQYHUJHVVHQHQHUHLFKGHXWVFKHU.XQVW'RNWRUDEHLW1HXDXIJHOHJW 2EHUKDXVHQWKHQD9HUODJ OWKRXJK=LSes discusses the popularization of the Grimms’ stories over the course of their books’ SXEOLVKLQJKLVWRUKHGRHVPHQWLRQWKDWWKHLOOXVWUDWLRQVLQWKHHGLWLRQPDKDYHEHHQDFRQWULEXWLQJIDFWRUWR the stories’ near biblical status. Jack Zipes, “Who’s Afraid of the Brothers Grimm? Socialization and Politicization through Fairy Tales,” in )DLU7DOHVDQGWKHUWRI6XEYHUVLRQQGHG1HZRUN5RXWOHGJH

(IIRUWVWRWDPHWKHUROHRIIDQWDVLQWKHQDPHRIFLYLOL]HGQDWLRQDOFXOWXUHVPDUNWKHILUVW

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)DQWDV—WKDWFRUHHOHPHQWRIWKHIDLUWDOH—LVPXOWLYDOHQW7KHUDQJHRIDULVWRFUDWLFDQG

DQWKURSRORJLFDOLQWHUHVWVLQIDLUWDOHVSURYLGHVWKHFRQWH[WIRU)UHQFKDQGHUPDQYDULDWLRQVRI such stories as “Cinderella,” “Red RidingHood,” and “Sleeping Beauty,” which came into print and eventually circulated to Britain. This map of key coordinates for the fairy tale’s transnational

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URDOWXWRUWKHUFKELVKRS)pQHORQZURWHVHYHUDOPRUDOL]LQJIDLUVWRULHVQRWIRU children in general, but for Louis XIV’s grandson. They were designed to teach Louis, Duke of

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RIWKHHYHUGDFKLOGThe other example is Marie Leprince de Beaumont’s (1711IDLU book. During Beaumont’s time as a /RQGRQJRYHUQHVVVKHUHadapted Villeneuve’s version of

“Beauty and the Beast.” It must be emphasized that these are isolated examples. Prior to the

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KRXVHKROG1HYHUWKHOHVV3HUUDXOWG’Aulnoy, the Grimms, and de Villeneuve, as well as the

2ULHQWDOLVWVDOODQGDQG%XUWRQinfluenced the fairy tale’s initial canoniFLWLQ(QJOLVK

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&RQWHPSRUDUVRXUFHVDUHXQGHFLGHGDVWRZKHQWKHH[FOXVLYHDVVRFLDWLRQRIWKHIDLUWDOHZLWK childhood occurred. As Jack Zipes assertsŚ “Never has the fairy tale ever lost its appeal to adults,

DQGWKHIDLUWDOHIRUDGXOWVRUPL[HGDXGLHQFHVXQGHUZHQWKLJKOVLJQLILFDQWFKDQJHVLQWKH twentieth century.”6LJQDOOLQJDGLIIHUHQWYLHZIDLUWDOHVFKRODU5RJHU6DOHVWDWHVWKDWWKH genre was not accepted as child’s fare prior to the midQLQHWHHQWKFHQWXUIn children’s literature studies, it is common to read statements like “[w]hile folk and fairy tales were not

RULJLQDOOLntended for children, they have become a staple of children’s literature since the early nineteenth century.”Another source in the history of children’s literature statesŚ “it was not

XQWLOZHOOLQWRWKHQLQHWHHQWKFHQWXUWKDWIDLUWDOHVFDPHWRGRPLQDte the children’s book

PDUNHW

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XQIDVKLRQDEOHDQGH[FOXVLYHODVVRFLDWHGZLWKFKLOGUHQEWKHV,QKHUVWXGRI9LFWRULDQ fairy culture, she proposes that the factor most affecting adults’ gradual disenchantment with fairies was the ‘Golden Age of Children’s Literature.’Accordingly, the Victorian children’s

,ELG 5RJHU6DOH)DLU7DOHVDQGIWHU)URP6QRZ:KLWHWR(:KLWH&DPEULGJH0DVVDUYDUG 8QLYHUVLW3UHVV– Susina, “Children’s LiteratureŚ Facts, Information, Pictures.” Cynthia Burlingham, “Picturing Childhood,” Special collections of UCLA library, 8&//LEUDU6SHFLDO &ROOHFWLRQVKWWSXQLWSURMOLEUDUXFODHGXVSHFLDOFKLOGKRRGSLFWXUKWP 6LOYHU6WUDQJHDQG6HFUHW3HRSOHV ,ELG

book “so ensconced thHIDLULHVLQWKHQXUVHUWKDWLWYLUWXDOOGLVORGJHGWKHPIURPWKHLUSODFHVLQ adult literature and art.”FFRUGLQJWR6LOYHUQGUHZ/DQJZDVRQHRIWKHPDQILJXUHV

ZLWKLQWKHODUJHUFRQWH[WRIWKH9LFWRULDQHIIRUWWRQDWXUDOL]HVXSHUQDWXUDOIRUFHVSUHVHQWHGZLWKLQ fairy tales. Silver’s analysis of Lang goes no further. She stipulates that her book is about the less

ZHOOknown fairy material in adult culture, and not about children’s literature or popular fairy

WDOHV

:KDWLVVXJJHVWHGKHUHLVWKDWthe fairy tale had entered the children’s side of an emerging division between children’s and adult’s literature by the late nineteenth century. Early in the year 1889, E.M. Field produced a historical survey of children’s books, titled 7KH&KLOG

DQGLVRRNDQGFODLPHGWKDWWKHUHDOLVWVWRUDQGQRYHOKDGDOUHDGEHJXQWRVXSHUVHGHWKH

IDLUWDOHLQFXUUHQWUHDGLQJ,WLVGXULQJWKLVODWHUSHULRGZKHQSRSXODUDGYHQWXUHVWRULHVZKLFK

IHDWXUHRXQJERVZKRGHIHQGWKHHPSLUHFDPHLQWRYRJXH3XEOLVKHGLQWLPHIRUWKH

&KULVWPDVERRNPDUNHWRIWKDWVDPHHDUQGUHZ/DQJUHOHDVHGKLV7KHOXH)DLURRN

ZKLFKZRXOGEULHIOUHYHUVHWKHWLGH'XULQJWKHRQJRLQJUHOHDVHRIERRNVZLWKLQWKH series, a poll titled “What Children Like to Read” ZDVSXEOLVKHGLQWKH3DOO0DOODHWWH

As a marker of Lang’s success within the Victorian book market, it was determined that the most

DJHDSSURSULDWHPDWHULDOIRUWHQHDUROGVFRQVLVWHGRIKLVIDLUERRNV

1RWORQJDIWHU7KH/LODF)DLURRNWKHODVWRIWKHVHULHVFDPHRXWLQWKHIDLU tale decreased in popularityś nonetheless, Lang’s biographer suggests that it “seems only right

,ELG ,ELG (0)LHOGYLDUHHQ5RJHU/DQFHOQUHHQQGUHZ/DQJ&ULWLFDOLRJUDSK%RGOHHDG 0RQRJUDSK/RQGRQ%RGOHHDG– 5RJHU&R[LGHQWLILHVKRZQHZFRQFHSWLRQVRIFKLOGKRRGLHDGYHQWXURXVERKRRGDQGVH[XDOOSXUH JLUOKRRGHPHUJHGDWWKHHQGRIWKH9LFWRULDQHUD7KLVDVVHUWLRQLVSDUWRIKLVODUJHUFODLPWKDWWKH9LFWRULDQVKDG long expressed shifting notions of femininity and masculinity. Roger Cox, “The Child of the Victorians,” in 6KDSLQJ &KLOGKRRG7KHPHVRI8QFHUWDLQWLQWKHLVWRURIGXOW&KLOG5HODWLRQVKLSV/RQGRQ5RXWOHGJH Susina, “Like the Fragments of Coloured Glass in a Kaleidoscope,” 100.

WKDWWKHQDPHRIQGUHZ/DQJVKRXOGVWLOOEHOLQNHGPRVWQDWXUDOODQGXQLYHUVDOOZLWKIDLU books.”FFRUGLQJWRFKildren’s literature and fairy tale scholar Björn Sundmark, Andrew

Lang “was the first British folklore specialist to compile a fairy tale anthology for children.”,Q other words, during the release of Lang’s series, the fairy tale became a part of the booNVKHOYHV in the child’s room, and it competed with everyday stories and adventure fiction. Lang’s fairy tales would also become central to the children’s literature section in libraries.

:ithin the larger context of the English children’s fairy tale’s emeUJHQFH,ZDQWWR

GLVWLQJXLVKEHWZHHQDJHQHUDODVVRFLDWLRQRIIDLUWDOHVZLWKthe domain of children’s literature,

DQGWKHH[SOLFLWLVRODWLRQRIWKHFKLOGZLWKLQDIDLUUHDOPGLYRUFHGIURPDGXOWLQWHUHVWV%WKH

PLGnineteenth century, Perrault’VG’Aulnoy’s, and the Grimms’ stories were republished for a mixed readership of children and adults. However, Lang’s fairy tale books were marketed

VSHFLILFDOOIRUFKLOGUHQWREHUHDGEWKHPVHOYHV7KLVPDUNHWLQJVWUDWHJZKHQFRPELQHGZLWK

Lang’s particularFRQFHSWRIWKHFKLOGFHPHQWVWKHFRQQHFWLRQEHWZHHQIDLUWDOHVDQGFKLOGKRRG

Tolkien identifies Lang’s childFRQFHSWDVa “special kind of creature, almost a different race,” Smol describes it as a “savage child,” and Silver explains it as “fairy child.”,WDNHWKH position that Lang’s fairy tales address his intended readers as semiFLYLOL]HG%ULWLVKFKLOGUHQRU noble savages. To support this claim, the following section looks at Andrew Lang’s nineteenth

FHQWXUIDLUWDOHSURMHFWIRUFKLOGUHQDORQJVLGHKLVHWKQRIRONORULFZULWLQJV,HYHQWXDOODLPWR show how Lang’s imperialistic selfVHUYLQJIDQWDVFDQEHWUDQVIRUPHGLQWRDZLGHUPRUH

SURGXFWLYHUHDOPRIIDQWDV,WKHQWXUQWRVHYHUDORIWKHUHYLYDOLVWVZKRUHFRQVLGHUWKHFHQWUDOLW

UHHQQGUHZ/DQJ&ULWLFDOLRJUDSK Björn Sundmark, “Andrew Lang and the Colour Fairy Books,” in 0DOP8QLYHUVLW(OHFWURQLF3XEOLVKLQJ ,56&/([SHFWDWLRQVDQG([SHULHQFHsŚ Children, Childhood and Children’s Literature, DublinŚ Malmö University (OHFWURQLF3XEOLVKLQJKWWSGVSDFHPDKVHGVSDFH Tolkien, “On FairyStories,” 34ś Silver, 6WUDQJHDQG6HFUHW3HRSOHV, 7, 45, 187ś Anna Smol, “The ‘Savage’ and the ‘Civilized’Ś Andrew Lang’s Representation of the Child and the Translation of Folklore,” Children’s Literature Association QuarterlyQR

of Lang’s fDLUWDOHVQDPHO&KHVWHUWRQ7RONLHQDQG/XULH7KHLULQVLJKWVVHUYHWRH[SDQGD restrictive notion of fantasy by suggesting that the fairy’s realm can liberate adults and children

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QGUHZDQJ

QGUHZ/DQJJUHZXSILVKLQJSODLQJDQGUHDGLQJLQWKH6FRWWLVKERUGHUODQGDQG

WKHIDLUVSLULWVRIROGEHFDPHHPEHGGHGLQKLVFKLOGKRRGPHPRULHVRIWKHFRXQWUVLGHLVQXUVH

1DQFWROGROG6FRWFKVWRULHVRIWKHHOYHVIDLULHVERJJOHVZLWFKHVPRQVWHUVRIWKHORFKVDQG

NHOSLHVZKRLQKDELWHGWKHKLOOVLGHDQGULYHUVGGLQJWRDORYHRIWKHORFDORUDOWUDGLWLRQ/DQJ also read Shakespeare, Sir Walter Scott, and Thomas the Rhymer’s fairy stories, as well as the

UDELDQ1LJKWVEWKHWLPHWKDWKHZDVVL[RZHYHUQRWHYHUWKLQJDERXWEHLQJDFKLOGZDV pleasant for the shy and bookish Lang, who was bullied by “ignorant” schoolboys with far lower reading abilities than he. He recalls these “other savages” who propped him up on a tower of

FKDLUVRQOWRKXUOKLPGRZQIURPKLVWKURQH7KHVHHDUOPHPRULHVVXJJHVWWKDWIHOORZERV

FRXOGEHOLNHVDYDJHV

0DLQWDLQLQJKLVLQWHUHVWLQIDLUORUHDQGLQKRZOLWHUDFFRXOGSURPRWHFXOWXUDOJURZWK

/DQJEHFDPHFHQWUDOWRWKHGHYHORSPHQWRIWKHFKLOGKRRGEDVHGIDLUWDOHOHDGLQJPHPEHURI

WKH)RONORUH6RFLHWRI/RQGRQWKHPXOWLIDFHWHG9LFWRULDQ6FRWVPDQEHFDPHDQ

HWKQRJUDSKHUDQGIRONORULVWD6FRWWLVKKLVWRULDQDOLWHUDUFULWLFDQGDQDGYRFDWHRIFODVVLFDO

OLWHUDWXUHVPHQWLRQHGKHZDVWKHFROOHFWRUDQGHGLWRURIDSRSXODUWZHOYHYROXPHVHULHVRI fairy tales known as the “Coloured Fairy Books” ZKLFKZHUHPDUNHWHGVSHFLILFDOO

IRUFKLOGUHQILJ7KHOXH)DLURRN—FRQVLVWLQJRIDFDUHIXOVHOHFWLRQRIFDQRQLFDO

UHHQQGUHZ/DQJ&ULWLFDOLRJUDSK ,ELGDQG

IDLUVWRULHVZKLFKZHUHLOOXVWUDWHGDQGDGDSWHGIURPWKHLUHDUOLHULQFDUQDWLRQVLQWKH)UHQFKDQG

HUPDQWUDGLWLRQ—ODXQFKHGWKHHOHYHQVXEVHTXHQWFROOHFWLRQVRIWDOHVORQJVLGHKLVIDLU

VHULHV/DQJGHYHORSHGFKLOGIULHQGOYHUVLRQVRIVWRULHVDQGKLVWRULHV7KHVHERRNVLQFOXGH7KH

UDELDQ1LJKWV7KHOXH7UXH6WRUERRNDQG7KH5HG7UXH6WRUERRNKLVDGDSWDWLRQRI

Richard Doyle’s ,Q)DLUODQG(which became Lang’s 7KH3ULQFHVV1RERGIRUFKLOGUHQDQGKLV

RZQOLWHUDUWDOH7KHROGRI)DLUQLOHHGGLQJWRWKHDSSHDORIWKHIDLUVHULHVZLWKWKHLU

EULOOLDQWFRORXUHGFRYHUVKXQGUHGVRIKLJKTXDOLWSLFWXres by Lang’s primary illustrator H.J.

)RUGDSSHDUWKURXJKRXWWKHERRNVORQJVLGH)RUG3-DFRPERRGLOOXVWUDWHG7KHOXH)DLU

RRNI will return to how the illustrations complicate Lang’s hierarchical system in the

IROORZLQJFKDSWHU0LPPHGLDWHFoncern here is to situate Lang’s underlying imperialistic

QDUUDWLYHZLWKLQKLVIRONORULFDQGOLWHUDUFRQWH[WDQGWRTXHVWLRQKRZKLVYLHZVLQIRUPKLV children’s books.

Made to bypass the concerns of the parent and adult lovers of literature, Lang’s child

IULHQGOVHULHVSURYLGHG%ULWLVKFKLOGUHQZLWKWKHQHFHVVDUIRXQGDWLRQVWRHYHQWXDOOUHDGKLJKHU

IRUPVRIOLWHUDWXUH/DQJJHDUHGKLVERRNVWRZDUGWKHUXGLPHQWDUUHDGLQJOHYHORIDWHQHDUROG

ZKRZRXOGWKHQPRYHRQWRUHDGWKHFODVVLFVRI:HVWHUQFLYLOL]DWLRQ'LVWLQFWIURP3HUUDXOWDQG the Grimms’ source publications, Lang’s fairy books were targeted specifically to the child

UHDGHUUDWKHUWKDQWRVDORQattendees and a heterogeneous household readership. One of Lang’s

PDUNHWLQJVWUDWHJLHVZDVWRGHVLJQWKHSUHIDFHVZLWKH[SODQDWLRQVWKDWWKHWDOHVZHUHPDGHWR

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,QWKHILUVWSUHIDFH/DQJPDNHVWKHFODLPWKDWWKHVWRULHVKDYHDOZDVEHHQIRUFKLOGUHQQGUHZ/DQJ -)RUGLOOXVDQG3-DFRPERRGLOOXV7KHOXH)DLURRNVWHG&RORXUHG)DLU%RRNV/RQGRQ /RQJPDQVUHHQDQG&RQSKWWSDUFKLYHRUJGHWDLOVEOXHIDLUERRNODQJLDOD,QDODWHUSUHIDFH/DQJ PDNHVWKHFODLPWKDWWKHVWRULHVDUHIRUFKLOGUHQEHFDXVHWKHDUHILOOHGZLWKKDUPOHVVJLDQWVDQGPRQVWHUVQGUHZ /DQJDQG-)RUGLOOXV7KHUHHQ)DLURRNVWHG&RORXUHG)DLU%RRNV/RQGRQ/RQJPDQVUHHQDQG &R[KWWSDUFKLYHRUJGHWDLOVJUHHQIDLUERRNODQJJRRJ/DQJHPSKDVL]HVWKDWWKHPDLQJRDORIWKHERRNV is to please children, and that he does not care about anyone else’s criticism. Andrew Lang and H-)RUGLOOXV7KH

QGUHZ/DQJWKHHGLWRUDQGKLVZLIH/HQRUD/DQJRQHRIVHYHUDOWUDQVODWRUVZHUHUHVSRQVLEOH

IRUVLPSOLILQJSORWFRPSOH[LWDQGODQJXDJHDVZHOODVWRQLQJGRZQWKHYLROHQFHDQG

ZHDNHQLQJWKHIHPDOHUROHLQWKH(XURSHDQVWRULHV,FRQWHQGWKDW/DQJLQWHUODFHGKLVFROOHFWLRQV

ZLWKDQXQGHUOLQJQDUUDWLYHWKDWVXSSRUWHGKLVHWKQRJUDSKLFYLHZVRQUDFLDOKLHUDUFKLHV

While publishing a book a year on the children’s market, he established his particular version of the fairy story’s Western lineage leading up to his editorial contributions intended for

WKHFKLOGUHDGHUHDOVRZURWHLQWURGXFWLRQVWR&KDUOHV3Hrrault and the Grimms’ respective

JURXSLQJVof tales, and alongside Marian Roalfe Cox, he positioned Perrault’s version of

“Cinderella” as the normative type amongst some three hundred variants.7KHUHLVHQRXJK evidence from Lang’s various writings, whichLQFOXGHKLVLQWURGXFWLRQVSUHIDFHVDQG

HWKQRORJLFDODQGIRONORULFDUWLFOHVWRFRQILUPKLVELQDUYLHZVRQKXPDQHYROXWLRQHYLHZHG

WKHFLYLOL]HGUDQ9LFWRULDQLQFRQWUDVWWRWKHQRQFLYLOL]HGVDYDJHEHOLHYHGWKDWWKHVXSHULRU

9LFWRULDQFKLOGZDVGLVWLQFWIURPKLVSULPLWLYHFRXQWHUSDUWVFRQWHQGHGWKDWWKHKXPDQZDV

FOHDUOEHWWHUWKDQWKHDQLPDODQGGLVWLQJXLVKHGEHWZHHQSDVVLYHJLUOVDQGDFWLYHERVFORVHU look at Lang’s theories serves to extrapolate his notion of childhood, as imagined in hiV

IDLUODQGDQGLQUHODWLRQWRKLVYLVLRQRIDJHEDVHGJHQGHUHGUDFLDODQGVSHFLHVKLHUDUFKLHV

The ensuing overview of Lang’s ethnographic and folkloric theories shows how his

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:HVWHUQIDLUWDOHVH[SOLFLW

HOORZ)DLURRNUGHG&RORXUHG)DLU%RRNV/RQGRQ/RQJPDQVUHHQDQG&RL[ KWWSDUFKLYHRUJGHWDLOVQGUHZ/DQJV7KHHOORZ)DLU%RRN/DQJVWDWHVWKDWKHKDVVRIWHQHGWKHYLROHQFHLQWKH IDLUVWRULHVVRDVWRPDNHWKHPVXLWDEOHIRUFKLOGUHQQGUHZ/DQJDQG-)RUGLOOXV7KH2UDQJH)DLURRN VWHG/RQGRQ/RQJPDQVUHHQDQG&RYL KWWSDUFKLYHRUJGHWDLOVQGUHZ/DQJV7KH2UDQJH)DLU%RRN QGUHZ/DQJDQG0DULDQ5RDOIH&R[&LQGHUHOOD7KUHHXQGUHGDQG)RUW)LYH9DULDQWVRI&LQGHUHOOD Catskin, and Cap O’Rushes1HQGHOQ/LHFKWHQVWHLQ.UDXV5HSULQW

Children’s literature scholar Anna Smol, who notes Lang’s notorious Garden of Eden

UHIHUHQFHWDNHVXSWKH9LFWRULDQHWKQRJUDSKLFFRQWH[WVfor Lang’s ideas,QDUHPDUNPDGHWR

GHVFULEHKLVUROHLQWKHWUDQVODWion of stories for the “Coloured Fairy Books” Lang decriesŚ “Eve worked, Adam superintended. I also superintend.”,QGHHGKHJRYHUQHGWKHWUDQVODWLRQZRUNE

KLVZLIH/HRQRUD/DQJDQGDGR]HQRWKHUIHPDOHWUDQVODWRUVIn her article “The ‘Savage’ and

‘Civilized,’” Smol argues that Lang’s basic understanding of the relationship between the

“FLYLOL]HG”DGXOWZRUOGRIVXSHULRUPHQDQGWKH“VDYDJH”FKLOGODQGRILQIHULRUFKLOGUHQKDV come to dominate “current ways of thinking about the child and children’s literature.”6PRO has productively outlined the potentially harmful crossover between Lang’s views on race,

JHQGHUDQGDJHDQGWKHVWRULHVWKDWKHHGLWHGRZHYHULWLVLPSRUWDQWWRFODULIWKHSDUWLFXODU childhood concept that Lang’s writings are dependent on. LanJGRHVSURSRVHWKDWWKH%ULWLVK

FKLOGDQGWKHVDYDJHDUHDNLQWRHDFKRWKHUEXWQRWH[DFWOLQWKHWHUPVVXJJHVWHGE6PRO

2QRQHRFFDVLRQ/DQJZURWHthat boys “will aid you in your selection of flyKRRNVDQG

WREHEULHIZLOOEHKDYHZLWKPXFKPRUHFLYLOLWWKDQWKHWDPH=XOXVRU5HG0HQRQDPLVVLRQDU settlement.”While noting Lang’s additional comparison between boys and a Polynesian prince who occasionally embraced “savagery,” Smol is convinced that his passage on boys who evolve

LQWRFLYLOL]HGIOILVKHUVLVXQUHSUHVHQWDWLYHRIKLVYLHZVAfter noticing how Lang’s describes

“nonEuropean races” as childish, Smol uses this statement in her interpretation of Lang’s viewsŚ for Lang, she states, “children are primitivesś primitives are children.”

Smol, “The ‘Savage’ and the ‘Civilized,’” 180ś See alsoŚ Green, QGUHZ/DQJ&ULWLFDOLRJUDSK Eleanor de Selms Langstaff, “Childhood VisionŚ Lang’s Theory and Practice of Children’s Literature,” in QGUHZ /DQJ%RVWRQ7ZDQH3XEOLVKHUV :KHWKHU/DQJDOVRWKRXJKWRIKLPVHOIDVJRYHUQRURYHUWKHPHQHVSHFLDOORYHUKLVLOOXVWUDWRU-)RUG ZKRZDVDIHOORZFULFNHWDILFLRQDGRLVKDUGHUWRDVFHUWDLQ Smol, “The ‘Savage’ and the ‘Civilized,’” 180– ,ELGDQG ,ELG ,ELG

6PROXQGHUVWDQGVWKHSDUDOOHOWKDW/DQJGUDZVEHWZHHQFKLOGUHQDQGVRFDOOHGSULPLWLYH

UDFHVDVOLWHUDOUDWKHUWKDQDQDORJLFDO)RUKLVKLHUDUFKLFDOVVWHPWREHFRQVLVWHQWHYHQUDFLVW

WKHRULHVKDYHDNLQGRIORJLFWKHFRQQHFWLRQPXVWEHXQGHUVWRRGDVDQDQDORJ)RU/DQJLWLV

LOORJLFDOIRUFKLOGUHQDQGVDYDJHVWREHHQWLUHOHTXLYDOHQWLQWKHKLHUDUFKLFDOUHODWLRQVKLSWKDWKH will come to establish. He is furthermore describing the boy’s capacity to aid adults in

JHQWOHPDQODFWLYLWLHVDQGWRDFWOLNHWKH3ROQHVLDQ3ULQFHZKRDOVRRFFDVLRQDOODFFHSWHGD

FLYLOL]HGDSSURDFKWROLIH. Based in part on Lang’s childhood memories, but most especially on his ethnological theories, I propose that Lang’s British child becomes a kind of noble savage

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There are both differences and parallels between the bleaker memories of Lang’s youth

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GHOLJKWIXODVSHFWVRIFKLOGKRRGDUHDVVRFLDWHGZLWKRXWKIXOILVKLQJRXWLQJVZKHQKHUHFDOOHG

“two white fairy deer flit by, bringing us […] back to Fairyland.”VVRFLDWLQJIDLUODQGZLWK childhood’s innocence, Lang tellingly describes the frontispiece in his introduction to Perrault’s

WDOHV,WIHDWXUHVDSRUWUDLWRIWKH)UHQFKPDQEHLQJODXUHOOHGESXWWLOLNHFKLOGUHQ/DQJVWDWHVRI these infantsŚ “Though they do not, for the most part, know the name of their benefactor, it is children who keep green the memory of Perrault.”'HVSLWH/DQJ’s precocity as a young reader, he imagines Britain’s childhood as a site of unawareness ready to absorb his system of

KLHUDUFKLHV

UHHQQGUHZ/DQJ&ULWLFDOLRJUDSK The Toronto Public Library’s 1888 edition contains the illustrations that I am referring to. However, an HGLWLRQWKDW,FRQVXOWHGIURP0FLOOGRHVQRWQGUHZ/DQJPerrault’s Popular Tales2[IRUG&ODUHQGRQ 3UHVVYLLKWWSZZZWRURQWRSXEOLFOLEUDUFDGHWDLOMVS"(QWW 5'05

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9LFWRULDQVFLHQWLILFFXOWXUHDQGLWVSUHMXGLFHVLVZRUNRQPWKRORJVRFDOOHGSULPLWLYH

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FLYLOL]HGKXPDQVGLIIHUHQWIURPWKHDSHVDQGZKDWPDNHV(XURSHDQFXOWXUHVGLVWLQFWIURPHDFK

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7KHTXHVWLRQVPDUNRXWGLYLGHGYLHZVHPHUJLQJIURP%ULWLVKDQWKURSRORJLFDOFLUFOHVRQZKHWKHU

KXPDQJURXSVVKRXOGEHFRQVLGHUHGHTXDORUZKHWKHUWKHH[LVWHGLQDKLHUDUFKLFDORUGHU% arguing for humankind’s psychic unity, the Tylorian school of thought was reactinJWRDVWUDQGRI

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KDYHXQHTXDOOHYROYHGIURPWKHLUDQLPDOLVWLFRUSULPLWLYHQDWXUH

Although Terry Ellingson does not look directly at Lang or children’s literature, KLVVWXG

RIWKHQREOHVDYDJHLQ9LFWRULDQHWKQRORJDQGWZHQWLHWKFHQWXUDQWKURSRORJSURYLGHVDQ intellectual context, which is useful here as I set out to analyze Lang’s hierarchical system.

Ellingson’s examination of anthropological sources in 7KH0WKRIWKH1REOH6DYDJHLV

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XQWZHUHKLJKUDQNLQJILJXUHVZLWKLQQLQHWHHQWKFHQWXUHWKQRORJLFDODQGDQWKURSRORJLFDO

Smol, “The ‘Savage’ and the ‘Civilized,’” 177. UHHQQGUHZ/DQJ&ULWLFDOLRJUDSK–71ś Smol, “The ‘Savage’ and the ‘Civilized,’” 179ś Silver, 6WUDQJHDQG6HFUHW3HRSOHV–7HUU-D(OOLQJVRQ7KH0WKRIWKH1REOH6DYDJH%HUNHOH8QLYHUVLWRI &DOLIRUQLD3UHVV

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range of primary anthropological sources supports Ellingson’s argument that the noble

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SKLORVRSKHU-HDQ-DFTXHV5RXVVHDX5RXVVHDXGLVFXVVHGWKHLGHDRI‘0DQLQWKH6WDWHRI1DWXUH’ in his vision of equality in France’s future. However, Rousseau’s writings show no indication

WKDWKHEHOLHYHGLQQREOHVDYDJHVZKLFKLVWRVDLGHDOL]HG,QGLJHQRXVSHUVRQVXQFRUUXSWHGE

FLYLOL]DWLRQ,QWKLVUHJDUGWKHDSSOLFDWLRQRf Ellingson’s findings also extends to children’s

OLWHUDWXUHZLWK5RELQVRQ&UXVRHbeing the one book that Rousseau advocated for young boys’

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RZHYHULWLVDIWHU&UXVRHVDYHVKLPQDPHVKLP)ULGDPDNHVDORDOVHUYDQWRIKLPDQGDIWHU

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WKDW)ULGDEHFRPHVHQQREOHG

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&UDZIXUGDQGXQWWDPSHUHGZLWKWKHDXWKRUfunction of Rousseau’s writings for the purpose of

FULWLTXLQJWKRVHZKRDUJXHGIRUWKHXQLWRIWKHKXPDQUDFHDQGWKHHTXDOLWRIPHQ

3UHVXPDEOPRWLYDWHGEWKHVHOIDJJUDQGL]LQJDLPVRIUDQVXSUHPDFLVP—DZRUOGYLHZ

ZKLFKFDPHWRWKULYHLQODWH9LFWRULDQHWKQRORJLFDOVRFLHWLHV—WKHDWWULEXWHGWKH“QREOHVDYDJH”

-RKQ&UDZIXUGZDVHOHFWHG3UHVLGHQWRIWKH(WKQRORJLFDO6RFLHWRI/RQGRQ(6/LQ-DPHVXQW DQG5LFKDUG%XUWRQIRXQGHGWKHQWKURSRORJLFDO6RFLHWRI/RQGRQLQZKLFKEURNHIURPWKH(6/LQRUGHUWR study natural as well as cultural factors. “The Negro’s Place in Nature” is an example of one of Hunt’s papers. (OOLQJVRQ7KH0WKRIWKH1REOH6DYDJH– /HUHUChildren’s Literature–'DQLHO'HIRH5RELQVRQ&UXVRH, New ed., Oxford World’s &ODVVLFV2[IRUG2[IRUG8QLYHUVLW3UHVV (OOLQJVRQ7KH0WKRIWKH1REOH6DYDJHY[

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KLHUDUFKLFDOHOHPHQWLQ&Uawfurd and Hunt’s noble savage political coup. Accordingly, E.B.

7ORUDQGKLVIROORZHUVZKLFKLQFOXGH/DQJIHOOLQWRWKHWUDSRISURGXFLQJDQRQHJDOLWDULDQ

IUDPHZRUN7KH7ORULDQ6FKRROKHOGWKDW“SULPLWLYHV”ZKLOHSDUWRIWKHVDPHUDFHZHUHLQ

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Tylor’s influence.,Q3ULPLWLYH&XOWXUH7ORUDGYDQFHGWKHYLHZWKDWWULEDOFXOWXUHV were “fossilized survivals of earlier evolutionary stages,” which “Western man” had surpassed.

Lang extends Tylor’s concept to his collection of classical fairy tales, seen as a subJURXSRI

(XURSHDQIRONORUHFFRUGLQJOWKHWUDGLWLRQDO(XURSHDQIDLUWDOHVDVZHOODVWKHZRUOG

IRONWDOHVFRQWDLQOLQJXLVWLFDQGFXOWXUDOIRVVLOV7KHSDLULQJRIVWRULHVIURPDURXQGWKHZRUOG highlight humanity’s universality as well as Western civilization’s evolved superiority.

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Tylor’s anthropological concept of cultural evolution, Lang’s ethos appears to be more in line with Crawfurd and Hunt’s imperialistic scientific selfexaltation than with Tylor’s egalitarian

DLPVPublished posthumously, “The Origin of Exogamy and Totemism,” (1913) is a synoptic

,ELG[LY ,ELG Smol, “The ‘Savage’ and the ‘Civilized,’” 179. Sundmark, “Andrew Lang and the Colour Fairy Books,” 6. /DQJHPSKDVL]HVWKHVLPLODULWLHVEHWZHHQDQFLHQWVWRULHVIURPDURXQGWKHZRUOGLQWKHRUDQJHSUHIDFH /DQJDQG-)RUGLOOXV7KH2UDQJH)DLURRNYL–YLL%LRJUDSKHU/DQJVWDIILQSDUWLFXODULQVLVWVRQWKH XQLYHUVDOYDOXHRIWKHFROOHFWHGVWRULHV(OHDQRUGH6HOPV/DQJVWDIIQGUHZ/DQJ%RVWRQ7ZDQH3XEOLVKHUV

version of Lang’s prolifiFZULWLQJVHSURGXFHGDWKHRURIFXOWXUDOHYROXWLRQEDVHGRQ

QDPLQJ7RWHPLFQDPLQJUHIHUVWRKRZFLYLOL]HGDQGVDYDJHFXOWXUHVQDPHWKHPVHOYHVDQGWKHLU neighboursś exogamy refers to how they breed. “‘We’ Aryan men,” Lang states, “can tell the

GLIIHUHQFHEHWZHHQRXUVHOYHVRWKHUKXPDQVDQGWKHDQLPDOVDQGEHWZHHQRXUVHOYHVDQGVDYDJH tribal groups.”,QFRQWUDVWKHLGHQWLILHVVDYDJHVEDPRGHRIWKLQNLQJDQGEKRZWKH

FRQFHLYHRIWKHPVHOYHVWREHWRWHPLFLQWKHVHQVHRIXQLWHGZLWKDQLPDOVSLULWV1REOHUWKDQWKH

DQLPDOVEXWOHVVFLYLOL]HGWKDQHYROYHGFXOWXUHV/DQJH[SOLFLWOLGHQWLILHVWKHVDYDJHZKRPKH also refers to as the “Red Indian,” not as a noble figure, but rather as lower in the chain of

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GLIIHUHQWLDWLRQEHWZHHQQDWLYHJURXSVZKRPKHUHIHUVWRLQXQIODWWHULQJWHUPV2IWKH,WFKXPXQGL nation, Lang states, they “are in the mostSULPLWLYHVWDWHRIVRFLDORUJDQL]DWLRQZLWKIHPDOH

GHVFHQWDQGQRVXEclasses.”%DVHGRQWKHVHREVHUYDWLRQV/DQJFRPHVWRWKHFRQFOXVLRQWKDW

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British Empire’s advancement from archaic forms of human development.,QOLQHZLWKKLV

Andrew Lang, “Mr. Andrew Lang’s Theory of the Origin of Exogamy and Totemism,” )RONORUHQR -XO ,ELG ,ELG ,ELG ,ELG ,ELG– Langstaff, “Childhood Vision,” 146.

ZULWLQJVRQ0DU4XHHQRI6FRWVDQGKLVVHOIDXWKRUHG6FRWWLVKIDLUWDOHVQDPHO7KHROGRI

)DLUQLOHH/DQJSULYLOHJHV6FRWODQGZLWKLQDYLVLRQRI%ULWLVKLPSHULDOLVP,Q)DLUQLOHHVHWLQWKH

6FRWODQGRI-DPHV,9GXULQJZKLFKWLPHWKH6FRWWLVKFRXQWUVLGHZDVXQGHUDWWDFNIURPWKH

(QJOLVK/DQJGUDZVIURPKLVWRUDVZHOODVKLVSHUVRQDOPHPRULHVRIWKH6FRWWLVKERUGHUODQGV— its ruins, grassy banks, wishing wells, and Nurse Nancy’s stories.7ZRFKLOGUHQ5DQGDOODQG

Jean, reawaken Nancy’s stories of fairies, boggles, and dwarfs in a vivid novella of adventure

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“like a little doggie,” and anxiously awaits him, but Randall pursues near death adventures in

)DLUODQG:KHQKHUHWXUQVWRWKHKRXVHRI)DLUQLOHHRQWKH5LYHU7ZHHGZKLFKUXQVWKURXJK

WKH6FRWWLVKERUGHUODQGV(where Lang had spent his youth), he transforms his family’s poverty with the gold that the Romans had taken from his ancestors, the Britons. In the end, the boy’s

DGYHQWXUHVestablish his homeland as Scotland’s rightful and glorious domain.

:KLOH6FRWODQd lies at the pinnacle of Lang’s imagination, we also know from his

LQWURGXFWLRQWR&KDUOHV3HUUDXOW’s Popular TalesWKDWKHVDZ)UHQFKQDUUDWLYHFXOWXUHDV

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VHOIDJJUDQGL]HPHQW:KLWH(XURSHDQFLYLOL]DWLRQFRQFHSWXDOOWRSVRWKHUZRUOGFXOWXUHVQGRQ the European side, he admires the fact that Perrault’s writings have fewer instances of human

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G’Aulnoy, whose heroes and heroines become bluebirds and white cats who speak in the

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DERYHVWRULHVDERXWVWURQJIHPDOHFKDUDFWHUVZKRLGHQWLIZLWKDQLPDOV:LWKLQQRQ(XURSHDQ

,ELG QGUHZ/DQJ6FRWWLOOXVDQG(/HPDQQLOOXV7KHROGRI)DLUQLOHH/RQGRQ6LPSNLQ0DUVKDOO &RKWWSDUFKLYHRUJGHWDLOVJROGRIIDLUQLOHHODQJULFK

ZRUOGFXOWXUHVWKHUHDUHVXEKLHUDUFKLHVZKLFKKHSODFHVLQWKLVRUGHUSDWULDUFKDOZDUIDULQJ

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FFRUGLQJWR&DUROH6LOYHr’s study on the Victorians’ intellectual and spiritual interest in

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DQGULYHUVDQGIDLULHVDVSDUWRI%ULWLVKFXOWXUDOGRPDLQ6KHVXJJHVWVWKDWKLVDQDORJEHWZHHQ

FKLOGUHQDQGVDYDJHVSRVLWLRQVWKH%ULWLVKDVFRQFHSWXDOOXQLTXHLQWKHLUFXOWXUDODUFKDHRORJ

FFRUGLQJOWKHVHFKLOGUHQKDYHGLUHFWDFFHVVWRWKHSUHKLVWRULFSDVWDQG(QJOLVKIRONORUHZKLFK

DURVHIURPORFDOFRXQWUVLGHORUHDQGDERXQGHGLQLWVIDLULHVIt would seem that in Lang’s

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7KHH[WHQWWRZKLFKDUHDGHUviewer might grasp how Lang’s hierarchical vision of

(XURSHDQDQGQRQEuropean cultures maps onto the “Coloured Fairy Books” is somewhat more

FRPSOLFDWHG—DQG,ZLOOUHWXUQWRWKLVLVVXHRZHYHUKLVSULPLWLYL]DWLRQRIFKLOGKRRGGLUHFWO

HQWHUVWKHSUHIDFHWRKLV7KH9LROHW)DLURRNHe statesŚ “their taste remains like the taste of

WKHLUQDNHGDQFHVWRUVWKRXVDQGVRIHDUVDJRDQGWKHVHHPWROLNHIDLUWDOHVEHWWHUWKDQKLVWRU poetry, geography, or arithmetic.”:LWKWKHVHZRUGVKHDVVRFLDWHV%ULWLVKFKLOGUHQZLWK

VDYDJHVDQGLPSOLFLWOUDFLDOL]HVIDLUODQG&KLOGUHQDUHGHYHORSPHQWDOOFORVHWRWKHVDYDJHVRI

WKHZRUOGEXWDUHQREOHUEHFDXVHWKHERVDPRQJVWWKHPIDFHDIXWXUHDVFLYLOL]HG9LFWRULDQV

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6LOYHU6WUDQJHDQG6HFUHW3HRSOHV (GZDUG6DOPRQDQGOIUHGSSOHE/RQJGHQ7KH/LWHUDWXUHRIWKH(PSLUHYRO7KH%ULWLVK(PSLUH 1HZRUNROWLLLY–LY QGUHZ/DQJDQG-)RUGLOOXV7KH9LROHW)DLURRNUGHG&RORXUHG)DLU%RRNV/RQGRQ /RQJPDQVUHHQDQG&RYLLLKWWSDUFKLYHRUJGHWDLOVQGUHZ/DQJV7KH9LROHW)DLU%RRN

An actual reader of Lang’s fairy books would not necessarily have picked up on his

YLHZVRQWRWHPLVPDQGH[RJDPEXWWKHVHYLHZVJRYHUQHGKRZWKHHGLWRUHVWDEOLVKHGSDWWHUQVLQ

WKHHGLWHGVWRULHVIRUFKLOGUHQDVHYLGHQFHRIFXOWXUDOVXSHULRULW7KLVLVSDUWLFXODUWUXHZKHQKH

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ZKLFKWKH&KLQHVH)UHQFKGerman, and English tales are intermixed in the “Coloured Fairy

Books”VXJJHVWVWKDWWKHFRPPRQDOLWEHWZHHQDOOZRUOGFXOWXUHVLQWKHLUORYHIRUVWRULHVFRXOG

FRLQFLGHZLWKPRPHQWVRIJHQGHUHGDQGUDFLDOKLHUDUFKLHV,WLVDOVRKDUGWRDVFHUWDLQWKHH[WHQW

WRZKLFKWKHVRXUFHQDUUDWLYHVZHUHWUDQVIRUPHGIURPRUDOWUDGLWLRQDQGDGDSWHGLQWKHH[FKDQJH

EHWZHHQORFDOJURXSVDQGHWKQRORJLVWVDQGILQDOOHGLWHGE/DQJ,QRWKHUZRUGVWKHHGLWHG stories are not singularly governed by Lang’s authorship or by WKHFRQFHSWRIFKLOGKRRGDVQREOH

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1.4. Responses to Lang and Fairyland’s Revival

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,IHYHURQHLQFOXGLQJDGXOWUHDGHUVEHOLHYHGDORQJZLWK/DQJWKDWFKLOGUHQZHUHSULPLWLYH

YHUVLRQVRIWKHPVHOYHVZKRFRXOGEHPRXOGHGEDVVWHPRIIDLUWDOHVWKHUHZRXOGEHPXFK cause for alarm. Indeed, it is disturbing to encounter the editor’s troubling hierarchies and

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ZKDWWKHIDQWDVFomponent in fairy tales can accomplish, even in his “Coloured Fairy Books”

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SHUVSHFWLYHRQKRZIDQWDVFDQEHLQWHJUDOWRUHQHZDOKRSHDQGOLEHUDWLRQ

7KLVLVZKHUe it is useful to bring up Suzanne Keen’s insights from her extensive

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ZKRUHODWHVWRWKHPEWKLQNLQJDQGIHHOLQJLQDQQXPEHURIZDVUHDGHUPDEHFRPH absorbed into the author’s proposed creative world, but they may also reject the author’s

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The following section introduces four responses to Andrew Lang’s fairy tales, the first by

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JUHZXSZKLOHWKHVWRULHVZHUHEHLQJUHOHDVHGIRUWKHILUVWWLPHDQGWKHQEWZRPHULFDQ

IHPLQLVWVZKRUHDGWKHVWRULHVLQDGXOWKRRGZKHQWKHZHUHUHSXEOLVKHGLQWKHV7KH

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ZKLFKSHULRGWKHIDLUWDOHGHFOLQHGLQSRSXODULW—to Disney’s revival of the genre.

OWKRXJKQRQHRIWKHIRXUUHDGHUVLQGLFDWHDWRWDODEVRUSWLRQLQWo Lang’s limited fantasy

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WKHIDLUWDOHLQWKHWZHQWLHWKFHQWXU,DUJXHLQIDYRXURIDPRUHHQFRPSDVVLQJXQGHUVWDQGLQJRI

IDQWDVEORRNLQJDW.&KHVWHUWon and J.R.R. Tolkien’s revivalist essays on fairy tales. As

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.HHQ(PSDWKDQGWKH1RYHO ,ELG ,ELG–

both Chesterton and Tolkien might represent Andrew Lang’s intended readers (had they been

QREOHVDYDJHV7KHLUSHUFHSWLRQRIWKHIDLUWDOHERRNVRIWKHLUFKLOGKRRGSURYLGHVDQLQYDOXDEOH context for Tolkien’s statementŚ “fairyVWRULHVKDYHLQWKHPRGHUQOHWWHUHGZRUOGEHHQUHODWHGWR the ‘nursery,’ as shabby or oldIDVKLRQHGIXUQLWXUHUHOHJDWHGWRWKHSODroom.”

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IDLUWDOHVDQGFKLOGKRRG%XWZKHUH&KHVWHUWRQYLHZVKLVFKLOGKRRGH[SHULHQFHRIIDLUWDOHVDV

SURGXFWLYHIRUDGXOWVWRUHWXUQWR7RONLHQWHDVHVRXWHGLWor Lang’s low empathetic threshold towards children. Subsequently, the way that Lang’s fairy tale books frame gender and age

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WKHVHSDLUVUHVSRQGHQWVKROGVLPLODUFXOWXUDOEDFNJURXQGVDQGVKDUHVLPLODUYDOXHVEXWGRQRW see eye to eye when it comes to their appreciation of Lang’s stories for children.

.KHVWHUWRQ

.&KHVWHUWRQ1936) read Lang’s fairy books as they were being published during the

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English reading culture, before the last of the “Coloured Fairy Books” was released. Chesterton

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These lines from Tolkien are frequently quoted. Tolkien, “On FairyStories,” 34ś Tatar, DUG)DFWV

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As a satirist, Chesterton’s unique dialectical appURDFKLVDVDXWRELRJUDSKLFDODVLWLV

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“I left the fairy tales lying on the floor of the nursery, and I have not found any books so sensible since.”,WLVIURPWKLVSDUWLFXODULQWURVSHFWLYHYDQWDJHSRLQWWKDWKHUHWXUQVWRWKHGXVWIDLU

WDOHERRNVRIKLVQXUVHUIt is significant that Chesterton’s childhood and adulthood

FRUUHVSRQGWRWKHODWHQLQHWHHQWKDQGHDUOWZHQWLHWKFHQWXULHVUHVSHFWLYHO7KLVILts Silver’s

SHULRGL]DWLRQRIWKHSURFHVVEZKLFK9LFWRULDQIDLUWDOHVEHFDPHXQIDVKLRQDEOHDQGH[FOXVLYHO associated with children’VOLWHUDWXUHLang’s fairy books had come to take the place of a

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WKHGRPHVWLFVSKHUHUHYLHZWKHUXGLPHQWDUOHVVRQVRIOLIHDQGUHUHDGWKHLUQXUVHUERRNV

7KHIDLUWDOHSRVVesses moments of the extraordinary in the ordinary, namelyŚ “the vote,”

Alan Blackstock, “Redeeming the Fallen GiantsŚ Chesterton on Newman, Carlyle, and Ruskin,” 5HOLJLRQ /LWHUDWXUHQR-XO )RUH[DPSOH&KHVWHUWRQDQDO]HVSXULWDQLVPDQGDHVWKHWLFLVPZKLFKKHVHHVDVWZRVHHPLQJORSSRVLQJ LGHRORJLHVHXVHVWKHUHGHHPLQJHOHPHQWVLQWKHRQHWRFULWLTXHWKHRWKHUDQGYLVDYHUVD.&KHVWHUWRQ7KH 9LFWRULDQJHLQ/LWHUDWXUH/RQGRQ:LOOLDPVDQG1RUJDWH–– KWWSDUFKLYHRUJGHWDLOVYLFWRULDQDJHLQOLEXFKHV G.K. Chesterton, “Ethics of Elfland,” in 7KH&ROOHFWHG:RUNVRI.&KHVWHUWRQHUHWLFV2UWKRGR 7KHODWFKIRUG&RQWURYHUVLHVHG'DYLG'RROHYRO6DQ)UDQFLVFR,JQDWLXV3UHVV Note that the term “nursery” is a common British term for the child’s room. Both Chesterton and Tolkien XVHLW,WDSSHDUVWRKDYHUHFHQWOJRQHRXWRIGDWH %ODWFKIRUGDQG&KHVWHUWRQZHUHMRXUQDOLVWLFDGYHUVDULHV)RURYHUDVL[PRQWKSHULRGLQWKH UHEXWWHGHDFKRWKHULQVHYHUDO(QJOLVK1HZVSDSHUV%ODWFKIRUGZURWHIRU7KH&ODULRQ&KHVWHUWRQZURWHIRUWKH'DLO 1HZVDQG7KH&RPPRQZHDOWK. David Dooley, “Introduction,” in 7KH&ROOHFWHG:RUNVRI.&KHVWHUWRQHUHWLFV 2UWKRGR7KHODWFKIRUG&RQWURYHUVLHVE.&KHVWHUWRQYRO6DQ)UDQFLVFR,JQDWLXV3UHVV

“common sense,” “ordinary morals,” “the instinct of sex,” and “birth.”5HYHUHQFHIRU humanity’s commonalities informs Chesterton’s critique of intellectual hubris, scientific

GHWHUPLQLVPDQGWKHGHQLJUDWLRQRIDOOWKLQJVZLWKLQWKHGRPHVWLFVSKHUHIDQWDVVH[ELUWKDQG childhood books. By referring to Lang and also the Grimms’ fairy books, Chesterton does two

WKLQJV)LUVWKLVSHUVRQDODFFRXQWRISRSXODUVictorian children’s liteUDWXUHVHUYHVWRGRFXPHQW

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,QWKHFhapter “Ethics of Elfland,” in his book 2Q2UWKRGR&KHVWHUWRQUH

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WKHILUVWWLPHVKHUHDVVXUHVKLVUHDGHU, “These tales VDWKDWDSSOHVZHUHJROGHQRQOWRUHIUHVK

WKHIRUJRWWHQPRPHQWZKHQZHIRXQGWKDWWKHZHUHJUHHQ7KHPDNHULYHUVUXQZLWKZLQHRQO to make us remember, for one wild moment, that they run with water.”:LWKWKHVHZRUGV

&KHVWHUWRQSODFHVYDOXHRQWKHSRVVLELOLWRIZLOGDGYHQWXUHDULVLQJZLWKLQWKHGRPHVWLFVSDFH

2QWKHOLQJHULQJHOHPHQWVRIKXPDQVH[XDOLWZLWKLQIDLUWDOHVRIKLVQXUVHU&KHVWHUWRQ statesŚ”[j]ust as we all like love tales because there is an instinct of sex, we all like astonishiQJ

Chesterton, “Ethics of Elfland,” 251, 252, 261, 257, 258. Chesterton’s mDLQLGHDVIRU2UWKRGRVWHPIURPHDUOLHUMRXUQDOLVWLFSLHFHVZKLFKKHZURWHLQ Dooley, “Introduction,” 26, 28. VDQDVLGHRQQRPHQFODWXUHHDUOLHULQWKH(QJOLVKOLWHUDUWUDGLWLRQHOYHVDQGIDLULHVUHIHUUHGWRWKHVDPH FUHDWXUHVDVVXFK&KHVWerton’s Elfland is simply another word for fairyland. Tolkien, “On FairyStories,” 9. Chesterton, “Ethics of Elfland,” 257. &KHVWHUWRQDSSOLHVKLVQRWLRQRIIDQWDVUHFRYHULQKLVQRYHOVZKLFKLQFOXGHVWKH)DWKHUURZQGHWHFWLYH VHULHVRULJLQDOOSXEOLVKHGEHWZHHQDVZHOODVWKHDQDUFKLVWLFKDOIRIWKH0DQZKRZDV7KXUVGD RULJLQDOOSXEOLVKHGLQ

tales because they touch the nerve of the ancient instinct of astonishment.”)DLUODQGJHQHUDOO

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Chesterton also specifically refers to the “Grimm’s Fairy Tales” and “the fine collections of Mr. Andrew Lang” for the “pleasure of pedantry.”Upon opening Lang’s 7KH5HG)DLU

RRN(1890) to “Jack and the Beanstalk,” Chesterton claims that this story reWHDFKHVDGXOWVWKH lesson of moral courage. In other words, Chesterton bypasses Lang’s ethnographic bias in favour of his own reader’s empathy for fellow adults when he statesŚ “gianWVVKRXOGEHNLOOHGEHFDXVH they are gigantic. It is a manly mutiny against pride as such.”In the examples set by “Jack and the Beanstalk” and other tales, heroes and heroines may break the rules that make fairyland a

IDQWDVWLFSODFHEXWWKHDUHDOVRJLIWHGZLWKWKHFRXUDJHDQGKXPLOLWWRKHOSUHVWRUHPVWLFDO forces. In Chesterton’s Elfland, the magical interplay between human anarchy and supreme order generates the wonder of the fairy tale’s plot, as well as the mysterious journey of life, and it alsR

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Chesterton comments directly on the usefulness of the Grimms’ fairy tales to illustrate his

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In fairyland we avoid the word “law”ś but in the land of science they are singularly fond RILW7KXVWKHZLOOFDOOVRPHLQWHUHVWLQJFRQMHFWXUHDERXWKRZIRUJRWWHQIRONV pronounced the alphabet, Grimm’s Law. But Grimm’s Law iVIDUOHVVLQWHOOHFWXDOWKDQ Grimm’s Fairy Tales. The tales are, at any rate, certainly talesś while the law is not a law. ODZLPSOLHVWKDWZHNQRZWKHQDWXUHRIWKHJHQHUDOLVDWLRQDQGHQDFWPHQWQRWPHUHO WKDWZHKDYHQRWLFHGVRPHRIWKHHIIHFWV

Chesterton, “Ethics of Elfland,” 257. ,ELG ,ELG ,ELG

&KHVWHUWRQZDVUHDFWLQJWRDPRGHRIWKLQNLQJZKLFKFKDUDFWHUL]HGWKHLQWHOOHFWXDOKXEULVDPRQJ

WKRVHZKRSUHVXPHWRNQRZPRUHWKDQWKHLUVFLHQFHFRXOGSURYHThis relates to the Grimms’

FRQMHFWXUDOXVHRIIRUHLJQODQJXDJHDQGVHQVHGDWDWRPDNHGHILQLWLYHVWDWHPHQWVRQRWKHUIRONVD practice which is likely to produce falsehoods. Using the example of Grimms’ Law, he suggests

WKDW(QJOLVKLQWHOOHFWXDOGLVFRXUVHDSSOLHGWRVRFLRORJLFDODQGIRONORUHVWXGLHVPXGGLHGWKH

GLVWLQFWLRQEHWZHHQQDWXUDOODZVDQGLPDJLQHGODZV7KLVFULWLTXHFRXOGDOVRKHOSVHSDUDWHWKH common sense in the “Coloured Fairy Books”from Lang’s omnipresent view, governed by

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At the centre of “Elfland,” ChestHUWRQVHWVXSDGLDORJXHWKDWKHOSVSURYHKLVSRLQWRQWKH

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FKDUDFWHUDVWDQGin for a certain kind of reader) whom he names “Man of Science,” and he

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EHFDXVHLWLVLPPRUDODQGIULYRORXVRZHYHUWKHZRUOGVWDUWVWRIDOODSDUWZKHQ(OIODQG’s

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[c]ut the stalk, and the apple will fall,” and the narrator interjectsŚ “but he says it calmly, as if the one idea really led up to the other.”&RQWUDsting with Man, “the witch in the fairy tale says, “[b]low the horn, and the ogre’s castle will fallś but she does not say it as if it were VRPHWKLQJLQZKLFKWKHHIIHFWREYLRXVODURVHRXWRIWKHFDXVH

7KLVLQWHOOHFWXDOPRod in Chesterton’s day appears to be informed by the historian’s fallacy, which PDLQWDLQVWKHSUHVXPSWLRQWKDWVRPHWKLQJZLOOKDSSHQDJDLQMXVWEHFDXVHLWKDVKDSSHQHGLQWKHSDVW7KH LQWHOOHFWXDOFOLPDWHWKDW&KHVWHUWRQUHIHUVWRLQKLVH[FKDQJHZLWK%ODWFKIRUGPDKDYHGHULYHGIURPWKH decontextualization of Darwin’s principles on chance leading to the potential of selfGHWHUPLQDWLRQYLDQDWXUDO selection. Or, it may have derived from the decontextualization of Newton’s laws of movement. In popular culWXUH 1HZWRQLDQORJLFFDQVXJJHVWWKDWDOOFDXVDOIDFWRUVFDQEHFRPHNQRZDEOHXVLQJVFLHQWLILFPHWKRGV6HWZLWKLQWKHLU scientific contexts, Darwin and Newton’s contribution to the questions of determinacy and indeterminacy is FRPSOH[6HH-DFRE'DUZLQDPEOLQ6FLHQFHLQWKH(DUO7ZHQWLHWK&HQWXUQ(QFFORSHGLD6DQWD%DUEDUD &DOLIRUQLD%&&/,2 Chesterton, “Ethics of Elfland,” 254. ,ELG ,ELG

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Unable to understand the limits of his scientific knowledge within the witch’s domain, certain intellectuals have lost all sense of life’s mysterious forces, as well as their own ability to

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7RVXPPDUL]HChesterton’s position, the nursery version of fairyland opens up the

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SRZHURIIDQWDV7UDQVIRUPDWLRQH[LVWVERWKLQWKHVWRULHVDQGLQZKDWKDSSHQVWRWKHFKDUDFWHUV

EXWDOVRLQWKHZDWKDWQDUUDWLYHVLWXDWLRQVFDQH[SDQGLQWRDIDQWDVL]HGVSDFHDQGOHDGWRWKH reader’s interpretive agency. Chesterton’s account of a witch who meets the Man of Science limits Lang’s efforts to impose hierarchical theories onto thHIDLUODQGVLQWKHERRNVKHHGLWHG

What is fascinating in Chesterton’s critique is that he decries the pseudoVFLHQFHGHSORHGE

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LIWKHUHPDLQHGZLWKin the category of children’s literature.

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-557RONLHQUHDGSDUWVRILang’s fairy books as a childś he was twelve EWKH

WLPHWKDW7KHURZQ)DLURRNWKHQLQWKRIWKHVHULHVZDVUHOHDVHGRZHYHU7RONLHQ only came to pay greater attention to the place of the fairy tale in children’s literature in the late

1930s, when he built upon G.K. Chesterton’s revaluation. Both authors were interested in how

WKHYDOXHRIIDQWDVLQOLWHUDWXUHFRXOGUHDZDNHQVRPHRIWKHPRUHPVWHULRXVWHQHWVRIWKHLU

,WVKRXOGEHQRWHGWKDW&KHVWHUWRQLVQRWPDNLQJWKHSRLQWWKDWVFLHQFHDQGIDLUWDOHVDUHDQWLWKHWLFDOWR HDFKRWKHU7KHDUHFRQFHLYDEOUHODWHG/DWHULQWKHKLVWRURILGHDVOEHUW(LQVWHLQFRPPHQWHGRQWKHLPSRUWDQFH RIUHDGLQJIDLUWDOHVDQGWKHimportance of the imagination for science. Maria Popova, “Einstein on Fairy Tales and Education,” UDLQ3LFNLQJV0DUFKKWWSZZZEUDLQSLFNLQJVRUJLQGH[SKSHLQVWHLQIDLU WDOHV

shared Catholic spirituality, and both reacted to what they felt to be England’s dried up cultural climate. Tolkien’s intellectual inheritance from Chesterton is clear in his decision to refHUWR

IDLUODQGDV(OIODQGKHDOVRH[SDQGVRQWKH&KHVWHUWRQLDQGHILQLWLRQRIIDQWDVRZHYHUWKH held opposing views on the value of Andrew Lang’s fairyland.

,QWKDW&KHVWHUWRQZURWHDVDVDWLULVWLQWKHSXEOLFSUHVVDQG7RONLHQDVDIDQWDVLVWLQKLV novels, their attitudes toward the fairy tale’s place in literature differed. Chesterton describes his

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Charles Dickens), and who points out his enemies’ strengths before pointing to their weaknesses

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UHYLHZWKHUXGLPHQWDUOHVVRQVRIOLIHDQGUHUHDGWKHLUQXUVHUERRNV%XWKHGRHVQRWDUJXH that fairy tales should be something other than children’s literature. Although Elfland’s vitality is

DFRPPRQWKUHDG7RONLHQFRQWHQGVWKDWIDQWDVVKRXOGEHDQLQWHJUDOSDUWRIUHDGLQJPDWHULDOIRU

DGXOWVWRJHQXLQHOHQMR7RWKLVHQG7RONLHn’s treatise “On FairyStories” functions as a

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FRQFHUQHGWKDWRYHUVLPSOLILHGIDLUWDOHZULWLQJLQWHUPVRIVWOHSORWDQGVHWWLQJULVNORZHULQJ an adult reader’sfascination in the genre’s epic potential. In short, Chesterton wants to make

G.K. Chesterton, “On the Wit of Whistler,” in 7KH&ROOHFWHG:RUNVRI.&KHVWHUWRQHUHWLFV 2UWKRGR7KHODWFKIRUG&RQWURYHUVLHVHG'DYLG'RROHYRO6DQ)UDQFLVFR,JQDWLXV3UHVV– Chesterton, G.K. “Martin Chuzzlewit.” In 7KH&ROOHFWHG:RUNVRI.&KHVWHUWRQ&KHVWHUWRQRQ'LFNHQV– 6DQ)UDQFLVFR,JQDWLXV3UHVV

VDWLULFDOZULWLQJJUDQGDJDLQEODXJKLQJMXVWDVPXFKDWKLPVHOIDVKHODXJKVZLWKKLVHQHPLHV

ZKHUHDVTolkien seeks to rebuild the fairy tale’s reputation by writing fantasyILFWLRQRIKLVRZQ

7RONLHQLVFUXFLDOIRUXQGHUVWDQGLQJWKHUHQHZDORIWKHIDLUWDOHLQWKHWZHQWLHWKFHQWXU

,URQLFDOOLWZDVDVWKHQGUHZ/DQJOHFWXUHUDWWKH8QLYHUVLWRI6WQGUHZVWKDW7RONLHQ wrote “On Fairy Stories” (1939), an essay that reSRVLWLRQVIDLUODQGIRUDGXOWV7KHHVVDLV

LQIRUPHGEKLVZRUNDVDQ2[IRUGVFKRODURI(QJOLVKOLWHUDWXUHDQGSKLORORJDQGEKLV intellectual connection to G.K. Chesterton. But, it is also informed by his dislike of Lang’s fairy

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IURPoverly simplistic children’s literature. It frequently bears greater resemblance to adult

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Tolkien decried the fairy tale’s reOHJDWHGVWDWXVWRWKHQXUVHUDQGWKHGXVWDWWLFDVERWK

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DSSURSULDWHQHVVHFRQVLGHUVEHDVWIDEOHVGUHDPWDOHVWUDJHGLHVDQGKLVWRULHVWREHXQLTXH

WSHVRIQDUUDWLYHV7RONLHQZDUQVWKDWLIWKHUHDGLQJPDWHULDOWKDWERWKDGXOWVDQGFKLOGUHQ

0DUWLQUHHQEHUJDQG-DQHROHQIWHUWKH.LQJ6WRULHV,QRQRURI-557RONLHQ1HZRUN7RP 'RKHUWVVRFLDWHVYLL–YLLL Tolkien, “On FairyStories,” 58, 61.

VKDUH—QRYHOVKLVWRUERRNVVFLHQWLILFPDQXDOVDQGIDLUWDOHV—were “left altogeWKHULQWKH nursery,” this material becomes “gravely impaired.”The place of the fairy tale in Chesterton’s

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Tolkien’s quarrHOLVZLWKWKHSRRUILFWLRQZULWHU5HIOHFWLQJEDFNRQKLVFKLOGKRRG

SUHIHUHQFHIRUERRNV7RONLHQZULWHVRILPPHUVLQJKLPVHOILQJHRJUDSKDQGKLVWRU1RUVH mythology, and Shakespearean tragedies. In other words, Lang’s fantasy worlds had little impact

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FRPSHOOHGEWKH“&RORXUHG)DLU%RRNV”

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DQDGXOWZULWHUDWWDFNVWKH/DQJLDQLGHDWKDWFKLOGUHQDUHQDwYHDQGWKDWWKHZLOOEHOLHYH

DQWKLQJ)XUWKHUPRUHKHpicks up on how Lang’s preface to 7KHUHHQ)DLURRNVWUDQJHO correlate children with their “naked ancestors,” a terPWKDWLQVLQXDWHVSULPLWLYL]DWLRQ/DQJ

JURXSVWRJHWKHUchildren with Britain’s late ancestors when he declares that both possess

XQVRSKLVWLFDWHGWDVWHVDQGDSWLWXGHVIn response, Tolkien questions Lang’s knowledge of other people, and he critiques how Lang’s books seem to conceptualize children as a separateFODVVRI men, akin to elves or another race. Even if Tolkien does not directly address Lang’s

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GHILQLWLRQRIIDLUWDOHVWKDWLVEDVHGQHLWKHURQUHGXFWLYHFKLOGKRRGFRQFHSWVQRU folkloric science’s interest in origins comes into play with Tolkien. Accordingly, the purpose of

,ELG ,ELG Tolkien, “On FairyStories,” 39. ,ELG

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(IIHFWLYHODWWDFNLQJWKH/DQJLDQYLHZRIFXOWXUDOHYROXWLRQ7RONLHQVXJJHVWVWKDWWKHKLVWRURI the genre is complex, and that “three thingsŚ independent invention, inheritance, and diffusion,

KDYHHYLGHQWOSODHGWKHLUSDUWLQSURGXFLQJWKHLQtricate web of Story.”7KHDFNQRZOHGJPHQW

RIWKHIDLUWDOHZLWKLQDFRPSOH[ZHERIVWRUWHOOLQJDOORZV7RONLHQWRFULWLTXHKRZ/DQJ connected primitivized childhood to primitivized folklore. He then poses the questionŚ “if adults

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SUHWHQGLQJWREHFKRRVLQJIRUFKLOGUHQQRUEHLQJERVZKRZRXOGQRWJURZXSLH/DQJ—ZKDW are the values and functions of this kind?”7RONLHQDQVZHUVWKLVTXHVWLRQEDIILUPLQJWKHYDOXH

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DQGLWLVWKHPDJLFWKDWDZDNHQVGHVLUHLQWKHFKDUDFters, if not also the readers, “satisfying it while often whetting it unbearably.”7REHVXFFHVVIXO(OIODQGPXVWEHDUWIXOOSURGXFHGVRDV

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LVSXUSOH7KHFRPSHOOLQJQDWXUHRIWKHLQYLWDWLRQLVNHKHUH7RONLHQVHHVWKHDFWRIHQWHULQJ into the author’s creative world as a choice, which can result in the utopian sensation that

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In order to build his own fantasy world (one that opposes Lang’s), Tolkien sets out to

GHILQHLWVLQIUDVWUXFWXUHWKURXJKKLVGLVWLQFWLYHWHUPLQRORJ“recovery,” “escape,” and

“consolation” are foundational concepts. Tolkien begins by building on the Chestertonian concept of fantasy, which he refers to as “recovery.”VDFRUQHUVWRQHIRUWKHZULWHUWREXLOGD fantasy world, “recovery”HQDEOHVERWKWKHFKDUDFWHUVDQGWKHUHDGHUWRUHGLVFRYHUWKHREMHFWVLQ

WKHKRXVHKROGQXUVHUDWWLFDQGOLEUDUZLWKDUHQHZHGVHQVHRILQWULJXHVILQGLQJWKDW recovery is somewhat limiting, Tolkien enlarges his scope with the concepts of “escape” anG

“consolation.” For Tolkien, fairy tales are made more real by the possibility that the arduous

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PDGHEHWZHHQHVFDSHDQGHVFDSLVPZKHQ7RONLHQDUJXHVWKDWKLVFRQFHSWLVQRWPHDQWWRHQGRUVH avoidance. On the contrary, “escape” is deemed positive when it is an act of revolt against the

VWDWXVTXRDKHURLFHVFDSHIURPLQMXVWLFH)DQWDVHVFDSHLQIRUPVWKHDFWRIEHFRPLQJIUHHIURP the confinement of a child’s bHGURRPIURPSULVRQZDOOVIURPHYLODQGIURPWKHFUXHOWRI

GHhumanizing forces. Alongside “escape,” there is also “consolation” in the idea of being able to

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Tolkien, “On FairyStories,” 43, 57, 58. ,ELG

consolation turns the awe and wonder of Chesterton’s everyday recovery into the expansive

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Despite the revivalists’ argument in favour of the fairy tale’s value for society at large

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ZRXOGUHPDLQODUJHOXQFKDQJHGXQWLOWKHWKLUGSKDVHWKUHHRIIDLUWDOHVFKRODUVKLSZDVILUPO set in place. Here I should mention that after the American release of Tolkien’s books, Jack

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WKLUGSKDVHRIIDLUWDOHVFKRODUVKLS,QWKHPLGVPHULFDQSXEOLVKHUVUHOHDVHGQHZ editions of both fairy tale books and fantasy novelsŚ Dover published a new series of Lang’s

“Coloured Fairy Books” and Ballantine and Houghton Mifflin published Tolkien’s books.

Children’s books remained clearly secluded in their own niche. These books were released to an

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7KHPHULFDQHGLWLRQRIWKH“Coloured Fairy Books” was central to the feminist debate, which

ODXQFKHGWKHJHQGHUIRFXVLQSKDVHWKUHHRIIDLUWDOHVFKRODUVKLSOWKRXJKERWKVFKRODUVVDZ the importance of female liberation, Marcia Lieberman attacked Alison Lurie’s support for the

QHZOreleased editions of traditional fairy tales in the children’s book market. In addition,

Lieberman’s conclusions on Andrew Lang’s fairy tales were linked to her understanding of the

VRFLRcultural significance of Disney’s princess films. The emergence RIVHFRQGZDYHIHPLQLVP

LQPHULFDEURXJKWZLWKLWDFRQFHUQIRUVH[XDODJHQFDQGWKHTXHVWLRQRIJHQGHUHGODERXU

GLYLVLRQV,QGHHGWKHVXSHUILFLDOEHDXWVWDQGDUGVDQGJHQGHUQRUPVHYRNHGEDisney’s

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IHPLQLVWDQWKRORJLHVZHUHWRRTXLFNWRH[FOXGH/XULHDOVRDUHYLYDOLVW,QRZWXUQWRDQDQDOVLV

RIKRZERWKZULWHUVUHVSRQGHGWR/DQJ’s “Coloured Fairy Books”DVDVWDQGLQIRUWUDGLWLRQDO

IDLUWDOHV

1RYHOLVWDQd children’s literature scholar Alison Lurie wrote the articles “Fairy Tale

Liberation” (1970) and “Witches and Fairies” (1971) IRUWKH1HZRUN5HYLHZRIRRNV,QKHU overview of recent books on the children’s publishing market—IHDWXULQJQHZHGLWLRQVRILang’s

“Coloured Fairy Books”alongside versions of Grimms’ tales (illustrated by Walter Crane and

UWKXU5DFNKDP—VKHDUJXHVLQIDYRXURIUHQHZLQJWKHIDLUWDOHDVVXLWDEOHPDWHULDOIRUZKDW

IHPLQLVWVVKRXOGOHWWKHLUFKLOGUHQUHDG&RXQWHULQJWKHWUHQGLQ1RUWKPHULFDZKLFKVXSSRUWHG

Alison Lurie, “Fairy Tale Liberation,” 1HZRUN5HYLHZRIRRNV'HFHPEHUOLVRQ/XULH “Witches and Fairies,” 1HZRUN5HYLHZRIRRNV'HFHPEHU1RWHWKDW1HZRUN5HYLHZZDVWKLV newspaper’s former name.

UHDOLVWLFDQGQRQIDQWDVWLFDOWDOHVIRUFKLOGUHQ/XULHDVVHUWVWKDWHYHUGDVWRULHVVXFKDVWKHRQH

DERXWDJURFHUPDQE/XF6SUDJXH0LWFKHOODUHERULQJ

&UHDWLQJDQDUJXPHQWDERXWWKHVXLWDELOLWRIIDQWDVadventures in the “Coloured Fairy

Books”IRUJLUOV/XULHWDNHVDIHPLQLVWVWDQFHIRUKHU1RUWKPHULFDQUHDGHUVKLS/XULH

FRQWHQGVWKDWXQOLNHWKH'LVQHIilms with their passive heroines, Lang’s fairy tale books

IDFLOLWDWHIHPDOHOLEHUDWLRQEHFDXVHIHPDOHFKDUDFWHUVJRRQDGYHQWXUHVLWLVUHWHOZKRGHIHDWV

WKHZLWFKIRULQVWDQFHSSHDOLQJWRWKHZRPHQUHDGHUVRIKHUUHYLHZVKHDVVHUWVWKDWWKHPRVW

SRZHUIXOILJXUHLVWKDWRIWKHIDLUJRGPRWKHU/XULHDOVRUHDVVXUHVWKRVHVHHNLQJWREX

OLEHUDWLQJliterature for their young girls that the tales are “safe” because Lang edited out sexual

DQGYLROHQWFRQWHQW7KHERRNVVHUYHDVDIHPLQLVWWUDLQLQJJURXQGEHFDXVHJLUOVJRRQDGYHQWXUHV

XQGHUWKHJD]HRIDPDWHUQDOIDLU,VXVSHFWWKDW/XULHLVOLNHOUHIHUULQJWRWKH&LQGHUHOOD

JRGPRWKHULQ7KHOXH)DLURRNZKHQVKHPDNHVWKLVVWDWHPHQWDQG,ZLOOUHWXUQWRWKLVSRLQW

LQ&KDSWHUVDQG

)DLUWDOHV/XULHDVVHUWVDUHSDUWDPDWULDUFKDOWUDGLWLRQ5HVSRQGLQJWRLQLWLDOIHPLQLVW

UHVHUYDWLRQVDERXWWKHJHQUH/XULHFRQWLQXHVWRDVVHUWWKDWDGYHQWXUHVIHDWXULQJRXQJJLUOVDUH combined with the wisdom of old women, and indeed she believes they originated in old wives’

WDOHV:DV/XULHPHUHOSURMHFWLQJSURWRIHPLQLVWWUDFHVRQWRDQHQWLUHWUDGLWLRQLQFOXGLQJ

Lang’s tales? Lurie’s lack of systematic analysis of gender patterns makes it unclear as to

As an aside, Lurie is speaking to a recurrent debate found in the history of children’s liteUDWXUHFULWLFLVP 6LQFHWKHHPHUJHQFHRIDQRIILFLDOERRNPDUNHWIRUFKLOGUHQWKHTXHVWLRQRIZKHWKHUWKHIDLUWDOHZLWKDOORILWV VH[XDODQGDJJUHVVLYHXQGHUWRQHVDQGIOLJKWVRIIDQFLVDSSURSULDWHIRUFKLOGUHQKDVORQJEHHQDSRLQWRI FRQWHQWLRQ Lurie, “Witches and Fairies,” 6ś Marcia R. Lieberman, “‘Some Day My Prince Will ComeŚ’ Female Acculturation through the Fairy Tale,” in Don’t Bet on the Prince: Contemporary Feminist Fairy Tales in North PHULFDDQG(QJODQGHG-DFN=LSHV1HZRUN0HWKXHQ Lurie, “Witches and Fairies,” 9.

ZKHWKHUVKHSHUFHLYHGWKHVHPDWULDUFKDOWUDFHVLQWKHVWRULHVWKHPVHOYHVRUZKHWKHUVKHKDV

FUHDWLYHOUHLPDJLQHGWKHSRWHQWLDORIWKHIDLULHVDQGKHURLQHVRQKHURZQWHUPV

/XULHGRHVOLQNWKHPDWULDUFKDOOLQHWRZRPHQDXWKRUVIURPWKHQLQHWHHQWKWRWKH

WZHQWLHWKFHQWXUZKRKDYHXVHGHOHPHQWVIURPWUDGLWLRQDOIDLUWDOHVLQWKHLUQRYHOVIRUWKHLU

RZQVXEYHUVLYHSXUSRVHV'HVSLWHWKHODFNRIFORVHUHDGLQJRIJHQGHUHGUHODWLRQVDFURVVWKH hundreds of stories collected in the “Coloured Fairy Books” this female lineage allows her to feminize Lang’s patriarchal tribalism. Instead, she considers everyone to come from “a tribe called childhoodś” she then deYHORSVDWRSGRZQDSSURDFKWRZKDWFKLOGUHQVKRXOGUHDGDQGKRZ

IHPLQLVWVZLOOHQGRUVHWKHVHERRNV2QWKHEDVLVRIKHUIHPLQLVWXQGHUVWDQGLQJRIIDLUWDOH

PDWULDUFK/XULHEHOLHYHGWKDWDOOUDGLFDOIHPLQLVWVZRXOGDJUHHWKDWWKHFODVVLFIDLUWDOH

OLEHUDWHVZRPHQ

Lurie was mistaken. Marcia R. Lieberman’s rebuttal was one that most feminists sided with, according to Zipes’ introductory comments.Lieberman’s canonical essay “‘Someday My

Prince Will ComeŚ Female Acculturation through the Fairy Tale,” LVDIHPLQLVWDQDOVLVRI

Lurie’VPDLQVRXUFHLang’s 7KHOXH)DLURRNOWKRXJK/XULHKDGLQVLVWHGWKDWIHPLQLVWV

VKRXOGORRNSDVWWKHEOXHERRNWKHILUVWRIWKHVHULHVWRWKHVXEVHTXHQWFRORXUHGERRNVIRU

LQVWDQFHVRIDFWLYHIHPDOHKHURLQHV/LHEHUPDQGLGQRWFRPSO/LHEHUPDQDVVHUWVWKDWWKH

IDLUWDOHVZKLFKDUHQRWGLUHFWOOLQNHGWR'LVQHYHUVLRQVDUHQRWZRUWKDQDO]LQJEHFDXVHWKH

KDYHQRWKDGDVH[WHQVLYHDQLPSDFWRQWKHFKLOGUHQRIPHULFD)RFXVLQJRQJHQGHUUHODWLRQVLQ

“Cinderella,” “Sleeping Beauty,” and others, Lieberman asserts that these textually “beautiful”

Lurie, “Witches and Fairies.” /XULHDon’t Tell the Grown8SV, 182ś Smol, “The ‘Savage’ and the ‘Civilized,’” 181. Lurie, “Fairy Tale Liberation.” =LSHVDon’t Bet on the Prince Lurie, “Witches and Fairies,” 6ś Lieberman, “Some Day My Prince Will Come,” 186.

KHURLQHVDUHQRGLIIHUHQWIURPWKRVHRIWKH'LVQHYHUVLRQV)RU/LHEHUPDQWKLVDFFXOWXUDWLRQ foregrounds the films’ detrimental effects and explains why women choose to be SDVVLYHDQG

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:KHQ/LHEHUPDQSURFHHGVWRILQGHYLGHQFHIRUKHUDUJXPHQWDPRQJVWDFDUHIXOVHOHFWLRQ

RI(XURSHDQVWRULHVVKHGRHVQRWFRQVLGHUWKHLOOXVWUDWLRQVQRUGRHVVKHORRNDWQRQ(XURSHDQ

KHURLQHVDQGYLOODLQV/LHEHUPDQFULWLques Lang’s European fairy stories for their gender

LQHTXDOLWZKLFKVKHVHHVLQWKHUHSHWLWLRQRIDQXQGHUOLQJQDUUDWLYHVWUXFWXUH5HSHDWHGOWKH

HGLWRUZLOOOHDGWKHFKLOGUHDGHULQWRJORULILQJWKHYLFWLPL]DWLRQRISDVVLYHDQGEHDXWLIXOIHPDOH

SULQFesses. Lieberman presumes the child’s gullibility, but offers astute observations on narrative

JHQGHUSDWWHUQV7KH(XURSHDQKHURLQHVDUHSUHVHOHFWHGIRUWKHLUEHDXWDUHSLWWHGDJDLQVW

LQWHOOLJHQWEXWXJOIHPDOHFKDUDFWHUVDQGDUHUHZDUGHGEPDUULDJH7KHEHFRPHWKHDFWLYH male hero’s material reward.

RZHYHUDVWXWH/LHEHUPDQLVLQSRLQWLQJWRWKHXQGHUOLQJDQGHPEHGGHGVH[LVPIRXQG in Lang’s editorial practice in the European stories, she generalizes about the entire tradition

FRQFOXGLQJWKDWWUDGitional fairy tales are bad for girls. She notes that Lang’s female heroines—

&LQGHUHOODUHWHODQG)HOLFLD—much like Disney’s Cinderella, frequently burst into tears.

Lieberman states “the girl in tears is invariably the heroineś that is one of the ways WKHFKLOGFDQ identify with the heroine.”Lieberman views little cause to differentiate between the heroine’s and the reader’s feelings nor does she comment on their cognitive capacity. Lieberman is

DODUPHGEWKHLGHDWKDWWKHJLUOUHDGHUZLOOGUHDPRIEHFRPLQJWKHJORULILHGYLFWLP1RZRQGHU

Lieberman blacklists Andrew Lang as a precursor to the Disney fairy tale’s patterns of

DFFXOWXUDWLRQ

Lieberman, “Some Day My Prince Will Come,” 193–

7KLVFRQIODWLRQRIWKHUHDGHUDQGKHURLQHWLHVLQWRDFRPPRQDUJXPHQWDERXWWKH

DOOHJHGOKDUPIXOHIIHFWVRIQDUUative empathy. According to Keen, critics of “narrative empathy” tend to assume that when readers feel for and identify with a character, these emotions

GUDZWKHPLQWRDILFWLYHUHDOPZKLFKSURKLELWVWKHLUDELOLWWRFULWLTXHUHDOZRUOGSRZHU

UHODWLRQVAlthough Lieberman does not use the term “reader’s empathy,” she relates the girl reader’s inevitable sentimentalized emotional response to the suffering of female heroines, and argues that this informs the child’s “psychosexual identity.”%XWDV&KHVWHUWRQDVVHUWVLQKLV

DUJXPHQWRQ(OIODQGDVWKHODQGRIFRPPRQVHQVHDUHSHDWLQJSDWWHUQLVQRWHYLGHQFHRIWKH cause and its effect. And Tolkien confirms this when he finds that Lang’s characters lack

HPRWLYHFUHGLELOLWDQGWKDWKLVIDLUWDOHVDUHWKHUHIRUHQRQDEVRUSWLYH

0DUFLD/LHEHUPDQZDVWRRTXLFNWRGLVUHJDUGDOOIDLUWDOHV0HDQZKLOHOLVRQ/XULHLQ her argument concerning the book’s narrative—IRUJHWWLQJWKHUROHRIKHURZQLQWHUSUHWLYH

DJHQF—PDKDYHPDGHDQXQIRUWXQDWHGHFLVLRQLQFKRRVLQJLang’s 7KHOXH)DLURRNDVWKH

EDVLVIRUKHUFODLPWKDWDOOIDLUWDOHVRIIHUWKHSRWHQWLDOIRUIHPDOHOLEHUDWLRQ/XULHQRQHWKHOHVV

SUHVHQWVVHYHUDOSURSRVLWLRQVWKDWDUHHVVHQWLDOIRUWKHUHDGLQJRIIDLUWDOHVDVVXEYHUVLYH7KHVH

LQFOXGHWKHLGHDWKDWZRPHQPDKDYHKLVWRULFDOOHPSRZHUHGWKHPVHOYHVDVVWRUWHOOHUVDQGWKDW subversion, in part, depends upon one’s own reading and viewingś this can generate creative

LGHQWLILFDWLRQZLWKKHURLQHVDVZHOODVYLOODLQVDQLPDOVIDLULHVDQGRWKHUVXSHUQDWXUDOEHLQJV

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UHPDLQYLWDOLQWKHWZHQWLHWKFHQWXU

.HHQ(PSDWKDQGWKH1RYHO Lieberman, “Some Day My Prince Will Come,” 200.

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XQGHUPLQHGWKHLPSRUWDQFHRIWKHSLFWRULDODQGWKLVOHDGVXVLQWRWKHEHJLQQLQJRIWKHQH[W

FKDSWHU,ZLOOVRRQLQVLVWWKDWWKHGQDPLFEHWZHHQZRUGDQGLPDJHLVLQWHJUDOWRfairyland’V

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Although in one preface in the “Coloured Fairy Books” Lang hails his illustrator’s

FRQWULEXWLRQVQHLWKHU&KHVWHUWRQDQG7RONLHQQRU/LHEHUPDQPHQWLRQDQWKLQJRQKRZWKH

YLVXDOPDLPSDFWWKHLUYLHZRIWKHVWRULHVRZHYHUZKHQ/XULHDGYRFDWHGIRUWKHIDLUWDOHDV an integral part of children’s literature, pictures came to have a minor role./XULHDGYLVHVWKDW

VPDOOFKLOGUHQEHJLQZLWKVLPSOHUHHGLWLRQHGIDLUERRNVILOOHGZLWKSLFWXUHVE:DOWHU&UDQH and Arthur Rackham, and then move to Lang’s fairy tales once they have reached a sufficient reading level. She mentions that Lang’s books are illustrated, but does not describe how pictures

PLJKWLQIRUPKHUDVVHUWLRQV6XEVHTXHQWWRWKLVGHEDWHVXVWDLQHGFULWLTXHRILang’s fairy tales

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Lurie, “Fairy Tale Liberation,” 43.

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IRUJHGLQERRNFXOWXUHDVDQH[SDQGLQJDQGUHWUDFWLQJERGRIVWRUWHOOLQJ,WKHQWXUQHGWR

Lang’s revision of the genre’s historical lineage and its perceived value, showing how his

“Coloured Fairy Books” were central to the establishment of a conventional attitude towards the

IDLUWale’s audienceŚ it was for children. Tolkien imagined a different kind of child reader from

Lang’s vision of noble savages and innocent fairies, one who becomes aware of fantasy’s

SRWHQWLDOIRUUHFRYHUHVFDSHDQGFRQVRODWLRQ7KHGDQJHUWKDWKHVHHVLQ/ang’s books has less to do with the ease of a child’s indoctrination by whatever he reads and more to do with the problem of boredom and the book’s lack of artistry. Moreover, as Chesterton has clearly

KLJKOLJKWHGWKHFRFUHDWLYHVSDFHRIIDQWDVFDQH[SDnd beyond the author’s realm into the reader’s imagination, forging scenarios with characters. That what readers see and feel is distinct from what the author/editor is illustrated by Lurie’VLGHQWLILFDWLRQZLWKWKHIDLUJRGPRWKHUDVWKH

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,QWKHQH[WFKDSWHU,ZLOOWXUQWRWKHLOOXVWUDWLRQV,QNHHSLQJZLWKWKH9LFWRULDQIDLUWDOH publishing, the hundreds of pictures in the “Coloured Fairy Books” series––WKHUHDUHWKLUWWR

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LQWHUSUHWLYHDJHQFRZGRVHOIother relationships, including those posited by Lang’s theories,

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DGGUHVVHGLQWKHIROORZLQJFKDSWHURQHRIVHYHUDOZLWKD9LFWRULDQIRFXVZKLFKVHWVRXWWR

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WRchildren’s literature.

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0RYLQJWKHSRVVLELOLWLHVIRUSLFWRULDODQDOVLVIRUZDUGFULWLFDODWWLWXGHVWRZDUGVRYHUO reductive concepts of childhood have led studies in children’s literature to problematize the

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FRQFHSWDSSHDUVLQSXEOLVKLQJFXOWXUHDQGRIDQDO]LQJWKHSLFWRULDODQGWH[WXDOQDUUDWLYHVIRU

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VWDWLF,DJUHHZLWKUHFHQWVFKRODUVRIFKLOGren’s literature (such as Perry Nodelman and Maria

Nikolajeva) who focus on the picture book’s capacity to generate codes of signification. I

DGGLWLRQDOOZDQWWRDGGUHVVWKHYLVXDOLWDQGQDUUDWLYHGLIIHUHQFHVRIIDLUWDOHSLFWXUHERRNV

ZKLFKH[SDQGRXWside of the child’s domain.

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MXVWDVVFKRODUV=LSHV1HOVRQDQG.QRHSIOPDFKHUKDYHGRQHLQOLWHUDUVWXGLHV—WKLVFKDSWHU

ORRNVDWKRZFKLOGKRRGFDPHWREHDVVRFLDWHGZLWKIDLUODQG7KHSUHYLRXVFKDSWHUSURYLGHGDQ overview of fairy tales in European publishing historyś it also discussed fantasy’s productive

SRWHQWLDOIRUDVSDFHRIVKDUHGHQULFKPHQWWKDWFRXOGVXEYHUWPDOHYROHQWIRUFHV,WDOVR

HVWDEOLVKHGWKDWUHVSonses to the “Coloured Fairy Books”VROLGLILHGZKDWZDVEHFRPLQJD conventional attitudeŚ the fairy tale is the child’s exclusive domain. While providing a historical

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1RGHOPDQ:RUGVDERXW3LFWXUHV1LNRODMHYDDQG6FRWWRZ3LFWXUHERRNV:RUN0DULD1LNRODMHYD “Picturebook CharacterisationŚ Word/image Interaction,” in UW1DUUDWLYHDQG&KLOGKRRGHG0RUDJ6WOHVDQG (YH%HDUQH7UHQWKDP6WRNHRQ7UHQW8.–50ś Labbe, “Illustrating AliceŚ Gender, Image, Artifice.”

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FKLOGUHQWREHSDUWRIDSHUIHFWHGVLQIUHHDQGGHVH[XDOL]HGFKLOGKRRGLVLGHDVLQIOXHQFHG

GLVFRXUVHFRQFHUQLQJFKLOGKRRGDQGDGXOWKRRGDVLWDURVHIURPWKH9LFWRULDQIDLUWDOHDQGLWV pictures. I begin with John Ruskin’s experiences as a child and adult readerYLHZHUZKLFKWKHQ lead to the chapter’s vLVXDOPDWHULDO—QRYHOODVDQWKRORJLHVRIVKRUWVWRULHVDQGWRERRNV

Figures who were likely to question Ruskin’s views on sexuality and fairyland include Richard

'ROH—the illustrator of Ruskin’s most widely read book during their lifetime, 7KH.LQJRIWKH

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Authors and illustrators of fairy tale novellas and short stories were aware of Ruskin’s

LGHDVRQDUWHGXFDWLRQFKLOGKRRGDQGIDLUODQGOWKRXJKPDQIDLUWDOHQRYHOODVZHUH

SXEOLVKHGDQGUHeditioned after Ruskin’s example, Lewis Carroll’s OLFH,Q:RQGHUODQG

DQG7KURXJKWKH/RRNLQJODVVDUHWKHPRVWZLGHOGLVFXVVHG9LFWRULDQIDLUWDOH

QRYHOODVEFXUUHQWVWDQGDUGV7KHOLFHVWRULHVDUHFRQVLGHUHGWKHTXLQWHVVHQWLDO9LFWRULDQIDLU tale, and alongside Evans’toy books, they are foundational to the ‘Golden Age of Children’s

Literature.’They also form part of an ongoing debate, which questions whether the stories’

Prajna Parasher, “Mapping the ImaginaryŚ The Neverland of Disney’s Indians,” in 'LYHUVLWLQ'LVQH )LOPV&ULWLFDO(VVDVRQ5DFH(WKQLFLWHQGHU6HXDOLWDQG'LVDELOLWHG-RKQVRQ&KHX-HIIHUVRQ1RUWK &DUROLQD0F)DUODQG&RPSDQ,QF3XEOLVKHUV6XVLH6WHLQEDFK8QGHUVWDQGLQJWKH9LFWRULDQV 3ROLWLFV&XOWXUHDQG6RFLHWLQ1LQHWHHQWK&HQWXUULWDLQ1HZRUN5RXWOHGJH'RXJODV%URGH “Racial and Sexual Identity in AmericaŚ Disney’s Subversion of the Victorian Ideal,” in 0XOWLFXOWXUDOLVPDQGWKH 0RXVH5DFHDQG6HLQ'LVQH(QWHUWDLQPHQWXVWLQ8QLYHUVLWRI7H[DV3UHVV–6ZHHW ,QYHQWLQJWKH9LFWRULDQV Susina, “Children’s LiteratureŚ Facts, Information, Pictures”ś Lauren A. Benjamin, “Vision in Wonderland,” 3LFWXUHV3ODFHV7KLQJV-DQXDUKWWSVSLFWXUHVSODFHVWKLQJVZRUGSUHVVFRPWDJYLFWRULDQ

VH[XDOXQGHUFXUUHQWVDQGORJLFDOSX]]OHVDUHEHWWHUVXLWHGWRDGXOWV7KLVWHQVLRQEHWZHHQDGXOW

DQGFKLOGUHDGHUVDQGYLHZHUVRIWKHOLFHVWRULHVH[WHQGVWRLOOXVWUDWHGIDLUWDOHERRNVIURP

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Humphrey, Maria Louise Kirk, Laurence Housman, as well as Andrew Lang’s illustrators, come

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5XVNLQDQGILQDOOIURP/DQJLQWKHLUYLHZVRIJHQGHUDQGVH[XDOLW

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LWQDUURZVLWVIRFXVWRDVHWRIVtark comparisons from Walter Crane’s coloured toy books and

Andrew Lang’s “Coloured Fairy Books.” Comparative analysis enables the work of Lang’s

SULQFLSDOLOOXVWUDWRU-)RUGWREHSDUWRIDODUJHUGLVFXVVLRQDERXWGLYHUJHQW9LFWRULDQ

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SODGXOWVLQWKHLUIHDUDQGORYHIDQWDVWKHLUDGRUDWLRQRIFKLOGFKDUDFWHUVDQGWKHLUYLHZRI

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FXOWXUHXPSKUH&DUSHQWHU6HFUHWGardens: A Study of the Golden Age of Children’s Literature%RVWRQ RXJKWRQ0LIIOLQ&R[ Martin Gardner, “Introduction,” in The Annotated Alice: Alice’s Adventures in Wonderland and Through WKH/RRNLQJODVV1HZRUN:RUOG3XEOLVKLQJ&RPSDQQS5RQDOG5HLFKHUW]7KH0DNLQJRIWKHOLFH Books: Lewis Carroll’s Uses of Earlier Children’s Literature0RQWUHDO%XIIDOR0FLOOQueen’s University Press,

2.1. John Ruskin’s Fairyland and Beloved Childhood

-RKQ5XVNLQ1900) would exert a tremendous impact on the period’s fairy taleGLVFRXUVH

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5LYHU5XVNLQKDVEHFRPHDYRUWH[LQ9LFWRULDQVWXGLHVLQWKDWPDQURDGVSRLQWWRKLP7KLVLV

EHFDXVHKHZURWHDERXWDZLGHUDQJHRIWRSLFVIURPDUFKLWHFWXUHWRHFRQRPLFVDQGDUWFULWLFLVP

,QWKH9LFWRULDQHUDLWVHOI5XVNLQEHFDPHNQRZQWKURXJKKLVH[WHQVLYHVRFLDOQHWZRUNKHZDV

ULWXDOLVWLFDERXWKLVGDLOpractice of letter writing. Ruskin’s influence on art, literature, and

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WKHILUVW2[IRUG6ODGH/HFWXUHULQ)LQHUWVKHLVQRZFRQVLGHUHGRQHRIWKHIDWKHUVRIWKH

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PRYHPHQWV5XVNLQYLHZHGEHDXWDVDJXLGHWRWUXWKLQWKHZDNHRILQGXVtrialization’s negative

LPSDFWRQWKHPRUDOIDEULFRIPRGHUQOLIHDQGKHIHOWWKDWODERXUOLNHOHDUQLQJVKRXOGDOZDVEH

SOHDVXUDEOH

7KHSRZHUWKDW5XVNLQJDYHWREHDXWDVDSDWKZDWRZDUGWKHWUXWKVRIOLIHUHODWHVQRW

RQOWRSDLQWLQJEXWDOVRWRLOOXVWUDWLRQVKHIHOWWKDWSLFWRULDOLPSUHVVLRQVFRXOGLQWKHHHVRI

VPDOOVDPSOHRI5XVNLQVFKRODUVKLSLOGD%RHWWFKHUDJVWRW]7KH(GXFDWLRQDO7KHRULHVRI-RKQ 5XVNLQ(Lincoln, Neb.Ś University of Nebraska Press, 1942)ś Richard Martin Seddon, “Ruskin and Visual Media” (Doctoral thesis, Lancaster University, 2011)ś George P. Landau, “John Ruskin on Fantasy Art and Literature,” 9LFWRULDQ:HE, (1994), httpŚ//www.victorianweb.org/authors/ruskin/ruskin7.htmlś Loren Lerner, “William Notman’s 3RUWUDLW3KRWRJUDSKVRIWKH:HDOWK(QJOLVK6SHDNLQJLUOVRI0RQWUHDO5HSUHVHQWDWLRQVRI,QIRUPDO)HPDOH Education in Relation to John Ruskin’s ‘Of Queens’ Gardens’ and Writings by and for Canadians from the 1850s to 1890s,” LVWRULFDO6WXGLHVLQ(GXFDWLRQQR'HFHPEHU&ULVWLQD3DVFXTulbure, “Aesthetics of 'HVLUH5XVNLQ%XUQHJones and Their Sleeping Beauties,” in 6OHHSLQJHDXWLHVLQ9LFWRULDQULWDLQ&XOWXUDO /LWHUDUDQGUWLVWLF(SORUDWLRQVRID0WKHG%pDWULFH/DXUHQWYRO2[IRUG3HWHU/DQJ– It should be noted that the “art for art’s sake” motto is more closely aligned with Walter Pater (1839 WKDQZith Ruskin’s views on morality and beauty. Pater is associated with aestheticism’s indifference to morality. 5XVNLQKRZHYHUPDLQWDLQHGWKDWEHDXWZDVGHHSOFRQQHFWHGWRPHWDSKVLFV

WKHYLVXDOOOLWHUDWHUHDGHUGHYHORSWKHQDUUDWLYHLPSOLFDWLRQVRIDVFHQHVSDUWRIKLV

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ZKROLNH:DOWHU&UDQHZDVSDUWRIWKHUWVDQG&UDIWV0RYHPHQW,WLVQRZUHFRJQL]HGWKDW

Ruskin’s influence within the period extended to how writers remodelledWKHIDLUWDOHDQG—DV,

ZLOOHPSKDVL]H—WRKRZLOOXVWUDWRUVGHSLFWHGWKHUHODWLRQVKLSEHWZHHQIDLUODQGDQGFKLOGKRRG

Ruskin’s perception of how his own childVHOIILJXUHGLQDYLVLRQRILGHDOFKLOGKRRG shifted over time. In fact, Joshua Reynolds’ pupil -DPHV1RUWKFRWHSDLQWHGDQ

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ZDVWKH3UHVLGHQWRIWKH5RDOFDGHPLQWKHJUDQGPDQQHUVWOHRIHPSKDVL]LQJWKHGLJQLW

RIDULVWRFUDWLFDQGXSSHUPLGGOHFODVVFKLOGUHQZKRVWDQGDWWKHFHQWUHRIH[SDQVLYHZLQGVZHSW

HVWDWHV7KHSDLQWLQJGHSLFWVDURPDQWLFL]HGWKUHHHDUROG5XVNLQZHDULQJDZKLWHGUHVVZLWK

EOXHIULOOVUXQQLQJDPRQJWKHELUFKWUHHVDWWKHEDVHRIDPRXQWDLQRXVODQGVFDSHZLWKDQ

H[FLWDEOHFRFNHUVSDQLHO'HVSLWHWKHLGOOLFLPDJHWKHSDLQWLQJZRXOGRQHGDWULJJHU

Ruskin’s unhappiness as a depressed man looking back on an unfulfilled life.:KHQ5XVNLQ

UHFDOOVVLWWLQJIRUWKHSRUWUDLWLQ3UDHWHULWDILUVWSXEOLVKHGLQKHEULQJVXSLQVWDQFHVZKHQ his mother “whipped” him for bad behaviourś this treatment helped him to sit for hours.'LDU entries and letters from the Ruskin family’s earlier days highlight a disparity between the

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PHPRULHVDespite his mother’s desire that he should find happiness on his own, the negativity

Seddon, “Ruskin and Visual Media,” 42. 5XVNLQGHVFULEHV1RUWKFRWH’s portrait of himself as part of the Reynolds’ manner. John Ruskin, 5XVNLQ 6HOHFWHG:ULWLQJV2[IRUG2[IRUG8QLYHUVLW3UHVV :ROIJDQJ.HPS7KH'HVLUHRI0(HV7KH/LIH:RUNRI-RKQ5XVNLQWUDQV-DQYDQHXUFN1HZ RUN)DUUDU6WUDXVDQGLURX[ 5XVNLQ5XVNLQ6HOHFWHG:ULWLQJV .HPS7KH'HVLUHRI0(HV–

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OWKRXJKWKHUHLVDQRYHUDUFKLQJQHJDWLYHPRRGLQ3UDHWHULWD, Ruskin’s memories nonetheless include his father’s generous spirit erring on indulgence, and his childhood travels with his parents to Scotland’s blue mountains (pictured in Northcote’s SDLQWLQJDQGWKHOSVDV

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George Cruikshank’sHGLWLRQVRIHUPDQ3RSXODU6WRULHVDQGWKH%LEOH

Ruskin’s writings on fairy taOHVIURPERKRRGRQZDUGVFDPHLQDYDULHWRIIRUPV

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HDUROGKHLOOXVWUDWHGDMRXUQDORIKLVRZQSRHPVFDFFRPSDQLHGEGUDZLQJVRIVHPL

JURWHVTXHJREOLQlike imitations of Cruikshank’s illustrations (figs. 95XVNLQUHQGHUV

Cruikshank’s wishgranting black dwarf in green, and names his boyish creation “gentleman.”

VVRFLDWLQJIDLUWDOHVZLWKKLVRZQFKLOGKRRGUHDGLQJDQGWUDYHOV5XVNLQDVDRXQJPDQDW

2[IRUGZURWHKLVRQHDQGRQOIDLUWDOH7KH.LQJRIWKHROGHQ5LYHUZKLFKLQWHJUDWHV elements of the Grimms’ “Aschenputtel” and their “King of the Golden Mountain.”2QFH

DJDLQSURYLGLQJDOLQNWRKLVERKRRGUHDGLQJ5XVNLQZDVDVNHGEWKHSXEOLVKHU-RKQ&DPGHQ

“A Literary CauserieŚ Mr. Ruskin,” 7KH6SHDNHU5HYLHZRI3ROLWLFV/HWWHUV6FLHQFHDQGWKHUWV9,, 0D 5XVNLQ5XVNLQ6HOHFWHG:ULWLQJV[Y.HPS7KH'HVLUHRI0(HV– John Ruskin, “The Puppet ShowŚ Or, Amusing Characters for Children, with Coloured Plates,” c. 1829. 5XVNLQDOVRIORRGVWKHHHVRIDEDWZLQJHGGHPRQlike kelpie with rays of light. “The Old Fairy,” and the Kelpie, and “The Dwarf” in ibid., 4. -DFREULPP:LOKHOPULPPDQGHRUJH&UXLNVKDQNLOOXVHUPDQ3RSXODU6WRULHVWUDQV(GJDU 7DORU/RQGRQ-RKQ&DPGHQRWWHQ–DQG– KWWSVERRNVJRRJOHFDERRNV"LG K&V4-

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Ruskin’s later Oxford lecture of 1884 that KHGHFODUHVZKDWIDLUODQGLOOXVWUDWLRQVKRXOGORRN

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Certain aspects of Ruskin’s life hint at why he promoted a vision of fairyland that is

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5XVNLQZDVHQDPRXUHGZLWKKHUVHYHQHDUVODWHUWKHZHUHPDUULHG:LWKWKHSURPSWLQJVRI his father, Ruskin agreed to the book’s publication in 1851 on the condition that his name be

HUDVHGThe preface states that it was “written in 1841 at the request of a very young lady, and

VROHOIRUKHUDPXVHPHQWZLWKRXWDQLGea of publication.”Suggested here is Ruskin’s memory of Effie as a young girl and not as his wife. Whether it was because of the story’s

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ZLWKWKHERRNQAmerican edition reveals the authorś by this time, Ruskin’s marriage was

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John Ruskin, “Introduction,” in HUPDQ3RSXODU6WRULHV/RQGRQ-RKQ&DPGHQRWWHQY–[LY James S. Dearden, “7KH.LQJRIWKHROGHQ5LYHU%LRBibliographic Study,” in 6WXGLHVLQ5XVNLQ (VVDVLQRQRURI9DQNLQXUGHG9DQNLQ%XUG5REHUW(5KRGHVDQG'HO,YDQ-DQLNWKHQV2KLR2KLR 8QLYHUVLW3UHVV ,ELG .QRHSIOPDFKHU9HQWXUHVLQWR&KLOGODQG Dearden, “7KH.LQJRIWKHROGHQ5LYHU%LR%LEOLRJUDSKLc Study,” 37. VIRU(IILHVKHPDUULHGWKH3UH5DSKDHOLWHSDLQWHU-RKQ(YHUHWW0LOODLVZKRSURGXFHGQXPHURXV VHQWLPHQWDOLPDJHVRIWKHLUGDXJKWHUVGUHVVHGXSDVEOXVKLQJIDLUWDOHILJXUHVOLNH&LQGHUHOODDQG5HG5LGLQJRRG

5XVNLQFDPHWRVHHFKLOGUHQDVGHVH[XDOL]HGEHLQJVLQKLVVHQWLPHQWDODWWDFKPHQWDQG

WKLVYLHZLVH[SUHVVHGZKHQKHSURPRWHGWKHLPDJHRILGHDOL]HGOLWWOHJLUOVLQJDUGHQV

([SORULQJZK5XVNLQSURPSWHGWKLVYLVLRQVRPHVFKRODUVDOOXGHWRKLVRZQSHUVRQDOIHDUVRI

ZRPHQZKLOHRWKHUVVPSDWKHWLFWRVH[XDOOPROHVWHGFKLOGUHQKDYHVXJJHVWHGDQRWKHU

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SULQFLSOHRILQQRFHQWXQWLOSURYHQJXLOWZRXOGILQGWKHVFKRODUOVSHFXODWLRQLQVXIILFLHQWIRU prosecution. Ruskin’s idealization may have had other potential causes. Ruskin’s stated

DEKRUUHQFHRf industrialization’s impact on English life might have prompted his vision of

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Ruskin’s private fantasies, the following continues this section on Ruskin by takiQJDFORVHUORRN

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In “Of Queen’s Gardens” (1865), for example, Ruskin advocates for the imporWDQFHRI

DOORZLQJFKLOGUHQHVSHFLDOOYLUWXRXVSUHDGROHVFHQWJLUOVWRUHDGZKDWWKHZLVKDQGWRIUHHO

URDPJDUGHQVDQGOLEUDULHVLVDQ[LHWLHVDERXWWKHJLUOchild’s departure from WKLV

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In this book Ruskin implies that growing up is determined by one’s remoteness to death and

5LFKDUG'HOODPRUD0DVFXOLQH'HVLUH7KH6HXDO3ROLWLFVRI9LFWRULDQHVWKHWLFLVP&KDSHOLOO1RUWK &DOLIRUQLD8QLYHUVLWRI&DOLIRUQLD3UHVV1990), 124ś John Ruskin, “‘Of Queens Garden’ in Sesame and Lilies (1865),” in 5XVNLQ6HOHFWHG:ULWLQJVHG'LQDK%LUFK2[IRUG2[IRUG8QLYHUVLW3UHVV .UXJRYR6LOYHU9LFWRULDQ/LWHUDWXUHDQGWKHQRUHLFRG&DPEULGJH&DPEULGJH8QLYHUVLW3UHVV– Anya Krugovoy Silver, “‘A Caught Dream’Ś John Ruskin, Kate Greenaway, and the Erotic Innocent Girl,” Children’s Literature Association Quarterly25, no. 1 (January 1, 2009)Ś 39, doiŚ10.1353/chq.0.1348ś Hearn, “Mr. Ruskin and Miss Greenaway,” 26. Ruskin, “Of Queens Garden,” 163ś Ruskin repeats this view inŚ Ruskin, “Introduction,” xi. Silver, “A CaughtDream,” 37ś Silver, 9LFWRULDQ/LWDQGQRUHLFRG–

GHFDDQGWKDWZRPDQKRRGSXWVDQHQGWRWKHSXULWDQGEHDXWRIRXWKDQGVXOOLHVWKH

YLUWXRXVHQFKDQWHGVSDFHRIWKHSUHPDULWDORXQJJLUOIn his late Oxford lecture “Fairy LandŚ

Mrs. Allingham and Kate Greenaway” (given in 1883, and published in his UWRI(QJODQG

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DUHIUHHGIURPWKHWUDFHVRIWKHUDLOURDG—offer a vision of England’s future happiness.:KLOH imagining the children to be fairies and the country’s gardens to be England’s fairyland, he praises Greenaway’s book illustrations in particular.HDOVRLQVLVWVWKDWZRPHQDUWLVWVDUH

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LOOXVWUDWHGIDLUODQGZLWKFKLOGKRRGDQGWKXVVHUYe as the roots for the fairy tale’s position as children’s literature, it is worth noting that a body of adult male students enjoyed the Oxford

OHFWXUHVWKHPVHOYHVAppealing to his audience, Ruskin’s lecture sets out his principles for the

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Regardless of Ruskin’s insistence that the child should not be disturbed in her choice of reading, he nonetheless privileged the Grimms’ stories. In his introduction to HUPDQ3RSXODU

7DOHVWKHHGLWLRQ5XVNLn counters two trends in the children’s literature that emerged in

WKHERRNPDUNHWDIWHUKLVRZQIDLUWDOHZDVZHOOUHFHLYHG7KHILUVWZDVWKHRYHUOPRUDOLVWLF fairy tale that attempts to impart “specific doctrines,” which do not foster the child’s own

Silver, “A Caught Dream,” 37, 39ś Silver, 9LFWRULDQ/LWDQGQRUHLFRG–61ś Ruskin, “Of Queens Garden,” 164– John Ruskin, “Lecture IVŚ Fairy LandŚ Mrs. Allingham and Kate Greenaway,” in 7KHUWRI(QJODQG /HFWXUHVJLYHQLQ2IRUG1HZRUNDUODQG3XE Those in Victorian England’s literary and artistic community tended to know each otheU)RUH[DPSOH Helen Allingham and William Allingham, who wrote the poem that accompanies Doyle’s illustrations ,Q)DLUODQG ZHUHDFRXSOH 5XVNLQPHQWLRQV-RVHSK1RHO3DWRQ-RVKXD5HQROGV/XGZLJ5LFKWHU5HPEUDQGW9DQGNH5XVNLQ “Lecture IVŚ Fairy LandŚ Mrs. Allingham and Kate Greenaway,” 129, 138, 140. The simple fact that Ruskin’s last year as professor seems to correspond with the HDUZRPHQEHJDQWREH DGPLWWHGWRWKHFROOHJHLQLQGLFDWHVWKDWPHQZHUHWKHSULPDUDXGLHQFHPHPEHUV

LPDJLQDWLRQThe second was the production of ugly stories that trouble “the sweet peace of youth with premature gleams of uncomprehended passion” because they are filled with “IOLWWLQJ shadows of unrecognized sin.”)RU5XVNLQWKHLGHDOIDLUVWRUVKULQNVWKHGHYLOLQWRSODIXO

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JRRGQHVVDVVRFLDWHGZLWKDQJHOLFVSLULWV0RUHVSHFLILFDOOKHIHOWWKDWLIDWH[WFODLPHGWKDWD

IDLUZDVJRRGWKHLPDJHVVKRXOGQRWVKRZKHUULGLQJPWKLFDOEHDVWVHFRQGHPQVWKH example of a fairy riding a “matchless pair of white cockatrices.”6XFKDQLOOXVWUDWLRQLQ

Ruskin’s mind, would be a false rendering of nature. Ideally, for Ruskin, booNVVKRXOGEH

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It is true that Ruskin’s unwillingness to allow fantastical elements that appear wholly

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WKDWIRU5XVNLQYLVXDOOLWHUDFUHSUHVHQWVDKLJKHUIRUPWKDQLWVWH[WXDOFRXQWHUSDUW,QRWKHU

ZRUGVWKHSRZHURISLFWXUHVWREHHGXFDWLYHLVQRWOLPLWHGWRFKLOGUHQDQGWKHLUFKRLFHRIERRNV

:ULWLQJDERXWWKHSRZHURISLFWXUHVLQJHRJUDSKERRNV5XVNLQGHVFULEHVWKHH[FLWHPHQWRI entering into the mood of the imaginative artist’s rendered mental image and continuing the interpretive journey. When Ruskin views Turner’s topographical illustration of mountains and a

URDGIRUH[DPSOHLWLVKHDVWKHDUWFULWic who imagines “teams of horses […] little postchaises

Ruskin, “Introduction,” vi–YLL ,ELGYLL ,ELG[LL Ruskin, “Lecture IVŚ Fairy LandŚ Mrs. Allingham and Kate Greenaway,” 134. 6HGGRQ, “Ruskin and Visual Media,” 42.

with small postboys, and a pair of ponies,” as well as the artist and himself traversing the path.

7KHTXHVWLRQVRIZKDWKDVRFFXUUHGIRUWKHYLHZHUWRDUULYHDWWKHLOOXVWUDWLRQRUSDLQWLQJDQG

ZKDWZLOOWUDQVSLUHQH[WDUHSLYRWDOWRKLVPRGHRILQTXLU

Using Ruskin’s writings, I want to suggest that Adelaide Claxton’s painting, :RQGHUODQG

FZKLFKVKRZVDZLGHHHGJLUOLQDQDQJHOLFDOOwhite dress reading Grimms’ stories by

FDQGOHOLJKWLQDFKDLUVHWLQDOLEUDUPXFKWRRODUJHIRUKHUDFFXUDWHOUHSUHVHQWVZKDW5XVNLQ

DGYRFDWHVILJ7KHSDLQWLQJVKRZVWKDWWKHJLUOLPPHUVHGLQWKHGHOLJKWRIUHDGLQJ—ZHOO

LQWRWKHZHHKRXUVRIWKHQLJKW—KDVDOUHDGHPEDUNHGRQVHYHUDOIDQWDVWLFDOMRXUQHV

8QGLVWXUEHGESDUHQWDOFHQVRUVKLSWKHDGRUDEOHTXDOLWRIWKHJLUOHQUDSWXUHGEVHHPLQJO harmless stories relates to Ruskin’s views on how children should be let loose in the libraries of

FRXQWUKRXVHVUDELDQ1LJKWV1LJKW6LGHRI1DWXUHDQG/DQFDVKLUH:LWFKDUHWKHOHJLEOHWLWOHV

DPRQJWKHERRNVSLOHGEHORZKHU)URPWKLVERGRISUHVXPDEOLOOXVWUDWHGUHDGLQJPDWHULDOWKH

JKRVWVRIKHULPDJLQDWLRQVPRNHXSIURPWKHGLPPLQJFDQGOHOLJKWDQGDIWHUKRXUVRIUHDGLQJ

WKHOHDYHEWKHZLQGRZRIWKHFRXQWUVLGHKRXVH7KHRXQJJLUOLVDUHSUHVHQWDWLRQRIDQDGXOW

LPDJLQLQJKRZFKLOGKRRGFRUUHVSRQGVWRIDLUODQGVKHDOVRFRQMXUHVDFWXDOUHDGHUVZKRHQMRHG

WKHZRQGHUODQGVLQ9LFWRULDQIDLUWDOHQRYHOODVVXFKDVWKHOLFHVWRULHV

KRWKRG9LFWRULDQDLU7DOH1RHOOD

JLUO—VRPHRQHZKRZDVYLUWXRXVIUHHVSLULWHGDQGIRUHYHURXQJ—LVELPSOLFDWLRQWKRXJKW to be the ideal reader of Ruskin’s 7KH.LQJRIWKHROGHQ5LYHU7KHVWRUDERXWDNLQGER

FDOOHGOXFNZKRZRUNVPHUFLOHVVODVWKHKRXVHVHUYDQWIRUKLVVHOILVKROGHUEURWKHUVLVD

5XVNLQ5XVNLQ6HOHFWHG:ULWLQJV Ruskin, “Of Queens Garden,” 165. 7KHWLWOHOLNHOUHIHUVWRWKHOLFHVWRULHV:RQGHUODQGZDVSXEOLVKHGMXVWILYHHDUVEHIRUHDQGLWVVHTXHO ZRXOGDUULYHLQ

SURWRWSHIRUKRZWKHIDLUWDOHDQGIDLUODQGDUHERXQGWRJHWKHUZLWKFKLOGKRRGRZHYHUPXFK the story refers to the Grimms’ “King of the Golden Mountain” and “Aschenputtel,” Ruskin’s

PDOHKHURQHYHUVXFFXPEVWRWKHYLROHQFHRIEHKHDGLQJKLVHQHPLHVQRUGRHVWKHVWRUFHOHEUDWH the sexual implications of marriage. U.C. Knoepfelmacher notes that at the story’s end, it only

WDNHV“‘WKUHHGURSVRIKROGHZ’WRFRQYHUWOXFNLQWRWKHKDUYHVWHURIWKHIHPLQLQH7UHDVXUH

Valley over which he presides, still unmarried, still pure and childlike.”His reading of Gluck’s

UHVLVWDQFHWRPDWXUDWLRQLVODUJHOEDVHGRQWKHWH[WXDOQDUUDWLYHDQGLWLVZRUWKTXHVWLRQLQJKRZ this expands to the pictorial. According to the text, Ruskin’s childKHURHVFDSHVWKHHIIHFWVRI

JURZLQJXSLQWKHHYLOQHVVRIDQLQdustrial world represented by the protagonist’s brothers.

:KHWKHUWKHSLFWXUHVDOVRDOORZOXFNWRHVFDSHPDWXUDWLRQLVDQRWKHUVWRU

Turning to the story’s illustrations by Richard Doyle, it is evident that KHKDVUHQGHUHG

OXFNDVDIRUORUQDQGHIIHPLQL]HGPDQ)UDPHGEWKHZLQGRZLQDSRVWXUHRISHQVLYHPLVHU

DQGZLWKKLVGHOLFDWHKDLUDQGIDFLDOIHDWXUHVOXFNORRNVVLPLODUWRDPHODQFKROLF-XOLHWWHRI

5RPHRDQG-XOLHWWHILJBy contrast, Doyle depicts Gluck’s brothers as fullyJURZQPHQ

ZKRGULQNWKHPVHOYHVLQWRDVWXSRUDQ]DQG6FKZDUW]NQRZQDVWKH%ODFN%URWKHUVDUH

PXVFXODUDGXOWPHQZKRILJKWGULQNDQGILQGQHZZDVWRH[SORLWWKHODQGDQGWKHLURXQJHU

EURWKHUILJ,QWKHVWRUWKHEUXWHVUHSUHVHQWWKHIRUFHVRILQGXVWULDOL]DWLRQWKHFDUHIRU monetary profit rather than Gluck’s wellbeing. Luring the older brothers with the promise of

DEXQGDQWJROGWKHZLVH.LQJRIWKHROGHQ5LYHUVHQGVDOOWKUHHEURWKHUVRQDMRXUQHILOOHG

ZLWKWHVWVDQGWULEXODWLRQVWKHULJKWHRXVRQHZLOOJDLQWKHXOWLPDWHUHZDUGHWHUQDORXWKDQG

EHDXW7KHMRXUQHWKURXJKWKHOSVLVGHSLFWHGE'ROHDVZLOGDQGPHQDFLQJEXWRQO

.QRHSIOPDFKHU9HQWXUHVLQWR&KLOGODQG An example is Ludwig Richter’s “Aschenputtel” in Ludwig Bechstein’s 'HXWFKHV0lUFKHQ -RKQ5XVNLQDQG5LFKDUG'ROHLOOXV7KH.LQJRIWKHROGHQ5LYHUVWHG/RQGRQ6PLWK(OGHU

ZKHQWKH%ODFN%URWKHUVEOD]HWKURXJK1DWXUHLVWDPHGDQGIORXULVKLQJIRUWKHFKDULWDEOHOXFN

ZKRLVSHUKDSVDVWDQGLQIRU5XVNLQLQUHFROOHFWLRQRIKLVFKLOGKRRG7KHLOOXVWUDWLRQRI

Gluck’s charitable gesture of giving his last water droplets to a thirsty girl is telling (fig. 14).

)ORZHUVJURZ—DVLJQRIVSLULWXDOIXOILOPHQW—HYHQLIWKHJLUOUXQVDZDQHYHUWRUHWXUQ7KLV

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ROGHQ9DOOH––DVWKHRQOJLUOLQWKHVWRUIOHHV

It was Doyle’s illustration of the personified Esquire Wind that touched a nerve with

5XVNLQKRZHYHU7KHGLIIHUHQFHEHWZHHQWKHILUVWDQGODWHUHGLWLRQVLVVREODWDQWWKDWHYHQ

.QRHSIOPDFKHUZLWKKLVOLWHUDUIRFXVSLFNVXSRQLW,QWKHILUVWHGLWLRQWKH(VTXLUH:LQG

DSSHDUVWZLFHZLWKDQXQXVXDOQRVHHUHFWHGLWSURWUXGHVOLNHDPXVLFDOLQVWUXPHQWWKDWEORZVRXW

WKHZLQGILJ:KLOH5XVNLQVXJJHVWHGWKDWWKHSHUVRQLILHGZLQGVDQGULYHUVZHUHSRWHQW

PDVFXOLQHIRUFHVWREHXQLWHGWRDIHPLQLQH7UHDVXUH9DOOH.QRHSIOPDFKHUVXJJHVWVDVPXFK

'ROHVHHPVWRKDYHJRQHWRRIDULQWKHVKDSHRIWKHQRVHWKDWVWDQGVLQIRUDQGWKHUHEPDNHV

YLVLEOHWKHSKDOOXV

In Ruskin’s text, Gluck remains prepubescent, stays the same age, never marries, and subverts the masculine procreative drive. Faithful to the character’s namesake (OFNHUPDQ

IRUIRUWXQHDQGKDSSLQHVVKHJDLQVWKHUHZDUGRIKDSSLQHVVEOLYLQJIRUHYHULQWKH7UHDVXUH

Valley’s abundance. Ruskin’s water imagery—“small circular whirlpool,” “flowing streams,” and the “moistened soil”—HQVXUHVWKDWWKHYDOOHDFWVDVWKHPDWHUQDOZRPERIKXPDQLW

Indeed, stimulated by Gluck’s love of nature, the Treasure Valley returns to her original state as

.QRHSIOPDFKHUWKHRUL]HVWKDWOXFNLVDVWDQGLQIRU5XVNLQ.QRHSIOPDFKHU9HQWXUHVLQWR&KLOGODQG ,ELG– -RKQ5XVNLQDQG5LFKDUG'ROHLOOXV7KH.LQJRIWKHROGHQ5LYHU%RVWRQ0DKHZ%DNHU –KWWSDUFKLYHRUJGHWDLOVNLQJJROGHQULYHUUXVNJRRJ

a beautiful blossoming gardenś the river’s golden lining expands so that the earth yields plenty of

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PRQHWDUZHDOWKDVWKHRQONLQGRIWUHDVXUHILQDOOYDQLVKHV

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VHYHUDODUWLVWV—7XUQHU%XUQH-RQHV&UXLNVKDQNDQGUHHQDZD—WKLVZDVQRWWKHFDVHIRU

Richard Doyle. Nonetheless, Doyle’s pictorial contribution added to the marketability of fairy

WDOHERRNVUHDGEFKLOGUHQ0HDQZKLOHWKHRYHUVL]HGSKDOOLFQRVHVFRQWLQXHGWRIHDWXUHLQ

Doyle’s works, such as his illustrations of lusting characters in William M. Thackeray’s 7KH

5RVHDQGWKH5LQJ3XEOLVKHGE6PLWK(OGHUDQG&RDVDIROORZXSWR7KH.LQJRIWKH

ROGHQ5LYHUWREHUHDGLQWLPHIRU&KULVWPDVERRNVDOHVLWVHHPVSUREDEOHWKDW'ROHZLWWLO responded to Ruskin’s censorship with an overDEXQGDQFHRIRGGQDVDOVKDSHV

2.2. On Sex and Gender: Beyond the Reaches of Ruskin’s Childhood Fairyland

IWHU5XVNLQZURWHKLVIDLUWDOHVXEVHTXHQWDXWKRUVEHJDQWRUHIRUPXODWHKRZIDLUODQGDQG

FKLOGKRRGPLJKWEHERXQGWRJHWKHU)RFXVLQJPDLQORQIDLUWDOHWH[WVUDWKHUWKDQWKHLULPDJHV

.QRHSIOPDFKHUSRVLWLRQV7KH.LQJRIWKHROGHQ5LYHUDVFHQWUDOWRWKHIRUPDWLRQRI9LFWRULDQ

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DQG-HDQ,QJHORZ:KHQUHDGHUviewers of Ruskin’s stories becDPHFUHDWLYHDJHQWVLQWKHLU

RZQULJKWDOLYHOLQWHUWH[WXDOGQDPLFDURVHKHOSLQJWKH9LFWRULDQIDLUWDOHQRYHOODWRIORXULVK

These Victorian authors did not necessarily share Ruskin’s yearnings for a “pure and

.QRHSIOPDFKHU9HQWXUHVLQWR&KLOGODQG

undifferentiated childhood Eden,” and they challenged his “resistance to maturation as well as

KLVUHVXOWLQJLGHDOL]DWLRQRIDSDVVLYH—and dubiously asexual” childhood.

7KHGLYHUVLWRI9LFWRULDQIDLUWDOHVFRPSOLFDWHVH[SHFWDWLRQVRIKRZWKH9LFWRULDQVVDZ

VH[DQGJHQGHUEXWDOVRUDFH9LFWRULDQVZHUHHFOHFWLFDWWLPHVHFFHQWULFDQGKDUGO

KRPRJHQRXVLQWKHLUWDVWHLQOLWHUDWXUHWKHYLVXDODUWVDQGLQKRZWKHYLHZHGWKHSROLWLFVRI

KRXVHDQGFRXQWUVVXFKOLWHUDWXUHVFKRODUVZKRIRFXVRQ9LFWRULDQIDLUWDOHVDQGWKRVHZKR

KDYHVLQJled out Lewis Carroll’s stories, bring up the topic of sex and gender, and Silver in her

GLVFXVVLRQRIIDLUORUHEULQJVXSWKHLVVXHRIUDFHHUH,HPSKDVL]HWKHLPSRUWDQFHRI illustrations concerning the narratives’ treatment of these issues. The SLFWXUHVDGGRUGHWUDFWIURP the stories’ underlying sexual and gendered dynamicsś these factors determined whether books

ZHUHSXEOLVKHGIRUWKHHHVRIFKLOGUHQDGXOWVRUERWK-XVWDV.QRHSIOPDFKHUSLFNVXSRQWKH intertextual relation between Ruskin’s novella and the fairy tale nRYHOODVWKDWIROORZHG,ZDQWWR

IRFXVRQLQWHUSLFWRULDOLW—WKDWLVKRZLPDJHVRQFHUHOHDVHGLQWRSXEOLFDWLRQVLQIRUPHDFKRWKHU

HVSHFLDOODVSHUWDLQVWRKRZJHQGHUDQGVH[XDOLWILJXUHLQWRIDLUODQG:HKDYHDOUHDGVHHQ

ZLWKWKHFDVHRIWKHQRVHLQ7KH.LQJRIWKHROGHQ5LYHUKRZLPDJHVFDQSODWKLVYHUUROH

6H[XDOLWFXULRVLWDQGWKHH[SDQVLYHQDWXUHRIIDQWDVZRUOGVDUHPDMRUWKHPHVLQ

George MacDonald’s IDLUWDOHQRYHOODVMacDonald’s travelling heroes and

KHURLQHVHQFRXQWHUKXPDQOLNHFUHDWXUHVLQPVWHULRXVZRUOGVWKDWDZDNHQFXULRVLWDQGGHVLUH

In pointing to the importance of the sexual in MacDonald’s work, Humphrey Carpenter argues that there is more to MacDonald’s novel 3KDQWDVWHV)DHULH5RPDQFHIRU0HQDQG:RPHQ

Here, I am questioning whether the authors necessarily shared Ruskin’s nostalgia for an “undifferentiated childhood.” Knoepflmacher, however, claims that they did. Ibid., 5. Victorian fairy tale writers either knew each other or were aware of each other’s writings. George MacDonald was a personal friend to John Ruskin. MacDonald was also Charles Dodgson’s mentor. The theme of curiosity reappears in Dodgson’s (penQDPHG/HZLV&DUUROOOLFHstories. MacDonald’s fictional worlds would later VHUYHDVLQVSLUDWLRQWR-557RONLHQDQG&6/HZLV7RONLHQDQG/HZLVZHUHPHPEHUVRIWKHOLWHUDUJURXSNQRZQ DVWKH,QNOLQJVZKRZURWHIDQWDVILFWLRQZKLOHDOVRGUDZLQJLQVSLUDWLRQIURPZULWHUVOLNH0DF'RQDOG

(1858) than the interpretation that it is about the “holy mystery of sex.”7KLVLVEHFDXVH

VH[XDOLWLVSDUWRIWKHMRXUQHRUSHUKDSVHYHQWKHGULYLQJIRUFHLQGLVFRYHULQJWKHGHVLUHIRU

‘other worlds.’ After waking up to find that the Fairyland of hisIDLUJRGPRWKHUKDVEHFRPH

PRUHWKDQDGUHDP3KDQWDVWHV’ hero Anodos (evidently a twentyWZRHDUROGPDQDVGHVFULEHG

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LOOXVWUDWHGWKHHGLWLRQ2QHPLJKWH[SHFWWKHLOOXVWUDWLRQVWRPDLQWDLQWKH sensuality found in Hughes’ paintings of fleshy maidens who frolic in enchanted woods and

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WURXEOHGQRGRVVXJJHVWVDPDWHUQDOPRPHQWILJ7KHPHQDFLQJFODZLQJEUDQFKHVDQG

ODUJHSDZSULQWFRQWUDVWZLWKKHUVRIWJUHWRQHV7H[WXDOOVKHLVFOHDUOWREHXQGHUVWRRGDVD

VHQVXDOEHLQJZKHQVKHFODLPVWKDWVKHIHHOVOLNHDZRPDQVRPHGDVRZHYHUWKH illustration turns Anodos’ loQJLQJVIRUEHDXWLIXODQGPVWHULRXVZRPHQLQWRDSLHWDVFHQH7KH

ZHWKDLURIWKHEHHFKWUHHSLFWXUHGDVDIXOOJURZQZRPDQEOHQGVLQWRWKHIRUHVWDVVKHEULQJV

WKHDZHVWUXFNQRGRVZKREFRQWUDVWDSSHDUVWKHVL]HRIDVPDOOERLQWRKHUODSWRNLVVDQG

UHYLYHKLPIn the story’s celebration of sensuality and sexuality, this book’s version of fairyland (in the text more than in Hughe’s illustrations) subverts Ruskin’s asexual ‘childland.’

&DUSHQWHU6HFUHWDUGHQV– HRUJH0DF'RQDOGDQGUWKXUXJKHVLOOXV3KDQWDVWHV)DHULH5RPDQFHIRU0HQDQG:RPHQ UHSXEOLFDWLRQRIHGLWLRQ1HZRUN'RYHU3XEOLFDWLRQV– ,ELG–

OWKRXJK0DF'RQDOGSURFODLPVWRKDYHZULWWHQQRWIRUFKLOGUHQEXWWKHFKLOGOLNHVHYHUDO

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6OHHSLQJ%HDXWWKHPHG7KH/LJKW3ULQFHVVKLQWVRIVH[XDOGHVLUHYLVXDOODQG

ILJXUDWLYHOFRPHWRWKHVXUIDFH,QYLWHGWRWKHFKULVWHQLQJWKHIDLUVWHSVLVWHUWRWKHNLQJFXUVHV

WKHSULQFHVVEPDNLQJKHUSKVLFDOODQGHPRWLRQDOOXQJURXQGHGHQWLUHOXQDZDUHRIWKH

ZHLJKWRIZRUOGVRUURZZKLOHVKHUHJDLQVZHLJKWRQOZKHQVKHVZLPV7KLVXQXVXDOVHWRI

FLUFXPVWDQFHVPDNHVLWLPSRVVLEOHWRPDUURQODQGRUWRWDNHDQWKLQJVHULRXVOZKLFKDGGVWR

WKHGLIILFXOWRIFRXUWLQJKHUSULQFHORYHUVDWHPSRUDUVROXWLRQWKHORYHUVJHWFORVHE

VZLPPLQJWRJHWKHUDQHSLVRGHVXJJHVWLYHRIWKHSODIXOQHVVRIVH[XDOGHVLUHLIQRWRIVH[LWVHOI

,QWKLVFDVHHDUOHGLWLRQLOOXVWUDWLRQVIRU7KH/LJKW3ULQFHVV—such as Maud Humphrey’s

WZRLOOXVWUDWLRQVIRUWKHHGLWLRQ—KHLJKWHQWKHPRRGRIURPDQFH7KHILUVW picture illustrates the princess’ indifference to theSULQFHDQGWKHVHFRQGVKRZVKHUUHTXHVWIRUD

NLVVILJ7KHVDFFKDULQHVWOHRISRSXODUQLQHWHHQWKFHQWXU9DOHQWLQHFDUGVOLNHWKRVHE

Ward and Co., find their way into Humphrey’s illustration, which feature pOHQWRIULEERQODUJH

HHVURVFKHHNVDQGUHGOLSVWRH[DJJHUDWHWKHVHQWLPHQWDODSSHDOQRWKHULOOXVWUDWLRQVKRZV

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UHDFKHVRXWWRGUDZKLVKHDGWRZDUGKHUVKHSXFNHUVKHUOLSVWRNLVVKLPILJ3LFWRULDOOWKH characters’ mutual desire unites at the surface of the lake. In other words, the illustration

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

visualizes this erotic interaction for the story’s child readerYLHZHUV8QOLNHXJKHV

Humphrey’s illustrations emphasize the elements of sexual desire described in MacDonald’s

WH[W

7KHXVHRILQWHUWH[WXDOUHIHUHQFLQJZDVLQWHJUDOWRWKHIORXULVKLQJRI9LFWRULDQQRYHOODV which was used to shift the story’s gender dynamics. We find poet and novelist Jean Ingelow

UHVSRQGLQJWROLFHLQ:RQGHUODQGZLWKKHU0RSVDWKH)DLUDVWRUWKDW contained a matriarchal version of fairyland. Ingelow’s starts her story with a simplePLQGHGHW

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RIIDLULHVZKRILQGVDIHWLQKLVSRFNHWV6RRQWKHVWRURIIHUVWKHFKDUDFWHUDGLIIHUHQWNLQGRI

SDWKZDWKURXJKDQHTXDOOZRQGHUIXOIDLUODQG-DFNMRXUQHVZLWKWKHIDLULHVWRVHYHUDOIRUHLJQ

DQGPDJLFDOODQGVKHESDVVHVSLQNIODPLQJRVVHDPRQVWHUVDQGDIDLUODQGFRSRIKLPVHOI

QGKHHQFRXQWHUVPRUHIDLUFUHDWXUHVWKDWQHHGFRPLFDOOZLQGLQJXSOLNHPHFKDQLFDOWRVRU that hide in the guise of parrots, bats, and deer. Unlike Lewis Carroll’s Alice, Jack never

UHPHPEHUVKLVGUHDPVRIFKLOGKRRGIDQWDV

WILUVW-DFNWUHDWVKLVIDYRXULWHIDLUWKHLQWHOOLJHQW0RSVDDVDWROLNHGROOIRUKLV amusement but remains unaware of how his possessiveness impedes Mopsa’s physical growth.

,QJHORZPDNHVFOHDUWKDW-DFNZKRVHWRXFKWHPSRUDULOVWXQWV0RSVDLVXQILWWREHKHUHTXDODV

WKHUXOHURIIDLUODQG)RUH[DPSOH-DFNDVNVVLPSOLVWLFTXHVWLRQVDERXWIDLUODQGOLNHDERXW

HRUJH0DF'RQDOGDQG0DXGXPSKUHLOOXV7KH/LJKW3ULQFHVVDQG2WKHU)DLU7DOHV1HZRUN LondonŚ G. P. Putnam’s sons, c1893), 33, 59, httpŚ//archive.org/details/lightprincessoth00macd. &DUSHQWHUQRWHVWKDW&KULVWLQD5RVVHWWLLQ6SHDNLQJ/LNHQHVVDQG-HDQ,QJHORZLQ0RSVDWKH)DLU WDNHDIWHUWKHIDQWDVWLFTXDOLWIRXQGLQWKHOLFHERRNVXHUEDFKSURYLGHVDGHWDLOHGFRPSDULVRQEHWZHHQ -DFNDQGOLFH.QRHSIOPDFKHUDOVRFRPSDUHV0RSVDDQGOLFH6HH&DUSHQWHU6HFUHWDUGHQV1LQD XHUEDFK)RUELGGHQ-RXUQHV)DLU7DOHVDQG)DQWDVLHVE9LFWRULDQ:RPHQ:ULWHUV&KLFDJR8QLYHUVLWRI &KLFDJR3UHVV–.QRHSIOPDFKHU9HQWXUHVLQWR&KLOGODQG– Knoepflmacher’s compares the theme of growth in Ingelow and Carroll’s stories. He argues thaW Ingelow’s is a calculated subversion of Carroll’s. Knoepflmacher, 9HQWXUHVLQWR&KLOGODQG– ,ELG–XHUEDFK)RUELGGHQ-RXUQHV

its size, whereas Mopsa already understands the metaphysics that separate Jack’s world from

KHUV:KHQFRPSDUHGZLWKWKHVWRU’s earlier emphasis on Mopsa’s girlish shyness and Jack’s

DXWKRULWDWLYHVWDQFHRYHUKHUWKHODWHUSDUWRIWKHVWRUUHSRVLWLRQV0RSVDDVDJLUOJURZLQJLQWR her position as the “wise ruler” of her own fairyland.ZDUHRIWKHEXUGHQRIUHVSRQVLELOLW

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WLPHWKDWWKHPDWHUQDOTXDOLWIRXQGLQIXOOgrown Mopsa’s pathos channels a kind of

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HGLWLRQWKHIDLU0RSVDVWDQGVRXWDPRQJKHUVLVWHUVDQGEURWKHUV7KHIDLULHVZHUHRQFHDEOHWR fit into Jack’s pocket and sit in the palm of his hand, but Mopsa grows up to be a young pudgy

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EORVVRPVDILYHHDUold Mopsa in a white frock daintily cowers under Jack’s authoritative gaze and stance (fig. 18). In a subsequent illustration, fairyland’s shLPPHULQJOLJKWJORZVXSRQ

XHUEDFKGHVFULEHV0RSVDDVZLVHEHFDXVHVKHTXLFNOEHFRPHVPRUHNQRZOHGJHDEOHWKDQ-DFN XHUEDFK)RUELGGHQ-RXUQHV .QRHSIOPDFKHU9HQWXUHVLQWR&KLOGODQG Auerbach describes Mopsa’s maternal sorrow. Auerbach, )RUELGGHQ-RXUQHV–

Mopsa’s face. She has developed a teenage body that is womanly and girlishś with Jack

FURXFKLQJEHIRUHKHUWKHFURZQHG0RSVDKDVEHFRPHWKHstory’s focal character (fig. 19).

Instead of completing Mopsa’s growth to adulthood, .irk’s SLFWRULDOFRQFOXVLRQUHWXUQV

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,WLVQRWRQO,QJHORZZKRSRVLWLRQVIDLUODQGDVWKHGRPDLQRIFKLOGUHQJLUOVHVSHFLDOO who inhabit the fantasy worlds governed by the narrator’s maternal voice. Textually, the story’s

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0RSVD0HDQZKLOHKirk’s concluding image of Jack’s departure plays a role in making clear that Mopsa’s world is not the rightful domain of boys in the aftermath ofWKHLUVH[XDODZDNHQLQJ

,WPDFRPHDVDVXUSULVHWRWZHQWLHWKDQGWZHQWILUVWFHQWXUUHDGHUYLHZHUV—VXFKDV those who share Marcia Lieberman’s opinion about the indoctrination of young girls—WKDWWKH

IDLUWDOHWUDGLWLRQVWUDVIURPKHWHURQRUPDWLYHPDULWDOKDSSLOHYHUDIWHUVZKHUHSDVVLYHJLUOV

ORRNSUHWWDQGRIWHQEHFRPHZHDOWKJohn Ruskin’s 7KH.LQJRI7KHROGHQ5LYHU/HZLV

Carroll’s OLFHstories, and Jean Ingelow’s 0RSVDWKH)DLUDUHWKXVH[DPSOHVWKDWFKDOOHQJHWKH

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H[DPSOHVWRR-XOLDQDRUDWLD(Zing’s fairy stories for children promote female agency, offering

DFRXQWHUexample to Ruskin’s effeminate Gluck, who never marries, as well as to Andrew

Lang’s stories that emphasize the legal authority of a father to select a prince for his daughter, in

DQH[FKDQJHRIZHDOWK,QEwing’s “Good Luck is Better WKDQROG” (VWKHIDUPHUQDPHG

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SRVLWLRQIRUWKHSULQFHVVPRPHQWRIGDUNKXPRXUVKLQHVWKURXJKWKHWH[WZKHQDIWHUWKH greedy King agrees to the exchange, Luck’s neck breaks off by chance as he parades toward the

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Wilde’s short fairy tale “7KHHappy Prince” (1888) begins with the unhappy prince, who once

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SULQFHKHFDUULHVRXWWKHSULQce’s requests into the dead of winterhe gives the statue’s gold plated armour and sapphire eyes to the poor until little remains of the statue’s surface glory.

When the swallow dies in the cold, the statue’s OHDGKHDUWDOVRFUDFNV,QWKHHQGWKHLUKHDYHQO

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:DOWHU&UDQHFKRVHWRGHSLFWWKHSULQFHDQGWKHVZDOORZDWWKHEHJLQQLQJRIWKHVWRU illustrating their first meeting when the statue is in the fullness of his beauty (fig. 23). Crane’s

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SRYHUWDQGVXIIHULQJRIKLVWRZQ8QGHUWKHOLJKWRIWKHVXQWKHVPDOOEODFNVZDOORZLVDERXWWR land upon the statue’s shoulder. Pictorially, the bird looks up to the princely lips, which Wilde’s

7KHKHDGSLHFHLOOXVWUDWHVD0LQHUYDOLNHIORDWLQJKHDGDQGWKHWDLOSLHFHLOOXVWUDWHV/XFNKXQWLQJIRUD JRRVH,WLVQRWRQOWKHDQLPDOZKRORVHVLWVKHDG-XOLDQDRUDWLD(ZLQJ:%DHVDQGDQGRUGRQ%URZQH illus., “Good Luck Is Better than Gold,” in 2OG)DVKLRQHG)DLU7DOHV/RQGRQ6RFLHWIRU3URPRWLQJ&KULVWLDQ .QRZOHGJHKWWSVDUFKLYHRUJVWUHDPROGIDVKLRQHGIDLUHZLQSDJHQPRGHXS Oscar Wilde and Walter Crane, illus., “The Happy Prince,” in 7KHDSS3ULQFHDQG2WKHU7DOHV /RQGRQ'DYLG1XWW–KWWSDUFKLYHRUJGHWDLOVKDSSSULQFHRWKHUZLOG

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LQWKHWH[WDQGWKHSULQFHVHUYHVWRKLJKOLJKWWKHGLIIHUHQFHEHWZHHQXQUHTXLWHGHDUWKOORYHDQG the pure love of social charity. The lovers’HIIRUWWRVSUHDGWKHSUince’s happiness WKURXJKWKH destruction of superficial beauty is part of the redistribution of wealth. Meanwhile, Crane’s

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Rossetti’s poem, not originally intended for children. The goblins of REOLQ0DUNHWILUVW

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/DXUDZLWKDVHQVXDODQGVH[XDOOGDQJHURXVH[SHULHQFHWKDWWKUHDWHQVWKHLUOLYHVDQGSXWVWKHLU sisterly love to the test. Forewarned by sister Lizzy, Laura accepts the goblins’ wares with high

VSLULWHGFXULRVLWUHJDUGOHVVRIWKHSULFH,QVH[XDOWHUPVWKDWVXJJHVWLPSXULW/L]]FRQVXPHV the illicit fruitŚ “sucked and sucked and sucked the more...Fruits which that unknown orchard boreś She sucked until her lips were sore.”,QWKHHQGWKHZRPHQJDLQERWKVH[XDODQG

LQWHOOHFWXDONQRZOHGJH7KHDOVRZDUGRIIWKHWKUHDWRIPDVFXOLQHVH[XDOIDQWDVLHVDQGUHJDLQD sense of authority in their home life. Rossetti’s goblinODQGKLJKOLJKWVWKHGDUNHUVLGHRIVH[XDO

5XVNLQPDNHVWKLVSRLQWLQ7KH.LQJRIWKHROGHQ5LYHU &KULVWLQD5RVVHWWLDQG'DQWHDEULHO5RVVHWWLLOOXVREOLQ0DUNHWDQG2WKHU3RHPVQGHG/RQGRQ 0DFPLOODQKWWSDUFKLYHRUJGHWDLOVJREOLQPDUNHWDQGURVVJRRJ

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The author’s brother, the Pre5DSKDHOLWH'DQWHDEULHO5RVVHWWLILUVWLOOXVWUDWHGREOLQ

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PDLGHQVRIWKHSRHP2QHLOOXVWUDWLRQVXJJHVWVDORYHUHODWLRQVKLSEHWZHHQ/L]]WKHSURWHFWRU and Laura the adventurer because of how the women sleep entwined in each other’s bodies (fig.

Dante’s illustration connects the sleeping women to a dreambubble depicting the goblin’s

PDUFKLQJWKHVHOLWWOHPHQmarch to market, which is the setting where the poem’s carnal

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George MacDonald’s mentee when he authored the novellas about Alice’s adventures under the

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ODWHUNQLJKWKLPIRUKLVDUWLVWLFDFKLHYHPHQWV7KHSLFWRULDOQDUUDWLYHE7HQQLHOKDVUHFHQWOKDG to compete for attention with Carroll’s notRULRXVSKRWRJUDSKVRIRXQJJLUOV&DUUROOWRRNPDQ

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KROHDQGWRWKHRWKHUVLGHRIWKHORRNLQJJODVVVKLIWVLQPRRGEHWZHHQWKHVHULRXVQHVVRIGHDWK and sexuality and the whimsicality of curiosity and discovery. Ronald Reichertz’s study shows

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LQWHUSLFWRULDOLWLQWRWKLVGLVFXVVLRQ,QWHUSLFWRULDOFRQQHFWLRQVFDQEHPDGHEHWZHHQWSHVRI picture books, which include natural histories, botanical illustrations, Tenniel’s pictures and

Carroll’s photographs. To address these connections, as well as the question of what Tenniel’s

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In “Illustrating Alice” (2004), -DFTXHOLQHLabbe looks at what Tenniel’s pictorial Alice and Carroll’s textual Alice signify in terms of the constructed nature of gender. In Labbe’V

QQHLJRQQHW/HZLV&DUUROO/RQGRQ1HZRUN3KDLGRQ– 7KHUHKDVEHHQDQDEXQGDQFHRIDWWHQWLRQJLYHQWRWKHOLFHVWRULHV&DUSHQWHUSRLQWVRXWWKHFKDOOHQJHRI ORRNLQJDWWKHVWRUZLWKIUHVKHHVDUGLQHUVXJJHVWVWKDWDOPRVWDQDVVXPSWLRQDERXWWKHVWRUFDQHDVLOEHEXLOW XSZLWKHYLGHQFH)RUH[DPSOHXHUEDFKDUJXHVWKDWWKHWH[WXDOOLFHLVRIJUHDWHULPSRUWDQFHWRWKHSLFWRULDO, DUJXHIRUWKHRSSRVLWH&DUSHQWHU6HFUHWDUGHQV/HZLV&DUUROODQG-RKQ7HQQLHOLOOXV7KHQQRWDWHGOLFH Alice’s Adventures in Wonderland and Through the Looking Glass1HZRUN:RUOG3XEOLVKLQJ&RPSDQ n.p.ś Nina Auerbach, “Alice and WonderlandŚ A Curious Child,” 9LFWRULDQ6WXGLHVQR– 5HLFKHUW]7KH0DNLQJRIWKHOLFHRRNV–

position, Lewis Carroll’s Wonderland is less about WKHVXEYHUVLYHSRWHQWLDORIIDQWDVDQGPRUH

DERXWKRZOLFHLVPRXOGHGLQWRVXEVHUYLHQWIHPLQLQLWLabbe takes note of how Alice’s

FXULRVLWLVVXEGXHGEWKH4XHHQRIHDUWVKRZVKHLVWUDSSHGLQWKe White Rabbit’s House,

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“submissive, obedient, quiet young woman.”

7KHLOOXVWUDWLRQVDOOHJHGOHQWRPEWKHFKLOGLQWRDJLUOKRRGWKDWLVVXEVHUYLHQWWRWKHPDOH creative agent’s desires. /DEEHVXJJHVWVWKDW7HQQLHOZKRLOOXVWUDWHGKRZAlice’sERGJURZVWR

EHWRRODUJHRUVKULQNVWREHFRPHWRRVPDOO, interpreted Carroll’s desires that AlicH/LGGHOOVWD

RXQJDQGQHYHUJURZXS/DEEHSRLQWVWRWKHSLFWRULDOPRPHQW,Q:RQGHUODQGZKHQJLUOLVK

Alice’s neck sprouts up to the sky, and her body is violently stretched (fig. 25).6KHDOVR

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“PreRaphaelite woman” with adultVWOHSHDUOVDQGEXGGLQJEUHDVWVILJIn Labbe’V

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ZRQGHUVZKHWKHUCarroll’s SKRWRJUDSKVinformed Labbe’s interpretation.

/HZLVCarroll’s photographs were rediscovered in the twentieth century, and profoundly

FKDQJHGKRZKHDQGKLVIDPRXVVWRULHVZHUHperceived. As an example, Carroll’s HJJDULUO

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WUXHWKDWWKHVHQVXDOQDWXUHRIWKHSKRWRJUDSKVKDVVFDQGDOL]HGVRPHLQWRUHDGLQJWKHOLFH stories as expressions of erotic energy that tie the author’s masculine fantasy to the girl

Labbe, “Illustrating AliceŚ Gender, Image, Artifice,” 23, 24, 28. ,ELG ,ELG– ,ELG

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Nonetheless, Carroll’s sensual photographs of Alice Liddell have become part of the visual culture associated with the story’s underlying site of fantasy. Nina Auerbach begins her article “OLFHLQ:RQGHUODQG&XULRXVChild” (1973) with a description of Tenniel’s illustrations, only to dismiss the illustrator’s Alice.VFRPSDUHGWRWKHOLFHRIWKHWH[WZKRVH

FKDUDFWHUL]DWLRQUHFDOOVOLFH/LGGHOOLQWKHphotograph, Auerbach finds Tenniel’s illustrated

OLFHWREHIDUOHVVGDUNDQGVHQVXRXVAuerbach relies on Carroll’s work when she considers

Alice’s fall down the rabbit hole, the sensuality of her appetite, her tendency to cheat, and the animals’ fears of being eaten.To Auerbach, Carroll’s Alice(s) from both tKHWH[WDQGWKH

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-XVWKRZRSSUHVVLYHLV:RQGHUODQG":DQGHULQJGRZQWKHSDWKRIGDUNHQHGPHWDSKRULF associations, the rabbit hole easily becomes the lens of the artist/author’s desirous gaze, and a pedophilic understanding of the story would confirm the character’s victimization.,QOLJKWRI

LJRQQHW/HZLV&DUUROO ,ELG–9ś Carol Mavor, “Between Eating and Loving an Alicious Annotated Fairy Tale,” in OLFHLQ :RQGHUODQG7KURXJKWKH9LVXDOUWVHGDYLQ'HODKXQWDQG&KULVWRSK%HQMDPLQ6FKXO]7DWH3XEOLVKLQJ – Auerbach, “OLFHDQG:RQGHUODQGCurious Child,” 31. ,ELG ,ELG– ,ELG– DUGQHUGHVFULEHVDWHQGHQFRIVH[focused readings (i.e. by Pyllis Greenacre). Gardner, “Introduction,” QS

KRZWKHSKRWRJUDSKVKDYHVFDQGDOL]HGPRGHUQYLHZHUVRQHZDRIYLHZLQJWKHOLFHVWRULHV entails projecting one’s anxieties onto Carroll’s photographs and by extension Tenniel’s

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&XULRVLWDQGZRQGHU(as per the famous lines “curious and curiouser”) resonate

WKURXJKRXWWKHSLFWRULDOQDUUDWLYHAlice’s HQFRXQWHUZLWKWKHFDWHUSLOODULOOXVWUDWHVWKH

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ZDQWVWRFKDQJHVL]HDJDLQZKHQVKHILQGVDPXVKURRPIn Tenniel’s drawing, the attention to

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,WVKRXOGEHQRWHGWKDW&DUUROOIRUKLVSDUWFODLPVWRKDYHVSHQWWLPHZLWKKLVRXQJJLUOIULHQGVZLWKD clear conscience, and with the permission of their parents, whilst maintaining the view that a girl’s sexuality is part RIKHUKXPDQLWDQGKHULQQocence. Cox, “The Child of the Victorians,” 159. Fostering a compassionate understanding of the author and illustrator’s wonderland means acknowledging the potential for Carroll’s innocence. Unlike Ruskin who proposed marriage to his young girl friends, WKHHYLGHQFH (even in letters and diaries written by his young companions) that Carroll’s romantic desires extended beyond the SKRWRJUDSKVLVPXFKPRUHHOXVLYHZHGRQRWNQRZLI&DUUROOKDGVH[XDOGHVLUHVHLWKHUFRQVFLRXVRUUHSUHVVHGIRU RXQJOLFHFDXJKWLQKLVZRQGHUODQG&RPSDVVLRQRSHQVXSWKHVSDFHIRUDFNQRZOHGJLQJWKHDJHQFRIKLVIHPDOH IULHQGVDQGWKHJHQHUDWLRQVRIJLUOVERVDQGDGXOWVZKRKDYHHQMRHGWKHLOOXVWUDWHGOLFHERRNV “Wonder, N.,” 2('2QOLQH2[IRUG8QLYHUVLW3UHVVDFFHVVHG-DQXDU httpŚ//www.oed.com.proxy3.library.mcgill.ca/view/Entry/229936ś “Curious, Adj.,” 2('2QOLQH2[IRUG8QLYHUVLW 3UHVVDFFHVVHG-DQXDUKWWSZZZRHGFRPSUR[OLEUDUPFJLOOFDYLHZ(QWU OLFHLVFXULRXVRUZRQders about something every couple of pages. “Curious” appears 18 times, “Curiosity” appears 5 times, and “Wonder” appears 15 times in :RQGHUODQG“Curious” appears 8 times, “Curiosity” 5 times, and “Wonder” appears 15 times in 7KURXJKWKH/RRNLQJODVV

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7KHLQFRQJUXLWEHWZHHQOLPLWOHVVNQRZOHGJHRIWKHQDWXUDOZRUOGDQGOLPLWHGNQRZOHGJH creates the parameters for Alice’s experience of wonder. Furthermore, she, alongside her

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SORWOLQHFollowing Alice’s original fall down the rabbit hole, there are two subsequent referential moments to Eve from EdenŚ Alice takes her cues to “Eat Me” and “Drink Me” in a

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Tenniel’s pictures allow readerYLHZHUVWRVHHWKHZRUOGDQHZZLWKHHVRSHQWRZRQGHU

OL]DUGIOLHVXSDVPRNLQJFKLPQHDQLPDOVDQGWKH0DGDWWHUJX]]OHWHDDPWKRORJLFDO

)RUPRUHRQKRZERWDQLFDOLOOXVWUDWLRQVJUHZLQSRSXODULWGXULQJWKH9LFWRULDQHUDVHHQQ%6KWHLU Cultivating Women, Cultivating Science: Flora’s Daughters and Botany in England, 1760 to 1860%DOWLPRUH-RKQV RSNLQV8QLYHUVLW3UHVV &DUUROODQG-RKQ7HQQLHOLOOXV7KHQQRWDWHGOLFH More could be made of the caterpillar’s somewhat phallic body in a Freudian analysis. However, such an DSSURDFKPLJKWXQGHUPLQHWKHEURDGHUPHDQLQJRI:RQGHUODQGDVDVLWHRIFXULRVLW Alice’s orLJLQDOIDOOFDQEHOLNHQHGWRWKHIDOOIURPJUDFHDQGH[SXOVLRQRZHYHULQHQHVLVWKH temptation by the serpent and the consumption of fruit occur before the fall. The lines “Eat Me” and “Drink Me” VLPXOWDQHRXVOUHIHUHQFHWKHEUHDGDQGZLQHDW&KULVWLDQFRPPXQLRQDVZHOODVWKHIUXLWRISDUDGLVH3DUWRIWKH ZRQGHULQ:RQGHUODQGUHOLHVLQWKHXQFHUWDLQWDVWRZKHWKHUOLFHLVHQWHULQJRUOHDYLQJDQ(GHQOLNHSODFH &DUUROODQG-RKQ7HQQLHOLOOXV7KHQQRWDWHGOLFH––

JULIILQGDQFHVZLWKDFRZKRRIHGWHDUHHGWXUWOHDQGDOREVWHUFRLIVKLPVHOILVLOOXVWUDWLRQV

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Carroll’s story in thatLWLVLQKLVGUDZLQJVWKDWSODLQJFDUGVDUJXHZLWKHDFKRWKHUDVWKHSDLQW

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7HQQLel’s illustrations of Alice and the Jabberwocky in 7KURXJKWKH/RRNLQJODVVDUH particularly subversive. In Carroll’s text, when Alice reads the poem in the lookingJODVVERRN

VKHHQFRXQWHUVD“beamish boy”ZKRVODVDPVWHULRXVEHDVWLGHQWLILDEOHEKLVODUJHMDZVDQG

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LWLVOLFHZKRSUHSDUHVWRVODWKHfierce beast (fig. 29). Tenniel’s Jabberwocky emerges from

WKHGDUNZRRGVZLWKPDVVLYHEDWZLQJVUHSWilian tail, snake’s neck, dinosaur feet, spider claws,

DQGDUDEELWWRRWKHGILVKKHDG:LWKKHUIORZLQJORFNVRIKDLUKHUSHWLWHFDOYHVDQGWKLJKVDQG arms, Tenniel’s Alice proposes a tiny girlish model in the role of monster killer—VRPHZKDWOLNH

KHUPDOHSUHGHFHVVRUV'DYLGRI'DYLGDQGROLDWKDQG-DFNRI-DFNDQGWKH%HDQVWDON

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IDFLOLWDWLQJPXOWLSOHUHDGLQJV7KHPXOWLSOLFLWRISRVVLEOHSHUVSHFWLYHVH[SODLQVZKWKH

LOOXVWUDWHGOLFHVWRULHVKDYHDOHQJWKKLVWRURIUHSXEOLFDWLRQVHUYLQJWKHHQMRPHQWRIJLUOV boys, and adults. Tenniel’s caricature of powerGQamics, ranging from the Queen of Heart’s

,ELG /HZLV&DUUROODQG-RKQ7HQQLHOLOOXVAlice’s Adventures In Wonderland/RQGRQ0DFPLOODQDQG&R KWWSDUFKLYHRUJGHWDLOVOLFHVGYHQWXUHV,Q:RQGHUODQG/HZLV&DUUROODQG-RKQ7HQQLHOLOOXV 7KURXJKWKH/RRNLQJODVVDQG:KDWOLFH)RXQG7KHUH/RQGRQ0DF0LOODQ&R KWWSVHQZLNLVRXUFHRUJZLNL7KURXJKBWKHB/RRNLQJODVVBDQGB:KDWBOLFHB)RXQGB7KHUH &DUUROODQG-RKQ7HQQLHOLOOXVOLFH6WRULHV ,ELG

tyrannical rule to her court’s flatfaced subservience, is part of what makes girlish Alice’s

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GRZQSODWKHPRRGRIURPDQFHWKHDEVXUGLWLHVRIOLIHDQGWKHIRUHERGLQJGDQJHUWKDWGULYHVWKH plot. Arthur Hughes’ illustrations for 3KDQWDVWHV, Maud Humphrey’s for 7KH/LJKW3ULQFHVV

John Tenniel’s for the OLFHstories, and Maria L. Kirk’s for 0RSVDWKH)DLUVXJJHVWDVPXFK

'XHWRWKHLPSRUWDQFHRIWKHSLFWRULDOGLIIHUHQWYHUVLRQVRIWKHVDPHVWRUFDQWUDQVIRUPWKH narrative’s relationship to its viewers, which is why the various editions of a story matter. First

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The illustration that accompanies the following line is one such example. “Nonsense!” said Alice, very ORXGODQGGHFLGHGODQGWKH4XHHQZDVVLOHQW&DUUROODQG-RKQ7HQQLHOLOOXVAlice’s Adventures In Wonderland )RUH[DPSOH=LSHVQRWHVWKDWQLQHWHHQWKFHQWXUIDLUWDOHVRIWHQFRQWDLQHGLOOXVWUDWLRQV%XWKHGRHVQRW account for the images in his analysis of the Victorian fairy tale’s subversive potential. Jack Zipes, “The Flowering of the Fairy Tale in Victorian England,” in :KHQ'UHDPV&DPH7UXH&ODVVLFDO)DLU7DOHVDQG7KHLU7UDGLWLRQ 1HZRUN5RXWOHGJH–-DFN=LSHV7KH(QFKDQWHG6FUHHQ7KH8QNQRZQLVWRURI)DLU7DOH )LOPV1HZRUN5RXWOHGJH

Most editions of Lewis Carroll’s GYHQWXUHVLQ:RQGHUODQGDUHDFFRPSDQLHGE

John Tenniel’s illustrations, which played an integral role in the story’s popularity as a book for

FKLOGUHQWKDWDGXOWVFRXOGDSSUHFLDWHIn John Davis’ introduction to Alice’s illustrators, he notes that while “CaUUROOZDVDOLYHIHZDUWLVWVKDGHLWKHUWKHZLVKRUWKHRSSRUWXQLWWRFRPSHWH with Tenniel.”(YHQZLWKLQWKHQLQHWHHQWKFHQWXUZKLOVWWKHWH[WXDOVWRUZDVLQLWLDOO

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QHJDWLYHHPRWLRQVUDQJLQJIURPDQJHUWRFRQIXVLRQOLFHQRORQJHUORRNVKRUULILHGZKHQVKH cradles the Queen of Hearts’ (pig) babyś she is now a girl with a toy doll.7KHH[FOXGHGLPDJHV

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ORQJHUGRHVOLFHDOPRVWGURZQLQKHUSRRORIWHDUVQRUGRHVVKHIDFLDOOH[SUHVVKHUDQJHUZKHQ she grows to be too big for the White Rabbit’s house. She no longer sees the doormouse stuffed

UDKDP2YHQGHQHG7KH,OOXVWUDWRUVRIOLFHLQ:RQGHUODQGDQG7KURXJKWKH/RRNLQJODVV1HZ YorkŚ St. Martin’s Press ,ELG &DUSHQWHU6HFUHWDUGHQV Lewis Carroll and John Tenniel, illus., “Tenniel’s Illustrations for The Nursery Alice (digitized Images from the 1890 Original),” 7KHULWLVK/LEUDUKWWSVZZZEOXNFROOHFWLRQLWHPVWKHQXUVHUDOLFH ,ELG ,ELGLPDJHV&DUUROODQG-RKQ7HQQLHOLOOXV7KHQQRWDWHGOLFH Carroll and John Tenniel, illus., “Nursery Alice,” image 11ś Carroll and John Tenniel, illus.7KH QQRWDWHGOLFH

into a teapot or the Cheshire cat’s floating head. The Queen, who threatens to beheDGKHU

VXEMHFWVLVQRPRUHThese changes served Carroll’s intentions to produce a version that was

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QHYHQJUHDWHUVKLIWLQWKHLQWHQGHGUHDGHUYLHZHUVKLSRFFXUVZLWKWKHSXEOLVKLQJKLVWRU of Rossetti’s REOLQ0DUNHW)ROORZLQJWKHILUVWHGLWLRQLOOXVWUDWLRQVRIPXWXDOOFDUHVVLQJ

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LQKLVUHQGLWLon of Lizzy’s experience in goblin land. “CatOLNHDQGUDWOLNH5DWHODQG

ZRPEDWlike,” his fantastical goblins conform to the text.,QDPHGOHRIDQLPDODQGKXPDQ

OLPEVGLVKHVRIIUXLWDQGEUDQFKHVWKHVHEHDVWOPHQNLVVVTXHH]HFDUHVVDQGVWUHWFKKHU

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VXIIUDJHPRYHPHQWWKHGDQJHURIVH[XDOOLEHUDWLRQDQGWKHIRUFHGFRQVXPSWLRQRIWKHIUXLWVRI melancholy unite in Housman’s illustration. Such a contextual reading lines up with Housman’s possible intentions to give his support for women’s suffrage.

&DUUROODQG-RKQ7HQQLHOLOOXV7KHQQRWDWHGOLFH Knoepflmacher suggests that small nursery book version served Carroll’s purpose of addressing his fears WKDWOLFH/LGGHOOZRXOGVKULQNIURPKLVJUDVS.QRHSIOPDFKHU9HQWXUHVLQWR&KLOGODQG%ULWLVK/LEUDU FRPPHQWVWKDW&DUUROODGDSWHGWKHVWRULQWRDQXUVHUERRNIRUILYHHDUROGV&DUUROODQG-RKQ7HQQLHOLOOXV “Nursery Alice.” /HZLV&DUUROODQGUWKXU5DFNKDPLOOXVAlice’s Adventures in:RQGHUODQGUHSULQWRIWKHHGLWLRQ KWWSZZZJXWHQEHUJRUJHERRNV"PVJ ZHOFRPHBVWUDQJHU &KULVWLQD5RVVHWWLDQG/DXUHQFHRXVPDQLOOXVREOLQ0DUNHW/RQGRQ0DFPLOODQ KWWSFRQWHQWGPEDORUHGXFGPUHIFROOHFWLRQDEZSFLG Housman interestingly developed a male faction that supported the woman’s suffrage movement. John Simkin, “Men’s League for Women’s Suffrage,” 6SDUWDFXV(GXFDWLRQDOKWWSVSDUWDFXV HGXFDWLRQDOFRP:PHQKWP

5DFNKDPDOVRLQWHUSUHWHGWKHHGLWLRQRI&KULVWLQD5RVVHWWL’s REOLQ0DUNHW

Rackham’s illustrations emphasize the innocence of Lizzy and Laura’s sisterly embrace. He also

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0DUNHW) reveal shifts in the pictorial response by different artists to a given author’s source story.

:KHQFRPSDUHGWRWKHOLFHstories, Christina Rossetti’s poem, originally not for children, went

WKURXJKDQHYHQJUHDWHUVHULHVRILOOXVWUDWLYHWUDQVIRUPDWLRQVWKDWUHSRVLWLRQHGWKHWDPHGJLUO body in the domain of children’s literature. Rackham’s illustrations indicate that a new category of children’s books was emerging, one which fostered the literary fairy tale, buWZKLFK downplays, in visual terms, the child’s (especially the girl’s) aggressivity and sexuality. In other

ZRUGVWZHQWLHWKFHQWXUYHUVLRQVRIWKHVWRULHVVKRZWKDWHYHQIDLUORUHRULJLQDOOLQWHQGHGIRU adults became part of children’s literature.

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ERRNVRULJLQDOOLQWHQGHGIRUFKLOGUHQ7KHFRORXUHGOLFHERRNLVDODWHQLQHWHHQWKFHQWXU example of the toy books that were marketed explicitly for children. Lang’s comSHQGLXPRI

“Coloured Fairy Books”DOVRWXUQHGWKHIDLUWDOHDQWKRORJLQWRWKHH[FOXVLYH domain of children’s literatureSeveral of H.J. Ford’s illustrations for Lang’s fairy books reuse

WKHODRXWFKDUDFWHUL]DWLRQDQGQDUUDWLYHVFHQHVIURPHDUOLHUWRERRNPDWHULDO)RUGOLNHO recycled images from Walter Crane’s fullyFRORXUHGWRERRNYHUVLRQVRIIDLUWDOHVDOEHLWZLWK

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&KULVWLQD5RVVHWWLDQGUWKXU5DFNKDPLOOXVRackham’s Illustrations for Goblin MarketGLJLWL]HG Images from the 1933 edition),” 7KHULWLVK/LEUDULPDJHDQGKWWSVZZZEOXNFROOHFWLRQ LWHPVJREOLQPDUNHWLOOXVWUDWHGEDUWKXUUDFNKDP

YHUVLRQVRIWKH%HDXWDQGWKH%HDVWVWRULHVFDQEHDGGUHVVHGWKURXJKDFRPSDUDWLYHDQDOVLVRI images by Walter Crane and those made by Andrew Lang’s illustrators.

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With Beauty’s brightness, the night light of the background turns into daybreak, slumber

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OLIHOHVVQHVVLQWROHSHWLWPRUWThe characters’ corporeality in a Garden of Eden setting confirms the reading of sexual awakening. The Edenic reference found in Crane’s picture books—LQWKH

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%HDVt’s aristocratic home—DOVRFRQILUPVWKHFOLPDFWLFPRPHQWDVRQHRIFRSXODWLRQ,WVKRXOGEH noted here that far from condemning the woman’s actions by making her EveOLNHVHPEODQFH

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into a grotesque temptress, Crane’s references to Eden (repeated in the walOSDSHUVLQVHYHUDORI

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H.J. Ford illustrated the same scene for Lang’s 7KHOXH)DLURRNOWKRXJKKH copied the general positioning of the figures found in Crane’s illXVWUDWLRQVWKHOLYHOPRRGRI

IHPLQLQHVH[XDODJHQFKDVDOOEXWGLVDSSHDUHG7KH%HDVWLVSRUWUDHGDVDGHDGOXPSRIIXU rather than as a man come to life, Beauty’s legs are carefully repositioned so that she piously

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%HDVW,n a reversal of how Crane saw the heroic Beauty, Ford’s illustrated story concludes with

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ZKLWHPDOHKHURGLVidentifies from his animality, and thereby ties into Lang’s ethnographic ideas. The narrative distinctions between Ford and Crane’s illustrations suggest that men of the

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“Coloured Fairy Books” for children. Aladdin scenes allowed illustrators to picture Oriental

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Scholars from America and Britain, who have looked at Europe’s nineteenthFHQWXU

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UHSUHVHQWLQJVH[XDOODYDLODEOHZRPHQZLWKWKHLUEODFNVODYHVLQ(DVWHUQIDQWDVVFDSHV,QKHU cornerstone essay, art historian Linda Nochlin relates Edward Said’s critique of OrientalismWR

SDLQWLQJKHUUHDGLQJRIWKHLQIDPRXV2ULHQWDOLVWSDLQWHU-HDQLéon Gérôme’s 0RRULVKDWK

hinges on the artist’s realist rendering. The ethnographic attention to details—WKH

“Turkish tiles,” “Cairene sunken fountain,” and “Mamluk FRDWRIarms”—DUHSDUWRIZKDW

PDNHVWKLVGRFXPHQWDUWSHSDLQWLQJWURXEOHVRPH7KLVSLFWRULDOUHDOLVPFDPRXIODJHV

Aboubakr Chraïbi, “Aladdin,” in 7KHUHHQZRRG(QFFORSHGLDRI)RONWDOHVDQG)DLU7DOHV)HG 'RQDOGDDVHYRO:HVWSRUW&RQQHFWLFXWUHHQZRRG3XEOLVKLQJURXS–DPDQDNDDQG7HWVXR 1LVKLRHGV7KHUDELDQ1LJKWVDQG2ULHQWDOLVP– Linda Nochlin, “The Imaginary Orient,” in 7KHWK&HQWXU9LVXDO&XOWXUH5HDGHUHG9DQHVVD5 6FKZDUW]DQG-HDQQHQH03U]EOVNL1HZRUNDUSHUDQG5RZ–

JUXHVRPHKLVWRULFDOUHDOLWLHVLQZKDWKDGEHFRPHDSHULRGRIFRQTXHVWVLQFOXGLQJWKHFROODSVHRI

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SHDUOZKLWHbody of a sexually available nude woman up to the viewer’s colonial gaze. Poignant as Nochlin’VFULWLTXHRIVHOHFW2ULHQWDOLVWSDLQWLQJVPDEHWRDVVXPHWKDWDQWUDFHRIQRQ

(XURSHDQFXOWXUHVZLWKLQWKH:HVWHUQLPDJLQDWLRQLQGLFDWHVRSSUHVVLRQZRXOGEHWRJRWRRIDU

While mentioning that Gérôme’s 0RRULVKDWK6FHQHZDVUHSURGXFHGIRUWKH

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FRXOGEHSDUWRIJHQXLQHLQWHUHVWLQUDELFFXOWXUH

WDVWHIRU-DSDQHVHREMHFWVDOVRGHYHORSHGLQ(XURSHZKLFK.REDDVKLKLJKOLJKWVZKHQ she arrives at how the thick outlines in Crane’s ODGGLQLQWHJUDWHWHFKQLTXHVIURP

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Japanese might feel with how the style renders the hero as a Chinaman. Accordingly, “the artist is not to be blamed.”V.REDDVKLVXJJHVWVWUDFHVRIRWKHUQHVVLQ(XURSHDQSLFWXUHVDQGWH[WV

PLJKWDOVREHSDUWRIDQHODERUDWHQHWZRUNRIFURVVFXOWXUDOLQWHUDFWLRQORQJVLGHWKHSRVVLELOLW

Kobayashi, “The Evolution of the Arabian Nights Illustrations,” 175. ,ELG ,ELG

of asserting one’s dominion RYHURWKHUVDQGIDLOLQJWRXQGHUVWDQGGLIIHUHQFHVWKHUHLVDOZDVWKH

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ILJXUHVHYRNHYDULRXVFRQFHSWVRIRWKHUQHVVWKURXJKWKHXVHRISKVLRJQRPLFGLIIHUHQFHVDQG

VNLQWRQHVHWWhe characters’ appearance was only RQHZDRIH[SUHVVLQJUDFLDOXQLWRU

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England’s complicated relationship to supernatural beings, tamed and untamed animals and

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George Cruikshank illustrated the Grimms’ variation of the story in “Blue Light” (UHFDOOILJ

Cruikshank’s magician ofWKHODPSLVDVPDOOEODFNVNLQQHGJHQLHZHDULQJDWXUEDQ7KH smallness of the figure’s body appears to undermine his supernatural power.7KHRWKHUQHVVRI

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LOOXVWUDWLRQWKDWFKLOG5XVNLQUHSURGXFHGDVDJUHHQJHQWOHPDQZKLFKVLJQLILHVDSURGXFWLYH

IDLOXUHWRFRQVXPHWKHGHURJDWRUUDFLDOFRGLQJUHFDOOILJ7KHJHQLHGRHVQRWWDNHKXPDQ form in Walter Crane’s version, but his wealthJUDQWLQJDELOLWLHVDUHKLQWHGDWLQWKHGHFRUDWLYH

ULPPULPPDQGHRUJH&UXLNVKDQNLOOXVHUPDQ3RSXODU6WRULHV Ruskin, “The Puppet Show.”

DSSHDODQGKDUPRQEHWZHHQGHVLJQHOHPHQWVLQWKH-DSDQHVHLQGRRUJDUGHQVDQG&KLQHVH

FLWVFDSHV

,Q-DFRPEHood’s illustrations for “Aladdin” in7KHOXH)DLURRNWKHZLVKJUDQWLQJ

JHQLHDSSHDUVDVDEDWZLQJHGIXOOJURZQPDQZLWKVFDOOHJVDQGWKHPDOHYROHQWPDJLFLDQLV

UHSUHVHQWHGDVDVHHPLQJOHYHUGDORRNLQJUDEZHDULQJDNHIILHK7DNLQJKXPDQIRUPDQG having grown in size, the genie in H.J. Ford’s illusWUDWLRQLQ7KHUDELDQ1LJKWVULVHVRXWRIWKH

VPRNHDVDEODFNHQHGILJXUHZLWKODUJHFODZVDQGKRUQVRQKLVKHDG7KLVGLVSDUDWHVHULHVRI

LOOXVWUDWLRQVLQGLFDWHVVKLIWVLQHQFRXQWHUVZLWKIRUHLJQDQGVXSHUQDWXUDOFUHDWXUHV

9LFWRULDQLOOXVWUDWRUVGLGQRWVHHHHWRHHRQWKHUDFLDOL]HGGLVWLQFWLRQEHWZHHQVHOIDQG other. Richard Doyle’s illustrations for ,Q)DLUODQGVXJJHVWVUDFLDOGLYLVLRQVEDVHGRQ

FXVWRPKDELWDWDQGSKVLFDOFKDUDFWHULVWLFVEHWZHHQWKHZLQJHGIDLULHVRIWKHSRQGVDQGWKH

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PDUULDJHEHWZHHQDQHOIprince and a fairy queen. In his illustrations for William M. Thackeray’s

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PDVWHUZKRNQHHOVLQWKHSURFHVV7KHSLFWXUHVRIWKHZKLWHPDOHKRJRIDORUG—QDPHG

RJJLQDUPRXU—UHYHDODJUHHGEXIIRRQZKRFDUHVIRUQRWKLQJEXWKLVLQVDWLDEOHDSSHWLWHIRU

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6RPHLOOXVWUDWRUV&UXLNVKDQNRXVPDQDQG'XODFDQGDXWKRUV'LFNHQVDQG(ZLQJ

HPSKDVL]HGUDFLDODQGJHQGHUHGVHJUHJDWLRQLQWKHLUGHSLFWLRQVRIVXSHUQDWXUDOEHLQJVOWKRXJK women appear as human, men become racialized goblins in Housman’s illustrations for REOLQ

&UDQHODGGLQ–DQG– /DQJ-)RUGLOOXVDQG3-DFRPERRGLOOXV7KHOXH)DLURRN OOLQJKDPDQG'ROH,Q)DLUODQG :LOOLDP0DNHSHDFH7KDFNHUDDQG5LFKDUG'ROHLOOXV7KH5RVHDQGWKH5LQJUHSULQWRIWKH edition, Children’s Classics (LondonŚ Bloomsbury, 1994), 98, 68.

0DUNHW0en are of a beastly race, albeit Orientalized, in Edmund Dulac’s “Beauty and the

Beast” (1910).,QRWKHUPRGHOVWKHUDFLDOL]DWLRQRIGZDUIVLPSOLHVWKHHWKQRFXOWXUDORWKHU

Cruikshank’s illustration for Juliana Horatia Ewing’s “Amelia and the Dwarfs” (18GHSLFWVD

YLROLQSODLQJGZDUIZKRVHGXFHVRXQJJLUOVGUDZLQJWKHPLQWRKLVODLU6LOYHUGHVFULEHV

Cruikshank’s dwarf in question to be “hairy, bearded, hookQRVHGODUJHKHDGHGDQGVPDOO bodied.”6KHOLNHQVWKHUHSUHVHQWDWLRQRIVWHUHRWSLFDOGZDUYHVWRKRZ9LFWRULDQVEWKH

VDVVRFLDWHGPLQLDWXUHEHVWLDOKXPDQVWRDOLHQUDFHVRIVXSSRVHGOVHSDUDWHRULJLQ7KLVLV

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WKHQRQ(XURSHDQUHVXUIDFHGVPDOOEODFNVNLQQHGWXUEDQHGILJXUHjOD&UXLNVKDQNDSSHDUV

DVDFKLOGsized servant in Cinderella’s palace (1910).'XODFRULHQWDOL]HGPDQRIKLV

HODERUDWHOFRORXUIXO(XURSHDQIDLUWDOHVFantasy’s otherworldliness in “Nightingale” (1911) emanates from Dulac’s glittering starlit skies, Chinese lanterns, Asian clothinJDQGWKHWUHHVDQG

EULGJHVWKDWPDNHXS-DSDQHVHJDUGHQVIn “Beauty and the Beast” (1910), the beautiful pale

IDFHG%HDXWDQGWKHIXUUHDUHGJUHHQPRQNHfaced Beast both wear turbans. Dulac’s

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DQLPDODQGKEULGERGLHVVVXFKUHFRJQL]LQJSLFWRULDOGLYHUVLWRSHQVODUJHUTXHVWLRQV

Heidi Anne Heiner, “Illustrations by Edmund Dulac,” IDLUWDOHGDWDEDVH6XU/D/XQH)DLU7DOHV LPDJHKWWSZZZVXUODOXQHIDLUWDOHVFRPLOOXVWUDWLRQVLOOXVWUDWRUVGXODFKWPO Silver’s description of racialization could also suggest anti6HPLWLFFDULFDWXUH6LOYHU6WUDQJHDQG6HFUHW 3HRSOHV ,ELG ,ELG Heiner, “Illustrations by Edmund Dulac.” ,ELG ,ELG

:KHQGRHVWKHUHSUHVHQWDWLRQRISHUVRQVRIFRORXULQ(XURSHDQIDLUWDOHERRNVVXFKDV

Dulac’s), and the depiction of OrientalFORWKLQJODPSVRUJDUGHQVVLJQDOWKHXVHRIIDQWDVDVD

VLWHRIRSSUHVVLRQ"7KHUHSUHVHQWDWLRQRIH[RWLFREMHFWV—FDUSHWVWLOHVWH[WLOHVSDWWHUQVDQG

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DFFXPXODWLQJ5HDGHUVPLJKWXVHWKHVHREMHFWVWRIRVWHUWKHGHVLUHIRUMRXUQHVWRIRUHLJQODQGV

7RWKLVHQG-RKQ3RWYLQLQ2ULHQWDO,QWHULRUVKLJKOLJKWVKRZWKHYHUDFWRIHPEDUNLQJ

XSRQVSDWLRWHPSRUDOMRXUQHVWRWKHLPDJLQDU2ULHQWDQGWRFRORQL]HGODQGVFRXOGVLJQDO

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FRPPRGLWJRRGVIURPIRUHLJQODQGVLQ(XURSHDQKRPHVDQGJDUGHQV3RWYLQDUJXHVWKDW

“oriental interiors” tend to foster LGHQWLWQHJRWLDWLRQVZKLFKFRPSOLFDWHWKHSHUFHSWLRQRIWKH

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FORVHUORRNDWWKHLOOXVWUDWLRQVLQLang’s end of century “Coloured Fairy Books.”

([DPSOHVRIREMHFWVGLVFXVVHGLQFOXGHWURSLFDOSDOPSODQWVIURPWKH&DULEEHDQH[RWLFZRRGVIURP )UHQFKIULFDILQH&KLQHVHSRUFHODLQV-DSDQHVHEURQ]HVDQGVRIRUWK'LVSODFHGZLWKLQ(XURSHDQOLWHUDUVSDFHV DERXWWKH2ULHQWRUZLWKLQ2ULHQWDOL]HGLQWHULRUVVXFKREMHFWVIURPIRUHLJQODQGVDUHSHUFHLYHGDVKEULGL]HGZLWK (XURSHDQWDVWHVVWOHVDQGPRUDOV-RKQ3RWYLQHWDOOrientalism’s Interlocutors: Painting, Architecture, 3KRWRJUDSKHG-RKQ3RWYLQ2EMHFWVKLVWRULHV'XUKDP'XNH8QLYHUVLW3UHVV Kobayashi, “The Evolution of the Arabian Nights Illustrations,” 181–

2.6. Racialization in Andrew Lang’s “Coloured Fairy Books”

1DPHGIRUWKHFRORXURIWKHLUFRYHUV—%OXH5HGUHHQHOORZ3LQNUH9LROHW&ULPVRQ

%URZQ2UDQJH2OLYHDQG/LODF—the “Coloured Fairy Books” consist of a mix of European

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ERRNVDUHHQWLFLQJREMHFWVWKDWFDUUVWRULHVWDNHQIURPWKHIRXUFRUQHUVRIWKHJOREHLQWR

England’s nurseriesś the covers’ unique colourcoding are designed to embellish the child’s

ERRNVKHOIZKLOHLQWULFDWHSULQWVHQKDQFHWKHVWRULHV3-DFRPEHood’s illustrations are limited

WR7KHOXH)DLURRNZKHUHDV-)RUGLOOXVWUDWHGWKHHQWLUHVHWRIDQWKRORJLHVDVZHOO

DV7KHUDELDQ1LJKWV,ZDQWWRDUJXHWKDWWKHUHLVDGLVWLQFWLRQEHWZHHQWKH

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ZKHWKHUWKHLPDJHVSURGXFHGEERWKDUWLVWVVXSSRUWKLVHWKQRJUDSKLFYLVLRQQRZGHVHUYHV

IXUWKHUFRQVLGHUDWLRQ/DQJWKRXJKWWKDWDQLPDOGLVDVVRFLDWLRQDQGWKHSUHVHQFHRIZKLWHIHPDOH

IDLULHVDUHWZRIDFWRUVWKDWVHSDUDWHVWRULHVRIWKHFLYLOL]HGZRUOGIURPWKRVHRIWKHVRFDOOHG

GLQJUDFHVAs exemplified by Ford’s illustration of the Beast, who emerges ouWRIKLVIXUU costume, Lang’sVWRULHVJORULI(XURSHDQPDOHSURWDJRQLVWVDVWKHGLVLGHQWLIZLWKDQLPDOV

0RUHWKDQKXPDQDQLPDOVSHFLHVGLIIHUHQWLDWLRQWKHillustrations in “Coloured Fairy Stories”

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H.J. Ford’s impish dwarfs, evil magicians, and subservient slaves tend to contrast with

SDOHIDFHG(XURSHDQKHURHVDQGKHURLQHV:KHQIDLULHVDSSHDULQKLVLOOXVWUDWLRQVIRU(XURSHDQ

VRXUFHGVWRULHVWKHDUHQRWDEOZKLWHVNLQQHGDQG(XURSHDQZLWKEHDXWLIXOZLQJVWRGHFRUDWH

WKHLUEDFNV,QKLVillustration for “Fairy Gifts,” IRUH[DPSOHKHGHSLFWVDWLQIHDWKHUZLQJHG

IDLUZLWKDFKDULRWRIEXWWHUIOLHVDQGKHVLPLODUOGHSLFWVWKHPRPHQWZKHQ7KXPEHOLQDJHWVKHU

FURZQDQGLQVHFWZLQJVILJ%FRQWUDVWKHZLOOLQWHUSUHWWKHHWKQRJUDSKLFVWRULHVE

VKRZLQJa variety of male characters in an unfavourable light. In “Bronze Right,” the crafty and

PRQHKXQJUPDJLFLDQLVLGHQWLILHGDVD-HZLQWKHWH[WDQGKHLVSLFWXUHGDVROGDQGEODFN

ZKHQKHFRPHVWRWULFNWKHSULQFHVVIn “Hok Lee” dozens of miniature halfQDNHGGZDUYHVDUH

GHSLFWHGZLWKH[DJJHUDWHGHHVTXLQWVDUDFLDOVWHUHRWSHRIWKRVHZLWKWKHHSLFDQWKLFIROGIURP

VLDDQGORQJFODZVILJ7KHODXJKDWWKHVLJKWRIRN/HHGDQFLQJMXPSLQJDQGPDNLQJ

DIRRORIKLPVHOI,Q“The Witch and her Servants,” ,ZDQLFKWKHZKLWHKHURJUDEVWKHORQJ

EHDUGRIWKHHYLOEODFNPDJLFLDQSLFWXUHGZLWKODUJHFODZVDQGKHKXUOVWKLVYLOODLQLQWRWKHDLU

ILJ

,QVXFKZDV)RUG’s illustrations reinforceLang’s ethnographic views. His engravings represent a variety of stereotypes, includingŚ the damsels in distress and the white man’s heroic

GHIHDWRIHYLOcharacters such as the black “African Magician” or the Sultan’s father. In contrast,

-DFRPEHood’s illustrations for 7KHOXH)DLURRNGHVWDELOL]HWKHRYHUDUFKLQJVFKHPHRIPDOH

VXSUHPDF,QVHYHUDORIKLVSLFWXUHVSULQFHVERZLQVXEPLVVLRQWRSULQFHVVHVLQFOXGLQJWKH

VPDUWSULQFHVVPHWDPRUSKRVHGDVDZKLWHFDWILJ,QFRQWUDVWWRPLQLDWXUHIDLUILJXUHV

-DFRPEHood depicts the authoritatively poised godmother in “Cinderella” with butterfly wings

ILJ,ZLOOUHWXUQWRKRZ-DFRPEHood’s iOOXVWUDWLRQVFRPSOLFDWHWKHWH[WLQWKH&LQGHUHOOD

The carriage is reminiscent of Doyle’s In Fairyland, albeit without the same flair for the female figure’s VH[XDOHPSRZHUPHQW/DQJDQG-)RUGLOOXV7KHUHHQ)DLURRNOOLQJKDPDQG5LFKDUG'ROHLOOXV,Q )DLUODQG /DQJ-)RUGLOOXVDQG3-DFRPERRGLOOXV7KHOXH)DLURRN /DQJDQG-)RUGLOOXV7KHUHHQ)DLURRN /DQJDQG-)RUGLOOXV7KHHOORZ)DLURRN /DQJ-)RUGLOOXVDQG3-DFRPERRGLOOXV7KHOXH)DLURRN ,ELG

FKDSWHU:KLOHVXJJHVWLQJWKDW-DFRPEHood’s work might subvert Lang’s hierarchical vision,

WKHKXQGUHGVRISLFWXUHVSURGXFHGE)RUGQRQHWKHOHVVSURYLGHDQRYHUDUFKLQJVHQVHRIWKH

JHQGHUHGDQGUDFLDOL]HGSDWWHUQVZLWKLQWKHERRNV

A careful examination of Ford’s illustrations for the world stories (not of European

RULJLQKLJKOLJKWVKRZ/DQJPDKDYHXVHGWKHLPDJHVWRFRQILUPKLVYLHZVRQFXOWXUDO

HYROXWLRQVGLVFXVVHGLQ&KDSWHU, not all tribal cultures are equal in Lang’s mind. In the

North American First Nations story “Little and Big Brothers,” the malevolent bear chieftain

WUDQVIRUPVVRPHKXQWHUVLQWRKLVEHDUVHUYDQWVILJ%HIRUHWKHJURXSRIEHDUVGLHWKH

EHQHYROHQWVKHbear in Ford’s illustration changes some of the hunters back to their original

IRUPDVXJJHVWLRQWKDWWKHFXOWXUHLVULVLQJWRZDUGDPRUHFLYLOL]HGVWDWH7KLVWUDQVIRUPDWLRQ would seem to support Lang’s hierarchyŚ North American Indigenous groups rankKLJKHURQKLV

VFDOHWKDQXVWUDOLDQ,QGLJHQRXVJURXSVEXWZKLWHPHQUDQNWKHKLJKHVW

7KHULVHRXWRIDQLPDOLWWRZDUGDPRUHFXOWLYDWHGVWDWHGRHVQRWRFFXULQWKHLOOXVWUDWLRQV for the Australian Indigenous story of the “Bunyip.” )RUGFUHDWHVDVFHQHZKHUHIHDWKHU bottomed little black men steal the lake monster’s fishERGLHGDQGIHOLQHKHDGHGEDEILJ

VWKHVHEODFNVNLQQHGILJXUHVUXVKDZDWKHPDQZKRFDUULHVWKHEDE%XQLSRQKLVEDFN

WUDQVIRUPVLQWRWKHVKDSHRIWKHDQLPDOWKDWZHLJKVKLPGRZQ6XFKLOOXVWUDWLRQVFRUUHVSRQGWR

Lang’s view that tribes who identify with animals are part of the soFDOOHGGLQJUDFHV,QWKH

SUHIDFHWR7KHURZQ)DLURRN/DQJH[SODLQVKLVSHUVSHFWLYHZKHQKHWHOOVKLVFKLOGUHDGHUV

WKDWWKHXVWUDOLDQ,QGLJHQRXVSHRSOHDUHUHVSRQVLEOHIRUWKHLURZQGHFOLQHDQGWKDWWKHZHUH easily frightened. He states that the “Bunyip” is a story made by “uneducated little ones, running about with no clothes at all in the bush, in Australia.”HJRHVRQWRWHOOKLVUHDGHUVWKDWWKH

QGUHZ/DQJDQG-)RUGLOOXV7KHURZQ)DLURRNWKHG&RORXUHG)DLU%RRNV/RQGRQ /RQJPDQVUHHQDQG&RYLLKWWSVDUFKLYHRUJGHWDLOVDUDELDQQLJKWVHQIRUGJRRJ

FDQJHWGRFXPHQWDUHYLGHQFHRIWKHVHXQFLYLOL]HGZDVWKURXJKWKHSKRWRJUDSKVLQDQ ethnographic book. Suggesting that these people were part of a dying race, he statesŚ “You may

VHHSKRWRJUDSKVRIWKHVHPHUUOLWWOHEODFNIHOORZVEHIRUHWKHLUtroubles begin in ‘Northern Races of Central Australia” by Messrs. Spencer and Gillen.”

The illustrations that accompany Lang’s “Coloured Fairy Books” are WKHUHIRUHLPSRUWDQW

ZKHQFRQVLGHULQJJHQGHUDQGUDFLDOLQWHUVHFWLRQDOLW7KHUROHWKDWJHQGHUSODVLQWKHLPDJHV

EHFRPHVVLJQLILFDQWFRQVLGHULQJWKDWDWOHDVWRQHVHFRQGZDYHIHPLQLVWOLVRQ/XULHDVVXPHG

WKDWWKHHQWLUHIDLUWDOHWUDGLWLRQZDVQDWXUDOOPDWULDUFKDO3HUKDSV/XULHKDGWKHDXWKRULWDWLYH

VWDQFHRI-DFRPEHood’s fairy godmother in miQGAs per Marcia Lieberman’s claim that a

SDWWHUQRISDVVLYHIHPLQLQLWGHVFULEHVWKHWH[WXDOQDUUDWLYHDOVRGLVFXVVHGLQ&KDSWHULWLV equally true that Ford’s illustrations of women in the European fairy tales often UHLWHUDWHSDVVLYH

SRVHVILJV

,FRQWHQGWKDWFHUWDLQQRQ(XURSHDQWDOHVin Lang’s books UHLQIRUFHSDWULDUFKDODWWLWXGHV but only if a textual analysis of Lang’s viewpoint is privileged over Lang’s interpretation of

IHPDOHFKDUDFWHUVLQWKHLOOXVWUDWLRQV7KHKHURLQWKHWH[WXal part of the Soudanais story “Samba the Coward” is XQGRXEWHGOWKHPDQ6DPEDILJ7KHFKDUDFWHUHYHQWXDOOOHDUQVWREH brave when he defends his wife’s tribe from the invading Moors, and this might signal patriarchy

DVXVXDOZHUHLWQRWIRUWKHLmages. Ford’s illustration shows Samba’s wife, dressed in animal skins, to be the most heroic of the two. Unlike Ford’s passive heroines and miniature fairies in

WKH(XURSHDQIDLUWDOHVVKHWDNHVDFWLRQ3LFWRULDOOWKLVEHDXWLILHGZRPDQGHOLEHUDWHOXVHVKHU

DUPVWUHQJWKWRSXOOKHUFRZHULQJKXVEDQGLQWRWKHOLJKWRIGD:KHQFRPSDUHGWRWKH

,ELG QGUHZ/DQJDQG-)RUGLOOXV7KH2OLYH)DLURRNVWHG&RORXUHG)DLU%RRNV/RQGRQ /RQJPDQVUHHQDQG&RKWWSDUFKLYHRUJGHWDLOVROLYHIDLUERRNODQJ

UDFLDOL]DWLRQRIQRQEuropean men in Ford’s illustration of the pitiful Bunyip men, he has taken

RQDGLIIHUHQWDSSURDFKLQKLVGHSLFWLRQRIWKHQRQ(XURSHDQZRPDQ7KH6DPEDLPDJHPD align with Lang’s previously discussed racial hierarchy in that he ranked matrilineal societies

ORZHUWKDQQRQZKLWHSDWULDUFKDORQHV:KLOHWKLVLVGHSHQGHQWXSRQYLHZLQJWKHLPDJHVIURP

Lang’s frame of reference, the editor and his LOOXVWUDWRUVZHUHQHYHUPHDQWWREHWKHRQOUHDGHU

YLHZHUV

2.7. The Pictorialization of Aladdin’s Racial Identities: Crane versus Ford

,ZDQWWRFRQFOXGHWKLVFKDSWHUEFRPSDULQJWKHUDFLDOL]DWLRQRIFKDUDFWHUVLQWKHODGGLQ

VWRULHVLQWKHLOOXVWUDWLRQVPDGHE:DOWHU&UDQHDQG-)RUG7KHUHLVDUHPDUNDEOHVLPLODULW between Crane’s ODGGLQDQGWKH:RQGHUIXO/DPS(1875) and Ford’s subsequent black and white illustrations for Andrew Lang’s 7KHUDELDQ1LJKWV(1898) for children. Recalling Crane’s

HDUOLHUHDXWDQGWKHHDVWand Ford’s later version, the similarities in the case of Aladdin suggest another example of Ford’s borrowing and adapting illustrations)RUH[DPSOHDEODFN

VNLQQHGPDJLFLDQZLWKDPLVVKDSHQERGDQGDEDVNHWRIODPSVIHDWXUHVin Crane’s toy book

ODGGLQand he reappears in Ford’s “Aladdin”—WKHYHUVLRQLQ7KHUDELDQ1LJKWVILJV

RZHYHUDscene where Aladdin’s mother and his black slaves submissively bow before the sultan’s WKURQH––the place of Aladdin’s future SRZHUDQGZHDOWK––is not part of Crane’s suite of

LPDJHVDQGonly appears in Lang and Ford’s compilation (fig. 46).

Once Crane’s schema for racializing heroism and villainy comes into view, these two

YHUVLRQVKLJKOLJKWWKHGLVWLQFWLRQEHWZHHQUDFLDOVHJUHJDWLRQDQGWKHSRVVLEOHFHOHEUDWLRQRI human unity. Walter Crane’VODGGLQLVDURPDQFHEHWZHHQDKHURDQGKHURLQHZKRWUDYHO

WKURXJKDVHTXHQFHRIEHDXWLIXO-DSDQHVHVWOHJDUGHQV2QKLVMRXUQHWRZDUGWKHSDODFHRQH

VFHQHIHDWXUHVODGGLQDVFRQGRWWLHUHDQLPDJHRIDPDQRQKRUVHDVVRFLDWHGZLWKFRXUWO conduct during the Renaissance). Aladdin’VHHVVXJJHVWDQVLDQYLVDJHDQGKHDOVRZHDUVD

URXQGHG.DVDDWUDGLWLRQDO-DSDQHVHKDWHURLFDOOWKHHOHJDQWILJXUHOHDGVKLVEODFN

VHUYDQWVWKURXJKWKHVWUHHWVWKHKDQGRXWWKHDEXQGDQWZHDOWKEURXJKWIRUWKEWKHODPSWRWKH

ZRUNLQJFODVVYLOODJHUVRIWKHIULFDQDQGVLDQZRUOGILJ7KLVLPDJHFRQQRWHVDNLQGRI

FODVVGHILQJcosmopolitanism, which accords with Crane’s FRPPLWPHQWWRWKHVRFLDOLVWPRWWR

“workers of the world unite.”

While Crane’s illustrations might in this sense be interpreted as a vision of global

HTXDOLWKLVODGGLQPDZHOOEHUHDGLQDQHJDWLYHOLJKWRQKRUVHEDFNODGGLQLVSRVLWLRQHGDV

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FRQIXVLRQRIDOOVLDQDQG0LGGOH(DVWHUQLGHQWLWLHVis disturbing by today’s standards of cultural

DZDUHQHVVBut are these illustrations from the artist who had depicted Beauty’s rescue of the

Beast merely an example of the white man’s vision of selfDJJUDQGL]HPHQWDQGFXOWXUDO

GRPLQDWLRQ"

It is much more interesting to read Crane’s illustrations as part of DQLQHWHHQWKFHQWXU

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RIUDFLDOL]HGFODVVKLHUDUFKLHV)RUH[DPSOHWKHZHDOWKJLYHQWRWKHSHRSOHRIWKHVWUHHWVPD

ZHOOEHUHDGDVDSDUDGHIRUWKHDEROLWLRQRIUDFLDOKLHUDUFKLHVWWKHYHUOHDVWUDFLDOL]DWLRQLQ

.REDDVKLQRWHVWKDWWH[WXDOOODGGLQLVPHDQWWREHD&KLQHVHEREXWWKDWWKHLOOXVWUDWLRQVVXJJHVW more of a Japanese feel. Kobayashi, “The Evolution of the Arabian Nights Illustrations,” 182. Walter Crane’s 6ROLGDULWRI/DERXUSULQWLVGHGLFDWHGto “The Workers of the World.” The image is featured on the front page of “News from Nowhere (chapt XVIL),” in 7KH&RPPRQZHDO6RFLDOLVW/HDJXH0D 2QHPLJKWDGGWKDWDOWKRXJKWKHUHLVVRPHUDFLDOPL[LQJWKHVDYLQJILJXUHLVOLJKWHUVNLQQHGZKLFKPLJKW OLJKWWRWKHLVVXHRIUDFLDOKLHUDUFKLHVEDVHGRQVNLQWRQH,QGHHGLWLVUDUHWRVHHXSSHUFODVVKHURHVDQGKHURLQHVRI EODFNFRPSOH[LRQLQ9LFWRULDQHUDIDLUWDOHERRNV

KLVLOOXVWUDWHGVWRULHVILOOHGZLWKYLOODLQVKHURHVKHURLQHVDQGVHUYDQWVVKRZVWKDW&UDQHGLGQRW

LGHDOL]HZKLWHUDFLDOVXSUHPDF&RXUWLHUVIURP&KLQD,QGLD6RXWKIULFD5XVVLDDQG%ULWDLQ fill the ball scene in Crane’s&LQGHUHOODWRERRNILJ7KHUHDUHWZRIRRWPHQLQKLV

)URJ3ULQFHRQHLVDODUJHPRXWKHGODXJKLQJEODFNPDQDQGWKHRWKHULVDSDOHVNLQQHG

JLJJOLQJUHGKHDGILJ,QRWKHUZRUGVVHUYDQWVFRXUWLHUVSULQFHVDQGSULQFHVVHVPDEH

IURP(XURSHDQGEHRQGAs exemplified by Crane’s OXHEHDUGKLVYLOODLQVDUHQRW

DOZDVEODFNPDOHDQLPDOLVWLFDQGGHFUHSLW

By contrast, Ford’s pictures for Lang’s “Aladdin” focus on the story about the acquLVLWLRQ of the lamp, the hero’s constant GHPDQGVIRUPRUHZHDOWKDQGKLVVWUXJJOHVZLWKWKH

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Lang’s text, the illustrations exalt in the oppression of Africans turned into slaves. The textual qualifiers of “Africanness,” “falseness,” and “wickedness” correspond with theSLFWXUHVRIWKH

EODFNVNLQQHGPDJLFLDQEURWKHUVFord appears to have readapted scenes from Crane’s ODGGLQ

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WULFNVWKHSDODFHJLUOLQWRH[FKDQJLQJWKHROGPDJLFODPSIRUDQHZRQHFord’sODVWLOOXVWUDWLRQLQ

WKHVWRUVKRZVWKHGHIHDWRIWKHVHFRQGPDJLFLDQILJODGGLQKDVVWDEEHGKLVULYDOZKRLQ

Ford’s version, now falls head first out of the window while, in the foreground, Aladdin KROGV

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:DOWHU&UDQH&LQGHUHOOD/RQGRQHRUJH5RXWOHGJH6RQV– KWWSPFJLOOZRUOGFDWRUJRFOF 7KHMX[WDSRVLWLRQEHWZHHQWKHWZRLVLQWHUHVWLQJVLQFHWKHIRROLVKQHVVRIWKHZKLWHFKDUDFWHUFRXOGVHUYHWR XQGHUFXWWKHUDFLDOVWHUHRWSLQJRIWKHEODFNPDQDQGUHQGHUERWKDVLPDJHVRIKXPRXURUEXIIRRQHU :DOWHU&UDQH7KH)URJ3ULQFH/RQGRQHRUJH5RXWOHGJHDQG6RQV– KWWSVDUFKLYHRUJGHWDLOVIURJSULQFH&UDQ :DOWHU&UDQHOXHEHDUG/RQGRQHRUJH5RXWOHGJH6RQV QGUHZ/DQJDQG-)RUGLOOXV7KHUDELDQ1LJKWV(QWHUWDLQPHQWV/RQGRQ/RQJPDQVUHHQ&R KWWSVDUFKLYHRUJGHWDLOVDUDELDQQLJKWVHQIRUGJRRJ ,ELG ,ELG

VXEVHUYLHQWVODYHVRUDVDWKUHDWWREHH[WHUPLQDWHGILJVDQG,QWKHHQGD personification of Africa’s blackness dies in the background and the new paleIDFHGSULQFH

UHLJQVVXSUHPHRYHUWKHUDEIDWKHULQlaw. In contrast, in Crane’s version the Orientalized hero

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FDQGLYHUWRUFRQILUPthe text’s take on FKDUDFWHUVLQWKHLUVRFLDOLQWHUDFWLRQVDGYHQWXUHVDQG

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LQHEEVDQGIORZV7KH9LFWRULDQHUDODXQFKHGWKHFDUHIXOOFUDIWHGSLFWXUHERRNLQWRZKDWLVQRZ

NQRZQDVWKHGolden Age of Children’s Literature (midQLQHWHHQWKFHQWXUWRWKHHQGRI:RUOG

:DU,7KHIDLUWDOHVWKDWEHFDPHSDUWRIWKLVJROGHQDJHRIYLVXDOOHQULFKHGERRNVZHUHWLHGWR

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FKLOGUHQDQGRWKHUZRUOGOIDLUODQGV7KHLUFROOHFWLYHFXOWXUDOYDOXHZDVQRWRQODSURGXFWRID

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LWVHOIWRZDUGVWKHDPXVHPHQWRIFKLOGUHQ,QGHHGWKHFUDIWVPDQVKLSRIIXOOSDJHLOOXVWUDWLRQVKDG much to offerŚ the nostalgic expression of childhood’s preciousness, a visual engagement with

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FKDSWHUEURXJKWXS'Rle’s illustrations for the fairy tales that John Ruskin and William P.

Thackeray wrote, as well as Tenniel’s now famous illustrations for Lewis Carroll’s Alice books.

%RWKWKHVHDUWLVWVDOVRZRUNHGLQWKHPDOHGRPLQDWHGQLFKHRIWKHVDWLULFDODQGKXPRURXV

PDJD]LQH7KHLOOXVWUDWRUVRISHULRGLFDOVVXFKDV7KH&RPLFOPDQDFN3XQFKDQG)XQZHUH

IXQGDPHQWDOWRWKHSURGXFWLRQRIZLGHOSRSXODUIDLUWDOHVWKDWIORXULVKHGLQWKH&KULVWPDVERRN markets from the 1820s into the twentieth century. The commonalities found in these illustrators’

contributions to children’s fairy tale books and politically conscious humoristic magazines, can be seen in the cartoonist’s style of exploiting the sketch sHTXHQFHVWRHPSKDVLVHYLVXDO

QDUUDWLYH—DFWLRQVDQGIDFLDOUHDFWLRQVEL]DUUHVFHQDULRVDQGFDULFDWXUHVRIDGXOWV

%FRQWUDVWLOOXVWUDWRUVwho aestheticized the “cute” category in the vein of John

Ruskin’s fairyland dream of little English girls, had deYHORSHGWKHLUQLFKHLQSXEOLVKLQJIRUWKH children’s book market. TheVHDUWLVWVPRVWRIZKRPZHUHZRPHQLQFOXGLQJWKHSUHYLRXVO

GLVFXVVHG0DULD/.LUNFUHDWHGLOOXVWUDWLRQVWKDWHPSKDVL]HGWKHLQIDQWLOHFKDUDFWHULVWLFVRIWKH

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QLQHWHHQWKFHQWXUZRPHQZULWHUVDVZHOODVLOOXVWUDWRUVFRQWLQXHGWRDVVHUWWKHLUDXWKRULWLQD

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DQGLOOXVWUDWRUV:KHQFRQVLGHULQJWKDWLOOXVWUDWLRQVHPHUJHGRXWRIQLFKHSXEOLVKLQJ

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,WFRXOGEHDUJXHGWKDWWKHVHZRPHQLOOXVWUDWRUVDOVRVHUYHGWRPDLQWDLQPDWULDUFKDODXWKRULWILJXUHVLQWKH domain of children’s literature. This resonates with the beginnings of the market for children’s literatureŚ women writers may have been inspired by critic, Sarah Trimmer (named Guardian of Children’s Literature), asserted the LPSRUWDQFHRIWKHLURSLQLRQVRQZKDWFKLOGUHQVKRXOGUHDG .QRHSIOPDFKHU9HQWXUHVLQWR&KLOGODQG

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LQIDQWLOL]HGERGPHQOLNH5XVNLQIRXQGUHIXJHLQFXWHIDQWDVODQGV:RPHQVFKRODUV––1JDL

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7KHUHVXOWLQJVDWLULFDOFDUWRRQVZHUHPDGHIRUDSXEOLFVSKHUHRIZRPHQDQGPHQDOLNH

7KHDWUHgoers who saw Shakespeare’s fairy play A Midsummer Night’s DreamDIDYRXULWH

DPRQJVWWKH9LFWRULDQVDQGEDOOHWVIHDWXULQJIDLUGDQFHUVIRUPHGDGXDOJHQGHUHGSXEOLF,Q

RWKHUZRUGVLWZRXOGEHVKRUWVLJKWHGWRDVVXPHWKDWVDORQJRHUVZKRVDZ-RVHSK1Rel Paton’s

SUL]HZLQQLQJIDLUODQGSDLQWLQJVDQGWKHUHDGHUVRIIDLUWDOHQRYHOVZHUHPHQDORQH,QWKH

QLQHWHHQWKFHQWXUZRPHQRIWHQIURPWKHULVLQJPLGGOHFODVVSODHGDYLWDOUROHLQWKH

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7KHFUXGHGLVWLQFWLRQEHWZHHQWKHHPRWLYHDQGIHPLQL]HGDOOXUHRIWKHFXWHDQGWKH

LQWHOOHFWXDODQGPDVFXOLQL]HGDSSHDORIWKHVDWLULFDOKDVDXVHLYHQWKDWPHQFRQWULEXWHGWRWKH children’s book market, this distinction between gendered domains of production informs my re

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For example, Wood’s discussion of popular theatre and ballet there is no indication that women were H[FOXGHG&KULVWRSKHU:RRG)DLULHVLQ9LFWRULDQUW6XIIRON:RRGEULGJHQWLTXH&ROOHFWRUV&OXE/LPLWHG Martyn Lyons, “New Readers in the Nineteenth CenturyŚ Women, Children, Workers,” in LVWRURI 5HDGLQJDQG:ULWLQJLQWKH:HVWHUQ:RUOGPKHUVW8QLYHUVLWRI0DVVDFKXVHWWV3UHVV–

PDVFXOLQHVRFLDOUHVSRQVLELOLWWKHSHGHVWDORIPRWKHUKRRGWKHGHVLUHIRUHVFDSHDQGWKHFKLOG

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FKLOGUHQ

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UWVDQG&UDIWV0RYHPHQWWKHXWRSLDQWHQGVWRZDUGVWKHEHDXWLIXOEXWUHVLVWVVWDEOH aestheticization. The socialism that drove Walter Crane’s overarching practice (wallpapers,

SROLWLFDOSRVWHUVSDLQWLQJDQGWRERRNVFRQQHFWVWRWKHUROHRIWKHXWRSLDQQRYHO6RFLDOLVW utopian literature satirizes the period’s present conditions, which include social inequality, unjust

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(GPXQG(YDQVDOVRthe printer of Doyle’s ,Q)DLUODQG) printed Walter Crane’s coloured toy books. As part of the commercial publishing industry, Evans’ toy books were

GHVLJQHGWRDWWUDFWDQGFKDUPPLGGOHFODVVEXHUVDQGZHUHWKXVPDUNHWHGWRPD[LPL]HVDOHV

Crane’s fairy tale contributions were marketed alongside Kate Greenaway’s cutesified girls in

(QJOLVKJDUGHQVDQG5DQGROSKCaldecott’s actionSDFNHGIRONWDOHV6WXGLHVRIWKHVHDUWLVWVDVD

WULDGknown as Evans’ triumvirate within the academic field of children’s literaWXUHKDYHGRQH little to highlight Crane’s urgent political message for social change. Instead, the political

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Despite isolating the public reception to each artist’s toy book, their work is still joined together as a FRKHVLYHXQLWLQ([DPSOHVLQFOXGHQQH/XQGLQ9LFWRULDQRULRQV7KH5HFHSWLRQRIWKH3LFWXUHRRNVRI

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H[SDQGLQJWKHVFRSHof the toy book’s relevance well beyond the child’s room, the illustrations, I

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:DOWHU&UDQH5DQGROSK&DOGHFRWWDQG.DWHUHHQDZD/DQKDP0DUODQG6FDUHFURZ3UHVV%DGHU American Picturebooks from Noah’s Ark to the Beast Within

KDSWHU7KHWH “Higgledy, piggledy, see how they run! Hopperty, popperty! what is the fun?” ––.DWHUHHQDZD )OXIISXSSLHVDQGNLWWHQVWKDWSODZLWKERXQGOHVVHQHUJDUHFXWHZLGHHHGLQIDQWVZLWK

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FKDUDFWHUL]HGEWKHLQIDQWLOHVDQDHVWKHWLFFDWHJRUWKDWWDNHVWKHIRUPRIWKHGLPLQXWLYH applied to creatures and inanimate objects, cuteness depends on the object’s childOLNH

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FUDIWHGWRERRN7KLVVXEchapter historicizes the convergence of the child’s body with the fairy’s corporeality, and this serves to address a tendency toward a protectLRQLVWUHVSRQVHWRWKH

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VRFLDOVFLHQFHV,QWKHV]RRORJLVWDnd ethologist Konrad Lorenz defined the ‘child schema’ as the set of visible characteristics associated with the infant. He argued that the infant’s cuteness

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Konrad Loren as cited inŚ Melanie L. Glocker et al., “Baby Schema in Infant Faces Induces Cuteness Perception and Motivation for Caretaking in Adults,” (WKRORJ)RUPHUOHLWVFKULIW)XU7LHUSVFKRORJLHQR –63ś Melanie L. Glocker et al., “Baby Schema Modulates the Brain Reward System in Nulliparous Women,” 3URFHHGLQJVRIWKH1DWLRQDOFDGHPRI6FLHQFHVRIWKH8QLWHG6WDWHVRIPHULFDQR –GRLKWWSG[GRLRUJSroxy3.library.mcgill.ca/10.1073/pnas.0811620106ś Jessika Golle et al., “Sweet Puppies and Cute BabiesŚ Perceptual Adaptation to Babyfacedness Transfers across Species.,” 3OR62QHQR HGRLKWWSG[GRLRUJSUR[OLEUDUPFJLOOFDMRXUQDOSRQH6SUHQJHOPHHU5HW al., “Cutest Little Baby FaceŚ A Hormonal Link to Sensitivity to Cuteness in Infant Faces,” 3VFKRORJLFDO6FLHQFH QR–

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VRFLDOEHKDYLRXULQFKLOGUHQZRPHQDQGPHQ6WXGLHVVKRZKRZFXWHQHVVDIIHFWVKRUPRQHVDV per Sprengelmeyer et al.’s 2009 study) and how cuWHQHVVWULJJHUVUHZDUGPHFKDQLVPVLQWKH brain (as per Glocker et al.’s 2009 studies). However, interdisciplinary scholar Joshua Paul Dale

ULJKWOSRLQWVWRDJDSEHWZHHQFXWHQHVVVWXGLHVWKDWGHPRQVWUDWHLPPHGLDWHELRORJLFDOHIIHFWV

DQGZKDWWKHUHVSRQVHVDFWXDOOPHDQIRUKXPDQEHKDYLRXU,Q“The Evolution of Cute Affect”

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Glocker et al., “Baby Schema in Infant Faces Induces Cuteness PerceptiRQDQG0RWLYDWLRQIRU&DUHWDNLQJ in Adults”ś Glocker et al., “Baby Schema Modulates the Brain Reward System in Nulliparous Women”ś Golle et al., “Sweet Puppies and Cute Babies”ś Sprengelmeyer R et al., “The Cutest Little Baby Face.” 6SUHQJHOPHHU5HWDO., “The Cutest Little Baby Face.” ,ELG Glocker et al., “Baby Schema in Infant Faces Induces Cuteness Perception and Motivation for Caretaking in Adults”ś Glocker et al., “Baby Schema Modulates the Brain Reward System in Nulliparous Women.” It should be noted that Paul Dale is skeptical of Lorenz’ research agenda. He notes how Lorenz’ research LVIRXQGDWLRQDOWRWKHVWXGRIFXWHQHVVDQGDOVRRXWOLQHVKLVDOOHJLDQFHWRWKH1D]LSDUWHVXJJHVWVWKDW/RUHQ] YLHZVRQFXWHQHVVSHUFHSWLRQDVDkind of human instinct are enough to make the ethologist’s research on geese and other birds suspect. Joshua Paul Dale, “The Appeal of the Cute ObjectŚ Desire, Domestication, and Agency,” in 7KH HVWKHWLFVDQGIIHFWVRI&XWHQHVVE-RFHRJJLQHWDO1HZRUN5RXWOHGJH

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(as per Dale’s study),WRWKHSHUFHSWLRQRIWKHFXWHDQGWKHUHVSRQVHVWKDWWKHVHSHUFHSWLRQV

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HYROXWLRQDUELRORJLVWshowed how the growth of Mickey Mouse’s appeal corresponded to his

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(QOLJKWHQPHQWWKLVEUDQFKRISKLORVRSKKDVORQJEHHQRFFXSLHGZLWKWKHJUDQGHXURIWKH sublime and the truthfulness of the beautiful for their “theological and moral resonances.”7KH

,ELG Mark J. Estren, “The Neoteny BarrierŚ Seeking Respect for the NonCute,” -RXUQDORIQLPDO(WKLFV QR–GRLMDQLPDOHWKLFV UWLVWVVXFKDV0DUN'LRQKDYHQRQHWKHOHVVUHFFOHGFXWVLILHGSOXVKWRDQLPDOVLQDUWZRUNVWKDW FRPPHQWRQWKHHQYLURQPHQWDOHWKLFVRIFRQVXPLQJWUDQVSODQWLQJDQGGLVFDUGLQJIORUDDQGIDXQD6HH'LRQ0DUN :KHHOEDUURZRI3URJUHVV7RVWXIIHGDQLPDOVZKLWHHQDPHORQUHGVWHHOZRRGDQGUXEEHUZKHHOEDUURZ Stephen Jay Gould, “A Biological Homage to Mickey Mouse,” in The Panda’s Thumb: More Reflections LQ1DWXUDOLVWRU1HZRUN::1RUWRQ&R– 6LDQQH1JDL2XUHVWKHWLF&DWHJRULHVDQ&XWH,QWHUHVWLQJ&DPEULGJH0DVVDUYDUG8QLYHUVLW 3UHVV

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“merely” interesting, the “insignificance” of cuteness, the “ineffectiveness” of zaniness have become pervasive in a “hyperaesthetizied” world.0RUHWKDQWKH]DQZRUNRIH[DJJHUDWHG

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,QFUHDVLQJOKXPDQLWLHVVFKRODUVHVSHFLDOOFULWLFVRIDUWDQGFXOWXUHKDYHEHFRPHUHVLVWDQWWRDHVWKHWLF judgments, which presupposes the “extraaesthetic” or godly basis for the elevated status of select artworks ovHU RWKHUVFXOWXUDOSURGXFWV7KHEHDXWLIXODQGWKHVXEOLPHDUHIXUWKHUPRUHUHFHLYLQJOHVVDQGOHVVDWWHQWLRQLQDUWDQG OLWHUDUFULWLFLVP,ELG ,ELG 7KH]DQKDVLWVURRWVLQWKHVHUYDQWFKDUDFWHUDQQLZKRDSSHDUVLQWKHVL[WHHQWKFHQWXU&RPHGLD del’Arte7KHLQWHUHVWLQJKDVURRWVLQDVWOHRISRHWUNQRZQDVGDV,QWHUHVDQWHZKHUHE5RPDQWLFLURQLVWVRIWKH ODWHHLJKWHHQWKDQGHDUOQLQHWHHQWKFHQWXULHVZHUHLQWHUHVWHGLQDQDHVWKHWLFWKDWFRXOGEHPRUHGLVFXUVLYHWKDQWKH beautiful. The cute appears to be a far more recent category, which coincides with “a crucial midFHQWXUVKLIWLQWKH public conception of the domestic realm.” Ibid., 14, 15. For example, the zany abounds in performances of “desperate labouring”Ś it encDSVXODWHVDPULDGRIRYHU WKHWRSZRUNUHODWHGJHVWXUHVZKLFKFRXOGOHDGYDULRXVFKDUDFWHUVVXFKDV/XFIURPWKHVPHULFDQVLWFRP, /RYH/XFWRVHOILQIOLFWHGSKVLFDOKDUP1JDLIRULQVWDQFHUHIHUVWRWKHVFHQHZKHUH/XFIUDQWLFDOODWWHPSWVWR NHHSXSZLWKKHUWDVNRISDFNDJLQJFKRFRODWHVDVWKHFRQYHRUEHOWLQFUHDVHVLWVVSHHGVWKHFRQYHRUEHOWVSHHGV XS/XFLVIRUFHWRTXLFNOVZDOORZYDVWTXDQWLWLHVRIFKRFRODWHLQRUGHUWRNHHSXSWKHDSSHDUDQFHRIHIILFLHQWZRUN 7KLVLWVHOILVDUeference to Charlie Chaplin’s 0RGHUQ7LPHVSDURGLQJ)RUGLVWZRUNSUDFWLFHVDQGLQGXVWULDOL]HG ODERXU,ELG ,ELG

conceptual art of the 1960s and 1970s, I am interested in Ngai’s take on the cute as an aesthetic

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In her chapter “The Cuteness of the AvantGarde” Ngai views the cute as a twisted

“commodity aesthetic.” Cuteness fosters theperception of the commodity’s power to speak to consumers as though “the commodity itself” could be OLNHQHGWRLQWHUFKDQJHDEOHIHPDOH

FKDUDFWHUVHDFKRIZKRPDUHPRPHQWDULOVH[XDOOGHVLUHGOWHUQDWLYHOFXWHQHVVUHVSRQGV as though it were an irresistible infant who might say something like “pick me up, I am yours” to

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7KHFRPPRGLWDHVWKHWLFRIFXWHQHVVLVWKXVDNLQGRIFRPPRGLWIHWLVKLVPEXWZLWKDQ extra twist. For while Marx’s account emphasizes WKHSKDQWDVPDWLFLQWHUFRXUVHRI commodities with other commodities […] cuteness resolves around the fantasy of a commodity addressing the “guardian” in the oneRQRQHLQWLPDWHPDQQHUDVVRFLDWHGZLWK OULFSRHWU7KHFXWHFRPPRGLWIODWWHULQJOVHHPVWRZDQWXVDQGRQOXVDVLWV PRPP By referring to “us as its mommy,” Ngai is building from Lori Merish’s (1996) argument that the

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Karl Marx does not exactly use the word “cute.” Ngai, however, suggests that Marx is picking up on how WKHUHis something “indecently ‘cute’ about the commodity itself.” She cites Marx’s likening to the commodity good as the “sexually interchangeable characters in 'RQ4XLRWH7KLVLVDQLQVWDQFHZKHUH0DU[LVUHIHUULQJWR “commodity fetishisms’ personification of the commodity.” Ibid., 60 ,ELG Lori Merish, “Cuteness and Commodity AestheticsŚ Tom Thumb and Shirley Temple,” in )UHDNHU &XOWXUDO6SHFWDFOHVRIWKH(WUDRUGLQDURGHG5RVHPDULHDUODQG7KRPVRQ1HZRUN1HZRUN8QLYHUVLW 3UHVV–

&XWHQHVVHQFRPSDVVHVPRUHWKDQWKHSRVLWLYHLPSXOVLYHIHHOLQJVWRZDUGV“the ‘unformed’

ORRNRILQIDQWV,” “the amorphous and bloblike”WRVDQGWKHZREEOHRIZRPHQLQKLJKKHDOV

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7KHWKHRUL]DWLRQRIWKHFXWHVSHFLILFDOOLQDFRPPRGLWFRQWH[WXOWLPDWHOspurs Ngai’s

DQWLFDSLWDOLVWUHSXOVLRQWRFRQVXPHUJRRGVFor Ngai, “our empathy” toward commodified objects can quickly transform into an “aversion” to their transitioned forms as “gelatinous matter,” “sperm,” “infant goo,” “toy shit,” and even “poo.”7KLVOLQNEHWZHHQDQWLFDSLWDOLVW

FULWLTXHDQGWKHPRGHUQWRLQGXVWULVVSHOWRXWLQPRGHUQpoetry’s emphasis on “toy shit” (as per Edison’s 7KH7R0DNHUDQGcontemporary art’s attack on PHULFDQFDSLWDOLVPYLD

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1JDL2XUHVWKHWLF&DWHJRULHV,ELG 1JDLGHVFULEHVKRZVRPHRIWKHVHIHWLVKJDUPHQWVEHFRPHPRWLIVLQSRHWDUUHWWH0XOOHQ’s Trimmings and Gertrude Stein’s 7HQGHUXWWRQV,ELG ,ELG– 7KHWUDQVLWLRQed form is described by Karl Marx as “gelatinous matter,” by Gertrude Stein as “infant goo,” and “S*PeRM**K*T” by Russell Edson as “toy shit,” and by Ngai as “poo.” ,ELG 0RGHUQpoets to engage with the cute in Ngai’s study include Robert CrHHOHHUWUXGH6WHLQ DQG5XVVHOO(GVRQ3RSDUWLVWVWRHQJDJHZLWKWKH-DSDQHVHYDULDWLRQRIFXWHQHVVNDZDLL LQFOXGHRVKLWRPR1DUDDQG7DNDVKL0XUDNDPL,ELGDQG ,ELG––

While working with Ngai’s pivotal contribution WRVWXGLHVRIFXWHQHVVPLQRUDHVWKHWLF

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ZLWKWKHFRQGLWLRQVRIODWHFDSLWDOLVPWKDQZLWKWKHQXUWXULQJSRVVLELOLWLHVZLWKLQKXPDQ behaviour. Scientific studies stand to contrast with her ambivalent analysis of “mommylike”

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7KHLQVLJKWVIURPVHYHUDOVFKRODUVDOORZPHWRDGGress the significance of the child’s

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FRQFHUQHGZLWKFRQWHPSRUDUUDWKHUWKDQKLVWRULFDOPDQLIHVWDWLRQVRIFXWHQHVVVKHQRQHWKHOHVV suggests that the word “cute” emHUJHGDVDVWOLVWLFGHVFULSWRULQPHULFDQQHZVSDSHUVRIFKLOG

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HVSHFLDOOLQWKHPRGHUQWRLQGXVWU%RWK1JDLDQG0HULVKSRLQWWRWKHHQGRIWKHFHQWXUDV the point at which cuteness “achieved mass cultural expression” in the transformation of the

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ZRPHQDQGFKLOGUHQI show how the cutsification of the body began prior to Ngai’s analysis of

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VWKHPLGGOHFODVVSURVSHUHGFKLOGKRRGEHFDPHLQFUHDVLQJOVHHQDVDVSHFLDOOLIHVWDJHZRUWK

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1JDLDGGLWLRQDOOSRLQWVWRWKHGHYHORSPHQWRIPRGHUQHUPDQWRPDQXIDFWXUHUVGUDZLQJRQ:DOWHU %HQMDPLQDQGPHFKDQLFDOFKLOGOLNHGROOVGHVLJQHGEPHULFDQPDQXIDFWXUHUVLQWKHVFLWLQJDVSHFLILFDGLQ DQPHULFDQQHZVSDSHU0RUHJHQHUDOOVKHUHIHUHQFHVWKHSOXVKWRVDQGFXWVLILHGPHUFKDQGLVHWKDWEHFDPH SRSXODULQ-DSDQDIWHU::,,ZKLFKLQWXUQVXSSRUWVKHUDQDOVLVRIFRQWHPSRUDU-DSDQHVHSRSDUW,ELG While arguing that cuteness had achieved “mass cultural expression” LQFRPHGLFVSHFWDFOHVQHDUWKHHQG RIWKHQLQHWHHQWKFHQWXU/RUL0HULVKDGGLWLRQDOOVXJJHVWVWKDWDFXWHFRPPHUFLDOVWOHHQWHUHGWKHGLVWLQFWO feminine consumer sphere earlier in the century. Ngai describes this phenomenon as a “bastion of commercialism.” Ibid., 15ś Merish, “Cuteness and Commodity Aesthetics,” 194. Heymans does not mention any specific painters’ names when he makes this assertion. He does however suggest that these paintings are from the Victorian era. Peter Heymans, “Cute and the Cruel,” in QLPDOLWLQULWLVK 5RPDQWLFLVP7KHHVWKHWLFVRI6SHFLHV1HZRUN5RXWOHGJH (YDQV5HPLQLVFHQFHVRI(GPXQG(YDQVY–

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“Cute, Adj.,” 2('2QOLQH2[IRUG8QLYHUVLW3UHVVDFFHVVHG6HSWHPEHU KWWSZZZRHGFRPSUR[OLEUDUPFJLOOFDYLHZ(QWU"UVNH N-VYKUHVXOW ,ELG &XWHVLILVQRWHWLQWKH2[IRUG(QJOLVK'LFWLRQDU2('EXWLVSUHVHQWHGDVDFRPPRQOXVHGZRUGRQ PXOWLSOHRQOLQHGLFWLRQDULHV&XWHVLVKRZHYHUDZRUGLQWKH2('0HDQZKLOHRogle trends’ 1JUDP9LHZHU illustrates the increasing use of “cute” and “cutesy.” Ibid.ś “Cutsey,” RRJOH1JUDP9LHZHUDFFHVVHG6HSWHPEHU KWWSVERRNVJRRJOHFRPQJUDPVJUDSK"FRQWHQW &XWHVHDUBVWDUW HDUBHQG FRUSXV VPR RWKLQJ VKDUe=&direct_url=t1%3B%2CCutesy%3B%2Cc0ś “Cute,” RRJOH1JUDP9LHZHUDFFHVVHG6HSWHPEHU KWWSVERRNVJRRJOHFRPQJUDPVJUDSK"FRQWHQW FXWHHDUBVWDUW HDUBHQG FRUSXV VPR RWKLQJ VKDUH GLUHFWBXUO W%&FXWH%&F

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QLQHWHHQWKFHQWXUSULQWFXOWXUHZKLFKIHGDJURZLQJDSSHWLWHIRUWKHFXWH

QQHLJRQQHWDGGUHVVHVPDQRIWKHVHERGLHVLQ3LFWXUHVRI,QQRFHQFH7KLVILUVW major art historical study to create a typology of the child’s body traces the representation of the

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QHIDULRXVIDQWDVGHQWKHSUREOHPRIWKHSHGRSKLOLFJD]HDQGUHIXWHWKHUHDOLWWKDWFKLOGUHQ are more sexually aware than many of today’s adults would like to admit. To this effect,

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IURPWKLVLPSRUWDQWVWXGLWVKRXOGEHPHQWLRQHGthat Higonnet does not use the term “cute,” nor does she discuss the fairy as a specific way of representing the child’s body.

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LJRQQHW3LFWXUHVRI,QQRFHQFHLJRQQHWEXLOGVKHUFRQFHSWXDOIUDPHZRUNIRUWKHFRQFHSWRI “innocence” on the work of James Kincaid, which in turn likely stems from the work of Neil Postman. James R. .LQFDLG&KLOG/RYLQJ7KH(URWLF&KLOGDQG9LFWRULDQ&XOWXUH1HZRUN5RXWOHGJH1HLO3RVWPDQ7KH 'LVDSSHDUDQFHRI&KLOGKRRG1HZRUN'HODFRUWH3UHVV LJRQQHW3LFWXUHVRI,QQRFHQFH–

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Higonnet’s conceptual framHZRUNIRUWKH5RPDQWLFFKLOGLVUHPLQLVFHQWRI5XVNLQDQGWKH

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VHFXODUL]DWLRQRIWKHFXOWRIPRWKHUDQGFKLOG,WKLJKOLJKWVWKHSHUFHLYHURIWKHFXWHDQGKHU objectś but the maternal body frames and protects the child, and restrains the external viewer’s

,ELG In Chapter 2, I referred to Northcote’s portrait of young Ruskin. LJRQQHW3LFWXUHVRI,QQRFHQFH–

unmitigated consumption of the child’s cuteness. Anticipating thHHYHUJURZLQJGHVLUHIRUWKH

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––SDLQWLQJWKHDWUHDQGOLWHUDWXUH––to the domain of children’s literature. The fairy PucNVWDQGV

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As an essential part of the fairy’s visual evolution, William Shakespeare’s plays became a

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Oberon’smischievous underling named Puck, and Titania’s entourage of helpmates. )XVHOLDQG

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WDQGHPZLWKDOHVVHQLQJLQWHUHVWIURPZRPHQZULWHUVDQGYLHZHUV6KHDUJXHVWKDWFuseli’s

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UDWLRQDOLVPDQGUHVSRQVLELOLW%HFDXVHFODVVLFDOSURSRUWLRQVZHUHWKRXJKWWRHPERG masculine rationality during the Enlightenment, Bown’s interpreWDWLRQUHOLHVRQWKH disproportionality of Fuseli’s figures. She relatesKLVGHILDQFHRIWKHLGHDOOSURSRUWLRQHGPDOH body to the critique of reason’s tyranny over the passions.

For Bown, an understanding of women’s lessened interest in fantasy entails vLHZLQJ

Fuseli’s paintings in light of Mary Wollstonecraft’s writings, including her novels, and the

SRHPVEKHUFRQWHPSRUDULHV0DU5RELQVRQDQGHVWHU7KUDOH3LR]]LZKRZURWHDERXWWKH deathly ramifications of a life led by fancy’s “airy wings”RISOHDVXUH)ROORZLQJIDQWDVWRLWV

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7KHJHQGHULQJLQBown’s study highlights the importance of adults as primary viewersRI

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Romantic artist Fuseli’s attack on unfettered rationality, and more toGRZLWKKRZIDLUODQGFRXOG

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RIIDLULHVDVVKHVXJJHVWV2QWKHRQHKDQG%RZQKDVSURGXFWLYHOVHWDVLGHWKHIDLURI children’s literature, yet, on the other, this immediately limits how the fairy character would have

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apt at appreciating the cuteness factor in Joshua Reynolds’ 3XFNILJ7KHIDLU

GHSLFWHGLVDVHHPLQJOFXWHSXGJDQGQDNHGLQIDQWVHWDPRQJIORZHUVOWKRXJKKHLVWKHVO cause of Titania’s seduction EDGRQNHPDQKHUHOLWWOH3XFNZREEOHVRQDPXVKURRPVPLOHV and perhaps delights in what has occurred in the forest behind himŚ the limp limbs of Titania’s

SRVWFRLWDOERGFDQEHVHHQLQWKHGLVWDQFH7KHHPRWLYHDSpeal of Puck’s cute infant body and

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7KHPDOHIDLUUHappears in Romantic painter Henry Fuseli’s 3XFNFDVD

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SDLQWLQJV7LWDQLDDQGRWWRPFDQGTitania’s AwakeningF,QERWKSDLQWLQJV

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ZKHWKHUIDQWDVHPSRZHUVWKHIDLULHVZKRLHOGDXWKRULWRYHUVSDFHDQGWLPHRUZKHWKHU3XFN and Titania’ irrationality and childOLNHVL]HGLVHPSRZHUVWKHP

%RZQPHQWLRQV5HQROGVEXWIRFXVHVRQ)XVHOL,ELG FFRUGLQJWR%RZQWKHZKHUHDERXWVRIWKLVSDUWLFXODUSXFNSDLQWLQJDUHXQNQRZQ,ELG Bown notes how the figure is antithetical to the Vitruvian man. She also comments on his “African face,” ZKLFK,GRQRWTXLWHVHHDVZHOODVKLVEDWOLNHZLQJV,ELG ,ELG–

,WLVZRUWKDVNLQJRQFHDJDLQKRZZRPHQRIWKLVSHULRGZRXOGKDYHXQGHUVWRRGWKHVH

IDQWDVscapes. Mary Wollstonecraft’s 9LQGLFDWLRQRIWKH5LJKWVRI:RPHQPDSURYLGH

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H[DFWWLPHWKDWFuseli’s SDLQWLQJVZHUHPDGHDWZKLFKSRLQWKHZDVKHUORYHU3HWHUHPDQVLQ his reflections on the roots of cuteness’ aestheticization, refers to VXFKURPDQWLFSDLQWLQJVH cites Wollstonecraft’s treatise onZRPHQUHODWLQJLWWRWKHEHDXWRIZRPHQDQGWKHLUWKRXJKWV

RQGLVHPSRZHUPHQWHeymans uses the term “cute” and relates it to Wollstonecraft’s passage in which she laments how women’s “strength of body and mind are sacrificed to libertine notions

RIEHauty.”:ROOVWRQHFUDIWUHODWHVWKHIHHOLQJRILQFDUFHUDWLRQLQWKHIHPDOHERGWRWKH

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Directly addressing Fuseli’s paintings, BoZQVXJJHVWVWKDWVLQFH:ROOVWRQHFUDIWZDUQHGDJDLQVW

VXFFXPELQJWRWKHSDVVLRQVLWLVXQOLNHOWKDWshe would have appreciated Fuseli’s painted

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Heymans, “Cute and the Cruel,” 112. ,ELG %RZQ)DLULHVLQ1LQHWHHQWK&HQWXUUWDQG/LWHUDWXUH

Ethel E. Dell painted a unique version of Titania’V%RZHUWLWOHGTitania’s Moonlit Bower

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NQHHOLQJand seated poses. Dell’s abundant nudity decutesifies a subject that had long occupied

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IDLUODQG,QWKHVEXWWHUIOZLQJHGIDLULHVEHJDQWRDSSHDULQDIORXULVKLQJPDUNHWRI paintings that continued to reference Shakespeare’s A Midsummer Night’s 'UHDPEXWWKDWDOVR

LQFOXGHGQHZWH[WXDOsources, such as Keightley’s 7KH)DLU0WKRORJDQG7KRPDV

Moore’s ,ULVK0HORGLHV0DQRIWKHVHSDLQWLQJVIRXQGDPLGGOHFODVVYLHZHUVKLSDQG

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Edward Hopley’s 3XFNZLWKD0RWKFVKRZVDIOHVKLQIDQWZKRWDNHVJUHDWSOHDVXUHLQ

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Fitzgerald’VSDLQWLQJVHPSKDVL]HWKHFUXHOWLHVRIPDOHIDLULHVWRZDUGVDQLPDOVDQGIHPDOHIDLULHV in one of Dadd’s paintings, descending batwings eerily encroach upon Titania’s exposed pearly

ZKLWHIOHVKIn this vein, Richard Doyle’s illustrations for ,Q)DLUODQGZKLFKFRQWDLQV

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Dadd’s nightmarish fairy paintings, the difference being that Doyle’s illustrations form part of a

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RI2EHURQDQG7LWDQLDVKRZVShakespeare’s quarrelsome fairy queen and king

VXUURXQGHGEQDNHGEXWWHUIOZLQJHGKHOSPDWHVZKRIUROLFLQDYDULHWRIVH[XDOSRVHVWKURXJK

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HQWLFLQJIHPDOHQXGHVPDZHOOSULYLOHJHWKHPDOHYLHZHU—giving credence to Bown’s claim—

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PVWLFDOIDLULHVZRXOGVXUHOKDYHFDSWLYDWHGZRPHQDQGJLUOVDVZHOO1HVWOHGLQWRWLJKW

FRUVHWVFDJHGLQFULQROLQHDQGIORXQFHGLQIDEULFVZRPHQRIWKHSHULRGPDDOVRKDYH appreciated the free play of these unclothed beauties. Furthermore, the painting’s attention to

,ELG )RUPRUHRQ'DGGDQG)LW]JHUDOGVHH,ELG–DQG– Silver briefly mentions the scene “Triumphal March of the ElfKing” from Doyle’s books. And she sees a “Hitchcockian battle between elves and crows” in it. Silver, 6WUDQJHDQG6HFUHW3HRSOHV– Joseph Noel Paton’s 7KH4XDUUHORI2EHURQDQG7LWDQLDDQGKLV7KH5HFRQFLOLDWLRQRI2EHURQDQG 7LWDQLDDUHUHODWHGSDLQWLQJV %RZQ)DLULHVLQ1LQHWHHQWK&HQWXUUWDQG/LWHUDWXUH–

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EHFRPHSURIHVVLRQDOVZKRZHUHHFRQRPLFDOODQGHYHQLQWHOOHFWXDOOLQGHSHQGHQWIURPIDWKHUV husbands, and sons. Related to the accuracy given to plant life in Joseph Noel Paton’s paintings,

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%XFNOHVXJJHVWVWRKHUFKLOGUHDGHUVWKDWWKHLUDSSUHFLDWLRQIRUIDLUPDJLFIRXQGLQ instances of nature’s transformations—VXFKDVWKHWKRUQVKUXEVWKDWWKLFNHQRYHUQLJKWLQ

“Sleeping Beauty”—FDQVXSSRUWWKHVHQVHRIZRQGHUPHQWLQVFLHQWLILFGLVFRYHU7KH

IDLUODQGLQWKHUHDOZRUOGDSSHDUVZKHQWKHFKLOGRSHQVKHUHHVWRZKDWWKHIRUFHVRIQDWXUH have done. In Buckley’s metaphorical language, fairies represent these forces, even when they do not figure in Cooper’s pictures. Rather, the images are a combination of scientific diagrams,

7KHUHZDVDJURZLQJLQWHUHVWDPRQJVWZRPHQLQWKH9LFWRULDQHUDLQVFLHQWLILFERRNVDQGERWDQLFDO LOOXVWUDWLRQVIRUFKLOGUHQ6KWHLU&XOWLYDWLQJ:RPHQ&XOWLYDWLQJ6FLHQFH UDEHOOD%%XFNOHDQG-&RRSHULOOXV7KH)DLU/DQGRI6FLHQFH/RQGRQ(6WDQIRUGYL KWWSDUFKLYHRUJGHWDLOVIDLUODQGVFLHQFHEXFNLDOD ,ELG–

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FRDVWDOVWRUPVVXQOLWEHDFKHVLFHILOOHGFDYHUQVZDWHUIDOOVDQGYDOOHV7KHLOOXVWUDWLRQVVXSSRUW the author’s message that the real world is filled with twice the wonGHURIWKHZRUOGVIRXQGLQ

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RZHYHULWVKRXOGEHHPSKDVL]HGWKDWZKLOHWKHDHVWKHWLFL]DWLRQRIFXWHQHVVSUROLIHUDWHGZLWKLQ select books on the children’s book market, adults continued to be readerYLHZHUVRISDLQWHG

LOOXVWUDWHGDQGVWDJHGIDLUODQGV7KHIROORZLQJWDNHVDFORVHUORRNDWWKHFXWHVLILFDWLRQRIWKH child and Greenaway’s impact on fairyland illustration.

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HQWUHSUHQHXUDQGSULQWHU(GPXQG(YDQV–GHYHORSHGDFKURPROLWKRJUDSKLFSULQWLQJ press that “revolutionized the field of children’s books.”:LWKWKHLQFHQWLYHWRLPSURYHWKH

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UHHQDZDDQG5DQGROSK&DOGHFRWW—HVWDEOLVKHGWKHLPSRUWDQFHRIFRORXUHGSLFWXUHERRNVLQ

WKH“Golden Age of Children’s Literature.”7KHWULDGRIDUWLVWVUHVSRQVLEOHIRULOOXVWUDWLQJIXOO

Gordon Norton Ray, “Edmund Evans,” in 7KH,OOXVWUDWRUDQGWKHRRNLQ(QJODQGIURPWR 1HZRUN'RYHU3XEOLFDWLRQV HRIIUH:DNHPDQ9LFWRULDQRRN,OOXVWUDWLRQ7KH7HFKQLFDO5HYROXWLRQ6RXWK'HYRQ'DYLG &KDUOHV1HZWRQEERW–(YDQV5HPLQLVFHQFHVRI(GPXQG(YDQV[YLL[YLLL/XQGLQ9LFWRULDQ

FRORXUHGWRERRNVDOVRFUHDWHGABCs, nursery rhymes, Aesop’s fables, birthday books and

IDLUWDOHERRNVWKHVHEHFDPHZLGHOGLVVHPLQDWHGJLIWLWHPVZKHQPDGHDYDLODEOHIRUSHQFH

HDFK

5HYLHZHUVZLWKLQWKHSHULRGZHUHHQWKUDOOHGEWKHQRYHOWRIWKHERRNV7KHXVHG words like “pretty,” “charming,” “dainty,” and “homely,” which is to say DOOWKHQLQHWHHQWK century British equivalents for the term “cute.” 6RPHYLHZHGWKHFRORXUHGVWUDZEHUULHV

IORZHUVDQGEDELHVDVSOXPSHUDQGPRUHOXVFLRXVWKDQWKHLUUHDOOLIHFRXQWHUSDUWV7KHTXDVL

HGLELOLWRIWKHVHLOOXVWUDWLRQVRIIHUHGWKHDGXOWWKHRSSRUWXQLWWRHQMRWKHLPDJHVDQGEXWKHLU children “the prettiest pictures imaginable.”:KHQFRQVLGHULQJWKHZLVKIXOILOPHQWWKDWWKHVH

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Crane’s ongoing collaboration with(YDQVKLVHDUOFRORXUHGWRERRNVHVWDEOLVKHGWKHGHSLFWLRQ of the pudgy baby. Crane’s Baby’s OperaRSHQVZLWKDQLPDJHRIWKHZLVHLQIDQWKH

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SURGXFLQJBaby’s Bouquet(1878), Crane disappointed his publisher and public who “clamoured

RULRQV–9ś Susina, “Children’s LiteratureŚ Facts, Information, Pictures”ś “Golden Age of Children’s Illustrated Books.” /XQGLQ9LFWRULDQRULRQV– ,ELG ,ELG %WKHWLPHRIWKLVIORXULVKLQJWRERRNPDUNHWD/RFNHDQFRQFHSWRIFKLOGKRRGKDGORQJEHHQ established. It posited that a reader’s behaviour could be moulded by what they read.

for more babies and music.”HGLGQRWFRQWLQXHZLWKLPDJHURIVHOIDZDUHLQIDQWV,KDYH previously mentioned that it is common to view Evans’ triumvirate, which includHV&UDQH.DWH

UHHQDZDand Randolph Caldecott, as a cohesive unit. However, Crane’s subsequent

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Caldecott’s contribution most resembles the style found in saWLULFDOLOOXVWUDWLRQV0HDQZKLOHLWLV

Greenaway’s images that appear most suited to the idea of children in harmless fairylands.

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LQWHOOHFWXDOPDWXUDWLRQZKHQFRPSDUHGWRKRZLQIDQWVFKLOGUHQDQGDGXOWVILJXUHLQ&DOGHFRWW and Crane’s characters. Her imagery represents a Ruskinian concept of ideal childhood, which

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Greenaway’V8QGHUWKH:LQGRZ3LFWXUHVDQG5KPHVIRU&KLOGUHQVWHGLV

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EHHQKHUOLYHGROOVUHHQDZDGHVLJQHGWKHFORWKLQJWKDWVKHKDGWKHGDXJKWHUVRIKHUIULHQGV

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VKRZDQambition of finding a life partner with whom to face the world’s difficulties.

/XQGLQ9LFWRULDQRULRQV &UDQHZKRVXEVHTXHQWODWWHPSWHGWRGLVWDQFHKLPVHOIIURPUHHQDZDUHFRJQL]HGWKLVQHZFODVVRI books. Walter Crane, “Toy Books,” in 7KH'HFRUDWLYH,OOXVWUDWLRQRIRRNV2OGDQG1HZUGHG/RQGRQ &KLVZLFN3UHVVKWWSZZZJXWHQEHUJRUJILOHVKKKWP

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Greenaway’s work, however, accentuates the characteristics of cutenessLQPOWLSOHDV

Greenaway’s rendering of the faces and bodies downplays the sexuality of her child models and

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IROORWKHJHHVH(DFKDFWLRQDFFRPSDQLHVWKHWWHUDQFHRILQIDQWLOHYHUVHV“Higgledy, piggledy, see how they run! Hopperty, popperty!?”,OOVWUDWLRQVDFFHQWDWHFWHQHVVWKURJKWKH tameness of the child’s body, the docility of country animals, the wellRUGHUHGJDUGHQVWKDW

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7KHVXFFHVVRIWKHUHHQDZDSURGXFWHQDEOHGWKHDHVWKHWLFL]DWLRQRIFXWHQHVVWRVSUHDG through print culture from postcards to illustrated children’VERRNVPDJD]LQHVWKDWDGYHUWL]HG children’s books, toys, soap and GreenawayVWOHGFORWKHV0DVVFLUFXODWLRQRIWKLVVRFDOOHG

URPDQWLFLPDJHUUHODWHVWRWKHFUXFLDOSRLQWRQUHHQDZDWKDWLJRQQHWPDNHVDVWKHDUW historian statesŚ “Greenaway was able to remodel the image of the child’s body so effectively because her style lent itself not only to printing, but also to easy reproduction.”7KLV

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8QGHUWKH:LQGRZWKHWRbook that launched Greenaway’s career.UHHQDZDDOVREHFDPH

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1JDLFRQQects short poems with “babbling” words with the cute. Ngai, 2XUHVWKHWLF&DWHJRULHV– UHHQDZD8QGHUWKH:LQGRZ3LFWXUHV5KPHVIRU&KLOGUHQ The Queen Anne house, which features in Greenaway’s illustrations for 8QGHUWKH:LQGRZLVDWHVWDPHQW WRKHUSURIHVVLRQDOVXFFHVVDVDZRPDQLOOXVWUDWRUZRUNLQJLQWKHQLQHWHHQWKFHQWXU LJRQQHW3LFWXUHVRI,QQRFHQFH 7KHILUVWDQGVHFRQGHGLWLRQVRI8QGHUWKH:LQGRZVROGFRSLHV/XQGLQ9LFWRULDQRULRQV

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ZLWKEORVVRPLQJDSSOHWUHHVHYHQDIWHUWKHFDOORIGHDWKIllustrations from Greenway’s popular

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FXWHVLfied girls, sanctioned or otherwise, on merchandiseŚ “tea towels, embroidery kits, china

ILJXULQHVZDOOSDSHUVWDWLRQHUGROOVGRLOLHVVRDSV”The commercial success of Greenaway’s

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QH[WQHZWKLQJLQWKHV,WLVVXUSULVLQJWRGLVFRYHUWKDWUHHQDZDZDVRQHRIWKHHDUO illustrators of children’s books to tame the fairy boy. Greenaway scholars do not typically

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WUDQVIRUPDWLRQRIWKHIDLUFKLOGLQSULQWFXOWXUH)RUWKHWHDSDUWERRNVKHFKRVHWRLOOXVWUDWHWKH honeybee as a fairy boy with butterfly wings. The picture enlivens the linesŚ “The honeyEHH

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FRPHOJLUOFKLOG'UHVVHGLQDIULOOZKLWHGUHVVWKHJLUOFKLOGZDVKHVKHUVHOIUHDGVEWKH window side, and sits on her mother’s lap, and she eventually becomes a charDFWHULQKHURZQ

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6HYHUDOLOOXVWUDWRUVLQFOXGLQJ:LOOFR[6PLWKWUDQVIRUPHGWKHERGLHVRIIDLUWDOH heroines and fairy beings into small children. In her “Beauty and the Beast” (1911), Beauty is a

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.DWHUHHQDZDDoll’s Tea Party%RVWRQ/RWKURS3XEOLVKLQJ&R KWWSXIGFXIOHGX8) LJRQQHWSRLQWVWRVHYHUDOof Greenaway’s followers—-HVVLH:LOOFR[6PLWK(OL]DEHWK6KLSSHQUHHQ &ODUD%XUG0DXGXPSKUHDQG%HVVLH3HDVH—ZKRGLVVHPLQDWHGLPDJHVRIFKXEEIORZHUFKLOGUHQLQPHULFDQ DGYHUWLVHPHQWVDQGPDJD]LQHV6KHGRHVQRWGLVFXVVWKHIDLUFKLOGZKLFKSUHYDLOHGDVVXEMHFWLQWZHQWLHWKFHQWXU FRPPHUFLDOLOOXVWUDWLRQVEZRPHQDUWLVWVLJRQQHW3LFWXUHVRI,QQRFHQFH– 7KLVLVWKHNLQGRILPDJHUPDUNHGWKHFXOWRIWKHJLUOFKLOGDVVRFLDWHGZLWKWKHODWHQLQHWHHQWKFHQWXU GHYHORSPHQWRIWKHPurity Movement. Cox, “The Child of the Victorians,” 149, 153.

VXJJHVWVWKDWIDLUODQGLVDVH[SDQVLYHDVFKLOGKRRGDQGRQOTXDVLOLPLWHGWRWKHpage’s white

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LQGLYLGXDOIORZHUVYHJHWDEOHVEXWWHUIOLHVDQGPDPPDOV7KHVHDUHLPDJHVWKDWLQWHQVLI vulnerability by exaggerating the pudginess of the child’s limbs and cheeksILJ)ORUDDQG

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DSSHDO7KLVNLQGRISLFWXUHZRXOGFRQWULEXWHWRDQHYHUJURZLQJPDUNHWRIFKLOGLPDJHUPDVV produced in print culture up to the present day. Penny Ross’ infants directly anticipate Anne

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1LFROD%RZQVXJJHVWHGWKDWLQHDUOWZHQWLHWKFHQWXUOLWHUDUZRUNVIDLUODQGFRXOGFRQWLQXH to ignite a masculine interest. Bown’s researchKLJKOLJKWVKRZ%ULWLVKVROGLHUVIURPWKHPLOLWDU

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(OL]DEHWKRUGRQDQG073HQQ5RVVLOOXV)ORZHU&KLOGUHQ7KH/LWWOH&RXVLQVRIWKH)LHOGDQG DUGHQ&KLFDJR3)9ROODQGFRPSDQKWWSVFDWDORJKDWKLWUXVWRUJ5HFRUG(OL]DEHWK RUGRQDQG073HQQ5RVVLOOXVLUG&KLOGUHQ7KH/LWWOH3ODPDWHVRIWKH)ORZHU&KLOGUHQWKHG&KLFDJR 3)9ROODQG&RKWWSVFDWDORJKDWKLWUXVWRUJ5HFRUG(OL]DEHWKRUGRQDQG073HQQ 5RVVLOOXV7KHButterfly Babies’ Book&KLFDJR5DQG0F1DOO KWWSVFDWDORJKDWKLWUXVWRUJ5HFRUG Although Geddes’ images do not represent the harsh realities faced by some children, she has used her art IRUSKLODQWKURSLFLQLWLDWLYHVIXQGVIRUWKHSUHYHQWLRQRIFKLOGDEXVHDQGYDFFLQHVWRSUHYHQWGLVHDVHVWKDWLPSDFW infant mortality. “About Anne,” QQHHGGHVDFFHVVHG'HFHPEHUKWWSZZZDQQHJHGGHVFRPQHZ SDJH

Graham Robertson’s 3LQNLHDQGWKH)DLULHV6KHPHQWLRQVWKDWWKHGLUHFWRURIWKHSOD

SHUFHLYHGWKDWWKHVROGLHUDXGLHQFHZDVXVLQJWKHSODIRUFDWKDUWLFSXUSRVHV––WKDWWKHVDWLQWKH theatre where they would “wallow in their tears.”IDLUODQGXQEXUGHQHGEZDUEURXJKWRXW feelings of childhood memories, and of England’s green pastures, an idealized homeland that

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PDVFXOLQHLQWHUHVWLQFXWHFKLOGERGLHVZDVQRWKLQJQHZ(DUOLHULQWKHFHQWXU-RKQ5XVNLQ praised Kate Greenaway’s depictions of garden children, including the drawings she gifted to

KLP:LWKJUHDWGHOLJKWKHSUDLVHGher images because “WKHUDGLDQFHDQGLQQRFHQFHRI reinstated infant divinity showered again among the flowers of English meadows.”

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UWKXU5DFNKDP—LQGHHGKLVSUDFWLFHPDUNVWKHend of the Golden Age of Children’s Literature

MXVWSULRUWR::,LVillustrations for a deluxe version of J.M. Barrie’s 3HWHU3DQLQ.HQVLQJWRQ

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%RZQGRHVQRWPHQWLRQZKLFKZDU,I5REHUWVRQZHUHUHIHUULQJWRWKHplay’s earliest showings in 1908, then it would have been the Second Boer War. However, Robertson’s autobiographic manuscript, which Bown cites ZDVSXEOLVKHGLQ7KHUHIHUHQFHFRXOGKDYHEHHQWR::, %RZQ)DLULHVLQ1LQHWHHQWK&HQWXUUWDQG/LWHUDWXUH Ruskin considers Greenaway’s fairy illustrations to be superior to Joseph Noel Paton’s paintings. Ruskin, “Lecture IVŚ Fairy LandŚ Mrs. Allingham and Kate Greenaway,” 130. ,ELG -0%DUULHDQGUWKXU5DFNKDPLOOXV3HWHU3DQLQ.HQVLQJWRQDUGHQV/RQGRQRGGHUDQG 6WRXJKWRQKWWSPFJLOOZRUOGFDWRUJRFOF

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DJJUHVVLYLWDQGHURV)DLULHVZHUHRQFHQDNHGFKLOGPHQDQGZRPHQZKRSODHGGDQFHGIOLUWHG explored, feasted, stole robin’s eggs, slaughtered owls, murdered and engaged in sexual

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DUJXHVthat imagery that takes away the child’s sexuality and awareness also attracts danger. She

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SURMHFWWKHLUIDQWDVLHVRQWRWKHFKLOGZKLFKWUDQVIRUPVWKHHDVFRQVXPSWLRQRIWKHXQSURWHFWHG child into the “site of violation.” This sexual violation of “innocent” children, as HigRQQHW insinuates, is but one extreme reaction to the cutesification of the child’s body.

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In this trajectory from the Pucks of Shakespearean painting to the fairies of children’s

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Victorian paintings, it is not the only aesthetic category that would describe the fairy’s presence

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“Satire may be mad and anarchic, but it presupposes an admitted superiority in FHUWDLQthings over othersś it presupposes a standard.” ––.&KHVWHUWRQ ,QWKHLUWUXHVWIRUPVDWLUHVVWULYHWRZDUGWKHFROOHFWLYHZHOOEHLQJof society. In his “In Elfland” essay and related writings, Chesterton associates these common ideals with England’s

GHPRFUDWLFOHDQLQJVDQGILQGVWKHPH[SUHVVHGLQWKHIRXQGDWLRQDOVDWLUHVRIWKH(QJOLVKOLWHUDU tradition. Recalling Chesterton’s thoughts (discussed in Chapter 1), Elfland for him was a space of golden rules for courage, hope, and humility. His “sunny land of common sense” could

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Elfland” satirizes adult selfassuredness amongst those who denigrate humanity’V

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Chesterton’s conceptualization of the satirical, which I use in this chapter to explore the

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SUREOHPVZLWKRXWWKHREOLJDWLRQRIFRPLQJWRDUHVROXWLRQ0RUHVSHFLILFDOOWKHVDWLULVWVHHV the “absurdity in the logic of some position,” extracts it, and follows the logic, at times

G.K. Chesterton, “Suicide of Thought,” in 7KH&ROOHFWHG:RUNVRI.&KHVWHUWRQHUHWLFV2UWKRGR 7KHODWFKIRUG&RQWURYHUVLHVHG'DYLG'RROHYRO6DQ)UDQFLVFR,JQDWLXV3UHVV Chesterton, “Ethics of Elfland,” 250, 251, 252, 254. P:LHVH)RUEHV7KH6DWLULF'HFDGH6DWLUHDQGWKH5LVHRI5HSXEOLFDQLVPLQ)UDQFH /DQKDP5RZPDQ/LWWOHILHOG3XEOLVKHUV[Y

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HKROGVWKHIRROLVKQHVVRIWKHWDUJHWHGLQGLYLGXDl’s unquestioned principles, national mythos, or

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SKLORVRSKLFal (as in Chesterton’s case), the satirist’s use of unexpected juxtaposition leads to

RYHUODSVZLWKWKHZRUNRIWKHKXPRXULVWZKRimplicates himself in the “HQWDQJOHPHQWVDQG

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SURIHVVLRQDOVDWLULVWVUHVRUWHGWRDFWVRIPHUHPRFNHUThis explains Chesterton’s efforts to

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Chesterton, “Martin Chuzzlewit,” 301. &KHVWHUWRQLVQRWDORQHLQKLVYLHZWKDWWKHVDWLULFDOSRVVHVVHVGLVFXUVLYHDQGGHPRFUDWLFSRWHQWLDO6HH K. Chesterton, “Pope and the Artof Satire,” in 7ZHOYH7SHV/RQGRQUWKXU/XPSKUHV– KWWSVHQZLNLVRXUFHRUJZLNL7ZHOYHB7SHV)RUEHV7KH6DWLULF'HFDGH[[YLLDominic Hardy, “Caricature on the Edge of EmpireŚ George Townshend in Quebec,” in (IIORUHVFHQFHRI&DULFDWXUHHG7RGG 3RUWHUILHOG)DUQKDP6XUUH%XUOLQJWRQ97VKJDWH– For Chesterton’s thoughts on the distinction between wit, humour, and satire seeŚ G.K. Chesterton, “Humour,” (QFFORSHGLDULWDQQLFDUHSU1RQ6HQVH/LWHUDWXUH%ORJQG KWWSVQRQVHQVHOLWZRUGSUHVVFRPJNFKHVWHUWRQKXPRXU Chesterton, “Pope and the Art of Satire,” No pages in this digitized version. ,OOXVWUDWHG/RQGRQ1HZV(the world’s first illustrated newspaper, 1842LVRQHRIVHYHUDOSHULRGLFDOV ZKLFKHPHUJHGLQWKH9LFWRULDQHUD DUGGHVFULEHVWKHUHODWLRQVKLSEHWZHHQKXPRXUDQGVDWLUHWRHQFRPSDVVDUDQJHRIHVVDVRQKXPRXULQ WKHYLVXDODUWVFFRUGLQJOfunny satire that disrupts the targeted subject’s public image may serve the purpose of triggering “individual and social experiences of laughter.” Yet, this kind of laughter may occur at the expanse of someone else’s dignity. Dominic Hardy, “Humour in the9LVXDOUWVDQG9LVXDO&XOWXUH3UDFWLFHV7KHRULHVDQG Histories,” RACAR: Revue d’Art Canadienne/Canadian Art ReviewQR0DUFK

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WKRXJKWVDQGKHDOWKGHEDWHHQVXHVLQthe “street” and“tavern.”

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WKHSXUHRULGHDOVDWLULVWWDUJHWVWKHDEVXUGLWEXWOHDYHVWKHPDQDQGZRPDQLQWDFWWKLVPHDQV

WKDWWKURXJKRXWWKLVEDWWOHRIZLWVWKHSRZHUDQGGLJQLWRIWKHRSSRQHQWLVUHFRJQL]HGDQGWKH

VWDQGDUGRIFRPPRQKXPDQLWLVPDLQWDLQHG7KHZULWHUZKRDLPVWRWDUJHWSROLWLFDODQG

LGHRORJLFDOSRVLWLRQVLQIDLUSODZLWKKLVRSSRQHQWLVDSXUHVDWLULVW

:KLOHSDLQJJUHDWHUDWWHQWLRQWRWKHYLVXDOWKLVFKDSWHUORRNVDWVDWLUHLQWKHFRQWH[WRI

WKH9LFWRULDQREVHVVLRQZLWKIDLUODQG0RVWLPSRUWDQWOWKHFKDSWHULQYHVWLJDWHVZKDWWKHVH

VKLIWVEHWZHHQWKHVDWLULFDOLGHDODQGLWVLPSHUIHFWUHDOLWPHDQWIRUWKHGLFKRWRPEHWZHHQ

FKLOGKRRGDQGDGXOWKRRGLQWKHQLQHWHHQWKFHQWXU,WWKHQIRFXVHVRQKRZWKHLQWHUSLFWRULDOLW

EHWZHHQIDLUWDOHVDQGVDWLULFDOLOOXVWUDWLRQGHYHORSHGILUVWZLWKHRUJH&UXLNVKDQNDQGWKHQ with Victorian England’s popular VDWLULFDOPDJD]LQHNQRZQDV3XQFK%HIRUHDUULYLQJDWWKH

9LFWRULDHUD,EULHIOFRQVLGHUWKHSXEOLVKLQJGRPDLQVDVVRFLDWHGZLWKYLVXDOVDWLUHZKLFK

On democracy and ale seeŚ G.K. Chesterton, “The Age of Chaucer,” in 7KH&ROOHFWHG:RUNVRI. &KHVWHUWRQ7KRPDV&DUOOH/HR7ROVWR5REHUW/RXLV6WHYHQVRQ&KDXFHUHG5XVVHOO.LUNYRO6DQ )UDQFLVFR,JQDWLXV3UHVV2QGHEDWHDVHVVHQWLDOWRGHPRFUDFVHHG.K. Chesterton, “Mystical Belief and Popular Government,” in 7KH&ROOHFWHG:RUNVRI.&KHVWHUWRQ7KH,OOXVWUDWHG/RQGRQ1HZVHG /DZUHQFH-0DUOLQYRO6DQ)UDQFLVFR,JQDWLXV3UHVV– G.K. Chesterton, “Suicide of Thought,” 235ś G.K. Chesterton, “The Common Vision,” in 7KH&ROOHFWHG :RUNVRI.&KHVWHUWRQ:KDWV:URQJ:LWKWKH:RUOG6XSHUVWLWLRQRI'LYRUFH(XJHQLFVDQG2WKHU(YLOVYRO 6DQ)UDQFLVFR,JQDWLXV3UHVV– Chesterton, “On the Wit of Whistler,” 170–171ś Chesterton, “Pope and the Art of Satire.” Chesterton, “On the Wit of Whistler,” 170–171ś Chesterton, “Martin Chuzzlewit,” 301.

LQFOXGHVEXWLVQRWOLPLWHGWRFDULFDWXUHVLQWKHSRSXODUSUHVVDQGWKHIURQWLVSLHFHVIRUOLWHUDU satires. I am asking what literary satire’s visual kin lookVOLNHDQGZKHWKHULWDJUHHVZLWKWKH

LGHDOVRIVDWLUH

4.1. Locating Satire’s Visual Kin

7KHFRQWHQWLRXVKLHUDUFKLFDOVWDWXVRIWKHILQHDUWVRYHUWKHJUDSKLFDUWVLQYLVXDOVWXGLHVLVRQH reason for the belated interest in locating satire’s visuality.'LDQD'RQDOGH[SODLQVWKDWJUDSKLF

VDWLULVWVKDYHORQJEeen perceived as “low painters”LQSDUWEHFDXVHRIWKHEDZGDSSHDORIWKHLU

ZRUNMoreover, this lowly status led to a competition of sorts with the “high painter”––

UHVXOWLQJLQIUHTXHQWUHIHUHQFHVWRHOLWH(QOLJKWHQPHQWSDLQWLQJLQSULQWFXOWXUH5HFHQWOWKH

UHVXOWLQJJUDSKLFVDWLUHIURPWKHHLJKWHHQWKFHQWXURQZDUGVKDYHJDLQHGVFKRODUODWWHQWLRQLQ

WKHFRQWH[WRIYLVXDOVWXGLHVZKLFKKDYHEHFRPHFULWLFDORIKLHUDUFKLHVZLWKLQWKHDUWV6XFK

VFKRODUVIRFXVRQWKHSXEOLFSUHVVDQGWKHVWDQGDORQHVDWLULFDOSULQWDVIRLOVWRLGHDOL]HGSROLWLFDO

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DQGDUWKLVWRULVRQHDQRWKHUUHDVRQIRUWKLVVXUJHRIVFKRODUOLQWHUHVWLQWKHXVHVRISLFWRULDO

VDWLUHUWKLVWRULDQ'RPLQLFDUGEXLOGLQJRQVFKRODUVKLSSHUWDLQLQJWRDUWLVWVVXFKDV

Scholars from the field’s historians and literary studies from the 1990s have considered caricature as a SULPDUVRXUFHGRFXPHQW7KHH[WHQWWKDWWKHVHVWXGLHVSUREHLQWRTXHVWLRQVRIWKHJraphic satire’s visual LPSOLFDWLRQVLVXQFOHDU6HH)RUEHV7KH6DWLULF'HFDGH[L[[[L[[YLL Diana Donald as quoted in Julia Skelly, “The Politics of DrunkennessŚ John Henry Walker, John A. Macdonald, and Graphic Satire,” RACAR: Revue D’art CanadienQH&DQDGLDQUW5HYLHZQR )RUH[DPSOHVRIUHFHQWVWXGLHVWKDWH[SORUHWKHUHODWLRQVKLSEHWZHHQVL[WHHQWKWRHDUOHLJKWHHQWKFHQWXU caricature seeŚ Hardy, “Caricature on the Edge of EmpireŚ George Townshend in Quebec,” 11–30ś Peggy Davis, “Le 6HUPHQW'HVRUDFHV)DFHj/D6DWLUHGraphique,” RACAR: Revue D’art Canadienne / Canadian Art Review QR–40ś Christina Smylitopoulos, “Portrait of a NabobŚ Graphic Satire, Portraiture, and the Anglo Indian in the Late Eighteenth Century,” RACAR: Revue D’art Canadienne / CanadLDQUW5HYLHZQR – Dominic Hardy, “A Metropolitan LineŚ Robert Lapalme (1908&DULFDWXUHDQG3RZHULQWKHJHRI 'XSOHVVLV1959)” (doctoral thesis, Concordia University, 2006)ś Mike Goode, “The Public and the Limits of 3Hrsuasion in the Age of Caricature,” in (IIORUHVFHQFHRI&DULFDWXUHHG7RGG3RUWHUILHOG)DUQKDP 6XUUH%XUOLQJWRQ97VKJDWH–6HHDOVR5RQDOG3DXOVRQRJDUWKLV/LIHUWDQG7LPHV YROV1HZDYHQ&7

:LOOLDPRJDUWKH[SODLQVWKDWSULRUWRWKHSUROLIHUDWLRQRISROLWLFDOFULWLFVLQWKHSXEOLFSUHVV satire had long been “good natured, circumspect, and above all restricted to text.”

1RQHWKHOHVVZULWWHQVDWLUHKDVKDGDPHDJUHYLVXDOFRXQWHUSDUWIRXQGLQWKHIURQWLVSLHFHV

WKDWDFFRPSDQLHGIDPRXVVDWLULFDOZRUNVERUDFH-XYHQDO=DNDQL&KDXFHU6ZLIWDQG3RSH

For example, Thomas Stothard’s frontispiece for Alexander Pope’s satire 5DSHRIWKH/RFN

LQFOXGHVDELVKRSULFIDLUFLUFXPVWDQWLDOOWKHILUVWEXWWHUIOZLQJHGIDLURILWVNLQG

ZKRORRNVGRZQXSRQWKHDULVWRFUDWLFPHQDQGZRPHQ7KHREMHFWRIWKHVDWLUH––WKHLQDELOLW

WRGLIIHUHQWLDWHSULFHOHVVYDOXHVLHIHPDOHGLJQLWDQG%LEOLFDOWHDFKLQJVIURPPHUHYDOXDEOHV

LHSXIIVSRZGHUVDQGDORFNRIKDLU––LVIDUPRUHREYLRXVLQWKHWH[WWKDQLQWKHLPDJHILJ

:KLOHWH[WDQGLPDJHDUHJRRGQDWXUHGDQGDOVROLJKWKHDUWHGWKHJRGODXWKRULWILJXUHLVD

WLQPLWUHKDWWHGIDLUQHLWKHUGHVFHQGVLQWRWKHUHDOPRIPHUHPRFNHU,QDGGLWLRQWRWKHVH

OLWHUDUIURQWLVSLHFHVWUDFHVRIYLVXDOVDWLUHPDDGGLWLRQDOOH[WHQGLQWRSRSXODUSHUIRUPLQJDUWV

LHFRPLFWKHDWUHRSHUDEXIIDDQGSDQWRPLPHVLIQRWDOVR5RPDQWLFSDLQWLQJVDVH[HPSOLILHG by painter Fuseli’s critique of Enlightenment corporeal ideals.

Caricature is, nonetheless, typically considered written satire’s visual cousin. Dominic

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VRFLRUHOLJLRXVDQGVRFLRpolitical conflicts in the nation’s mythos to rise to the surface and

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DUG, “Caricature on the Edge of EmpireŚ George Townshend in Quebec,” 12. Stothard’s frontispiece is the precursor to the Victorian trope of the fairy with butterfly wings. Bown notes that this frontispiece “has the first winged fairies, airy sylphs derived from Paracelsus’ theory of elemental spirits.” %RZQ)DLULHVLQ1LQHWHHQWK&HQWXUUWDQG/LWHUDWXUH– Hardy, “A Metropolitan LineŚ Robert Lapalme,” 1, 11.

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%OXHEHDUG'HVFULELQJWKHYLVXDOFKDUDFWHULstics of Lapalme’s oeuvre, Hardy statesŚ “registers

RIYLROHQFHVNLQFRORXUXQFHUWDLQJHQGHUUROHVVH[XDOLWFRUSRUHDOGHFDDQGKLHUDUFKLHVRI spoken language combined throughout this body of work.”DUGVKRZVWKDWFDULFDWXUHKROGV

WKHVHHGVRIKLVWorical debates even if it also fosters a “bloodthirsty” view of its political

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Chesterton’s time) was part of a populist art that was either applauded oUFULWLFL]HGIRULWV

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GXULQJWKHSUH9LFWRULDQHRUJLDQHUDEVXFKDUWLVWVDV-DPHVLOOUDDQG7KRPDV5RZODQGVRQ became objectionable by Victorian standards. According to Henry J. Miller, the “main objection

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LPSXJQLQJRILQGLYLGXDOFKDUDFWHUVDQGUXWKOHVVH[SORLWDWLRQRISULYDWHYLFHVWRGDPQSXEOLF figures.”Rather than maintain the tradition of carefully crafted visual “libels,” a select group

RI9LFWRULDQVVRXJKWWRUHFODLPYLVXDOVDWLUHWRULGLWRILWVIRUPHUYXOJDULWLHVDQGWRUHFODLPLWWR suit a “respectable humour.”

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,ELG– ,ELG Hardy, “Caricature on the Edge of EmpireŚ George Townshendin Quebec,” 13. Henry J. Miller, “John Leech and the Shaping of the Victorian CartoonŚ The Context of Respectability,” 9LFWRULDQ3HULRGLFDOV5HYLHZQR ,ELG

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HRUJHCruikshank’s Cartoons and the Fairy Tales

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WDOHLQ9LFWRULDQ(QJODQGZLWKRXWDFNQRZOHGJLQJHRUJH&UXLNVKDQNIRUKLVOHJDF

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HVWDEOLVKHGKXPRURXVperiodicals (visual material largely designed for adults’ purview). Much of

Cruikshank’s overtly satirical prints IHDWXUHYLVFHUDOERGLOIXQFWLRQVDQGDLOPHQWVDQGWKHWDNH

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(QJOLVKPHQDQGZRPHQDQGWKHLUIROOLHVWDNHQWRWKHH[WUHPHLVRHXYUHVHWVWKHVWDJHIRUD

VWOHZKLFKWUDYHUVHGIURPJUDSKLFVDWLUHLQWRIDLUWDOHSLFWXUHERRNLOOXVWUDWLRQ

VDSUROLILFDUWLVW&UXLNVKDQNSURGXFHGKXQGUHGVRIIXOOSDJHSODWHVIRUDJHQHUDODGXOW

SXEOLFJLYLQJWRSLFDOHYHQWVDQXQXVXDOVSLQ,QKLVHDUOSULQWVIRUWKHSHULRGLFDO7KH6FRXUJH

D0RQWKO(SRVLWRURI,PSRVWXUHDQG)ROOQLQHWHHQHDUROG&UXLNVKDQNEHJDQWR

WDUJHWSROLWLFDODQGVRFLDOLVVXHVZLWKDIODLUIRUWKHDEVXUGIWHULOOXVWUDWLQJKLVPRVWDFFODLPHG

2QGLIIHUHQWLDWLQJVDWLUHIURPVWHUHRWSHVHHOODQ-5DQ7KH7ULFNVWHU6KLIWXPRXUDQG,URQLQ &RQWHPSRUDU1DWLYHUW9DQFRXYHU8%&3UHVV Cruikshank’s illustrations can be found in various periodicals, including the 6FRXUJHD0RQWKO(SRVLWRU RI,PSRVWXUHDQG)ROODQG7KH&RPLFOPDQDFN

ERRNDIHZHDUVODWHUHUPDQ3RSXODU6WRULHVYRO,YRO,,&UXLNVKDQNEHFDPH

IDPRXVHQRXJKWRLQLWLDWHKLVRZQSHULRGLFDOYHQWXUHNQRZQDV7KH&RPLFOPDQDFN

,QDQH[DPSOHIURPWKLVPDJD]LQHKHVDWLUL]HVWKHIDVKLRQWHQGHQFNQRZQDVWKH

“crinoline craze,” which encouraged women to wear dresses biJHQRXJKWRILOODURRPILJ

6RPHRIWKHLOOXVWUDWLRQVPDEHSODIXODQGOLJKWKHDUWHGEXWWKHPRUDODLPLVLQKHUHQWO satirical. As Cruikshank explainsŚ “Let us not forget that quackery, knaveryELJRWUDQG superstition always merit exposure and castigation.”'HVSLWHWKLVVWDWHPHQWQRWDOORI

Cruikshank’s prints act in fair play—DWOHDVWQRWEFRQWHPSRUDUIHPLQLVWVWDQGDUGV)RU example, he made fun of women’s efforts to gain the vote by sugJHVWLQJWKDWVWDWHEDOOVZRXOG

WDNHRYHUVWDWHSROLWLFVILJ). Cruikshank’s and his author friend Charles Dickens’VDWLULFDO

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VLPLODUNLQGRIHQHUJWRKLVZRUNIRUWKHVDWLULFDOSUHVVcharacterizes Cruikshank’s

LOOXVWUDWHGFRQWULEXWLRQVIRUWKHILUVW(QJOLVKWUDQVODWLRQRIthe Grimms’ storiesILJ,QGHHG the immediate answer to what connects Cruikshank’s graphic satire to his illustrated fairy tales

IRUHUPDQ3RSXODU6WRULHVLVKLVKLJKOHQHUJHWLFVWOH,QKHUGRFWRUDOWKHVLV

(2009) on the visual evolution of the Grimms’ pictures in their German context5HJLQD

Freyberger takes note of Cruikshank’s actionSDFNHGLPDJHV6KHDOVREULQJVXSDOHWWHU

H[FKDQJHEHWZHHQthe book’s translator, Edgar Taylor, and the Grimmsover Cruikshank’s

LOOXVWUDWLRQV. According to Freyberger’s analysis of this correspondence, although Wilhelm

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George Cruikshank, illus., “Splendid Spread,” in 7KH&RPLFOPDQDFNDQ(SKHPHULVLQ-HVWDQG(DUQHVW &RQWDLQLQJ0HUU7DOHVXPRURXV3RHWU4XLSVDQG2GGLWLHV/RQGRQ&KDWWRDQG:LQGXV KWWSDUFKLYHRUJGHWDLOVFRPLFDOPDQDFNHSKFUXL LODU(YDQVDQG0DU(YDQV7KH/LIHDQGUWRIHRUJH&UXLNVKDQN7KH0DQ:KR'UHZ The Drunkard’s Daughter 1HZRUN63KLOOLSV,QF

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When considering the Grimms’ perspectives, Cruikshank’s frontispiece for HUPDQ

3RSXODU6WRULHVFDQEHUHJDUGHGDVan Englishman’s impression of folkloric naïveté in Germany.

Gathered around the hearth’s fireSRWDQGLWVPHQDFLQJVKDGRZVOLVWHQHUVRIDOODJHVUHVSRQGWR

WKHLUVWRUWHOOHUZLWKIDFHVILOOHGZLWKIULJKWH[FLWHPHQWDQGODXJKWHUILJ&UXLNVKDQNKDVLQ

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ODXJKLQJVRKDUGKHFDQKDUGOVLWRQKLVFKDLULQVSLWHRIWKHIDFWWKDWthe Grimms’ stories

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,QWKHFRQWH[WRIWKH(QJOLVKWUDQVODWLRQWKHH[SUHVVLYHLOOXVWUDWLRQVVHHPWRPDNHOLJKWRI

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WKHHUPDQVRXUFHWH[WHYRNHGWKHLQQRFHQFHRIIDLULHVDQGWKDWWKLVwould revitalize children’s

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Sarah Fielding’s 7KHRYHUQHVV, 1784, Maria Edgeworth’s The Parent’s AssistantDQG

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EHKDYLRXU%FRQWUDVW&ruikshank’s lightKHDUWHGLPDJHUHDVLOVDWLUL]HVWKHGUQHVV

DVVRFLDWHGZLWKWKHPRUDOLVWLFDQGLQVWUXFWLRQDOERRNVWKDWtypified English children’s literature

)UHEHUJHU0lUFKHQELOGHULOGHUPlUFKHQ– -DFREULPP:LOKHOPULPPDQGHRUJH&UXLNVKDQNLOOXVHUPDQ3RSXODU6WRULHV7UDQVODWHGIURP WKH.LQGHU8QGDXVPlUFKHQ&ROOHFWHGE00ULPP)URP2UDO7UDGLWLRQWUDQV(GJDU7DORUYRO /RQGRQ%DOGZQLY KWWSVERRNVJRRJOHFDERRNV"LG /:94-SJ 35UHGLUBHVF Y RQHSDJHTI IDOVH ,ELG “Moral Lessons for Children,” 7KHULWLVK/LEUDUDFFHVVHG'HFHPEHU KWWSVZZZEOXNFROOHFWLRQLWHPVPRUDOOHVVRQVIRUFKLOGUHQ

GXULQJWKHJHRI(QOLJKWHQPHQW6LJQDOOLQJDVKLIWLQH[SHFWDWLRQVRIZKDWKRXVHKROGUHDGLQJ

LQWKH9LFWRULDQKRPHFRXOGORRNOLNH&UXLNVKDQNZDVSUDLVHGE5XVNLQLQKLVLQWURGXFWLRQWRD

ODWHUHGLWLRQRIHUPDQ3RSXODU7DOHVWKHHGLWLRQ. Cruikshank’s VNLOIXODWWHQWLRQWROLJKW

DQGVKDGRZLQWKHPHGLXPRIZRRGEORFNSULQWLQJZDVSDUWRIWhe stories’ appeal

Cruikshank’s LOOXVWUDWLRQfor the “The Travelling Musicians, or The Waits of Bremen”

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RWKHUIXUQLVKLQJVWKXVGHVWURLQJWKHSHDFHIXOFRXQWUKRXVHGLQQHU7KHartist’s decision to

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Although much of Cruikshank’s illustrations for HUPDQ3RSXODU6WRULHVDUHOLJKW hearted, the “Jew in the Bush” is an exception, which is deplorable by today’s standards.

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At the end of Field’s chapter on moral tales, the author mentions that moral bRRNVOLNHWKRVHE0DULD Edgworth, have grown out of popularity because of how they were “too heavily weighted with didacticism.” E.M. )LHOGThe Child and His Book: Some Account of the History and Progress of Childern’s Literature in England /RQGRQ:HOOVDUGQHU'DUWRQDQG&R Ruskin, “Introduction,” iii.

Up until the 1850s Cruikshank’s illustrations for periodicals tended to be far clearer in

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VLQJXODUREMHFWLYHBiographers Hilary and Mary Evans name “political harassmentś the adulteration of foodś bureaucratic pretentiousś humbug in all its manifestations,” DV&UXLNVKDQk’s

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Cruikshank’s Fairy BookVWed., 1853). For example, the giant ogre in “HopRPThumb” is

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FXSIURPDODUJHERWWOHPaired with the description of the ogre’s drinking habit, the fairy tale

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PRUVHO8QOLNHFRPPRQYDULDQWVRIWKH7RP7KXPEVWRUthe ogre’s violent actions illustrate how alcohol is a catalyst of social evils. Throughout Cruikshank’s adapted fairy stories, villains, such as the ogre in “TomThumb” and the giant in “Jack and the Beanstalk” are monstrous

GULQNHUV7KHGLIIHUIURPWKe good charactersś Jack the hero chooses a “good drink of water” and Cinderella’s fairy godmother (whom I will return to in Chapter 6), has the fountains cleansed of “strong drink.”

Despite the fact that Cruikshank’s personalized fairy tales were receivedFROGORXWVLGHRI

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2002), cannot be underestimated. In Ronald Pearsall’s study of Victorian wit and humour, he singles out the magazine as the most prominent among the Victorian period’s

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:KDWPDGHWKHPDJD]LQHVRSRSXODUZDVLWVVWHDGIDVWSURGXFWLRQRIVDWLULFDOLOOXVWUDWLRQVZKLFK were typically called the “big cuts” (short for ODUJHZRRGFXWV2QHPHPEHU-RKQ/HHFK referred to them as “cartoons,” thus coining the modern usage of the word for graphic satires

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7KHVHODUJHKLJKTXDOLWSULQWVZHUHERUQRXWRIDOLYHOGLVFXVVLRQDURXQGWKH magazine’s editorial table. Patrick Leary in his study of Punch’sODGGLVKDWPRVSKHUHHPSKDVL]HV this point. He describes the importance of the magazine brotherhood’s Wednesday ritual of lively debate and “loose talk” over drinks, cigars, and dinner.7KHVHDOOPDOHJDWKHULQJVRIWKH

HGLWRUVZULWHUVDQGLOOXVWUDWRUVKDGDGHFLVLRQmaking purpose, which generated the cartoon’s

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Punch (the magazine’s mascot), the carWRRQVWKHPVHOYHVZHUHWKHSURGXFWRIGHEDWH,WLVDOVR

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FROOHDJXHVIRUWhe callousness that had led to Doyle’s departure, his own contributions dropped in the 1850s, following the magazine’s serialization of 9DQLW)DLU3XQFKZRXOGHQWHUDQHZ

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WKHLUPDOHDQGIHPDOHUHDGHUviewers would have enhanced the magazine’s appeal and the

:RPHQVDWLULVWVGXULQJWKH9LFWRULDQGLGH[LVW0D.HQGDOOLVDQH[DPSOH /HDU7KH3XQFKURWKHUKRRG Leary provides the official reasons for Thackeray’s departureŚ disgruntlement with wages, lack of UHFRJQLWLRQZLWKDQRQPRXVZULWLQJDQGFODVKHVZLWK'RXJODV-HUUROG,QRWKHUZRUGV7KDFNHUDGLGQRWVHHHHWR HHZLWKKLVFROOHDJXHVRQQXPHURXVLVVXHV,ELG–:LOOLDP0DNHSHDFH7KDFNHUDDQG0DULRQDUU 6SLHOPDQQThe Hitherto Unidentified Contributions of W. M. Thackeray to “Punch”: With a Complete and XWKRULWDWLYHLEOLRJUDSKIURPWR1HZRUNDUSHUEURWKHUV

SRVVLELOLWLHVIRUGHEDWH3XQFKSXEOLVKHGLVVXHVRQVXFKWRSLFVDVIULFDQPHULFDQVODYHUDQG its abolition, the Indian and Irish questions, as well as the issue of woman’s suffrage.FORVHU

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Designed by Richard Doyle, the signature cover page of the 1840s remained as the magazine’s

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Punch’s stage, they move up towards the magazine’s titular lettering, and back down again.

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6LPRQCooke, “Richard Doyle and the Front Cover of ‘Punch,’” 9LFWRULDQ:HE0D KWWSZZZYLFWRULDQZHERUJDUWGHVLJQERRNVFRRNHKWPO Forbes also connects the satirical to society’s democratic potential. She argues that the satire encouraged SXElic debate and that it facilitated “opposition politics.” She associates these positive ramifications with how satires “are not fixed and absolute” in their meaning, “but rather multiple and open to interpretation.” Forbes, 7KH6DWLULF 'HFDGH[Y[[YLL[[L

as they take on the fairy’s role as mischiefPDNHUV8QGHUWKHHHVRISXEOLFVFUXWLQWKHXVH

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“The British Lion Smells a Rat,” Feb. 26, 1856, and “The French Game of LeapFrog,” Jan., 31, 1857 in Mr. Punch’s Victorian Era (1841, 1Ś223 & 251ś “The British Lion’s Vengeance on the Bengal Tiger,” 3XQFK XJXVWKWWSOLEUDUFVXQHGX6&3HHNLQWKH6WDFNVSXQFK

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“Royal Nursery Rhymes,” (Jan. 1, 1843), Queen Victoria as Mother Hubbard goes to the

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The illustration, “The British Lion’s Vengeance on the Bengal Tiger,” would have triggered the outraged IHOWEDFNLQ%ULWDLQ7KLVWUDYHVWVSXUUHG%ULWLVKYHQJHDQFHDJDLQVWWKHUHEHOVOHDGLQJWRIXUWKHUEUXWDOLWLHVWRZDUGV ,QGLDQV

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A Midsummer Night’s Dream reappears in Punch. “Scenes from A Midsummer Night’s Dream,” Feb. 5, LQMr. Punch’s Victorian Era (1841, 1Ś227ś “Oberon and Titania,” Apr. 16, 1862 Mr. Punch’s 9LFWRULDQ(UD 7KLVLVEHFDXVHVRPDQRIWKHUHIHUHQFHVDUHGHFDGHVSHFLILFZKLFKPHDQVWKDWLQWHUSUHWDWLRQDQG DSSUHFLDWLRQRIWKHZLWDQGKXPRXULVUHDGLOORVWRYHUWLPH

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&ODXGLD1HOVRQ3UHFRFLRXV&KLOGUHQDQG&KLOGLVKGXOWVJH,QYHUVLRQLQ9LFWRULDQ/LWHUDWXUH %DOWLPRUH-RKQVRSNLQV8QLYHUVLW3UHVV ,ELG ,ELG :RPHQDUHOHGEDQDVVheaded man in “Strait WaistcoatŚ Worked by the Women of England for the Opponents of National Defense” (Feb. 10, 1853). Mr. Punch’s Victorian(UD

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PDJD]LQHLV0U3XQFKKLPVHOI, the magazine’s mascRWZKRDVSUHYLRXVOVXJJHVWHGUHSUHVHQWV

WKHVHOIRIWKHPDJD]LQH1RWRQOLV0U3XQFKWKHHSRQPRXVFKDUDFWHUZKRFUHDWHVWKH magazine’s large cut (as pictured on the cover), he also sSHDNVDVDSULQFLSDOFKDUDFWHULQWKH

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KRRNHGQRVHRQWKHSXSSHWVWHPIURPWKHSURPLQHQWQRVHG3XOFLQHOODFKDUDFWHUIURPWKH,WDOLDQ

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HQU0LOOHUGHVFULEHVKRZWKHPDJD]LQHIRVWHUHGWKHSURIHVVLRQDOL]DWLRQDQGVRFLDOUHVSHFWDELOLWWKH FDUWRRQLVWFRQWULEXWLQJIDFWRUZDVWKHZDWKDWWKHFDUWRRQVDQGGHVFULSWLYHWH[WVZHUHGHVLJQHGDVDUHVXOWRI FROOHFWLYHGHFLVLRQmaking. Leary, however, emphasizes that the magazine’s cover image of Mr. Punch illustrating the large cartoon could never fully represent the magazine as a univocal entity. Miller, “John Leech and the Shaping RIWKH9LFWRULDQ&DUWRRQ/HDU7KH3XQFKURWKHUKRRG

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WKDQLQWKHRXWUDJHRXVDQWLFVRIPunch the wife beater. The magazine’s 0U3XQFKLVIDUPRUH

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KDQG0U3XQFKHYHQGUHVVHVXSDV3XFNLQFDUWRRQLVKVSLQRff of a “Scene from A Midsummer

Night’s Dream.”

Victorian England’s childPHQZHUHWKXVDUHFXUUHQWPRWLILQWKHPDJD]LQH7KHJURZQ men in the cartoon, titled “Who Shall Educate” (1853), act and look much more childish in their

JDPHRIVZRUGVWKDQWKHFRQFHUQHGFKLOGUHQZKRZDWFK3XQFKLOOXVWUDWRUVIUHTXHQWO characterized America, England’s unruly child, by shrinking his ERGLQWRDSXGJILVWILJKWHU who refuses to acknowledge Father England’s adult size.&KLOGPHQSODZLWKWRVDVWKH skirt responsibilityś this is the case with many of the illustrations, such as “The ‘Montagne

Russe’” (April 17, 1854), which concerns WKH%ULWLVKPEDVVDGRUWR5XVVLD6LUDPLOWRQ

Seymour. He rides down a steep slope in a toboggan labelled “despotism.”

7KHQH[WGDSULO0UBright, the pacifist in the debate on England’s role in

&ULPHDLVPDGHWRDSSHDUDVDFKLOGZKRWKURZVDWHPSHUWDQWUXPILJPLGVWDSODJURXQG

The play was first published with Cruikshank’s illustrations in 1827. John Payne Collier and George &UXLNVKDQNLOOXV3XQFKDQG-XGWKHG/RQGRQ%HOO'DOG KWWSDUFKLYHRUJGHWDLOVSXQFKDQGMXGZLWXQNQJRRJ ,ELG– John Leech?, “Scene from A Midsummer Night’s Dream,” )HELQMr. Punch’s Victorian Era “Who Shall Educate,” Apr. 23, 1853, in Mr. Punch’s Victorian Era (1841 John Leech, “What? You YRXQJDQNHHDoodle, strike you own Father!,” Apr. 19, 1846 in ibid., 1Ś43. “The Montagne Russe,” Apr. 17, 1854 ibid., 1Ś174.

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KLPVHOI7KHIXOOJURZQPHQLQWKHURRPSDFLIKLPZLWKDWXUEDQHGSXOOWRLHD7XUN

ZKLFKPHFKDQLFDOOGUDZVXSLWVarms and legs. The inscription “He shall have a little Turk to

SXOOWRSLHFHV–that he shall” highlights Punch’sUDFLDOELDVHVZLWKLQDQLPDJHZKLFKDOVRGLVSODV

WKHFKLOGLVKQHVVRI9LFWRULDQPHQ'LVUDHOLDSSHDUVHDUOLHUZLWKDVLPLODUSXOOWR0DUFK

—DOWKRXJKWKLVWLPHZLWKRXWWKHUDFLVP—LQDQLOOXVWUDWLRQWKDWXVHVWKHFKLOGPHWDSKRUWR

GHVFULEHLQWHUQDOSROLWLFVILJ). The illustrator has turned Disraeli’s nominal Chief into the

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WKHVWHDOPRQHIURPWKHSXEOLFDVWKRXJKLWZDVFDQGDQGWKHZHDUDQLPDOFORWKHVDQG

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7KHLOOXVWUDWRUVFURVVGUHVVHGWKHPDOHSROLWLFLDQZKHQWKHUHSUHVHQWHGKLPDVYDULRXV

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IDLUWDOHVDQGQXUVHUUKPHVLQIDQWLOL]HVKLP. In this regard, Irish politician Daniel O’CoQQHOO

DSSHDUVUHFRQWH[WXDOL]HGLQthe “Irish Tom Thumb (VOLJKWODOWHUHGIURPWKHGHVLJQRIHRUJH

&ULNVKDQN” (Feb. 5, 1844).,QWKH3XQFKYHUVLRQ/RUG%URXJKDPLVFURVVGUHVVHGDV4XHHQ

Dollalolla, and O’Connell’s lawyer is the thumbVL]HG7RPILJQRWKHUIDLUWDOHLQVSLUHG

“Pets of Manchester School,” Apr. 18, 1854 in ibid., 1Ś175. ,KDYHHWWRFRUUHFWOWUDFHPunch’s reference to Cruikshank’s dHVLJQ&UXLNVKDQNGRHVKRZHYHUUHIHUWR Tom Thumb as a political figure in “Court of Young England,” 1845, in 7KH&RPLFOPDQDFN6HFRQG6HULHV YRO/RQGRQ&KDWWRDQG:LQGXVKWWSVDUFKLYHRUJVWUHDPFRPLFDOPDQDFNHSKFUXLSDJH PRGHXS

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ILWIRUWKHMRE,QWKLVSLFWRULDOPRPHQWRIZRUGWRLPDJHSODKHEHFRPHV&LQGHUHOODDWKHUVKRH

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WKH&KLQHVHWKH,QXLW)LUVW1DWLRQVDQG,QGLDQVDOOILJXUHLQ3XQFKDoyle’s earlier cuts accepted O’Connell’s Irish leadership as integral to England’s Irish question. But, in Tenniel’s

“The Irish Frankenstein” (1882), Irishness is equated with a bloodKXQJUJLDQW)UDQNHQVWHLQ

ZLWKDQDSHOLNHPRXWK,Q'ROH’s pre1850 “Land of Liberty,” white Americans fight in court

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PHULFDQVFDOOOLEHUWEXWLWLVLQIDFWHYHUWKLQJEXWWKDW6LWXDWHGLQ3XQFK’s postV imagery, Tenniel’s “Oberon and Titania,” (April 5, 1863) illustrates Titania (from 0LGVXPPHU

Night’s DreamDVDVWDQGLQIRUWKHVWDWHRI9LUJLQLDHUFKDQJHOLQJFKLOGDOVRLQUHIHUHQFHWR

Shakespeare’s play) has become a black child who, in the cartoon, is caught in between

America’s interVWDWHGLVSXWHRQVODYHUDQGDEROLWLRQTenniel’s cartoon likens Titania’s guardianship over the changeling to Virginia’s protectiRQLVWDWWLWXGHWRZDUGVLWVVODYHV

:KHQ3XQFKEHFDPHLQFUHDVLQJO&ODVVLFDOO/LEHUDODQGPRUHUDFLVWLWYDOXHGDODLVVH]

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9LFWRULDQDWWLWXGHVWRZDUGWKH&KLQHVHDOVRVKLIWIURPWKHSUHSHULRGWRWKHSRVWSHULRGLQWKH magazine’s editorial history. The Chinese ambassador is a plump foreigner with long nails, and later the nails of the &KLQHVH(PSHURUDUHVKDUSHQHGDs he squats as though in the act of defecation. John Leech, “The Presentation of the Chinese Ambassador,” Dec. 17, 1842 in ibid., 1Ś15ś “New Elgin Marbles, Nov. 24, 1860 in Mr. Punch’s Victorian (UD John Tenniel, “The Irish Frankenstein,” in Mr. Punch’s Victorian Era (1876 Richard Doyle, “The Land of Liberty,” Dec. 4, 1847 in Mr. Punch’s Victorian Era (1841 John Tenniel, “Oberon and Titania,” Apr. 5, 1862, in Mr. Punch’s Victorian Era (1860

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SHUKDSVDOVRIRUKLVPLGGOHFODVV-HZLVKEDFNJURXQG,Q7HQQiel’s“New Crowns for Old Ones,

Aladdin” (Mar. 20, 1876), an exchange takes placeś Victoria offers Disraeli the English crown,

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,QGLDILJ%XW'LVUDHOLhas wandered into Victoria’s court with swaths of turbans that weigh

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PRPents between children’s book fairy tales and the 3XQFKversion of “Babes in the Wood” DQG

LWVUHQGLWLRQVRI“Red Riding Hood”

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2QHDQRQPRXVJUDSKLFVDWLULVWHYRNHVDIRUHERGLQJVL[WHHQWKFHQWXU1RUIRONIRONWDOHWXUQHG nursery rhyme for comic urgency in “Who Shall Educate?” (April 4, 1853).,QWKHVRXUFHVWRU

NQRZQDV“%DEHVLQWKH:RRG”WZRGLQJSDUHQWVOHDYHWKHLUVRQDQGGDXJKWHUWRWKH

John Tenniel, “The Political Egg Dance,” Jun. 29, 1867, and “Paradise and the Peel,” Jan. 26, 1874 in 0U Punch’s Victorian Era (1860 Compared to “Hansel and Gretel,” this story of infanticide is darker and older than the GeUPDQYDULDQW

guardianship of their brother, the children’s uncle. The uncle takes thHLQKHULWDQFHDQGIXUWKHU

GLVSRVHVRIKLVUHVSRQVLELOLWESDLQJWZRUXIILDQVWRNLOOWKHFKLOGUHQZKRHQGXSGLQJRI

KXQJHU5DQGROSKCaldecott’s illustrations for the toy book version (1VWHGVKRZWKH

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,QWKH3XQFKYHUVLRQWKHVFUDZQWKLHIDQGKLVURWXQGFRPSDQLRQILJKWZLWKWRVZRUGV labelled “Dissent” and “High Church.” This labelling turns the nursery rhyme into a satire

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7KHillustration’s FDUHIXODWWHQWLRQWRGHWDLOWKHULGLFXORXVQHVVRIWKHWKLHYHVDQGWKH thickness of the woods resembles Randolph Caldecott’s earlier toy book. Although Caldecott captures the thieves’ thuggery in their bulging eyes, red cheeks, and clenchHGILVWVWKHILQDO

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3XQFKlike style for their children’s books, but also that3XQFKLOOXVWUDWRUVGUHZIURPWKHYLYLG

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VDQLOOXVWUDWLRQWKDWVDWLUL]HVDFKLOGIRFXVHGGHDGOFRQIOLFW3XQFK’s “Babes in the

Wood” is one of many VXFKSLFWRULDOVFHQDULRVWKDWUHFXUUHGLQWKHPDJD]LQH7KHUHZRUNLQJ of narrative scenes to express the magazine’s stance toward current news shows one way that the

PRRGRI3XQFKFKDQJHGZKLOHLWPDLQWDLQHGDQLQKHUHQWOSROHPLFDOOLQNWRWKHIDLUWDOH tradition. When fairy tales like “Red Riding Hood” appeared in 3XQFKWKHGLGDFWLFLVP associated with the English translation of Perrault’s tales was reGLUHFWHGLQWRWKHDUHQDRI

SROLWLFDOGLVFRXUVH,Q(EHQH]HU/DQGHOl’s “Royal Red Riding Hood, and the Ministerial :ROI”

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IURPWKHERWtom of “Mount Peelion.”:LWKKHUSHWZROIEKHUVLGHWKLVZRPDQVL]HG5HG

5LGLQJRRGPDQRWEHXQDZDUHRIKHUSRZHU. She has filled her basket with the words “place,”

“patronage,” and “power,” which VHUYHWRXQGHUPLQHWKHQDLYHWpDVVRFLDWHGZLWKWKHSUH

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PDMRULWSROLWLFDOSDUWGHVLUHVKHUIDYRXU5HIHUHQFLQJWKHVRXUFHVWRUOLQHWKHZROIZDQWVWR consume the girl’s bounty—ZKLFKQRZFRQVLVWVRIPRQHSRZHUDQGDFRGGOHGSODFHLQ

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Desmarais characterizes Caldecott’s work as comedic, lively, and filled with puns, antics, aQGHYHQ GLIILFXOWVXEMHFWPDWWHU5REHUW-'HVPDUDLV5DQGRSK&DOGHFRWWLVRRNVDQG,OOXVWUDWLRQVIRURXQJ5HDGHUV (GPRQWRQ8QLYHUVLWRIOEHUWD[LY[Y A similar fight scene reappears in “Babes in the Wood,” May 28, 1859 in 0U3XQFh’s Victorian Era “The Royal Red Riding Hood,” Sept. 12, 1841 in Mr. Punch’s Victorian Era (1860 “The Royal Red Riding Hood,” Sept. 12, 1841 in ibid.

6RPHIDLUy tales repeatedly appear, as is the case with “Red Riding Hood.” John

Tenniel’s wolf in “Old Story” (Jan. 19, 1884) is much more reminiscent of Walter Crane’s toy

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RIDZROIILJVLike the toy book illustration, Tenniel’s wolf is larger, and his fanged

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ZROILQWHQVHOORFNHHV3ODLQJZLWKYLHZHUH[SHFWDtions of Crane’s toy book version, Tenniel has labelled the wolf’s top hat with the word “socialism,” and placed American socialist Henry

George’s pamphlet “Progress and Poverty” (1879) in the wolf’s pocket. This poorlyGUHVVHGZROI

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Riding Hood. According to the accompanying poem, her second name is “Breadwinner,” which

UHODWHVWRKRZVKHSLFWRULDOOFDUULHVDEDVNHWRIZDJHV7KHVHVLJQLILHUVWUDQVIRUPKHULQWRD symbol of England’s workingmen.

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Red Riding Hood or England’s breadwinners. By representing the male public as Red Riding

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PDQLSXODWH(QJODQG’s woUNLQJPHQ2QWKHRWKHUKDQGWKHGHILDQWVWDUHRIWKHJLUOEDFNDWWKH wolf also suggests that England’s men are not without agency. When 3XQFK’s Red Riding Hoods

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Tenniel and Crane were highly aware of each other’s work. As a younger man Crane notes how he admired Tenniel’s drawings, which were mounted “in the window of the old Punch office.” Later, in the 1880s, &UDQHQRWHVWKDWDIWHUKDGPDGHDFDUWRRQIRU-XVWLFH––IHDWXULQJ&DSLWDOLVPDVD9DPSLUH––WKDW7HQQLHOUH interpreted this image. Crane states that Tenniel “applied the vampire idea to the Irish home rule question and Nationalist Movement and against both, of course.” Walter Crane, An Artist’s Reminiscences/RQGRQ0HWKXHQ Mr. Punch’s Victorian Era (1876

the magazine’s diverse readerYLHZHUVKLSZKLFKDGGWRWKHGRXEWVUDLVHGE0LNHRRGHWKDW

WKHUROHRIFDULFDWXUHLVDOZDVWRVZDSXEOLFRSLQLRQ,QWKHOLYHOSROLWLFDODUHQDRI

QLQHWHHQWKFHQWXU%ULWDLQVRPHZRXOGLQYDULDEOVLGHZLWKWKHZROIZKHWKHUKHEH5REHUW3HHO or Socialism, others would side with Red Riding Hood, whether she be Victoria or England’s

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H[LVWHGDPRQJLWVYLHZHUVKLS7KLVKSRWKHVLVLVHVSHFLDOOORJLFDOZKHQLWFRPHVWRWKHLVVXHRI socialism in England. In 1884, socialism was not as foreign to England as Tenniel’s illustration

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Crane illustrated. The resulting web of pictorial ideas located between Crane’s fairy tale toy

ERRNDQGKLVRSSRVLWLRQDOLOOXVWUDWHGSROLWLFDOPDJD]LQHVPDNes Tenniel’s likely reXVHRI

Crane’s toy book version of “Red Riding Hood” ironic. Aided by the use of labelling, which

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Goode, “The Public and the Limits of Persuasion in the Age of Caricature,” 119–

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LQFOXGLQg woman’s suffrage, FKDUWLVPVRFLDOLVPDQDUFKLVPDQGWKHWHPSHUDQFHPRYHPHQW

7KHGLDORJXHEHWZHHQSHULRGLFDOVLVQRZKHUHPRUHHYLGHQWWKDQLQ)XQ7KLV publication adapted the large cut for its purposes and became known as the poor man’s 3XQFKRU

“Funch” in Thackeray’s words.1RWRQOGLGWKHLOOXVWUDWRUVFRPSHWHDWOLYHHYHQWVZLWKHDFK

RWKHUEXW)XQalso deliberately produced an opposing image to their competitor’s growing fear

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WKHUHLVDOVo the possibility that the satirist’s sense of the white Victorian man as a child and

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ZLWKLQWKHIRUPDWLRQRIVHOIRWKHUUHODWLRQVKLSVLQ(QJODQG7RWKLVHQGWKHLQWHUSLFWRULDOLW between child’s fare and political satire reLJQLWHVWKHSRVVLELOLWRIUROHSODLPDJLQHGWKURXJK

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Women’s periodicals were numerous. They includeŚ Women’s Suffrage Journal6RFLDOLVW OHDQLQJQHZVSDSHULQFOXGH1RUWKHUQ6WDUDFKDUWLVWQHZVSDSHU&RPPRQZHDO7KH QDUFKLVW7KH1HZJHDOLWHUDUPDJD]LQHDVVRFLDWHGZLWKWKH)DELDQ6RFLHW6HH/HH Jolliffe, “Women’s Magazines in the 19th Century,” 7KH-RXUQDORI3RSXODU&XOWXUHQR0DUFK – OYLQ6XOOLYDQULWLVK/LWHUDU0DJDLQHV7KHXJXVWDQJHDQGWKHJHRI-RKQVRQ :HVWSRUW&RQQHFWLFXWUHHQZRRG3UHVV 3HDUVDOO&ROODSVHRI6WRXW3DUWOYLQ6XOOLYDQULWLVK/LWHUDU0DJDLQHV7KH9LFWRULDQDQG (GZDUGLDQJH:HVWSRUW&RQQHFWLFXWUHHQZRRG3UHVV

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The interpictoriality between the Victorian period’s KXPRURXVPDJD]LQHVH[HPSOLILHGE3XQFK

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FHQWXUIDLUWDOHLOOXVWUDWLRQVZDVWKHFDVHRI(EHQH]HU/DQGHOOZKRSURGXFHGWKH magazine’s first Red Riding HoodHDUO3XQFKLOOXVWUDWRUVGHYHORSHGWKHLURZQVWOHRI

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0HDQZKLOH3XQFKartists who also produced Victorian era children’s books could

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PDgazine’s run in the Victorian era onwards, these artists include Richard Doyle and John

7HQQLHODQGODWHUUWKXU5DFNKDP7KHFDULFDWXUHRIDGXOWVDVFKLOGPHQDQGFURVVGUHVVHUV relates to Doyle’s contributions to fairy tale books (especially 7KH5RVHDQGWKH5LQJZKHUHDV the fantastical nature of otherworldly beasts and humans in unusual situations informs Tenniel’s

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When William M. Thackeray’s 7KH5RVHDQGWKH5LQJVWHGSXEOLVKHG'HFHPEHUDQG

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0HDQZKLOHWKHLQIDQWSULQFHVV5RVHOEDRIWKHQHLJKERULQJNLQJGRPRI&ULP7DUWDUORVHVKHU little shoe when she escapes nobleman Padella’s act of regicide. After lions raise her to a walking

DJHVKHZDQGHUVLQWR3DIODJRQLDDQGEHFRPHVNQRZQDV%HVWLQDD&LQGHUHOODOLNHPDLGDQG abused plaything to Angelica, Valeroso’s daughter. Fairy Blackstick thickens the plotś she has bequeathed the two noble ladies (Valeroso and Padella’s wives) with gifts—DURVHDQGDULQJ—

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ZKRODFNVVHOIFRQWUROVXFKDVZKHQKHVSDVWLFDOOJLYHVRXWRUGHUVWREHKHDGKLVNLQRZHYHU beautiful in Valeroso’s mind, the narrator describes Queen Valeroso as “stout” and weakPLQGHG

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:LOOLDP0DNHSHDFH7KDFNHUDDQG5LFKDUG'ROHLOOXV7KH5RVHDQGWKH5LQJ2U7KHLVWRURI 3ULQFHLJOLRDQG3ULQFHXOER)LUH6LGH3DQWRPLPHIRUUHDWDQG6PDOO&KLOGUHQVWHG/RQGRQ6PLWK (OGHUDQG&RKWWSDUFKLYHRUJGHWDLOVURVHULQJRUKLVWRUWKDFULFK 7KHUHLVHYHQDFKDUDFWHUQDPHGHG]RIILQ7KDckeray’s story who, as the soldier servant to the King, HPSKDVL]HVWKHWKUHDWWKHFKDUDFWHUVVXFKDVLJOLRDQG%LOERPDEHEHKHDGHGDWDQPRPHQW7KLVWKUHDWLV reminiscent of the hysterical violence in Grimms’ “King of the Golden Mountain” and anticipates the Queen’s orders in Tenniel’s OLFHLQ:RQGHUODQG 7KDFNHUDDQG'ROHLOOXV7KH5RVHDQGWKH5LQJ– ,ELG

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Richard Doyle’s illustrations enhance the comedic flair of Thackeray’s childish adults.

Pictorially, King Valeroso’s position of royal authorLWORRNVULGLFXORXVKHKDVDJDXQWIDFHZLWK a large protruding nose and his nephew’s crown wobbles on top of his headZLWKDPDVVLYH

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FKDUDFWHUGiglio’s growth is not without its stumbling blocks. Pictorially, he is VKRZQXVLQJD

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OLNHWKHFURVVGUHVVHUIURPPunch’sadaptation of Cruikshank’s “Tom Thumb.” The sharp jagged

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Roselba’s wild upbringing and her love for learning FDQEHUHODWHGWRThackeray’s efforts

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Thackeray’s fairy tale farce may draw from the childPHQRI3XQFKEXWWKHUHLVDVWDUN

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PRQVWURXVFKLOGPHQQGZKHQWKHVDWLULVWRIIHUVDODGGHUWRZDUGPDWXUDWLRQDV'ROHGRHVLQ the magazine’s frontal image, it is an unstable one. By contrast, the cute OLWWOH5RVDOEDDQGLJOLR

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0DGHatter’s facial identity, I am not the first to note that Disraeli’s face especially resembles

WKHVLGHSURILOHRIWKH0DGDWWHUDWWKHWHDSDUWLQ:RQGHUODQG2FFDVLRQDOOSRUWUDHGZLWK a top hat, Disraeli was one of Tenniel’s favourite subjects. Tenniel characterizes the MadDWWHU

Thackeray’s wife suffered from postpartum depression, suicidal attemSWVDQGGLGQRWVLJQLILFDQWO improve despite Thackeray’s efforts to find a cure. With his wife living in various asylums, Knoepflmacher mentions that Thackeray’s experience was very much that of a single parent father. He contends that Thackeray GHVLJQHGthis fairy story to amuse his two daughters, and in so doing he generated a foil to both Ruskin’s GHVH[XDOL]HGIDLUVWRUDQGKLVRZQHDUOLHUZULWLQJVFFRUGLQJO7KDFNHUDDGGLWLRQDOOEDODQFHVWKHZLVKIXO spirit of Ruskin’s 7KH.LQJRIWKHROGHQ5LYHUwith Thackeray’s earlier mockery of his own wishful characters (i.e. LQ9DQLW)DLUDQG5HEHFFDDQG5RZHQD.QRHSIOPDFKHU9HQWXUHVLQWR&KLOGODQG– 'DYLVQRWHVWKDW7HQQLHOGUHZKLV:RQGHUODQGFKDUDFWHUVIURPUHDOOLIHSHRSOHHPHQWLRQVWKDWWKH White Knight’s whiskers were made to look like 3XQFKcolleague Horace Mayhew’s. Davis, ,OOXVWUDWRUVRIOLFH

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In Tenniel’s cartoon, “The Monster Slain” (Mar. 4, 1872) the Claimant takes the form of

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ZLWKSHUMXUDQGVHUYHGDWHQHDUSULVRQVHQWHQFH,QWKHFDUWRRQWKHDWWRUQHIURPWKHWULDO stands on top of the enormous reptilian mound, and this tiny man uses the sword of “justice” to

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Reference to the timidity of the white rabbit appears in “Little Victims,” Aug. 28, 1880 in Mr. Punch’s 9LFWRULDQ(UD7ś reference to the Jabberwocky appears in “The Monster Slain,” Mar. 4, 1872. Reference to the Cheshire cat in the tree appears in “Colonel Bull and the Yankee Coon” Jan. 11, 1862 in 0U Punch’s Victorian Era (1860

There are notable differences between Tenniel’s contributions to the OLFHVWRULHVDQGKLV

FDUWRRQVIRU3XQFKLVSROLWLFDOFDUWRRQVGRQRHPSKDVL]HWKHRSSRUWXQLWIRUKHURLVPDQG happy endings. Increasingly, Tenniel’s cartoons became announcements about the outcome of

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This “blending,” which occurs in Tenniel’s oeuvreLQYROYHVDQRWKHUWUDQVIHUSRLQWIURP

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LOOXVWUDWLRQVE3XQFKLOOXVWUDWRUVKDYHKRSHIXOODOVRWRHGZLWKWZHQWILUVWFHQWXU expectations of fairy tales in Victorian society. Beyond the satirical mode’s ability to conjure XS

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FXUUHQWFRQGLWLRQVFDQEHWXUQHGLQWRKRSHVIRUDEHWWHUZRUOG—appears in Walter Crane’s illustrated fairy tales. Among Crane’s brightly coloured toy books, his 6OHHSLQJHDXWLQWKH

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Peter Stansky, “Utopia and AntiUtopiaŚ William Morris and George Orwell,” 7KH7KUHHSHQQ5HYLHZ QR–5ś For more on the dystopian as mirror image of the Utopian seeŚ Peter Fitting, “A Short History of Utopian Studies,” 6FLHQFH)LFWLRQ6WXGLHVQR– 7KRPDV0RUH8WRSLDHG5RQDOGHUGHU1HZRUN'RYHU3XEOLFDWLRQV– ,ELG

More’s 8WRSLDSURPLVHVDEHWWHUZRUOGLQDQLPDJLQHGVHFOXGHGSODFHZKLOHFULWLTXLQJWKH

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VDWLULFDOmode is what links More’s alternative vision of an ideal island to hisFULWLTXHRIUHDO

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Morris’ 'UHDPRI-RKQDOOLVJHQHUDOOFRQVLGHUHGDIRUHUXQQHUWRKLV1HZVIURP1RZKHUH (1890), the latter of which draws inspiration from More’s 8WRSLDCrane relates More’s claims in 8WRSLDWRWKH FODLPVWKDW0RUULVPDNHVDERXWODERXULQ1HZVIURP1RZKHUH, and he also notes how “London ‘as we know it’ disappears” in the novel. SeeŚ :DOWHU&UDQH:LOOLDP0RUULVWR:KLVWOHU3DSHUVDQGGGUHVVHVRQUWDQG&UDIW DQGWKH&RPPRQZHDO/RQGRQ%HOO6RQV/WGDPSWRQQRWHVWKHSDUDOOHOEHWZHHQWKH FODVVOHVVFRPPXQLWLHVIUHHGRIWKHPRQHWDUVVWHPLQERWKXWRSLDQQRYHOV6HH&hristopher Hampton, “The Feast’s %HJLQQLQJ1HZVIURP1RZKHUHand the Utopian Tradition,” in :LOOLDP0RUULV1HZVIURP1RZKHUH9LVLRQIRU 2XU7LPH, ed. Stephen Coleman and Paddy O’Sullivan (Bideford, DevonŚ Green Books, 1990), 45.9LWD)RUWXQDWL SLFNVup on Morris’ reading ofMore’s book as resisting the “birth of the capitalist system.” Both authors evoke the IHHOLQJRIEHORQJLQJWRWKHODQG6HHVita Fortunati, “The Rhetoric of Dissent in William Morris’ Utopianism,” in 9LVXDOLLQJ8WRSLDHG0.HPSHULQNDQG:LOOHPLHQ65RHQKRUVW/HXYHQ'XGOH03HHWHUV

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Fontains “the satirist’s rage at fallen reality” and on the other hand, “all satires carry a utopian frame of reference.”7KHHPSKDVLVWKDW-DPHVRQSODFHVRQWKHVDWLULFDOUDWKHUWKDQWKHIXOO

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Jack Zipes, in his chapter “Utopian Function of Fairy Tales and FantasyŚ Ernst Bloch the

Marxist and J.R.R. Tolkien the Catholic” (1979), deYHORSVDVRFLDOLVWDQGXWRSLDQXQGHUVWDQGLQJ

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For Bloch’s “The Fairy Tale Moves on its Own Time” (dated to 1930, and translated in its entirety into English) seeŚ Zipes, “Utopian Function of Fairy Tales and Fantasy,” 133– ,ELG ,ELG ,ELG

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QRWLRQRIFRPPRGLILFDWLRQFDQEHDSSOLHGWo the easy consumption of Tolkien’s novels and filmmaker Peter Jackson’s subsequent cinematic adaptations. However, for Zipes, it mainly refers to Disney’s exploitation of classic fairy tales. On this basis, Zipes distinguishes between

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VWRULHVVXEYHUVLYHXWRSLDQIDLUVWRULHVGHIWKHFDSLWDOLVWDQGSDWULDUFKDOVWDWXVTXRZKHUHDV others support the ongoing “civilizing mission,” which results in a kind of indifference toward

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Jean Baudrillard, “America After Utopia,” 1341HZ3HUVSHFWLYHV4XDUWHUOQR)DOO– /RXLV0DULQTXRWHGLQ=LSHV7KH(QFKDQWHG6FUHHQ7KH8QNQRZQLVWRURI)DLU7DOH)LOPVGHODLGH 9LOOPRDUe and Peter G. Stillman, “Pleasure and Politics in Disney’s Utopia,” &DQDGLDQ5HYLHZRIPHULFDQ 6WXGLHV32, no. 1 (January 2002)Ś 82ś Zipes, “Walt Disney’s Civilizing Mission,” 191, 209ś Tison Pugh, “IntroductionŚ The Disney Middle Ages,” in 7KH'LVQH0LGGOHJHV)DLU7DOHDQG)DQWDV3DVWHG7LVRQ 3XJKDQGURQVWHLQ1HZRUN3DOJUDYH0DFPLOODQ

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PVWHULRXVODQGVFDSHVDQGLWVEHDXWLIXOFLWLHV7UDYHOZKLFKWKHXWRSLDQQRYHOLPSOLHVEXWGRHV not describe, is integral to the fairy tale’s plot. The dangers that lurk in the woods, mountains, lakes and streams test the principle characters’ patience, courage, and hope. The sublime

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LQJRYHUQPHQWVWUXFWXUHVThis relates to Tolkien’s point that the core of fantasy rests in two

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“satisfying it while often whetting it unbearably.”Although this recalls Jameson’s view that

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,ELG– For Tolkien, the writer’s “SubCreative Art” is what generates the “Secondary World” of fiction. Ibid., 47, Tolkien specifically refers to “the ‘primal desires’ […] of men to hold communion with other living things.” He relates thisKLVWRULFGHVLUHWRWKHKXPDQDELOLWWRXQGHUVWDQGWKHODQJXDJHRIDQLPDOVZKLFKFDQHDVLO EHUHDGDVDUHIHUHQFHWR(GHQHVSHFLDOOLQOLJKWRIKLVODWHUUHIHUHQFHVWRWKH&KULVWLDQRVSHODQGWKH3ULPDUUW RI&UHDWLRQ,ELG

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Morris draws from the ideals in Thomas More’s book, albeit in a distinctly socialist

FRQWH[W0RUULVUHpublished More’s book and he named 8WRSLDDVRQHRIWKHSULQFLSDO

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practical remedy against one man’s utopianism turning into another’s totalitarianism, is rare within the utopian novel, and yet, not all of More’s tolerant utopians are Christianized, and several of Morris’ resistant characters are nostalgic for the excitePHQWRIWKHQLQHWHHQWKFHQWXU

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JRYHUQDQFHDQGWKHLPSRUWDQFHRIEHDXWDVSDrt of the functional. Unlike More’s ascetic

OHDQLQJV—ZLWKWKHWRWDODEROLWLRQRISURSHUWDQGFODVVGLVWLQFWLRQ—WKH(QJOLVKPHQDQGZRPHQ in Morris’ Nowhere make beautifully crafted objects that they wear themselves or willingly give

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Based on Guest’s description of Nowhere’s inhabitants, it could be argued that Nowhere brings the fairy tale figures from the Briar Rose paintings by Morris’ fellow artist friends to life.

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FKRRVHVWRZDONDURXQGZLWKFDUHIXOOFUDIWHGDUPRXU6OXPEHULQJVROGLHUVDQGYROXSWXRXV

ZRPHQDOVRDSSHDULQWalter Crane’s WRERRN6OHHSLQJHDXWLQWKH:RRGDVZHOODVLQ

(GZDUG%XUQHJones’ VPDOOULDU5RVHVHULHVDQGKLV/HJHQGRIULDU5RVH

DVHULHVRIODUJHSDQHOSDLQWLQJV0RUULVZKRZURWHWKHLQVFULSWLRQVEHORZ%XUQHJones’

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WRKDYHKDGWKHVHVOXPEHULQJILJXUHVLQPLQGIRUNowhere’s inhabitants.O’Neill remarks that

)DUOHVVRIDSROLWLFDODFWLYLVWWKDQ0RUULV%XUQHJones’ rendering of the beautiful slumbering figures was QRQHWKHOHVVFXOWXUDOOFRPSOH[6OHHSLQJ%HDXWWKHPHGLQIDFWSDLQWLQJVVSDQ%XUQH-RQHVFDUHHUDVDSDLQWHU7KH

Morris’ wording for the accompanying poem hints that the painted figures wLOODZDNHQIURP

WKHLUWKRUQSULVRQZKHQWKHWLPHLVULJKW3DLUHGZLWK%XUQHJones’ &RXQFLO5RRPSDQHO

Morris’ verse “when fate shall take her chain away” anticipates the writer’s vision for a socialist

UHDZDNHQLQJMorris’ principal character just so happens to be waiting in a politicized dream.

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Crane first met William Morris in 1870 during his experimental years in children’s publishing,

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&RPPRQZHDO0DZKLFKLVwhere Morris’ 1HZVIURP1RZKHUHZDVSDUWZD

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FKDSWHURIWKHQRYHO––Morris’ “How the Change Came”––Walter Crane’s peaceWKHPHG illustration “Solidarity of Labour” is placed dead centrein the newspaper’s double column

ODRXW,QWKHLPDJHWKHZRUNHUVIURP(XURSHDQGWKHIULQJHVRIWKH(PSLUHKDYHMRLQHGKDQGV in Crane’s utopian vision of pure soFLDOLVPWKHDUHIDUPHUKDWWHGWXUEDQZHDULQJDQGOLEHUW

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LQVFULEed with the words “freedom” has risen to the top of the world, blown her horn, and banners with the names of the world’s continents have fallen.

As part of Crane’s cosmopolitanism, not evident in Morris’ Nowhere which he localized

WR(QJODQG&UDQHLPSOLHVWKDWDVRFLDOLVWXWRSLDFDQVSUHDGDFURVVWKHZRUOGWalter Crane’s

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GLVPDZLWKFXUUHQWODERXUFRQGLWLRQVIn this juxtaposition between Morris’ text and Crane’s

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VRFLDOLVWOHDQLQJXWRSLDQLGHDOVRIVRFLDOHTXDOLWMXVWODERXUDQGIUHHGRPIURPWKHFDSLWDOLVW forces of industrialization, the movement’s membership, which was led by male figures, but also

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FKHDSOPDGHJRRGVSURGXFHGEPDFKLQHV7KHDEKRUUHGWKHLQMXVWLFHWKDWJRRGZRUNHUVZHUH trapped in debased conditions. The movement’s guilds strove to integrate the arts of book design,

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Crane was interested in the world at large without himself being an imperialist. Pippa Biltcliffe, “Walter &UDQHDQGWKH,PSHULDO)HGHration Map Showing the Extent of the British Empire (1886),” ,PDJR0XQGL – 6HULDOL]HGQRYHOVZHUHSULQWHGVHTXHQWLDOOLQVHFWLRQV8QOLNHIURQWLVSLHFHVIRXQGLQERRNVWKHSULQFLSDO LPDJHIRUWKLVHGLWLRQRIWKHVWRUDSSHDUVKDOIZDWKURXJKWKHQDUUDWLYHDVLWZDVLVVXHGLQ7KH&RPPRQZHDO

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Arts and Crafts movement for American heiress Catharine Lorillard Wolfe’s home, which she

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Crane’s GLQLQJhall cycle for Vinland is based on Henry Wadsworth Longfellow’s poem

6NHOHWRQLQUPRXUSRHPDQGSDLQWLQJV7KHSRHPURPDQWLFL]HVWKHVWRURI a Viking who kidnaps a Norse king’s daughter and makes her his bride, flees over stormy seas,

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7KHSDLQWLQJVWHOODGLIIHUHQWNLQGRIVWRUZKLFKLQWURGXFHVCrane’s political vision to the

SURMHFWArt historian and leading Crane scholar, Morna O’Neil DUJXHVWKDW&UDQHUDGLFDOL]HV

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O’Neill, :DOWHU&UDQH 2QWKHGLIIHUHQFHVRIRSLQLRQEHWZHHQ0RUULVDQG&UDQHRQWKHUROHRIDUWVHHHampton, “The Feast's BeginningŚ News from Nowhere and the Utopian Tradition,” 55. O’Neill, :DOWHU&UDQH6PLWK “Developing a Public Language of Art,” 20 ,ELG Henry Wadsworth Longfellow and Poetry Foundation, “The Skeleton in Armor (1841),” 3RHWU )RXQGDWLRQKWWSVZZZSRHWUIRXQGDWLRQRUJSRHPVDQGSRHWVSRHPVGHWDLO O’Neill, :DOWHU&UDQH–

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FLYLOL]DWLRQ7RDFHUWDLQH[WHQWWKHJORRPSDLQWLQJVGHOHJLWLPL]HWKHSRHPZKLFKPLJKW otherwise be used to mythologize the proprietor’s ancestral heritage in a new land.

If O’Neil is right that the muscles of RQHRIWKHFUDIWVPHQZKRUHSUHVHQWVWKHDOOHJRULFDO

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WRFROODSVHLQ6NHOHWRQDQGUPRXUWKHQLWLVZRUWKWDNLQJWKHDQDOVLVDVWHSIXUWKHU,ZRXOG suggest that utopia’s broken mirror image is at work in the dystopian story that Crane’s 6NHOHWRQ

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LPDJLQHGUHDOLWWKDWLVZRUVHRIIWKDQWKHSUHVHQWmight (as O’Neil suggests) have been Crane’s deliberate choice for the eyes of Catharine Lorillard Wolfe’s select dinner companions.

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In Morris’ ideal society, this contradiction between elite patrons and socialist

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7KLVLVEHFDXVHVKHDJUHHVZLWKVFKRODUVVXFKDV7HUU(DJOHWRQZKRKDYHDQDO]HGKRZXWRSLDQ mindsets “explain the compromised fate of British socialism, a movement seemingly poised for victory but always limited...by its own nostalgia.” O’Neill, :DOWHU&UDQH ,ELG ,ELG ,ELG–

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LQFUHDVLQJOXQFHUWDLQWKDWKHZRXOGZLWQHVVDQLGHDOFRPPXQLVPGXULQJKLVOLIHWLPHHFDPH to the “unhappy conclusion that individual craftsmen […] were powerless to change the

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FDSLWDOLVWVVWHP8QOLNH0RUULV&UDQHZDVDQHGXFDWRUZKREHOieved “that education, not revolution, was the main way forward.”)RUKLVEULJKWOFRORXUHGSXEOLFDUWPXUDOVIRUSXEOLF

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XVHRIH[SODQDWRULOOXVWUDWLRQLQWRDsymbolic language, which eventually relied on “allegorical truths” WKDWcould convey the path toward “Peace.”:KLOHERWKFUDIWVPHQEHOLHYHGWKDWEHDXW

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PLOLHXVWKHLQGHSHQGHQWSUHVVDQGFRPPHUFLDOSXEOLVKLQJ

David Cody, “Morris’s Socialism,” 9LFWRULDQ:HEODVWPRGLILHG'HF KWWSZZZYLFWRULDQZHERUJDXWKRUVPRUULVZPVRFLDOPKWPO 3HWHUVRQ7KH.HOPVFRWW3UHVV ,ELGCody, “Morris’s Socialism.” Greg Smith, “Developing a Public Language of Art,” in :DOWHU&UDQHUWLVW'HVLJQHUDQG6RFLDOLVW /RQGRQ/XQGXPSKULHV– ,ELG ,ELG

.HOPVFRWW3EOLVKLQJDQGWKHDUO3EOLVKLQJRIRPRK

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.HOPVFRWWERRNVFRQWDLQIXOOSDJHZRRGFXWVE(GZDUG%XUQH-RQHV&UDQHFUHDWHGRQORQH

IXOOpage illustration for Morris’ 7KH6WRURIWKHOLWWHULQJ3ODLQWKDWVKRZVDZRPDQ

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,Q.HOPscott Press editions, including More’s 8WRSLDand Morris’ 1HZV)URP1RZKHUH

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DSSHDUVLQ1RZKHUHWKH.HOPVFRWWERRNVVHUYHGWKHFUDIWVSHUVRQ’s delight in merging art with

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William Peterson describes a clash of styles between Morris’ “dark medieval” designs and Crane’V illustration for this book with its “delicacy and grace.” William Morris and Walter Crane, illus., 7KH6WRURIWKH OLWWHULQJ3ODLQDPPHUVPLWK.HOPVFRWW3UHVVIURQWLVSLHFH KWWSDUFKLYHRUJGHWDLOVVWRURIJOLWWHULQPRUU3HWHUVRQ7KH.HOPVFRWW3UHVV

5DUHERRNVOLNHWKH.HOPVFRWW3UHVVYHUVLRQRI1HZVIURP1RZKHUHKDYH

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LYHQWKDWERRNGHVLJQZDVLQFUHGLEOLPSRUWDQWWR0RUULV,SURSRVHKHUHWKDWWKHIRUPDQG

GHVLJQRIWKHERRNZKLFKLVWRVDKRZDQRYHOLVUHOHDVHGPRUHJHQHUDOOFDQFKDQJHWKHPRRG

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0RRUH’V8WRSLDLQWKDWERWKWKHVHWWLQJand the book’s cover or fURQWLVSLHFHVFRQWDLQLVODQGOLNH

IRUPV%FRQWUDVWWKHHDUOLHUVHULDOL]DWLRQRI1HZVIURP1RZKHUHin the Socialist League’s

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. Walter Crane’s Utopian Allegory

)URPWKHVDQGLQWRWKHV:DOWHU&UDQHFRQWLQXHGWREHRYHUWOSROLWLFDOZKLOH

PDLQWDLQLQJKLVSUDFWLFHLQWKHGHFRUDWLYHDUWVDQGKLVLOOXVWUDWHGIDLUERRNVVDFRQWULEXWLQJ

LOOXVWUDWRUWRDQXPEHURIQHZVSDSHUV––&ODULRQ3DOO0DOOXGJHW-XVWLFH/DERXU/HDGHU7KH

&RPUDGHDQG7KH&RPPRQZHDO––KHZDVDEOHVSUHDGKLVPHVVDJHLQWKHFRQWH[WRIKLVVRFLDOLVW

FDXVHExpanding from O’Neil’s insights on the importance of DOOHJRULHVin Crane’s oeuvre, used by her to elevate the artist’s status from PHUHchildren’s book illustrator, I want to

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1HZVIURP1RZKHUHZDVUHSXEOLVKHGLQERWKWKH86DQGWKH8.DWOHDVWWHQWLPHVEHWZHHQDQG :LOOLDP0RUULV1HZVIURP1RZKHUHWKHG/RQGRQ/RQJPDQVUHHQDQG&R KWWSZZZJXWHQEHUJRUJILOHVW[W For a discussion of the frontispieces in the first editions of More’s 8WRSLDVHHMarin, “Frontiers of Utopia.” Crane’s message would have reached a wide audience. 7KH&RPUDGHZDVDQ(QJOLVKODQJXDJHQHZVSDSHU WKDWZDVHVWDEOLVKHGLQ,QGLDFLUFXODWHGLQ%ULWDLQDQGJDLQHGLQWHUQDWLRQDODWWHQWLRQ7KH&ODULRQ/DERXU/HDGHU -XVWLFHDQG7KH&RPPRQZHDOZHUHVRFLDOLVWQHZVSDSHUV-XVWLFH, which went by the motto “Organ of the Social Democracy,”was the Social Democratic Federation’s newspaperś the Socialist League founded7KH&RPPRQZHDO 7KH3DOO0DOOXGJHWSXEOLVKHGZHHNOFROOHFWLRQVRIDUWLFOHVZKLFKKDGILUVWDSSHDUHGLQWKH3DOO0DOODHWWH WKLVQHZVSDSHUZDYHUHGEHWZHHQOLEHral and conservative leanings. O’Neil mentions that Crane published political cartoons for “&ODULRQ-XVWLFH/DERXU/HDGHUDQG&RPPRQZHDO” O’Neil, :DOWHU&UDQH

XWRSLDQQDUUDWLYH%HFDXVHVRPXFKRIWKHXWRSLDQLVDERXWSURYLGLQJDQLGHRORJLFDOPHVVDJHWKDW

JXLGHVVRFLHWIURPDQLPSHUIHFWWRDSHUIHFWHGVWDWHRIEHLQJ,DUJXHWKDWDOOHJRULHVLQCrane’s

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ERRNV7KLVLVWKHFDVHHYHQLIWKHEULJKWFRORXUVPHDQWWRDSSHDOWRFKLOGUHQGLVWLQJXLVK

Crane’s toy books from the narrative quality in his political and oftentimes satirical posters.

In Crane’s illustrations for socialist newspapers aQGVRFLDOLVWFRPPXQLWLHVKHUHSXUSRVHV

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When illustrations depicting or representing the human form appear in Crane’s oeuvre, they do

QRWPHUHOUHSUHVHQWLQGLYLGXDOV5DWKHUDVDIXQFWLRQRIVRFLDOLVWDOOHJRU&UDQHGHYHORSHG what I would describe as “FRQFHSWFKDUDFWHUV”VXFKDV/DERXU)UHHGRP'HDWK&DSLWDOLVP

6RFLDOLVPDQG%HDXWLVRYHUWSROLWLFDOLOOXVWUDWLRQVDUHODEHOOHGZLWKWKHQDPHVRIWKHVH

FKDUDFWHUVZKRVHDFWLRQVDQGLGHQWLWLHVFROOHFWLYHOUHYHDOVSHFLILFPHVVDJHV

:KHQVHHQFROOHFWLYHly, Crane’s body of RYHUWOSROLWLFDOZRUNIRUPVDVRFLDOLVWXWRSLDQ

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SDVWSUHVHQWDQGIXWXUH7KHUROHRI&DSLWDOLVPLVDOUHDGNQRZQWREHDFULSSOLQJIRUFH%DVHG

RQ/abour’s struggles for Freedom in the present, there are two starkly different possibilities for

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out that he is the rightful king of Gondor. Darthvader is eventually revealed to be Luke Skywalker’s father in 6WDU :DUV5HYHODWLRQDVDQDUUDWLYHWHFKQLTXHLVDOVRGLUHFWOWLHGWRWKHFRQFHSWRI7UXWKRUOWKHDZKLFKLVUHYHDOHG )RUH[DPSOHEDVHGRQNHSLHFHVRILQIRUPDWLRQDWDFULPHVFHQHWKHPXUGHUHULVILQDOOIRXQGRXW,QWKHFDVHRI the allegorical, key pieces of symbolic information come together so that the artist’s message is reYHDOHG &RQFHSW&KDUDFWHUDZDRIUHIHUULQJWRDQDOOHJRULFDOILJXUHZLWKLQDJLYHQQDUUDWLYH

phases in Crane’s visual version of a utopian novel are based on what he depicts rather than on

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DOOHJRULFDOILJXUHRI'HDWKHPHUJHVIURPGLVWDQWVPRNHVWDFNVILJThe figure’s EDWOLNH wings expand into the smoggy clouds as he hovers over the scene of capitalism’s havoc.

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UDPSDJHGWKURXJKWKHODQGDQGGHVWURHGthe worker’s livelihood.

Archives housing Crane’s work, the Whitworth Gallery in Manchester U.K., and the Huntington Gallery LQ&DOLIRUQLD86NHHSWKHDUWLVWVRULJLQDOGUDZLQJVDQGDUWLVWSURRIV)XUWKHUDUFKLYDOUHVHDUFKZKLFKORRNVLQWRWKH range of socialist periodicals within the period, is likely to uncover more of Crane’s work, as well as more of the circulation context for Crane’s work. O’Neil notes that the drawingZDVOLNHOWRKDYHEHHQSODQQHGIRUWKH0D'DLVVXHRIWKH/DERXU /HDGHU. However, only the drawing’s accompanying poem “The Craftsman Dream” were published in this issue. According to O’Neil both the poem and the image were published in the secondprinting of Walter Crane’s &DUWRRQV IRUWKH&DXVHIbid., 198. This pamphlet was designed as a “souvenir of the International Workers and Trade Union Congress, 1896.”7KLVSXEOLFDWLRQZDVRULJLQDOODSDJHSDPSKOHW:DOWHU&DQH&DUWRRQVIRUWKH&DXVH 6RXYHQLURIWKH,QWHUQDWLRQDO6RFLDOLVW:RUNHUVDQG7UDGH8QLRQ&RQJUHVV/RQGRQWK,QWHUQDWLRQDO 6RFLDOLVW&RQJUHVVKWWSVOFFQORFJRY The term “bitŚ is part of the bridle. It is the metal bar placed in the horse’s mouth. It puts pressure on the horse’s gums, and attached to the reins, the bit helps steer the animal.

According to Crane’s visual narrative of socialism’s pRWHQWLDOLQWKHSUHVHQWDQGIXWXUHLW is possible for the worker’s conditions to change. Labour LVHLWKHUSLFWXUHGDVDPXVFXODUPDQDQ

WODVWSHILJXUHKROGLQJthe weight of the world’s capitalistsRUKHLVDZHDNHQHGPDQZKHUH

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ILJXUHLVDOVRSLFWXUHGLQCrane’s 7KH&DSLWDOLVW9DPSLUHDSSHDULQJLQ7KH&RPUDGH

HUH/DERXUWDNHVRQWKHIRUPRIWKHRYHUEXUGHQHGZRUNHUILJ&ROODSVHGLQWRWKHVWRQHV that he has dug out, the man’s dormant heart is eaten by a carnivorous bat, inscribed with the words “capitalism.” Fortunately for the worker, a ZLQJHGDQJHObears the banner of “Socialism,”

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'HDWKMXVWDV6RFLDOLVPis connected to Freedom’s role in the utopian dream of a renewed life

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The future in Crane’s political picture is defined by two opposing possibilitiesŚ freedom

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O’Neil comments on the importance of the Atlas figure. Atlas becomesWKHILJXUHRI/DERXUZKRKROGVXS the weight of the world. O’Neill, :DOWHU&UDQH Freedom appears throughout Crane’s oeuvre. SeeŚ O’Neill, :DOWHU&UDQH Walter Crane, “The Capitalist Vampire,” frontispiece in 7KH&RPUDGHYRO–:HVWSRUW &RQQHFWLFXWUHHQZRRG5HSULQW&RUS

/DERXU/HDGHUILJHUHDFORDNHGILJXUH'HDWKDJDLQFDUHVVHVWKHULGHr’s gut

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RIDIDOOHQFLYLOL]DWLRQOWHUQDWLYHO&UDQHSLFWXUHVDOOWKHFUDIWVPHQDQGZRPHQZKRDUULYHDWD

XWRSLDQHQGLQJLQ7KH7ULXPSKRI/DERXU'HGLFDWHGWo the “wage workers of all countries,” the

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. The Utopian that Glimmers in Walter Crane’s Fairy Tale Books

0RUHWKDQany of Crane’s paintings and LQVLWXPXUDOVRUKLVVRFLDOLVWSRVWHUVFDULFDWXUHVDQG drawings, his children’s books had the power to gain the admiration of a larger viewership of

PHQZRPHQDQGFKLOGUHQ7KHLUZLGHcirculation matched Crane’s intentionsWRVSUHDGKLVLGHDV

DERXWDIXWXUHutopian community. In several ways, Crane’s children’s books were constructed as

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Crane’s toy books,VXFKDV7KHOXHEHDUG3LFWXUHRRNWKHHGLWLRQDQGBaby’s Own

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Labour is paired with Freedom inŚ Walter Crane, “7KH7ULXPSKRI/DERXU,” May 1, 1891, illustration in 3DOO0DOOXGJHWKWWSFROOHFWLRQVYDPDFXNLWHP2 :DOWHU&UDQH7KHOXHHDUG3LFWXUHRRN&RQWDLQLQJOXHHDUG/LWWOH5HG5LGLQJRRG-DFNDQG WKHHDQVWDON6OHHSLQJHDXW/RQGRQ1HZRUNHRUJH5RXWOHGJHDQG6RQVWKH%URDGZD/XGJDWH

SDJHLOOXVWUDWLRQV—“Sleeping Beauty,” “Six Swans,” “Rapunzel,” “Faithful John,” “AlmoQG

Tree,” and “Robber Bridegroom”—EHFRPHGRRUZDVWRWKHURRPVZLWKLQ7KHVHZLQGRZVDQG doorways reveal traces of Crane’s urgent political message.

In following Ruskin’s views on education—WKDWEHDXWOHDGVVRFLHWFKLOGUHQDVZHOODV

DGXOWVWRIUHHGRP—&UDQHFDUHIXOOWZHDNHGIDPLOLDUVWRUOLQHVZLWKKLVWH[WXDOHGLWVDQG

VPEROLFSLFWXUHV,QKLVYHUVLRQRI&LQGHUHOODWKHVWRUHQGVZLWKWKHVWHSVLVWHUVOHDUQLQJIURP

WKHLUEHDXWLIXOVLVWHUKRZWRZRUN,QRWKHUZRUGVLIWKHVHVLVWHUVZHUHFDSLWDOLVWVZKRVDWDURXQG

ZKLOHRSSUHVVLQJRWKHUVDWWKHEHJLQQLQJRIWKHVWRUWKHGRQRWUHPDLQVRELWVHQG&UDQH also shifts the storyline in the cautionary fairy tale of “Bluebeard.” Keys decorate wallpapers and

IXUQLVKLQJVDQGVHYHUDOLQVFULSWLRQV—XSRQWKHORFNHGFKHVWDQGFDVWOHWXUUHW—VKRZWKHZRUGV

“Gardez le Clef” (fig7KHfairy tale’s PRUDOLWpLVQRORQJHUDQDGPRQLWLRQGLUHFWHG

WRZDUGVFXULRXVZRPHQZKRXQORFNGRRUV“.HHSLQJWKHNH”VHUYHVWRHQFRXUDJHDVKLIWLQ

SURSHUWUHODWLRQVEHWZHHQ%OXHEHDUGDQRWKHUKRDUGHURIZHDOWKQRWXQOLNH7KH&DSLWDOLVWDQG his bride’s family and friends. It suggests the importance of discovering and retaining

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IDLlure to see the glimmer of utopia within the interior of Crane’s fairy tale books.

KWWSPFJLOOZRUOGFDWRUJRFOF:DOWHU&UDQHThe Baby’s Own Aesop/RQGRQHRUJH5RXWOHGJH 6RQVKWWSDUFKLYHRUJGHWDLOVEDETXRWVRZQHV&UDQ :DOWHU&UDQHRXVHKROG6WRULHVIURPWKH&ROOHFWLRQRIWKHURWKHUVULPPWUDQV/XF&UDQHVWHG /RQGRQ0DFPLOODQSUYUYUYUYU KWWSDUFKLYHRUJGHWDLOVKRXVHKROGVWRULHVJULPULFK Much like the Victorian writers who adapted Ruskin’s childhoodIDLUODQGLQWKHLURZQZULWLQJV GLIIHUHQFHVLQYLHZVRQWKHFKLOd’s sexuality emerge amongst the illustrators. 8QOLNH5XVNLQDQGUHHQDZDZKR FRUUHVSRQGHGZLWKRQHDQRWKHUDVHYLGHQFHGE-RKQ5XVNLQ/LEUDUDQG5HVHDUFK&HQWHUWKHFRQQHFWLRQEHWZHHQ Ruskin and Crane is less direct. As evidenced by Crane’s notes (iQJohn Rylands Library’s archives on the artist), he drew inspiration from Ruskin’s lectures on architecture. Crane’s toy books suggest that he tends to view the child UHDGHUYLHZHUDVIDUPRUHVH[XDOODZDUHWKDQ5XVNLQPLJKWOLNHWRWKLQN “Gardez le Clef,” which should be la Clef, translates as keep the key. In Crane’s illustrations, the hoarder of various material goods overlaps with his vision of the Capitalist. )XUWKHUVWXGLHVPLJKWFRQVLGHUKRZWKLVGLIIHUVIURPKRZ.DUO0DU[GLVFXVVHVKRDUGHUVDVWKRVHZKRIHWLVKL]HDQG accumulate gold and silver. Karl Marx, “Money, Or the Circulation of Commodities,” in (FRQRPLF0DQXVFULSWV

Several characters in Crane’s fairy tale books possess traits of the allegorical figure of

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ZRUNLQJclass backgrounds, such as Jack the farmer, Cinderella the household servant, and Puss’ friend the Miller’s son, feel satisfaction and reach towards freedom for a better social

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In Crane’s version of -DFNDQGWKHHDQVWDONWKHTXHVWfor freedom is central to Jack’s journey from total poverty to true wealth. Impoverished, starving and adventurous, Jack’s beans

VSURXWXSLQWRWKHXQH[SHFWHG(YHQWXDOOKHILQGVWKDWWKHUHLVDSUL]HEHWWHUWKDQVLOYHUDQG gold, and so he rushes back to the giant’s hoard (hoarding is understood as a typical characteristic of the Capitalist) to retrieve a harp. The harp’s sound box happens to beFDUYHGLQ

WKHIRUPRIWKHZLQJHGILJXUHRI)UHHGRPWWKHKHLJKWRIWKHDGYHQWXUH-DFNLVSLFWXUHG

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LWLVRQOZKHQWKHKDUSLVERXQGWRKLVEDFNWKDW-DFNLVSUHSDUHGWREHDWWKHLDQWNLQWRWKH figure of Labour, Jack’s muscular calves are prominent and he also carries a giant axe in his

&DSLWDO9RO,&KDSWHU7KUHHHG)UHGHULFN(QJHOVWUDQV6DPXHO0RRUHYROVHFWD KWWSVZZZPDU[LVWVRUJDUFKLYHPDU[ZRUNVFFKKWP

KDQG(PSKDVL]LQJWKHUHODWLRQVKLSEHWZHHQIUHHGRPDQGODERXU&UDQHZRXOGODWHUDGMXVWWKH

FRYHULPDJHESODFLQJWKHOLEHUWWXTXHXSRQJack’s head

7KHFRQFHSWFKDUDFWHURI%HDXWKDVDVXEWOHUpresence in Crane’s political posters, and is

PRUHGLUHFWOUHSUHVHQWHGLQKLVLOOXVWUDWHGIDLUWDOHV6KHWDNHVWKHIRUPRIDZRPDQLQWZRWR

ERRNVHDXWDQGWKHHDVWDQG6OHHSLQJHDXWLQWKH:RRGV7KHVFHQHRI

%eauty awakening from bed additionally appears in “Sleeping Beauty” as one of the fullSDJH images in his Grimms’ anthology (1882), and again in his paneOSDLQWLQJVIRUWKHULDU5RVH

FDELQHWHW%HDXWLVDOVRPRUHWKDQDIDLUWDOHFKDUDFWHUVKHLVWKHPRVWFRPSOH[RI all Walter Crane’s conceptcharacters. When Crane was looking back on his life’s work, he wrote this of BeautyŚ “She is indeed a3VFKHLQDUWERWKVHHNLQJDQGVRXJKWWREHILQDOOZRQ by devotion and love […] This search for Beauty is the purely inspiring artistic purpose.”,Q the artist’s mind, Beauty is a character as well as what the artistDV/DERXUVWULYHVIRUH

GHVFULEHVKRZEHDXWHPHUJHVIURPWKHERGDQGLWVVNHOHWDOVWUXFWXUHIURPWH[WXUHVDQGIDEULFV

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GHOLFDWHQHVVRIOLQHXQLWHGWRWKHLQWHJULWRIIRUPDQGLQWKHSDWWHUQVDQGFRORXUVWKDWHQKDQFH

WKHVXUIDFHRIPDWHULDO,QRWKHUZRUGVVKHSUHVHQWVKHUVHOIZKHQRSSRVLWLRQDOIRUFHVKDUPRQL]H which is what happens in the otherworldliness of Crane’s fairy tales.

&UDQHSLFWRULDOL]HG%HDXWDVWKHJXLGLQJIRUFHLQWKHSDJHVHTXHQFLQJRIHDXWDQGWKH

HDVWWKHHGLWLRQ7KHIURQWDQGHQGSDJHVWKDWVNHWFKWKHSULQFLSDOFKDUDFWHUVZHUHDGGHG

LQWKLVHGLWLRQILJ). In the front page, the outline of Beauty steps into the book’s empty wall

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:DOWHU&UDQH“Jack and the Beanstalk” (Artist Proof for The Red Riding Hood’s Picture Book)3DSHU FKWWSJDOOHUVHDUFKGVPDQDFXN'HWDLO :DOWHU&UDQH/LQHDQG)RUPWKHG/RQGRQ&KLVZLFN3UHVV ,ELG

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VXEPLWVWR%HDXWLVRQOPDGHSRVVLEOHEWKHIXOOFRORXUHGSDJHVZLWKLQWKHERRN7KH%HDVW

DQRWKHUKRDUGHUtype, is perhaps Crane’s most satirical figure in his toy book series. Pictured

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7KHPLGSRLQWRIWKHVWRUIHDWXUHVWKHGLVJXLVHGPDQDPRQJKLVKRDUGRIZHDOWKPXVLFDO

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ERUHSRVVLEODOVRDFRQYHUVDWLRQDOERUHILJ2QWKHRWKHUVLGHRIWKHODUJHVRID%HDXW

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In Crane’s work, greedy hoarders (the Beast, Bluebeard, the evil magician, the giant, the ogre, and the seventh fairy) possess some of the Capitalist’s characteristics, such as malevolence,

WKHWKUHDWRIGHDWKDQGRVWHQWDWLRXVwealth. Yet, the satirical quality made so blatant in Crane’s

ILJXUHRIWKH&DSLWDOLVWIDGHVDZDLQKLVWRERRNV&KHHUSULPDUFRORXUVKLGHWKHVKDUSOLQHV of the satirist’s quill. Menacing characters may have hooves and claws as feet, but they are alsR

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The blues, reds, greens, and yellows that enliven Crane’s illustrated castles, farmlands,

VWDWHODQGPLGGOHFODVVKRPHVZLWKWKHLULQWHULRUVH[WHULRUVDQGJDUGHQVDOOFRQWULEXWHWRWKH

RWKHUZRUOGOLQHVVRIIDQWDV7KHGHVLUHIRUDVDIHDQGDEXQGDQWODQGZKHUHKXPDQVOHDUQWKH

ODQJXDJHRIEHDVWVDVVRFLDWHGZLWKWKHORQJLQJIRUDSDVWRUDORU(GHQLFODQGXQLWHVZLWKYHQWXUHV

LQWRWKHXQNQRZQPainted on wallpapers, the moment of Eve’s curiosity in tKHOXVKDUGHQRI

(GHQDSSHDUVLQHDXWDQGWKHHDVWDQGOXHEHDUGILJV7KHEODFNFDWLQ3XVVLQ

RRWVpaws the Miller son’s shoulder, presumably to speak with him and console him. As part of fantasy’s great expanse, hardworking, generous and freedomORYLQJFKDUDFWHUVYHQWXUHRXWLQWR

XQNQRZQFDVWOHVDQGODQGVGHIHDWWKHIRUFHVRIGHDWKDQGJUHHGDQGVWULYHIRUDEHWWHUIXWXUH one that ultimately intersects with Crane and Morris’ utopian desire to awaken.

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There is reason to believe that Walter Crane’s fairy tales appear in Morris’ 1HZVIURP1RZKHUH

:Ken looking at the wall paintings, “queer old world myths,” and fairy tales in the Hall of

Bloomsbury, Guest blushingly avoids Clara’s gaze. He specifically mentions three of the

Brothers’ Grimm stories, statingŚ

:HOO,VFDUFHOH[SHFWHGWRILQGUHFRUGRIWKH6HYHQ6ZDQVDQGWKH.LQJRIWKHROGHQ 0RXQWDLQDQG)DLWKIXOHQUDQGVXFKFXULRXVSOHDVDQWLPDJLQDWLRQVDV-DFREULPPJRW WRJHWKHUIURPWKHFKLOGKRRGRIWKHZRUOGEDUHOOLQJHULQJHYHQLQKLVWLPH,VKRXOGKDYH WKRXJKWRXZRXOGKDYHIRUJRWWHQVXFKFKLOGLVKQHVVEWKLVWLPH ,QRUGHUWRVHHWKHLOOXVWUDWLRQVWKDW0RUULVLPDJLQHGDVZDOOSDLQWLQJVLWLVZRUWKWDNLQJDFORVHU look at publishing history for references to “King of the Golden Mountain,” “Frog King” and

“Six Swans.” Although&UDQHQever illustrated “King of the Golden Mountain,” George

&UXLNVKDQNGLGLQKLVHUPDQ3RSXODU6WRULHVCruikshank’s illustration of heads floating above bodies corresponds to the conversion in Morris’ chapter “How Change Came” about war and

UHYROXWLRQILJ&UDQHGLGLOOXVWUDWH“Frog King”and “Six Swans” in RXVHKROG7DOHVDQG

ZHDUHLQYLWHGWRLPDJLQHKRZSDLQWHGYHUVLRQVRIWKHVHDUHZKDW0RUULVFRQMXUHVXSIRUKLV

0RUULV1HZVIURP1RZKHUH

QRYHOIn Crane’s version for one of the Grimms’ stories, it is HQUWKHGHYRXWVHUYDQWWRWKH

)URJ.LQJZKREHFRPHVWKHILQDOILJXUHHQULVSLFWXUHGDVIUHHGIURPLURQVKDFNOHVILJ

,QDQRWKHUVWRUKLV“Six Swans” IHDWXUHVDFODVVLFDOOSRLVHGVLVWHUZKRWKURZVVL[VKDZOV

RYHUKHUVZDQEURWKHUVILJ7KHIDEULFLVOLIWHGLQWKHZLQGWKLVLVWKHPRPHQWMXVWEHIRUH

KHUEURWKHUVDUHIUHHGIURPWKHLUFDSWLYLWLQWKHERGLHVRIELUGVCrane’s illustrations are surely

WKHNLQGVRISLFWXUHV0RUULVKDGLQPLQGIRU1RZKHUHWKHVHLPDJHVRIIUHHGRPKLQWWKDWXWRSLD

FRXOGHPHUJHYLVXDOOLQIDLUWDOHLOOXVWUDWLRQV

RQFOVLRQWR6HFWLRQ7ZR7KHWH6DWLULFDODQG8WRSLDQKDSWHUV

7KLVFKDSWHUKDVDGGUHVVHGKRZXWRSLDQGHVLUHLQWHUVHFWVZLWKWKHIDLUWDOHRIIHULQJJOLPPHUVRI

XWRSLDQLVODQGVZLWKWKHLUIUXLWIXOSRVVLELOLWLHV7KHVHJOLPPHULQJVare evident in Walter Crane’s

GLYHUVHZRUNKLVRYHUWOSROLWLFDOSULQWVKLVIDLUWDOHWRERRNVGHVLJQHGIRUFKLOGUHQDQGHYHQ

WKHIDLUWDOHpaintings that decorate Nowhere’VGLQLQJKDOOV(YHQWXDOOCrane’s fairy tale books

Fame to be considered mere child’s fare. This is exemplified in Mary Lightbody’s SDLQWLQJ)DLU

7DOHVZKHUHDJLUOFDQEHVHHQstepping on Crane’s toybook version of the )URJ3ULQFH

ILJVVPHQWLRQHGHDUOLHU&UDQHDOVRGHVLJQHGDVHULHVRIEDEERRNVDQG consumers collected his toy books as part of the gifts made available by Evan’s triumvirate. Not only were Crane’s contributions frequently associated with the cutesification of toy books, WKH

DOVRFDPHWREHRYHUVKDGRZHGEWULXPYLUDte artist Kate Greenaway’s overwhelming popularity.

2IWKHVHDHVWKHWLFPRGHV––WKHFXWHWKHVDWLULFDODQGWKHXWRSLDQ––WKHFXWHDSSHDUVWREH

WKHPRVWVWUDLJKWIRUZDUG7KHFXWHJHQHUDWHVWKHGHVLUHWRSXUFKDVHFDUHIXOOSDFNDJHG

FRPPRGLWJRRGVDQGTXDOLILHVWKHQHHGWRHVFDSHWKHKDUGVKLSVRIUHDOLWLQWRWKHWDPHGUHDOP

,ELG&UDQHRXVHKROG6WRULHVU

RIEXFROLFQDWXUH8WRSLDQVRFLDOLVPSRVLWVWKDWWKHUHLVDSDWKZDWRZDUGDEHWWHUZRUOGZKHUH

DGXOWVPDUHJDLQORVWWLPHODERXUDQGHQHUJEXWLWGRHVVRDVSDUWRIDFULWLTXHRIFDSLWDOLVP

OWKRXJKQRWWSLFDOOGHVFULEHGDVDFDULFDWXULVWWKHJUDSKLFWHFKQLTXHRIH[DJJHUDWLRQLV fundamental to satirical illustration. It appears in Crane’s rendering of Capitalist concept characters. As illustrated by the difference between Crane’s cartoon of the monstrous Capitalist,

Tenniel’s of the fiendish Socialist wolf, and Doyle’s cutesified childPHQWKHJUDSKLFVDWLULVW

IRVWHUVFRJQLWLYHVHOIFULWLTXHDQGSHUSHWXDWHVWKHGLVFRXUVHEHWZHHQRSSRVLQJSROLWLFDOFDPSV

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FURVVRYHUVEHWZHHQDGXOWRULHQWHGFDULFDWXUHIDQWDVODQGVXWRSLDQQRYHOVDQGIDLUWDOHVWDNH

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6HFWLRQ7KUHHLQGHUHOOD 7KHFXWHWKHVDWLULFDODQGWKHXWRSLDQ—DURVHDVWKUHHGLVWLQFWPRGHVLQWKHSXEOLVKLQJFXOWXUHRI

WKH9LFWRULDQHUD7KHFDWHJRULHVZHUHQRWPXWXDOOH[FOXVLYHWKHVKDSHVKLIWLQJTXDOLWLHVRIWKH

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RFFDVLRQV7KLVVHFWLRQIRFXVHVRQ&LQGHUHOODDQGZKLOHWKHXWRSLDQVDWLULFDODQGFXWHFRQWLQXH

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RIWKHEHDXWLIXOLQ9LFWRULDQLOOXVWUDWHGIDLUWDOHERRNVLQFOXGLQJWKHERRNVWKDWH[SUHVV elements of Walter Crane’s socialist utopiaś Disney princesses DUHRIWHQDVVRFLDWHGZLWKDPRUH

QDUURZXQGHUVWDQGLQJRIEHDXWDVDUWLILFH7KXVIDUZHKDYHVHHQWKDWWKHEHDXWLIXOZDV essential to John Ruskin’s vision for a better and more educated society, as well as to the aims of

WKHDHVWKHWLFPRYHPHQWWKH3UH5DSKDHOLWHVDQGWKHUWVDQG&UDIWVPRYHPHQWVSHU

9LFWRULDQIDLUWDOHQRYHOODVVXFKDVWKRVHEHRUJH0DF'RQDOGWKHEHDXWLIXOIRUHVWVSLULWV

DZDNHQGHVLUHVIRUDORYHLQWHUHVWDQGWKHHYHQHQWLFHKHURHVDQGKHURLQHVRQWKHLUMRXUQHVLQWR

PVWLFDOODQGVFDSHV7KHEHDXWLIXOPRPHQWVLQIDLUWDOHDGYHQWXUHVPLJKWLQFOXGHVH[XDO

DZDNHQLQJLQODYLVKJDUGHQVDQGWKHUHGLVWribution of wealth, which, as in Oscar Wilde’s “7KH

DSS3ULQFH,”EHDXWLILHVWKHFLW

Disney’s CinderellaZKRILUVWDSSHDUHGLQUHLQIRUFHGDQDUURZOGHILQHGIHPDOH beautyś the character’s smooth skin, bright blue eyes, modelled body, and HOHJDQWJRZQ

UHSUHVHQWDQLPDJHRIIHPLQLQLWHUWUDQVFHQGHQFHLQWRDIDVKLRQDEOHPDLGHQZKRVH

PDUULDJHDELOLWLVHQKDQFHGDVDUHVXOWKDVHQDEOHGIHPLQLVWVWRDVVRFLDWHKHUEHDXWZLWKWKH

VHUYLWXGHWKDWVKHQHYHUIXOOHVFDSHVFFRUGLQJWRVHFRQGZDYHIHPLQLVWFULWLFVZKRZRUNLQ the same vein as Marcia Lieberman, the beautiful heroine’s ultimate worth is her domesticated

PDULWDOVWDWXV,WLVWUXHWKDWDMDLOFHOOFDVWVshadows onto Disney Cinderella’s pretty face when

KHUVWHSPRWKHUVXEMHFWVKHUWRKRXVHKROGVHUYLWXGHHowever, the heroine’s beautified exterior

ZDVQRWDOZDVDVLJQLILHURIPDULWDOLQFDUFHUDWLRQLQRWKHUYHUVLRQVRIWKHIDLUWDOH7KH

EHDXWLILFDWLRQRIDisney’s &LQGHUHOODLVRQODVPDOOSDUWRIthe character’s visual evolutionDVLW

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%QDUURZLQJLQRQKRZWKH&LQGHUHOODVWRUHYROYHVERWKWH[WXDOODQGSLFWRULDOOLQ

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WUDQVIRUPDWLRQRIWKHJHQUHXQGHU'LVQH7KH&LQGHUHOODVWRUDVLWLVSRSXODUONQRZQIURP

Walt Disney’s animation, evolved from earlier iterations found in the French Rococo salons. In

IDFWLWZDVWKHVDORQQLHU&KDUOHV3HUUDXOWZKRZURWHWKH)UHQFKYHUVion titled “&HQGULOORQRXOD

3HWLWH3DQWRXIOHGHYHUUH,” in 1695.The 1950s animation titled “Walt Disney’s Cinderella” credits the “original classic by Charles Perrault.”7KLVLVWKHYHUVLRQZLWKWKHIDLUJRGPRWKHU

WKHSXPSNLQWKDWWXUQVLQWRDFDUULDJHWKHORVVRIWKHJODVVVOLSSHUDQGWKHSULQFHZKRUHVFXHV

WKHGRPHVWLFVHUYDQW7KLVVHFWLRQDGGUHVVHVWKHTXHVWLRQRIZKHWKHUFULWLFVDUWLVWVDQGYLHZHUV perceive beauty as a liberating or oppressive force. Does Cinderella’s beauty imprison her or is

WKHUHPXFKPRUHWRWKHDIIHFWLYHSRVVLELOLWLHVRIWKHEHDXWLIXOVXIIHULQJKHURLQHLQKHUGLYHUVH

SLFWRULDOPDQLIHVWDWLRQV"7KHWH[WWRLPDJHSDLULQJVZLWKLQVSHFLILFHGLWLRQVRIWKHVWRUWKH

QDUUDWLYHsequences across the story’s publishing history, as well as the interpictorial re

HPHUJHQFHRIWKHFXWHDQGWKHVDWLULFDOLQWKH'LVQHILOPDOORSHQXSWKHLQWHUSUHWLYHOHQV

5RELQOODQ:DOW'LVQHDQG(XURSH(XURSHDQ,QIOXHQFHVRQWKHQLPDWHG)HDWXUH)LOPVRI:DOW 'LVQH%ORRPLQJWRQ,QGLDQD8QLYHUVLW3UHVV The earliest illustrated “Cendrillon” that I was able to consult was from a digitization of the 1697 edition. Charles Perrault, “Cendrillon,” in LVWRLUHV2X&RQWHV'X7HPSV3DVVpQGHG3DULV&ODXGH%DUELQ IUZLNLVRXUFHRUJ )XOOWLWOHWalt Disney’s Cinderella: A Love Story with Music, Greatest Show Since Snow White

KDSWHULQGHUHOODDQGHU0DQRVW6OLSSHUV

7KHSULQFLSDOIDLUWDOHFKDUDFWHURIWKLVFKDSWHUWUDQVIRUPVIURPDKXPLOLDWHGILJXUHLQVRRW

UDJVLQWRDJORULILHGZRPDQLQDVWDWHOEDOOJRZQ%URNHQGRZQDV&LQGHUDQG(OODKHUQDPHV—

DQGWKHUDJJHGFORWKHVWKDWSLFNXSVRRWIURPWKHVHUYLOHODERXUDURXQGWKHKHDUWK—DUHFRYHUHG

LQDVKDQGFLQGHUV'HVSLWHKHUOHJLWLPDWHSODFHLQVRFLHWDQGLQKHUKRPHPDWHUQDODQGVLVWHUO

IDPLOPHPEHUVFXWWLHVZLWKKHUThe siblings reject their father’s favourite child, subjecting her

WRDVWDWHRIVHUYLWXGHZKLOHWKHIDLUILJXUHWUDQVIRUPVKHUDEMHFWDSSHDUDQFH&RQFHUQHGZLWK

XQYHLOLQJKHULGHQWLWWKHSULQFHLQWKHVWRULQTXLUHVDIWHUWKHPVWHUZRPDQZKREHJXLOHGKLP

RQWKHEDOOURRPIORRU7KHVOLSSHUWKDWJHWVORVWDORQJKHUZDFRPHVWRVWDQGLQIRUWKHFKDUDFWHU

NQRZQDV&LQGHUHOODDOVRVFKHQSXWWHO&HQWURQHOOD&HQGURQDQG&HQGULOOLRQ

7KHUHDUHPDQWDOHVWKDWDUHVLPLODUWRWKHPRVWZHOONQRZQYHUVLRQVRIWKH&LQGHUHOOD

VWRUWWKHKHDUWRIWKHPDQYDULDWLRQVUHVWVDWDOHDERXWDSHUVHFXWHGKHURLQH6WRULHV

DERXWVXIIHULQJKHURLQHVDSSHDULQDQFLHQW(DVWHUQFXOWXUHVDQGGHULYHIURP6HPLWLF,QGLDQDQG

Chinese sources. From the 9th century BCE, “YeKShen and Her Fish Mother” is one of the

HDUOLHVWNQRZQVWRULHVWRFRQWDLQDVLPLODUSORWVHTXHQFHWRWKHPRGHUQ(XURSHDQ&LQGHUHOOD namely the Grimms’ “Aschenputtel.” In earlier European narrative circles, the Italian courtier

LDPEDWWLVWD%DVLOHLQFOXGed “Centronella” in his 3DQWHUPRQHZKLFKWRRNWKH

IUDPHVWRUFRQYHQWLRQ7KH,WDOLDQFRXUWVWRULHVDQG(DVWHUQQDUUDWLYHWUDGLWLRQVZHUHNQRZQLQ

WKHVWRUWHOOLQJFXOWXUHRIWKH5RFRFRVDORQVPRQJWKHVHVRXUFHVWKH)UHQFKDQGSRVVLEODOVR

Heidi Anne Heiner locates Cinderella variants of diverse cultural origins. Heidi Anne Heiner, “Tales Similar to Cinderella,” IDLUWDOHGDWDEDVH6XU/D/XQH)DLU7DOHV KWWSZZZVXUODOXQHIDLUWDOHVFRPFLQGHUHOODRWKHUKWPO SLYRWDOFRQWULEXWLRQWRIRONORUHVWXGLHVWKHDUQH7KRPSVRQFODVVLILFDWLRQVVWHPLVDWSRORJRI VWRULHVEDVHGRQWKHLUQDUUDWLYHFRQWHQW7KHVVWHPFDWHJRUL]HVWKH&LQGHUHOODVWRUDVWKHSHUVHFXWHGKHURLQHWSH WDOH77DWDUPDNHVDGGLWLRQDOOLQNVEHWZHHQ77%DQG7ZKLFKFRQQHFWV&LQGHUHOOD DQG6QRZ:KLWH7DWDU2IIZLWK7KHLUHDGV, 126, 127ś “510Ś Cinderella and Cap O’ Rushes,” Aarne7KRPSVRQ 8WKHU&ODVVLILFDWLRQRI)RON7DOHV0XOWLOLQJXDO)RON7DOH'DWDEDVHDFFHVVHG-DQXDU KWWSZZZPIWGRUJLQGH[SKS"DFWLRQ DWXDFW VHOHFWDWX

the German Cinderella(s) offer a clear starting point for the story’s pre'LVQHSLFWRULDO

HYROXWLRQ

0DULH&DWKHULQHG’Aulnoy, Charles Perrault’s contemporary, offers the most significantly

VXEYHUVLYHYHUVLRQRIWKHVWRU6KHGLUHFWOUHVSRQGHGWR3HUUDXOWZKRKDGDUJXDEOFUHDWHGD misogynistic version, and she defended her feminine social status with the story “Finette

Cendron,” (VWHGLQZKLFKWKHKRUVHULGLQJ&HQGURQVDYHVWKHGDEVKRZLQJXSDWWKH

SDODFHHQWHULQJLQWRGLSORPDWLFQHJDWLRQVDQGGHIHQGLQJWKHLQWHUHVWVRIKHUVLVWHUKRRGQRWKHU popular iteration belongs to the Grimmsś they edited “Aschenputtel”VWHGIRUWKHLU

QLQHWHHQWKcentury middle class readership. Translated into English, the Grimms’ version is the

PRUHYLROHQWRIWKHOLWHUDUQDUUDWLYHVFRYHUHGLQWKLVFKDSWHU0RPHQWVVXFKDVZKHQWKHELUGV

SOXFNRXWWKHHHVRIWKHVWHSVLVWHUVKDYHOHGDPRUHPRGHUQDXGLHQFHWRZRQGHUDERXWWKH

FRQWH[WLQZKLFKFKLOGUHQRQFHHQFRXQWHUHGYLROHQWVWRULHV

In English publishing culture, Perrault’s and the Grimms’ stories were not only reprinted,

EXWWKHZHUHDOVRUHYLVHGDQGUHFRPSLOHGDVZHOODVLOOXVWUDWHGDQXPEHURIWLPHV6HOHFW

SXEOLVKHUVRI(QJOLVKSLFWXUHERRNVJUDGXDOOVXEGXHGWKHYLROHQFHVKRZQWRZDUGV&LQGHUHOOD

DQGWKHQWRZDUGher stepfamily, and, in this regard, Disney’s retelling of Perrault’s “Cinderella,”

LQKHULWVDFXWHVLILHGUHQGHring of the birds from the Grimms’ version. Tamed birds appear as

Disney Cinderella’s helpmates, and the animators add the chase of cat and mouse.:LWKWKDWVDLG

Perrault’s “Cendrillon” is especially central to this overview of how the Cinderella story evROYHG

LQSXEOLVKLQJKLVWRUDQGEHFDPHDQLPDWHGDVD'LVQHILHGIDLUWDOH

LYHQWKHLPSRUWDQFHRIWKHSLFWRULDOIRUVWRUWHOOLQJDQGLQWHUSUHWDWLRQ,VHWRXWWR address the lack of sustained attention to Cinderella’s visual evolution. With that said, I

Tatar addresses the fascination for violence in children’s literature, which inFOXGHV&LQGHUHOODVWRULHV 7DWDU2IIZLWK7KHLUHDGV––

acknowledge the importance of Bonnie Cullen’s first pictorial overview, which looks at the dynamic between word and image in English translations of Perrault’s Cinderella. For Cullen, illustrations add “another level of interpretation,” and to this end, she interprets Cinderella’s passive behaviour in the images, and historicizes their relationship with “beauty” as a visual and textual descriptor. According to Cullen’s straightforward timeline, 1850LVPDUNHGEWKH

QRUPDOL]DWLRQDQGEHDXWLILFDWLRQRICinderella by Victorian illustrations of Perrault’s translated

VWRU6KHFRQFOXGHVWKDWWKLVYHUVLRQGRPLQDWHGYDULDWLRQVRIWKHVWRUDQGLWEHFDPHDYHKLFOH for a repressive “Victorian ideal of femininity,” which the Disney version then recycled.

5DWher than neatly assume that beauty is part of the patterns that repress the character’s agency

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7KLVFKDSWHUXVHVDVFDVHVWXGLHVDVDPSOLQJRILOOXVWUDWLRQVIURPVLJQLILFDQW&DQDGLDQ rare book collections (McGill’s Children’s Collection of Rare books in Montreal andWKH

Osborne Collection of Early Children’s books in Toronto) and from major British rare book

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/DQFDVWHUDQGWKH:DOWHU&UDQHDUFKLYHDWWKH-RKQ5ODQGV5DUH%RRN&ROOHFWLRQLQ

0DQFKHVWHU&DVHVWXGLHVIURPWKHVHOLEUDULHVDUHLPSRUWDQWDVPDQWH[WXDODQGYLVXDOYHUVLRQV

RI&LQGHUHOODKDYHQHYHUEHHQGLJLWL]HGORQJVLGHWKHVHQRWDEOHFROOHFWLRQV,KDYHDOVRWXUQHG

WRRQOLQHLPDJHDUFKLYHVLQFOXGLQJWKHGLJLWL]DWLRQRIKLVWRULFDOHGLWLRQVRIGrimms’ Fairy Tales

LQ(QJOLVKE'/VKOLPDQDQGWKH&LQGHUHOODLPDJHEDQNEOLEUDULDQHLGLQQHHLQHUDW

Bonnie Cullen, “For Whom the Shoe FitsŚ Cinderella in the Hands of Victorian Writers and Illustrators,” 7KH/LRQDQGWKH8QLFRUQQR

6XU/D/XQH)DLU7DOHVThere is thus an expansive range of material for accessing Cinderella’s

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Charles Perrault’s version has been viewed as a normative variant that has successfully

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VXFFHVVIXOLQGRFWULQDWLRQRILQQRFHQWFKLOGUHQ5HWXUQLQJWRWKHLVVXHRIJHQGHUUHODWLRQVWKLV

FKDSWHUDVNVZKDWWKHVXIIHULQJDQGJORULILHG&LQGHUHOODPDKDYHPHDQWWRSUHYLRXVUHDGHU

YLHZHUV,QWKLVZD,FRQVLGHUWKHDIIHFWLYHDQGDHVWKHWLFGLPHQVLRQRIWKHVRXUFHWH[WVDQG images in the French versions, which foreground the figure’s shift into English publishing

KLVWRU%HIRUHIRFXVLQJRQ&LQGHUHOODLPDJHUWKHFKDSWHUEHJLQVEVLWXDWLQJDFXUUHQW

XQGHUVWDQGLQJRIWKHFKaracter’s visual evolution within fairy tale scholarship. It concludes by considering how a return the Grimms’ version might further complicate a straightforward map

ZKLFKEHJLQVZLWKWKH9LFWRULDQbeautification of Perrault’s version and ends with the story’s most oppressive rendering of the heroine, Disney’s&LQGHUHOOD

LQGHUHOOD7UDHOVWKURJKDLU7DOH6FKRODUVKLS

:ULWHUVFROOHFWRUVDQGHGLWRUVRIIDLUWDOHVQDPHO&KDUOHV3HUUDXOWWKH%URWKHUVULPPDQG

QGUHZ/DQJLQFOXGHGYDULDWLRQVRIWKH&LQGHUHOODVWRULQWKHLUFRPSLODWLRQVZKLFKVHUYHG their studies of philology, modern languages, and folklore. In Andrew Lang’s collaborDWLYHVWXG

ZLWK0DULDQ&R[WLWOHG&LQGHUHOOD7KUHHXQGUHGDQG)RUW)LYH9DULDQWVWKHDXWKRUV

D.L. Ashliman, “Grimms’ Fairy Tales in EnglishŚ An Internet Bibliography,” Professor D.L. Ashliman’s :HEVLWHDWWKH8QLYHUVLWRI3LWWVEXUJK)HEUXDUKWWSZZZSLWWHGXaGDVKJULPPHQJOKWPOHLGLQQH Heiner, “Illustrations of Cinderella,” fairy tale database, 6XU/D/XQH)DLU7DOHV KWWSZZZVXUODOXQHIDLUWDOHVFRPLOOXVWUDWLRQVFLQGHUHOODLQGH[KWPO ,QWDQGHPZLWKPH[SHULHQFHLQUDUHERRNV,KDYHDGGLWLRQDOOFRQVXOWHGVRPHHGLWLRQVRIWKHVWRUDV WKHFDQEHIRXQGLQGLJLWDOOLEUDULHVQDPHO,QWHUQHWUFKLYHDQGDWKL7UXVW

claimed that the English translation of Perrault’s story is the normative version.RZHYHUWKLV

FODLPLVKDUGOQHXWUDOWKHFRQWULEXWLRQVIURP3HUUault’s female contemporaries are deliberately ignored in Lang’s introduction toPerrault’s Popular Tales/DQJZDVDZDUHRI d’Aulnoy’s authored fairy novellas, and of the Grimms’ work, and yet he declares Charles

3HUUDXOWDVWKHKHDYHQVHQWDXWKRURf the English child’s fairy tales.To emphasize Lang’s

JORULILFDWLRQRI3HUUDXOWWKHIURQWLVSLHFHGHSLFWVFKLOGUHQZKRSODFHODXUHOVDURXQGWKHDFFODLPHG author’s portrait (fig. ). As proof of his gender biases, Andrew Lang writes, “Even when

DEULGJHGand stripped of their frippery Madame d’Aulnoy’s tales hardly compete with Perrault’s masterpieces.”/DQJKDVIXUWKHUPRUHFRQWULEXWHGto the perception of Perrault’s version as

QRUPDWLYHEUHFFOLQJWKHVWRURI&HQGULOORQin his “Coloured Fairy Books”IRUFKLOGUHQ

6HYHUDOHDUOWZHQWLHWKFHQWXUHVVDLVWVXVHGWKH&LQGHUHOODVWRULQWKHLUDUJXPHQWVIRU the revival of the fairy tale tradition. G.K. Chesterton argued that Lang’s version of the story in

7KHOXH)DLURRNGHPRQVWUDWHGKRZWKHVWUDQJHIRUFHVRIFDXVDOLW—WKHWUDQVIRUPDWLRQRI

SXPSNLQVDQGVRIRUWK—FRXOGUHYLYHDQDSSUHFLDWLRQIRUWKHPVWHULHVRIHYHUGDOLIH

OWKRXJK-557RONLHQGLGQRWGLVFXVV&LQGHUHOODLQSDUWLFXODUKHWKHRUL]HGWKDWWDNLQJWKH

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(UQVW%ORFKVLWXDWHGcharacters like Cinderella (presumably the Grimms’ version) as one of the

OLWWOHSHRSOHZKRGLVFRQWHQWHGZLWKWKHJUHHGRIFDSLWDOLVPKDVWKHFRXUDJHWRULVHDERYHKHU

Marian Roalfe Cox and Andrew Lang’s folklore study looks at Cinderella stories, which appeared in oral FXOWXUHVand in the history of the book. They normalize Perrault’s version and additionally suggest that it is possible IRUVLPLODUVWRULHVWRLQGHSHQGHQWODSSHDULQGLIIHUHQWSDUWVRIWKHZRUOG&LQGHUHOODYLL /DQJPerrault’s Popular TalesYLL ,ELG[L–[LL .&KHVWHUWRQDGGLWLRQDOOSLFNVXSRQWKHELEOLFDOLPSOLFDWLRQVRI&LQGHUHOODZLWKZKDWKHFDOOVWKH OHVVRQRIHDOWDYLWKXPLOLVKXPLOLWJORULILHV,WUHIHUVWR/XNHZKLFKLVWKHEDVLVRIWKH0DJQLILFDW. Chesterton, “The Ethicsof Elfland,” 253.

VLWXDWLRQAll of these thinkers refer to Cinderella’s attributes of genuine humility, hope, and

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SODFHIRUWKHIDLUWDOHLQWKHLUKHDUWV

6.1.1. Cinderella’s Feminist Journey

RRGWHPSHUDQGPHHNQHVVDUHVRUHJXODUODVVRFLDWHGZLWKEHDXWDQGLOOWHPSHUZLWK ugliness, that this in itself must influence children’s expectaWLRQV7KHPRVWIDPRXVH[DPSOH RIWKLVDVVRFLDWHGSDWWHUQRFFXUVLQ&LQGHUHOODZLWKWKHRSSRVLWLRQRIWKHXJOFUXHOEDG WHPSHUHGROGHUVLVWHUVWRWKHRXQJHUEHDXWLIXOVZHHW&LQGHUHOOD––0DUFLD/LHEHUPDQ ,QWHJUDOWRWKHGHYHORSPHQWRIIDLUWDOHVFKRODUVKLSLQWKHWZHQWLHWKFHQWXUOLVRQ/XULHDQG

0DUFLD/LHEHUPDQKHOGDQLQLWLDOGHEDWHRQWKHYDOXHRIWKHJHQUHLQWKHVDQG:DOW

Disney’s &LQGHUHOODwas central to their discussion (addressed in Chapter 1). In Alison Lurie’s

LQWHUSUHWDWLRQthe fairy godmother in Andrew Lang’s 7KHOXH)DLURRNVLJQDOVWKDWWKHJHQUH is rooted in women’s folkloric culture, and that it is therefore good for girls, and it should speak

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Andrew Lang’s 7KHOXH)DLURRNZKLFKUHYHDOVLPLODUSDWWHUQVWRWKH'LVQHYHUVLRQVKH

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According to Lieberman’s view of the Disney version of the story, the heroine’s beauty predetermines that she is meek and humble. But, the stepsisters’ and stepmother’s uglification is

SDUWRIDVVWHPDWLFGHYDOXDWLRQRIWKHVWURQJIHPDOHOHDG7KHVHQDUUDWLYHSDWWHUQVVHUYHWKH

SRZHUIXOPDOHKHURZKRZLOOUHVFXHDQGPDUUKHUUltimately, the chosen heroine’s

Bloch’s “The Fairy Tale Moves on its Own in Time” included inŚ Zipes, “Utopian Function of Fairy Tales and Fantasy,” 135– Lieberman, “Some Day My Prince Will Come,” 188. Lurie, “Fairy Tale Liberation”ś Lurie, “Witches and Fairies.” Lieberman, “Some Day My Prince Will Come,” 185, 186, 208. ,ELG–

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Following Lieberman’s assertive declarations, the association between beauty and

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&KDSWHU,QOLJKWRIKRZWKHVWRURIWKHVXIIHULQJKHURLQHKDVIRVWHUHGPXFKLQWHUHVWRIWHQWR

WKHH[FOXVLRQRILPDJHVRYHUWKHSDVWWKUHHKXQGUHGHDUVWKHUHLVPXFKUHDVRQWRTXHVWLRQWKLV

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RULHQWHGDQWL'LVQHOHQVFRPHVWROLPLWXQGHUVWDQGLQJVof Cinderella’s visual evolution.

ELDVDJDLQVW&LQGHUHOODKDVFRPHWRLQIRUPFRQWHPSRUDUOLWHUDWXUHDQGVFKRODUVKLS

9DQHVVD-RRVHQGLVFXVVHVWKHFDQRQLFDOVWDWXVRI/LHEHUPan’s essay in “Marcia K. Lieberman’s

‘Some Day My Prince Will Come’” (2011). Joosen asserts that Lieberman’s view of the harmful

QDWXUHRIWKHWUDGLWLRQDO&LQGHUHOODVWRUKDVLQIOXHQFHGQXPHURXVUHYLVHGVXIIHULQJKHURLQH

QRYHOVDQGVKRUWVWRULHVWKDWHPHUJHGDIWHUIn defiance of Disney Cinderella’s porcelain

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SDWWHUns (identified by Joosen) show that Lieberman’s view of Disney’s &LQGHUHOODDV

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Vanessa Joosen, “Marcia K. Lieberman’s 'Some Day My Prince Will Come,'” in &ULWLFDODQG&UHDWLYH 3HUVSHFWLYHVRQ)DLU7DOHVQ,QWHUWHWXDO'LDORJXHHWZHHQ)DLU7DOH6FKRODUVKLSDQG3RVWPRGHUQ5HWHOOLQJV 'HWURLW0LFKLJDQ:DQH6WDWH8QLYHUVLW3UHVV– ,ELG

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Linda Parsons, in “Ella Evolving” (2004), continues Lieberman’s argument while contributing to a more nuanced discussion about the story’s principal variations. Accordingly, she contends that Perrault’s versiRQRIWKHVWRUHQFRXUDJHVJLUOVWRREVHVVRYHUWKHLUORRNVEXW that other versions, such as the Grimms’ “Aschenputtel,” offer “alternative positions to occupy.”Parsons notes the heroine’s refusal to submit to unquestioned injustices, how tears of

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VIDLUWDOHIHPLQLVPKDVSURJUHVVHGWKHSLFWXUHVLQKLVWRULFDOSLFWXUHERRNVKDYHJDLQHG a degree of importance. Addressing the visual aspect, Bonnie Cullen in “For Whom the Shoe

Fits” (2004), looks backwards from the Disney film, the version that she asserts everyone is

Iamiliar with. She asks this questionŚ given Andrew Lang and Marian Cox’s findings in 7KUHH

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Perrault’s version of the story prevailed?%DVHGRQWKHQXPEHURI(QJOLVKWUDQVODWLRQVRIWKH

Perrault version available in the National Library of London’s collection, Cullen asserts that

Perrault’s “Cinderella” is the version that came to dominate the Grimms’ and d’Aulnoy’s VWRULHV

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,ELG Linda T. Parsons, “Ella EvolvingŚ Cinderella Stories and the Construction of GenderSSURSULDWH Behavior,” Children’s /LWHUDWXUHLQ(GXFDWLRQQR-XQH ,ELG– Cullen, “For Whom the Shoe Fits,” 58. Cullen does not consider the publishing history of any given publication when she asserts that Perrault’s YHUVLRQEHFDPHWKHGRPLQDQWIRUP0DQof the anthologies, including of the Grimms’ stories, were republished VHYHUDOWLPHV

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ZKLFKVKHDVVRFLDWHVPRUHZLWKWKH9LFWRULDQPLQGVHWWKDQZLWK&KDUOHV3HUUDXOW6KHYLHZV the pictorial evolution of Perrault’s puPSNLQYHUVLRQRIWKHVWRULQ(QJODQGDVRSSUHVVLYH

EHFDXVHWKHILJXUHRI&LQGHUHOODFRQVLVWHQWOGLVSODVWKHPHHNQHVVDVVRFLDWHGZLWK9LFWRULDQ

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DVVHUHQHDQGSUDHUIXODQGWKXVFRPSODFHQWHenry Cole’s “Cinderella” in the RPH7UHDVXU

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ZLWKDQLQZDUGJD]HDQGFODVSHGKDQGVILJ

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IRUDFWLRQDQGKHUYLYDFLRXVSHUVRQDOLW,WLVWKHVHDOOHJHGO9LFWRULDQLGHDOVRISDVVLYH femininity, which Disney reinforced in his film. Cullen’s assumptLRQVDERXWWKH9LFWRULDQVDQG

KHUXVHRIDELDVHGDQWL'LVQHOHQVLQRWKHUZRUGVH[SODLQKRZVKHVHHVWKHDFWLRQSDFNHGIDVW running Cinderella in earlier chapbooks and in George Cruikshank’s illustrations as more

HPSRZHULQJWKDQWKHEHDXWLIXO&LQGHUHOODLQ:Dlter Crane’s toy book (figs. 132

Cullen, “For Whom the Shoe Fits,” 71– ,ELG ,ELG 7KHUHDUHDGGLWLRQDO&LQGHUHOODLPDJHVLQWKH2[IRUGYHUVLRQRIWKHERRNZKLFKVXJJHVWVWKDWRQHRIWKH IROORZLQJWZRFRSLHVKDVEHHQFDWDORJXHGZLWKHUURQHRXVELEOLRJUDSKLFGHWDLOV1RWDEOQRWDOORIWKHERRNVIURP WKLVSHULRGZHUHSULQWHGZLWKFRPSOHWHELEOLRJUDSKLFLQIRUPDWLRQHQU&ROHHGRRNRI6WRULHVIURP7KH RPH7UHDVXU/RQGRQ-&XQGDOOKWWSZZZWRURQWRSXEOLFOLEUDUFDGHWDLOMVS"(QWW 5'0'& '5 '&'HQU&ROHRRNRI6WRULHVIURPWKHRPH7UHDVXU/RQGRQ- &XQGDOOKWWSVRORERGOHLDQR[DFXN2;98/6&23B2;R[IDOHSK Cullen, “For Whom the Shoe Fits,” 66, 69.

It is hard to bracket the experience of numerous adults and children, who take Disney’s

&LQGHUHOODto be the original version of the story, when analyzing the story’s visual evolution.

7KDWVDLG3DUVRQVDQG&XOOHQKDYHPRYHGEHRQGVRPHEXWQRWDOORIWKHDVVXPSWLRQVIRXQGLQ

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Parsons posits an alternative emotive response to “Aschenputtel.” Cullen is aware that bHDXWLV not the principal aesthetic attribute in early illustrations of translated editions of Perrault’s story.

She also argues that there is a subversive dimension to d’Aulnoy’s version of the story (which

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ZKHWKHUWKHLOOXVWUDWLRQVLQJHQHUDOPLJKWKDYHVRPHWKLQJPRUHWRRIIHU,DOVRDVNWKLVTXHVWLRQ in a revised overview of Cinderella’s visual evolution, which acknowledges possible

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JHQHUDWLRQV

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DOWHUQDWHIHPLQLVWSHUVSHFWLYHVZDVGHVFULEHGHDUOLHUWKHVDORQVRI5RFRFR)UDQFHRIIHUHG

6HYHUDOVFKRODUVHPSKDVL]HWKHLPSRUWDQFHRIWKHVDORQVIRUZRPHQ6HH(YHOQRUGRQ%RGHN “Salonnières and the BluestockingsŚ Educated Obsolescence and Germinating Feminism,” )HPLQLVW6WXGLHVQR 6SULQJ6XPPHUOOLVRQ6WHGPDQ5RFRFR)LFWLRQLQ)UDQFH6HGLWLRXV)ULYROLW /HZLVEXUJ%XFNQHOO8QLYHUVLW3UHVV/HZLV&6HLIHUW)DLU7DOHV6HXDOLWDQGHQGHULQ )UDQFH1RVWDOJLF8WRSLDV&DPEULGJH8QLYHUVLW3UHVV

ZRPHQDQHQWUSRLQWLQWRIDLUODQG'LVWLQJXLVKHGJXHVWVZURWHVWRULHVDQGOHWWHUVDQGEHFDPH characters in each other’s fantasies where they were eLWKHUH[DOWHGRUFKDVWLVHG

7KH&LQGHUHOODILJXUHHQWHUHGWKHSDJHVRIWKHPRGHUQSLFWXUHERRNIURPWKHVWRUWHOOLQJ

PLOLHXRI5RFRFRVDORQVLQ)UDQFH7KHVWRUWHOOLQJURRPVZRXOGKDYHJOLWWHUHGZLWKWKHOLJKW

UHIUDFWLQJIURPPLUURUVDQGZLQGRZVRQWRODYLVKJRZQVMHZHOVIHVWLYHSDLQWLQJVDQG

IXUQLVKLQJVThe rooms themselves offer a glimpse of the world that Cinderella’s authors and

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ZHUHRIWHQIDQWDVFKDUDFWHUVIURPFODVVLFDOPWKRORJDQGWKHVHILJXUHVSDUDOOHOWKRVHLPDJLQHG

EWKHVDORQLqUHV7KHIDPHGVDORQLqUHVLQFOXGH0DULH&DWKHULQHG’Aulnoy whose published fairy stories respond to Charles Perrault’s ‘Mother Goose’ tales.

6.2.1. Perrault’s “Cendrillon”

Charles Perrault’s ‘Mother Goose’DQWKRORJ—WKHDOWHUQDWLYHQDPHIRU&RQWHVGXWHPSVSDVVp— contains the literary story of “Cendrillon” (1685ś 1687). The story situates Cendrillon as one character among other female family membersŚ the “proud” VWHSPRWKHUZKRUXOHVRYHUKHU

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WLPHIL[LQJWKHLUWULPPLQJVEWKHPLUURU7KHVWRUWKHQH[SODLQVWKDWWKHKHURLQHSURYHVKHUVHOI

DIWHUKHUVWHSPRWKHUVXEMHFWVKHUWRWKHPRVWDEMHFWZRUNRIWKHKRXVHVXFKDVFOHDQLQJWKH

6HLIHUWVXJJHVWVWKDWLQWKLVSHULRGWKHWHUPVFRQWHXVHDQGVDORQQLqUHEHFDPHIXVHGZLWKLQDVSDFHZKHUH ZRPHQGHIHQGHGWKHLUDXWKRULWHe mentions Bernard, L'Héritier, and d’Aulnoy as key storytellers. Duggan emphasizes the importance of Scudéry and d’Aulnoy as key storytellers. Seifert, )DLU7DOHV6HXDOLWDQGHQGHU LQ)UDQFH–'XJJDQ6DORQQLqUHV)XULHVDQG)DLULHV Based on Mary Vidal’s work on Watteau, I would say that there is an interpictorial relationship between 6pEDVWLDQ/HFOHUFVIURQWLVSLHFHVIRU0DGHOHLQHGH6FXGpUERRNV&RQYHUVDWLRQVQRXYHOOHVVXUGLYHUVVXMHWV DQG1RXYHOOHFRQYHUVDWLRQVGHPRUDOHGpGLpHVDX5R, 1688) and Watteau’s paintings, which look back to the glory GDVRIWKHVDORQV0DU9LGDOWatteau’s Painted Conversations: Art, Literature, and Talk in SeventeenthDQG (LJKWHHQWK&HQWXU)UDQFH1HZDYHQDOH8QLYHUVLW3UHVV– )RUPRUHRIDVHQVHRIZKDWWKHVHVSDFHVORRNHGOLNHLWVKRXOGEHQRWHGWKDW0DULHCatherine d’Aulnoy KHOGKHUVDORQJDWKHULQJVDWWKH&KDWHDX6W&ORXG 2QOLQHWUDFHVRIWKHHGLWLRQDUHGLIILFXOWWRILQG,QGLFDWLQJWKDWWKHUHZHUHSUREDEOPRUHFRSLHVRI WKHHGLWLRQWKDWZHUHSULQWHGRHDXLQKLVLQWURGXFWLRQWRDQLQHWHHQWKFHQWXUFRPSLODWLRQVXJJHVWVWKDW Perrault’s tales only became public in 1697. Charles Perrault et al., /H0RQGH(QFKDQWp&KRLGH'RXH&RQWHVGH )pHVHG)pOL[)DXUHRHDX3DULV1HOVRQ[LL–[LLL

FKDPEHUVVDOHVVRQLQREHGLHQFHWKHIDLUJRGPRWKHUDOVRRUGHUV&HQGULOORQDURXQG6KH

WHOOVKHUWRILQGPLFHUDWVDOL]DUGDQGDSXPSNLQVRWKDWVKHFDQWUDQVIRUPWKHPLQWRKRUVHV

IRRWPHQDFRDFKPDQDQGFRDFK7H[WXDOODQGSLFWRULDOO&HQGULOORQWKHQDWWHQGVWKHEDOO

Antoine Clouzier’s main illustration for Perrault’s &LQGHUHOODVWRUWKHHGLWLRQ

GHSLFWV&HQGULOORQDQGKHU3ULQFHDWWKHEDOOILJ6KHLVEXQGOHGLQIDEULFVXJJHVWLQJKHU

PRGHVWHZHDUVDWUDQVSDUHQWPLOLWDUYHVWZKLFKVXJJHVWVWKDWKHPDEHDEUDYHKHUR7KH

JUHHWDQGGHSDUWIURPHDFKRWKHULQWKLVVQRSWLFLPDJH––PHDQLQJWKDWWKHFKDUDFWHUVDSSHDU

PRUHWKDQRQFHLQWKHDFWLRQVZKLFKWDNHSODFHZLWKLQDVLQJOHVFHQH:KHQWKHKHURLQHHQWHUV

WKHVFHQHRIFRXUWLHUVDQGPXVLFLDQVWKHSULQFHDVNVKHUWRGDQFH,QWKHVHFRQGLQVWDQFHVKH departs and loses her slipper, and he bows to pick it up. Cendrillion’s clothes weigh her down in

KHUFOXPVHIIRUWWRUXQDQGKHUSDQLFNHGDUPIOLHVXSLQWRWKHDLU

3HUUDXOWORFDWHVIHPDOHYLUWXHLQPDULWDOFKDVWLWIHFXQGLWDQGLQVSRXVDOREHGLHQFH these views inform his “Cendrillon.”7KHWH[WXDOVWRUHQGVZKHQWKHSULQFHILQGV&HQGULOORQ

PRUHEHDXWLIXOWKDQEHIRUHEHFDXVHVRPHKRZKHUJRRGQHVVKDVEHHQSURYHQRZHYHUWKH

HQGLQJLVQRWTXLWHWKHHQG—DPRUDOLWpis offered. Supplementary texts, called “PRUDOLWpV,” were appended to the stories to offer insight on Perrault’s authorship and should not be confusHGZLWK the ‘moral of the story’ endingsIRXQGLQ(QJOLVKWUDQVODWLRQVZKLFKZHUHUHDGDSWHGIRU

FKLOGUHQ7KHILUVWPRUDOLWpUHSHDWVWKHVXUIDFHPHVVDJHRIWKHVWRUDQGLWVWDWHVWKDWDOWKRXJK

EHDXWPDEHDUDUHWUHDVXUHIRUZRPHQLWLVWKHJUDFHWKat comes from Cendrillon’s fairy godmother’s instructions which makes the character superior to her wellJURRPHGVWHSVLVWHUV

7KHXOWLPDWHPRUDOLWpZKLFKWSLFDOOGRHVQRWDSSHDULQWKH(QJOLVKWUDQVODWLRQVIXUWKHU

XQUDYHOVWKHVXUIDFHPHDQLQJRIWKHOLterary narrative and is suggestive of Perrault’s views on

ZRPHQRWKHUZLVHIRXQGLQKLVSRORJLH7KHODVWPRUDOLWpUHDGVDVIROORZV

Duggan describes how Perrault tends to subject his good female characters to “abject conditions.” 'XJJDQ6DORQQLqUHV)XULHVDQG)DLULHV 7KHHGLWLRQLVDYDLODEOHRQOLQHOWKRXJKLWLQFOXGHVFRSLHVRIWKHLOOXVWUDWLRQVRWKHUGHWDLOVVXFKDV the original typography and pagination have been erased. Perrault, “Cendrillon.” 'XJJDQ6DORQQLqUHV)XULHVDQG)DLULHV

C’est sans doute un grand avantage, D’avoir de l’esprit, du courage, 'HODQDLVVDQFHGXERQVHQV Et d’autres semblablesWDOHQWV Qu’on reçoit du ciel en partage ; 0DLVYRXVDXUHEHDXOHVDYRLU 3RXUYRWUHDYDQFHPHQWFHVHURQWFKRVHVYDLQHV Si vous n’avez, pour les faire valoir. 2XGHVSDUUDLQVRXGHVPDUUDLQHV(Perrault’s words from the 1697)

3HUUDXOWKDVQRZVHSDUDWHGthe masculine attributes of “spirit, courage and good sense,” which

FRPHIURPWKHKHDYHQVIURPWKHILUVWPRUDOLWpZKHUHIHPLQLQHJLIWVZHUHJLYHQIURPWKH

PDJLFDODELOLWLHVRIWKHIDLULHV%LPSOLQJWKDWWKHIDLUJRGPRWKHUPLJKWMXVWEHDULFK

UHODWLYH3HUUDXOWGLPLQLVKHVWKHPDJLFDOSRZHUWKDWWKHFKDUDFWHUKDGLQJLYLQJ&HQGULOORQWKH

JLIWVRIFORWKHVEHDXWDQGJUDFH7KHKRQRXUWKDWWKHDXWKRUJLYHVWRWKHHTXDOVWDWXVRI

KXPDQJRGSDUHQWVUDWKHUWKDQWRVXSHUQDWXUDOIDLULHVDVSHUVRQVRIKLJKHUDXWKRULWSURYLGHV

&HQGULOORQZLWKWKHSDWKWRDGYDQFHPHQW,QWKHODVWOLQHWKHJRGPRWKHUORVHVKHUWLWOHDVDIDLU

WRWKHJRGIDWKHUZKRJDLQVKLVSRZHUIURPWKHKHDYHQVThus, God’s authority transfers to

3HUUDXOWKLPVHOIZKRDVWKHPRUDOL]LQJDXWKRUVWDQGVIRUDQDXVWHUHYHUVLRQRIWKHSDWHUIDPLOLDV

When viewed with the text, the pictorial narrative enforces Perrault’s story. As

Cendrillon glances back at the prince, the textual narrative responds to the image. Perrault’s

YRLFHWHOOVWKHUHDGHr that Cendrillon must flee so as to obey the godparent’s commandWREH

KRPHEPLGQLJKW7KHSLFWXUHEHFRPHVDPRPHQWRIHQWUDSPHQWEHFDXVHDVWKHSLFWRULDO

&HQGULOORQWULHVWRHVFDSHWKHSULQFHVKHKHDGVWRZDUGVWKHJRGIDWKHULQWKHPRUDOLWp,QWKLV

Zay, the combination of two moralizing epilogues confirms Perrault’s oppressive vision IRU

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Perrault, “Cendrillon.” ,ELG0WUDQVODWLRQOOVSLULWDQGFRXUDJHJRRGVHQVHDQGJRRGELUWKWKDWZHUHFHLYHIURPWKHKHDYHQV ZRXOGEHZLWKRXWDGRXEWDQDGYDQWDJH%XWWRWUXODGYDQFHLIRXGRQRWYDOXHWKHDXWKRULWRIRXUJRGIDWKHUV DQGJRGPRWKHUVWKDQWKHVHDWWULEXWHVDQGRWKHUVLPLODUWDOHQWVZLOOEHEXWYDQLWLHV 'XJJDQ6DORQQLqUHV)XULHVDQG)DLULHV .QRHSIOPDFKHUQRWHVKRZWKHDXWKRULWWUDQVIHUVIURPWKHIDLUJRGPRWKHUWRWKHJRGIDWKHUDWWKLVSRLQWLQ the moralité. U. C. Knoepflmacher, “IntroductionŚ Literary Fairy Tales and the Value of Impurity,” 0DUYHOV7DOHV QR

6.2.2. D’Aulnoy’s “Finette Cendron”

0DULH&DWKHULQH/H-XPHOGH%DUQHYLOOH%DURQHVVd’Aulnoy’s (1650DQWKRORJ/HV

&RQWHVGHVIpHVwas published two years after Perrault’s moralizing compendium. Her courageous, beautiful, and noble heroines counter Perrault’s CinderellaWSHVDQGKHURUQDWH

ZULWLQJstyle challenges her rival’s efforts to modernize the French language. Looking at early

)UHQFKHGLWLRQVRIERWK&RQWHVGXWHPSVSDVVpDQG/HV&RQWHVGHVIpHVVLGHEVLGH'XJJDQ highlights the “intertextualities.”She statesŚ “d’Aulnoy playfully integratHVHOHPHQWVIURP

Perrault’s tales in such a way as to subvert the ideology conveyed through them.”7KHVHLWHPV include the pumpkin, which is unique to Perrault’s “Cendrillon,” and the red cloak, which comes specifically from his version of “Le Petit Chaperon Rouge,” and not from the earlier Italian

Cinderella stories. D’Aulnoy limits the written space given to moments of straightforward

PDWHULDOWUDQVIRUPDWLRQ—VXFKDVZKHQWKHSXPSNLQWXUQVLQWRDFRDFK—DQG'XJJDQVHHVWKH

UHSXUSRVLQJRIVWRUGHWDLOVLQG’Aulnoy’s “Oiseau Bleu” as satirical in nature.

D’Aulnoy’s “Finette Cendron” is an additional parallel story to Perrault’s “Cendrillon.”

The king’s other daughters, Fleurd’Amour and BelleGH1XLWWXUQDJDLQVWWKHLUEORRGVLVWHU

)LQHWWH&HQGURQZKRLs their father’s favourite daughter. It is not that Cendron is more beautiful

WKDQKHUVLVWHUVLQWKLVVWRUUDWKHUWKHVLVWHUVDUHXQGHUORYHGEWKHLUIDWKHUDQGHVSHFLDOOE

WKHLUPRWKHU1RWDEOWKHDUHDll named for their beautyŚ the ‘5HILQHG&LQGer Girl,’ ‘Love

Flower,’ and ‘%HDXWRIWKH1LJKW’DYLQJUXQRXWRIHVVHQWLDOSURYLVLRQVWKHTXHHQUHVRUWVWR

OHDYLQJWKHWKUHHWRGLHLQWKHIRUHVW7KLVIXQGDPHQWDOPRPHQWRISDUHQWDOQHJOHFWIURPERWK

SDUHQWVWKHIDWKHULVDOVRUHVSRQVLEOHFDXVHVZLFNHGQHVVLQWKHDGXOWFKLOGUHQ7KHGLUHQHVVRI

'XJJDQ6DORQQLqUHV)XULHVDQG)DLULHV ,ELG Duggan takes d’Aulnoy “Oiseaux Bleu” to be the principal parallel stories to Perrault’s “Cendrillion.” Although she mentions “Finette Cendron” she does analyze this story. Ibid., 203, 214. 7KHVWRUVKRXOGDSSHDULQWKHIRXUWKYROXPH0DULHCatherine d’Aulnoy, “Finette Cendron,” in /HV &RQWHVGH)pHVYRO3DULV%DUELQKWWSZZZOHVFRQWHVGHIHHVIUFRQWHVHWDXWHXUVPPHGDXOQRILQHWWH FHQGURQ7KHRULJLQDOSDJLQDWLRQLVQRWSURYLGHGLQWKHGLJLWL]HGFRS ,ELG

the circumstances contrasts with, and even refutes, Perrault’s idea that physical vanity and other

VLQVDXWRPDWLFDOOH[SODLQZKXQJRYHUQHGZRPHQFKDUDFWHUVEHKDYHLQQHIDULRXVZDV

VWKLVSURORQJHGVWRUFRQWLQXHVWKHGLVRZQHGDQGLPSRYHULVKHGVLVWHUVOHDYH&HQGURQ

WRDVWDWHRIUDJVDQGDVKHVGXULQJWKHLUDWWHPSWVWRILQGDSULQFHRZHYHUWKHFDQQRWUHJDLQ their status without their sister’s goodness, tenacity, and strategies. Meanwhile, the faiULVSDUW

RIWKHEDFNJURXQGIDEULFRIWKHVWRU0RUHWKDQDEHDXWLIXOILJXUHZKRGRHVQRWKLQJEXWJURRP

KHUVHOIVKHLVDFRQVROLQJPDWHUQDOVXUURJDWHZKRRIIHUVKHOSDVQHHGHG2XWRIPDWHUQDO

FRQFHUQWKHIDLUZDUQV&HQGURQWREHZDURIKHOSLQJKHUDEXVLYHVLEOLQJVZKRZLOOFRQWLQXHWR

WDNHDGYDQWDJHRIKHURZHYHU&HQGURQKHOSVKHUVLVWHUVHYHQLILWPHDQVWKDWVKHGLVREHVWKH fairy godmother’s wishes. 8QOLNHthe fairy godmother in Perrault’s “Cendrillon”—ZKRRUGHUV

KHUJRGGDXJKWHUDURXQGOLNHDVHUYDQW—d’Aulnoy’s fairy godmother tries to prevent her

JRGGDXJKWHUIURPVXEMHFWLQJKHUVHOIWRWKHDEXVHRIKHUVLVWHUV

7KHFRUUHVSRQGLQJLOOXVWUDWLRQLQWKHVHFRQGHGLWLRQGHSLFWVWKHVFHQHMXVWDIWHU

WKHIDLUVHQGVDZKLWHKRUVHLQWLPHIRU)LQHWWH&HQGURQWRHVFDSHIURPVHUYLWXGHILJ

7KHLOOXVWUDWLRQRIWKHVLVWHUVLQFOXGHVWKHKRUVHULGLQJ)LQHWWH&HQGURQZKRFKDUJHVWRZDUGWKH

FDVWOH6KHLVSLFWXUHGEDUHIRRWHGDQGRXWILWWHGZLWKWKHJDUPHQWVWKDWVKHKDGSUHYLRXVOIRXQG

LQDGeep treasure chest filled with the fairy’s mysterious presents. 0HDQZKLOHWKHRWKHUVLVWHUV

DUHSLFWXUHGVSHDNLQJDPRQJWKHPVHOYHVEWKHHGJHRIWKHIRUHVWWKLVLVDOVRWKHPRPHQWZKHQ

)OHXUd’Amour and BelleGH1XLWUHFRJQL]HWKDWWKHPRVWJUDFHIXOGDQFHUDWWKHEDOOZDVWKH

Prior to Duggan’s contribution to French fairy tale literature Jack Zipes (her doctoral advisor) assumed that Perrault and d’Aulnoy wrote fairy tales for children, and that d’Aulnoy in particular was constrained by SDWULDUFKDOJHQGHUQRUPVDVVRFLDWHGZLWKbeauty. In the later edition of his work, Zipes gives d’Aulnoy much more FUHGLWDVDQDXWKRU=LSHV)DLU7DOHVDQGWKHUWRI6XEYHUVLRQ–=LSHV)DLU7DOHVDQGWKHUWRI 6XEYHUVLRQ 6HYHUDOVFKRODUVQRWHWKHLPSRUWDQFHof “Finette Cendron” as a protofeminist story. SeeŚ Cullen, “For Whom the Shoe Fits,” 60ś Jacques Barchilon, “Adaptations of Folktales and Motifs in Madame d’Aulnoy’s ContesŚ A Brief Survey of Influence and Diffusion,” 0DUYHOV7DOHVQR–'XJJDQ6DORQQLqUHV )XULHVDQG)DLULHV %ORJJHU-DPHVDQDQRQPRXVUDUHERRNVOLEUDULDQKDVDOVRHQFRXQWHUHGFRQIXVLRQDVWRZKHWKHUWKH DQGHGLWLRQVDUHLGHQWLFDO&RQWHVGHIpHVLVDPXOWLYROXPHVHULHVZKLFKZDVUHHGLWLRQHG,ILPDJHVIURP YROXPHLQDODWHUHGLWLRQDSSHDUWREHWKHVDPHDVGLJLWDOWUDFHVIURPYROXPHRIWKHHDUOLHVWHGLWLRQWKHQWKLV increases the likelihood that the books were republished with the same source images. James, “Rare Frontier,” 5DUH )URQWLHUDFFHVVHG-DQXDUKWWSVUDUHIURQWLHUZRUGSUHVVFRP

VLVWHUZKRPWKHKDGHQVODYHG7KLVSLFWXUHLVUHPDUNDEOHEHFDXVHLWSUHVHQWVRXUYDORURXV

)LQHWWH&HQGURQDVDNLQWRDIHPDOHNQLJKWRQKRUVHEDFNDOEHLWZLWKDJRZQEHILWWLQJKHUVWDWLRQ

%HDXWFRUUHVSRQGVWRLQQHUQRELOLWLQSDUWEHFDXVHWKHLOOXVWUDWLRQRIIHPDOH

HPSRZHUPHQWFRUUHVSRQGVWRWKHWH[WXDOHQGLQJVDSROLWLFDOOHDGHUZKRXQLWHVWZRNLQJGRPV

&HQGURQTXHVWLRQVWKHH[LVWLQJSROLWLFDOHVWDEOLVKPHQWDQGQHJRWLDWHVWKHWHUPVRIKHUPDUULDJH

7KHSULQFHZKRLQWKHWH[t “mopes” (as Knoepflmacher puts it) over Cendron’s velvet red slipper

LVQRWPXFKRIDSUL]H,QVWHDGWKHUHDOJHPRIWKHVWRULVWKHPHVVDJHWKDWIHPDOHVROLGDULW

FDQSUHYDLORYHUVLEOLQJULYDOUERWKLQWKHKRPHDQGLQWKHFRQWH[WRILQWHUVWDWHGHFLVLRQV,QWKH

HQGWKHXQGHUORYHGVLVWHUVUHFRJQL]HWKDW)LQHWWH&HQGURQKDVORYHGWKHP2QFHWKLVIRUPRI

IDPLOLDOORYHSUHYDLOVIHPDOHDXWKRULWLVVWUHQJWKHQHGLQVROLGDULW7KLVKHOSVWRUHVWRUHWKH girls’ former kingdom in an act of peace with their parent’s rivals. Kingdoms unite, the sisters marry well, and together they reassert the fantasy space of salon culture’s sisterhood.

In short, beautification associated with female empowerment is satirized in Perrault’s source version, but praised in d’Aulnoy’s response. Finette Cendron is textually beautiful, and visually, she charges forward on horseback to rescue her female kin. In contrast, Perrault’s depiction of Cendrillon’s beauty is merely part of his understanding of how women can be good

PDUULDJHSDUWQHUV,QRWKHUZRUGVWKHVHWH[WXDOQDUUDWLYHVDQGLOOXVWUDWLRQVKLJKOLJKWWKH

GLIIHUHQFHEHWZHHQZKDWEHDXWVLJQLILHVIRUSURWRfeminist d’Aulnoy and the patriarchal Perrault

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QJOLVK3EOLVKLQJLVWRUURPKDSERRNWR7RRRN

English chapbook publishers of the Cinderella story chose Perrault’s tales over d’Aulnoy’s. Due to their simplified language, brevity, and straightforward plots, Charles Perrault’s folktales

EHFDPHSDUWRIDSRSXOLVWWUDGLWLon. In obedience to Louis XIV’s censorship laws, the king’s

IRUPHUSULQWHU1LFROH2XGRWEHFDPHWKHSXEOLVKHURIWKH)UHQFKFKDSERRNV7KHVHFKHDSO

Knoepflmacher, “IntroductionŚ Literary Fairy Tales and the Value of Impurity,” 21.

PDGHERRNVZHUHPDUNHWHGZLWKEOXHFRYHUVDQGEHFDPHNQRZQDVWKHLEOLRWKqTXHEOHXH

7KLVLVDQRWKHUUHDVRQZKPerrault’s Cendrillon, rather than d’Aulnoy’s Finette

&HQGURQ—who questions the king’s authority—EHFDPHWKHPDLQFKDUDFWHURIERWKWKH)UHQFK

DQG(QJOLVKFKDSERRNV)RUSHQQLHVRUOHVVFKDSPHQVROGWKHVHFKHDSPDVVSURGXFHGERRNVRQ

WKHLUWUDGHURXWHVWKURXJKWKHFRXQWUVLGH

The ball scene from Perrault’s anthology drew the attention of LondonEDVHGDQGUXUDO

SXEOLVKLQJKRXVHV7KHLOOXVWUDWLRQRI&LQGHUHOODDWWKHEDOO—ZLWKDUDLVHGDUP—ZDVWKHQ

FRSLHGSHUKDSVIURPWKHVDPHSULQWLQJEORFN5HSULQWHGLPDJHVWSLILHGWKHFKDSERRNZKLFK

UDUHOFUHGLWHGWKHDUWLVWEXWRIWHQUHFRJQL]HGWKHSXEOLVKHUDQGSULQWHU,QWKLVSURFHVVRI reproduction, the question of the character’s suffering and liberation was often at stake.

7KHFKDSERRNWLWOHG'LYHUWLQJLVWRURI&LQGHUHOODZDVSULQWHGDQRQPRXVO with woodcuts in Mozley’s publishing houseLQDLQVERURXJK7KHODVWZRUGVRIWKHERRN trivialize Cinderella’s suffering by suggesting that an unromantic understanding of marital

SDUWQHUVKip is what confirms a woman’s ultimate worth. The words stateŚ “To your Advancement

LQWKH:RUOGZLOOSURYH2IDQ8VHLIRGVLUHVPDNH'HOD2URGPRWKHUVRXPHULWWRGLVSOD

ILJ).”,VXJJHVWWKDWWKLVVWUDQJHOZRUGHGODVWOLQHVLJQLILHVWKHIROlowingŚ A woman’s

ZRUWKRUDGYDQFHPHQWLQOLIHDVLQPDUULDJHLVRQOYDOXDEOHXQWLOVKHGLVSODVLWEHFRPHV

SUHJQDQWZKLFKLVKRZVKHVKRZVKHUPHULW7KLVOLPLWLQJFRQGLWLRQIRUIHPDOHZRUWKSRVLWLRQV

WKHKXVEDQGZKRVLUHVKLVIXWXUHOHJDFLQWRDSRVLWLRQRIKLJKHUYDOXHWKDQKLVZLIH

This edition includes the same ball scene adapted from Perrault’s anthology, and several

DGGLWLRQDOLPDJHVILJV7KHLOOXVWUDWLRQRI&LQGHUHOODFULQJSURIXVHOEHIRUHKHU

PDUULDJHWXUQVWKHVWRURIWKHVXIIHULQJKHURLQHLQWRRQHWKDWPRFNVDQSURVSHFWRIIHPDOH

3UHWWRRNIRU&KLOGUHQRUQ(DVXLGHWRWKH(QJOLVK7RQJXH3HUIHFWO:HOOGDSWHGWR7KHLU 7HQder Capacities, and Is Design’d as Well for the More Easy Instruction of Those That Can but Just Read, as for WKH(QWHUWDLQPHQWRI2WKHUV7KDWUHD/LWWOHGYDQFHG, 10th ed. (LondonŚ John Newbery in St. Paul’s ChurchDUG 7KH'LYHUWLQJLVWRURI&LQGHULOOD2U7KH/LWWOHODVV6OLSSHU(PEHOOLVKHGZLWK&XWVDLQVEURXJK Mozley’s Lilliputian Book Manufactory, 1793), 30.

OLEHUDWLRQ1RQHWKHOHVVWKHURXJKJUDLQRIWKHZRRGHQJUDYLQJHPSKDVL]HVthe girl’s torment,

ZKLFKVXJJHVWVWKDWVRPHUHDGHUYLHZHUVPLJKWIHHOIRUWKHFKDUDFWHUDQGUHDFWDJDLQVWWKHJHQGHU discrimination evident in the story. Alternatively, as a result of Cinderella’s association with the

)UHQFKDULVWRFUDFORZHUFODVV(QJOLVKUHDGHUviewers might enjoy tearful Cinderella’s fall from

KHUQREOHVWDWXVRZHYHUWKHERRNZDVLQWHUSUHWHG0R]OHKDGLWSULQWHGQXPHURXVWLPHV

)RUDVHULHVRIUHLVVXHGFKDSERRNVEHWZHHQWKH'HUESULQWHUVDQG

SXEOLVKHUV0R]OHDQG6RQVDQG7KRPDV5LFKDUGVRQDGGHGVHYHUDOVFHQHVLQWRWKHVSHFWUXP

RI&LQGHUHOODUHODWHGLOOXVWUDWLRQV2QHUHSULQWHGLPDJHGHSLFWVWKHPHVVDJHRIIHPDOH

VXERUGLQDWLRQILJ&LQGHUHOODDSSHDUVVHDWHGLQDZLGHOHJJHGSRVWXUHWKDWIRUHVKDGRZV

VH[DQGELUWKLQJ2QHKDQGLVSUHVVHGDJDLQVWKHUEUHDVWDQGWKHRWKHUKROGVXSDJODVVVKRHWKXV emphasizing Cinderella’s se[XDOLW

A comment of Cullen’s, which she makes in regard to Perrault’s original textEXWQRWWKH

LPDJHVDSSOLHVPXFKPRUHWRWKLV(QJOLVKYHUVLRQWKDQWRWKH)UHQFKVRXUFHVVHUWLQJWKDWWKH shoe’s materiality can be taken to represent Cinderella’s pUHPDULWDOYLUJLQLWWKHJODVVEHFRPHV a signifier for the hymen), Cullen statesŚ “The slipper, evoking female virginity, is made of glass

LQKLVWDOH1RWRQOLVLWIUDJLOHDQGH[WUHPHOSXUHEXW3HUUDXOWKLQWVWKDWYLVXDOSURRIZLOOEH necessary.”,QWKH(QJOLVKLOOXVWUDWLRQWKHVOLSSHULVUDLVHGLQWKHDLUDQGLVWKXVWKHIRFDOSRLQW of a scene that concerns inspection, or a shoe trial. The king’s servant sits with one leg positioned between Cinderella’s.HLQVSHFWVWKHOHJLWLPDFDQGYLUJLQDOZRrth of the prince’s future bride, which intensifies the misogyny associated with Perrault’s story.

7KHLVWRURI&LQGHUHOOD2U7KH/LWWOHODVV6OLSSHU'HUE7KRPDV5LFKDUGVRQ7KH LVWRURI&LQGHUHOOD2U7KH/LWWOHODVV6OLSSHU'HUE7KRPDV5LFKDUGVRQ KWWSVRORERGOHLDQR[DFXN2;98/6&23B2;R[IDOHSK7KHLVWRURI&LQGHUHOOD2U7KH/LWWOH ODVV6OLSSHU'HUE0R]OHDQG6RQV ,WLVXQFOHDUZKHWKHU&XOlen had any images in mind when she made this statement about Perrault’s text. Perhaps, she had the Disney version in mind. Cullen, “For Whom the Shoe Fits,” 59. ,WLVDVHUYDQWWRWKHNLQJDQGQRWWKHSULQFHZKRVKRZVXSWRWKHVKRHWULDOLQVHYHUDOYHUsions of Perrault’s &LQGHUHOODLQFOXGLQJWKLVRQH

'HVSLWHWKHIDFWWKDWWKHHDUO(QJOLVK&LQGHUHOODFKDSERRNVDUHQRZFDWDORJXHGLQD children’s book collection, it is highly questionable as to whether theZHUHRULJLQDOOPHDQWIRU

DFKLOGDXGLHQFH7KHSXEOLVKHU-RKQ1HZEHULVDFNQRZOHGJHGWREHWKHILUVW publisher to market books for children. Through the children’s publishing market, he and critic

6DUDK7ULPPHUWXUQHG-RKQ/RFNH’s views on parenting into a trend. In their

DGDSWDWLRQRI/RFNH’s ideas, the parent maintains a protective umbrella over the child’s play. The

SDUHQWVUHZDUGYLUWXRXVKDELWVVXFKDVREHGLHQFHEJLYLQJJLIWVDQGWKHVHJLIWVLQFOXGHWKH

SLFWXUHERRNDPRQJst other toys. Trimmer felt that Newbery children’s books should be seen as

VHSDUDWHIURPORZHUFODVVFKDSERRNVZKLFKIUHTXHQWOFRQWDLQHGFUXGH)UHQFKIDLUWDOHV

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(such as Henry Fuseli), Trimmer feared that fantasy’s superstitious forces could sway the child’s

GHOLFDWHPLQG7KLVSRVLWLRQRQIDQWDVH[SODLQVZK&LQGHUHOODZDVDGDSWHGIRUFKLOGUHQ

:UDSSHGLQRUDQJHDQGJUHHQ'XWFKIORUDOSDSHUV/LWWOH3UHWW3RFNHWRRNIRU

&KLOGUHQZDVUHGHVLJQHGLQKDUGERXQGIRUPILJV6XUSULVLQJO, Newbery’s

SXEOLFDWLRQLQLWVWHQWKHGLWLRQFRQWDLQVWKH&LQGHUHOODVWRUDQGLQFOXGHVWKHVFHQHRI&LQGHUHOOD

UXQQLQJDZDIURPWKHEDOOPXFKlike the picture found in Perrault’s source text).RZHYHU

XQOLNHWKH(QJOLVKFKDSERRNVIURPWKHVDPHSHULRGWKLVERRNZDVLQWHQGHGIRUWKHXQVXOOLHG

KDQGVRIWKHXSSHUPLGGOHFODVVFKLOGZKRZRXOGDOVRUHDGWKHLQFOXGHGELEOLFDOVWRULHV,QWKH

Karen Rowe E., “Virtue in the Guise of ViceŚ The Making and Unmaking of Morality from Fairy Tale Fantasy,” in &XOWXULQJWKH&KLOG(VVDVLQ0HPRURI0LWL0HUVHG'RQHOOH5DH5XZH/DQKDP MarylandŚ Scarecrow Press, 2005), 29, 58ś M.O. Grenby and Mitzi Myers, “A Conservative Woman Doing Radical ThingsŚ Sarah Trimmer and the Guardian of Education,” in &XOWXULQJWKH&KLOG(VVDVLQ0HPRURI 0LWL0HUV/DQKDP0DUODQG6FDUHFURZ3UHVV In children’s literature studies, Newbery is considered the “Father of Children’s Literature,” and the critic 6DUDK7ULPPHULVFORVHOLGHQWLILHGZLWKWKHSHULRGLFDOWKDWVKHIRXQGHGNQRZQDV7KHXDUGLDQRI(GXFDWLRQ 6KLUOHUDQDKDQJohn Newbery: Father of Children’s Literature(GLQD0LQQHVRWD%'23XEOLVKLQJ&R Grenby and Myers, “A Conservative Woman Doing Radical ThingsŚ Sarah Trimmer and the Guardian of Education.” 7KLVZDVWKHSHULRGZKHQIDQWDVVFDSHVFRXOGEHDVVRFLDWHGZLWK)UHQFKIDLUWDOHVRUZLWKWKH 6KDNHVSHDUHDQIDLUODQGSDLQWLQJVEHQUL)XVHOLDQG-RVKXD5HQROGVDQGWKHZULWLQJVRIZRPHQSRHWV0DU Wollstonecraft, Mary Robinson, and Hester Thrale Piozzi, described the dangers of fancy’s fury. Lerer examines Newbery’s books, which follow Lockean principles, and he assumes that these books do QRWFRQWDLQIDLUWDOHV7KLVLVWKHFDVHIRUHDUOLHUHGLWLRQVRI3UHWW3RFNHWRRNEXWQRWIRUWKHWKHGLWLRQ/HUHU Children’s Literature–

FRQWH[WRIILOLDOREHGLHQFHWKHJRGPRWKHULQWKH1HZEHUERRNLVQRORQJHUDIDLUEXWLQVWHDG

VKHUHSUHVHQWVWKHSDUHQWZKRPRXOGVthe child’s moral behaviour. This new context for the

LOOXVWUDWLRQVHPSKDVL]HVSDUHQWDODXWKRULWZLWKLQWKHGHYRXWKRPH

1HZEery’s gift books are commonly recognized as precursors to the fullyFRORXUHGWR

ERRNVWKDWIORXULVKHGLQ9LFWRULDQ(QJODQGRZHYHUWKHLQWHJUDWLRQRIWKHFKDSERRNDQG children’s book is a necessary part of this development. Sold for 6 pence,Langley’s HLVWRURI

&LQGHUHOODLVDQH[DPSOHRIDQHDUOWRFKDSERRNPHDQWIRUFKLOGUHQ:KLOHGUDZLQJRQ

WKHSDUHQWDOHPSKDVLVLQWKHIDLUIUHH1HZEHUWUDGLWLRQWKLVYHUVLRQLVIDLUIULHQGODQGOLJKW

KHDUWHG7KHIDLUJRGPRWKHUKRYHUVQHDUWKHWLWOHDERYHWKHFRYHULOOXVWUDWLRQRI&LQGHUHOODILJ

As the cinder child reads a book of her own by the fireplace, the fairy’s legs dangle down

IURPWKHFHLOLQJ

,QWKLVFRPSDULVRQRIVWRULHVDVWKHHQWHULQWRERRNIRUPDWV—DQWKRORJFKDSERRNDQG

WRERRN—ZHVHHWKDWWKHEXUJHRQLQJRITXDOLWchildren’s toy bookVDORQJVLGHWKHFRPPRQ

FKHDSERRNLQLWLDOOFRUUHVSRQGHGWRdifferent versions of Perrault’s story, for two obviously

GLIIHUHQWFODVVHVRIUHDGHUV7KH1HZEHUERRNVZDQWHGWKHFKLOGUHDGHUWREHHGXFDWHGDQGIRU

PRWKHUVDQGIDWKHUVDOLNHWREHSULYLOHJHGLQWKHLUSDUHQWDODXWKRULW7KHHDUOFKDSERRNVKDGD

ZLGHUUHDGHUVKLSZKLFKH[WHQGHGWRWUDYHOOHUVDQGPHPEHUVRIWKHZRUNLQJFODVV

7KHUHLVQRSUHGRPLQDQWVWOLVWLFPRGHLQWKHVHERRNVDOWKRXJKWKHFXWHDQGWKHVDWLULFDO

H[LVWLQYDULRXVVWDWHVRIODWHQF7KHELUWKLQJOLNHVKRHWULDOVFHQHGRHVPDNHDPRFNHURI

ZRPHQVXJJHVWLQJWKHVDWLULFDOZKHUHDVKLQWVRIFXWHQHVVHPHUJHLQ/RQGRQSXEOLVKHU

Langley’s LVWRURI&LQGHUHOODZLth the little godmother’s legs dangling down as though

VKHZHUH6DQWDFRPLQJRXWRIWKHFKLPQHWRJLIWUHDGLQJPDWHULDOOWKRXJKQRWLQWHJUDOWRWKH

)LOLDOREHGLHQFHLVHPSKDVL]HGLQWKLVERRNLQSDUWEHFDXVHRIWKHLQFOXVLRQWKHVWRUSDLUHGZLWKDQ LOOXVWUDWLRQZKHUHEUDKDPVDFULILFHVKLVVRQ3UHWWRRNIRU&KLOGUHQ Langley’s History of Cinderella and Her Glass Slipper/RQGRQ/DQJOH KWWSVRORERGOHLDQR[DFXN2;98/6&23B2;R[IDOHSK

WH[WXDOVWRUOLQHDOLWWOHNLWWHQDOVRDSSHDUVLQWKLVYHUVLRQDQGVXEVHTXHQWWRERRNVLQFOXGLQJ

:DOWHr Crane’s) as a companion to Cinderella as she rHDGVEWKHILUHSODFHILJV

'HVSLWHWKHHYHQWXDOGHYHORSPHQWRIFOHDUOGHILQHGDHVWKHWLFPRGHVLQLOOXVWUDWHGIDLU

WDOHERRNVIURPWKHPLGQLQHWHHQWKFHQWXURQZDUGVWKHFKDSERRNVZLWKWKHLUURXJKVWOHZRXOG

FRQWLQXHWREHSXEOLVKHGLQWKHFRXQWUVLGH)RUH[DPSOHLWLVFRQFHLYDEOHWKDWWKHFKDSERRN

VWOHWRERRN7KHLVWRURI&LQGHUHOODFZKLFKZDVSXEOLVKHGLQDVPDOORUNVKLUH

WRZQVDWLUL]HVSRRUSDUHQWLQJ7KHVWHUQIDFHGVWHSPRWKHUSXQLVKHV&LQGHUHOODZLWKDVWLFNLQKHU

KDQGEFRQWUDVWWKHJRRGJRGPRWKHUFRQVROHVWKHFKLOGEJLYLQJKHUDWLVVXHWREORZKHUQRVH

ILJVHWVXFKDUHDGLQJRIWKHHPRWLRQDOODEXVLYHSDUHQWZKRFDXVHVWKHFKLOGWR

VXIIHUGHSHQGVRQGLVWLQJXLVKLQJEHWZHHQWKHWZRPRWKHUILJXUHV7KHDPELJXLWLQWKLV

FKDSERRNVWOHLPDJHUUHODWHVWRDOLQJHULQJTXHVWLRQRYHUKRZWKHJRGPRWKHUVKRXOGEH

UHSUHVHQWHGLIVKHLVDFRQVROLQJILJXUHWHDFKHUDQGPRUDOJXLGH

7KHLFNHQVULNVKDQNFKDQJH

VDWLULFDOPRGHRIGHSLFWLQJ&LQGHUHOODDQGWKHIDLUJRGPRWKHUZDVQRQHWKHOHVVFOHDUODWVWDNH

LQDQH[FKDQJHEHWZHHQHRUJH&UXLNVKDQNDQG&KDUOHV'LFNHQV:HKDYHVHHQWKDW&UXLNVKDQN

LVUHVSRQVLEOHIRUWZRIDLUWDOHFRPSHQGLXPVHUPDQ3RSXODU6WRULHVDQG

Cruikshank’s Fairy Stories (1853). Dickens’ PHPRURIKLVRZQFKLOGKRRGHQMRPHQWRI

Cruikshank’sHDUOLHULOOXVWUDWLRQVRIthe Grimms’ stories, as well as his collegial friendship with

WKHLOOXVWUDWRUVHUYHVDVWKHEDFNGURSWRa battle of sorts between his words and Cruikshank’s

LPDJHV%WKHV&UXLNVKDQNKDGEHJXQWRGHGLFDWHKLVZRUNWRWKHWHPSHUDQFHPRYHPHQW

DQGKHDOVRLUULWDWHGIULHQGVDQGIDPLOZLWKWKHYHKHPHQFHRIKLVPRUDOL]LQJSRVLWLRQ

7KHVWHUQIDFHGPRWKHUILJXUHFRXOGEHWKHVWHSPRWKHUZLWKDVWLFNLQKDQGRZHYHUWKHVWLFNFRXOGEH UHDGDVDPDJLFZDQGZKLFKZRXOGVXJJHVWWKDWVKHLVWKHJRGPRWKHU7KHPRWKHUILJXUHZKRZDWFKHV&LQGHUHOOD FUPDKDYHEHHQWKHRQHWRLQGXFHWKHWHDUVZKLFKVXJJHVWVWKDWVKHLVWKHVWHSPRWKHU2UVKHPDKDYHEHHQWKH ZRQWREULQJWKHKDQGNHUFKLHIWKDW&LQGHUHOODEORZVLQWRZKLFKVXJJHVWVWKDWVKHLVWKHJRGPRWKHU (YDQVDQG(YDQV7KH/LIHDQGUWRIHRUJH&UXLNVKDQN–

For the “Cinderella” VWRULQCruikshank’s Fairy Stories WKHLOOXVWUDWRU

WUDQVIRUPHGWKHIDLUJRGPRWKHULQWRDFXWHGZDUILVKZLWFK6KHKRSVIURPVFHQHWRVFHQHDVVKH

JXLGHVWKHSOHDVDQWORRNLQJ&LQGHUHOODILJV,QWKLVYHUVLRQWKHGZDUILVKIDLUODWHU

FRQYLQFHVWKHNLQJWKDWWKHZHGGLQJDQGVRFLHWDVDZKROHZRXOGEHEHWWHURIIZLWKDIRXQWDLQ

WKDWRYHUIORZVZLWKZDWHU––QRWZLQHRZHYHUVDWLULFDODQGFXWHVLILHGLQDSSHDUDQFHWKHZLWFK godmother becomes Cruikshank’s true heroineś textually, she transfoUPVZLQHLQWRZDWHUIRUWKH

ZHGGLQJ0RUHRYHUWKHODYLVKLOOXVWUDWLRQRIWKHZHOODWWHQGHGFHUHPRQWDNHVWKHIDLUWDOH

KDSSLOHYHUDIWHUHQGLQJLQHDUQHVWLWFRQWUDVWVZLWKRWKHULOOXVWUDWLRQVLQWKLVFRPSHQGLXP

ZKLFKVDWLUL]HDOFRKROLFWHQGHQFLHVEWXUQLQJGULQNHUVLQWRRJUHVDVGLVFXVVHGLQ&KDSWHU

In response, Dickens wrote “Frauds and Fairies” (1853)—DVDWLULFDOYHUVLRQRI

Cruikshank’s “Cinderella.” This unLOOXVWUDWHG&LQGHUHOODZHDUVEORRPHUVDWWHQGVSROLWLFDO

PHHWLQJVPDUULHVDQGFRQYLQFHVHYHURQHWRHDWDQGGULQNDVVKHGRHV,QRWKHUZRUGV

'LFNHQVWXUQVKLVVDWLULFDO&LQGHUHOODLQWRPHOLD%ORRPHUVKHZDVDVXIIUDJHWWHDQGDGYRFDWHRI

WKHWHPSHUDQFHPRYHPHQWZKRVHQDPHLVDVVRFLDWHGZLWKEORRPHUSDQWVHowever, Dickens’

GLUHFWtarget is Cruikshank’s reuse of the fairy tale to support excessive moralism. For Dickens,

&UXLNVKDQNZDVOLNH%ORRPHUERWKIHOWWKDWRWKHUVVKRXOGHDWDQGGULQNOLNHWKHPWREHJRRG

KXPDQEHLQJV

7RZKDWH[WHQWGRHVWKLVH[FKDQJHXQGHUOLQHD9LFWRULDQLGHDORIIHPLQLQLWZKLFK successfully repressed women? Answering this question, Cullen picks up on Dickens’ endingWR

“Frauds and Fairies.”IWHU&LQGHUHOODJLYHVZRPHQWKHULJKWWRYRWH, Dickens concludesŚ “the whole of her sex […] thus came to be always gloriously occupied with public life and […]

George Cruikshank, “Cinderella and the Glass Slipper,” in 7KH&UXLNVKDQN)DLURRN)RXU)DPRXV 6WRULHV(New YorkŚ G.P. Putnam’s Sons, 1911), 196– KWWSVDUFKLYHRUJVWUHDPFUXLNVKDQNIDLUEFUXLSDJHQPRGHXS &UXLNVKDQN7KH&UXLNVKDQN)DLURRN)RXU)DPRXV6WRULHV Charles Dickens, “Frauds and Fairies,” RXVHKROG:RUGV:HHNO-RXUQDO&RQGXFWHGE&KDUOHV 'LFNHQV2FWREHUKWWSZZZYLFWRULDQZHERUJDXWKRUVGLFNHQVSYDSYDKWPO

nobody dared to love [them].”&XOOHQUHDGVWKLVDVHYLGHQFHWKDW9LFWRULDQVHTXDWHGIHPLQLQLW with passivity, and that Perrault’s “Cinderella” became a vehicle WKURXJKwhich women’s efforts

WRSDUWLFLSDWHLQSXEOLFOLIHFRXOGEHGRZQSODHG6XFKDUHDGLQJIDLOVWRUHFRJQL]HWKHSRLQWRI

Dickens’VDWLUHZKLFKLVKLVFULWLTXHRIIDLUWDOHVXVHGIRUVHOIVHUYLQJPRUDOLVWLFGLDWULEHV:KDW

LVinteresting, however, is Dickens’ suggestion that the suffragette movement could claim the

Cinderella figure. This possibility coincides with the emphasis on the heroine’s beauty in

VXEVHTXHQWWRERRNV

9LHZLQJHDWLIOLQGHUHOODDQGWKH8JO6WHSVLVWHUVLQRORU

&RORXUFKDQJHGWKHSLFWRULDOTXDOLWRIWKHWRERRNDQGWKHFRORXUIXOIDLUWDOHWRERRNV

EHFDPHSDUWRIWKHFKLOGoriented consumer market at the centre of children’s literature in

9LFWRULDQ(QJODQG,QWKHVWKHSXEOLVKHUHorge Routledge’s printer Edmund Evans—ZKR

LQQRYDWHGLQWKHILHOGRIFRORXUSULQWLQJ—DQGWKHSUHYLRXVOGLVFXVVHG:DOWHU&UDQH—ZKRZDV

DVSHFLDOLVWLQIDLUWDOHLOOXVWUDWLRQ—set the trend. Routledge’s publishing competitor Frederick

:DUQHIROORZHGWKHH[DPSOHRIWKHIXOOSDJHFRORXUHGIDLUWDOHWRERRNVSURGXFLQJKLVRZQ

VHULHVZLWKXQW/RXLVDWKHSVHXGRQPIRU/DXUD9DOHQWLQHDVWKHDXWKRU(DFKSDJHFRQWDLQV

LWVRZQSLFWRULDOQDUUDWLYH

6XFFHVVIXOHQRXJKWREHUHSXEOLVKHGDWOHDVWWZRRIVHYHUDOHGLWLRQVWKHDQGWKH

1868) of Aunt Louisa’s &LQGHUHOODUHYHDOGLIIHUHQWSLFWXUHVRIIHPDOHRULHQWHGUHODWLRQVKLSV,Q

WKHHDUOLHUHGLWLRQDUULVRQ:XQVWRQLOOXVWUDWHGDFRYHUGHSLFWLQJWKHIDLUZLQJHG godmother transforming Cinderella’s ragVLQWRDIXUOLQHGPHGLHYDOUREH7KHVKRHWULDOLVWKH

VXEMHFWRIRQHRIWKHVXEVHTXHQWLOOXVWUDWLRQVLQZKLFKWZRDJUHHDEOIDFHGVWHSVLVWHUVVWDQG

Ibid., 100ś Cullen, “For Whom the Shoe Fits,” 72. Cullen, “For Whom the Shoe Fits,” 72. XQW/RXLVDDQG:XQVWRQLOOXV&LQGHUHOOD, Aunt Louisa’s London Toy Books (LondonŚ Warne & &RKWWSVRORERGOHLDQR[DFXN2;98/6&23B2;R[IDOHSK3DJHQXPEHUVQRWDYDLODEOHRQ the microfiche version of this book. For this reason, the Bodleian Library did not grant me “courtesy of” permission WRUHSURGXFHPEODFNDQGZKLWHSKRWRJUDSKV

behind Cinderella as the king’s servant bows towards her. As a result of its female authorship,

&XOOHQQDPHVWKHXQW/RXLVDERRNVWRUDVDQH[FHSWLRQWRWKHSDWULDUFKDOXVHRIWKHEHDXWLIXO

KHURLQHVWRUIURPWKHPLGFHQWXURQZDUGVRZHYHUVKHGRHVQRWGHVFULEHWKHLOOXVWUDWLRQV or the book’s publishing history.

'UDZQEDQDQRQPRXVLOOXVWUDWRUWKHHGLWLRQVWDQGVRXWEHFDXVHLWUHSUHVHQWVWKH

IHPDOHFKDUDFWHUVLQDSRODUL]LQJOLJKW7KHVWHSVLVWHUVDUHPDGHXJOXVLQJH[DJJHUDWHG

IHDWXUHV—RQHKDVDSXGJQRVHDQGWKHRWKHUDQHORQJDWHGIDFH—DQGWKHIDLUJRGPRWKHULV

WXUQHGLQWRDORQJQRVHGZLWFKZLWKDSRLQWHGKDW,QWKHILQDOLOOXVWUDWLRQZKHQWKHSULQFH

SUHVHQWVKLVEULGHWRWKHNLQJDQGTXHHQDVWDWXHRIDYLFLRXVOLRQJODUHVDQGJULPDFHVDW

Cinderella, and the mask on the king’s rod is held to her face. Unlike the illustrations in the fLUVW

HGLWLRQKHUHHYLOLVDVVRFLDWHGZLWKXJOLQHVVPDWHUQDODXWKRULWLVPRFNHGZLWKDZLWFKSHUKDSV taking after Cruikshank’s example), and &LQGHUHOODLVNHSWLQFKHFN7KHGLIIHUHQFHEHWZHHQWKH

1857 and 1868 editions of Aunt Louisa’s &LQGHUHOODEULQJVXSDQDVVXPSWLRQWKDWKDVDULVHQLQ

IHPLQLVWVFKRODUVKLSRQIDLUWDOHVWKDWWKHbeautification of Cinderella’s SKVLFDOERGLV

DQWLWKHWLFDOWRIHPDOHDJHQF2QWKHRQHKDQGERWKERRNVEHDXWLIWKHIHPDOHKHURLQHLQ

DFFRUGDQFHZLWKDFRQWHPSRUDUIDVKLRQPDUNHW. On the other, only the 1868 edition’s illustrations imply that the stepsisters’ ugliness makes them bad.

,WLVHDVWRDVVXPHWKDWSDVWUHDGHUVDQGYLHZHUVZHUHOLWHUDOLVWVZKRLGHQWLILHGZLWKWKH

SURWDJRQLVWVLQWKHLUSLFWXUHERRNVDQGWKHUHEDEVRUEHGWKHXQGHUOLQJQDUUDWLYHZLWKRXW

TXHVWLRQRZWKHQFDQZHDFFRXQWIRUWKHZRPHQDQGFKLOGUHQZKRZRXOGKDYHHQFRXQWHUHG

ERWKSLFWRULDOYHUVLRQV"5HDGHUYLHZHUVZRXOGKDYHKDGWKHLURZQYLHZVRQWKHUROHRIPRWKHUV

Cullen’s citDWLRQLVIRUDQHGLWLRQZKLFKZDVLOOXVWUDWHGEXQVWRQ,QRWKHUZRUGVWKHHGLWLRQ (consulted by me) and 1878 edition (consulted by her) may contain the same set of illustrations. Cullen, “For Whom the Shoe Fits,” 80. XQW/RXLVD&LQGHUHOOD, Aunt Louisa’s London Toy Books (Londonś New YorkŚ Frederick Warne & Coś 6FULEQHU:HOIRUGUPVWURQJKWWSVRORERGOHLDQR[DFXN2;98/6&23B2;R[IDOHSK 6HHDERYHQRWHUHJDUGLQJWKHDEVHQFHRISDJHQXPEHUVDQGSHUPLVVLRQV 7KHGHSLFWLRQRIWKHIDLUJRGPRWKHUDVDZLWFKDSSHDUVLQHDUOLHUQLQHWHHQWKcentury children’s chapbook WRERRNVIRUPDWFURVVover). This trend possibly dates back to Cruikshank’s 1853 )DLU/LEUDURZHYHUWKH VDWLULFDOFRQWH[WKDVQRZFKDQJHGIURPJORULILQJWKHGZDUILVKDQWLDOFRKROIDLUWRRQHWKDWPDTXHVWLRQWKHSODFH RIPDWULDUFKDODXWKRULW

ZLWKLQWKHPLGGOHFODVVIDPLODQG4XHHQ9LFWRULDWKHQLQHWHHQWKFHQWXUPRQDUFK

,PDJLQDWLYHVSHFXODWLRQLVXVHIXOKHUHWRVXJJHVWWKDWZRPHQDQGFKLOGUHQFRXOGKDYHLGHQWLILHG

ZLWKWKHstory’s entire FDVWRIFKDUDFWHUVLQVXUSULVLQJZDV

. Cinderella’s Suffering and the Suffragette’s Cinderella

0DQRIWKHVFHQHVSLFWXUHGLQ&LQGHUHOODVWRULHVDUHUHSHDWHGIURPRQHSXEOLFDWLRQWRDQRWKHU

EXWWKHVWOLVWLFFRQYHQWLRQVDQGLGHRORJLFDODVVXPSWLRQVWKDWGHWHUPLQHWKHWUHDWPHQWRIJHQGHU

FODVVDQGDJHRIWHQFKDQJH7KHVFHQHZKHUH&LQGHUHOODORVHVKHUVKRHDWWKHEDOORFFXUVLQ

Perrault’s pictorialized French anthology of 1697. It is repeated in the Newbery, as well as in some chapbooks, and is then readapted with George Cruikshank’s temperance story. The sKRH trial can imply the inspection of Cinderella’s virginal worth as a future mother (as in the

FKDSERRNDQGLWFDQDOVRVKRZWKHVXEVHUYLHQFHRIVHUYDQWVWRWKHPRQDUFKDVLQVRPHRIWKH

WRERRNVDQGWKHRPH7UHDVXUSXEOLFDWLRQRIIDLUDQGIRONWDOHV7KHVWOLVWLFDQG

LFRQRJUDSKLFTXDOLWLHVRIVFHQHVWKDWGHSLFW&LQGHUHOODLQDVWDWHRISHUVHFXWLRQRUOLEHUDWLRQ

SURGXFHWKHHPSDWKHWLFFRQGLWLRQVIRUXQGHUVWDQGLQJWKHYDULRXVZDVLQZKLFKWKHFKDUDFWHU

PLJKWUHODWHWRKHUJRGPRWKHUQRWDOZDVDIDLUVWHSVLEOLQJVVWHSPRWKHUDQGSULQFHDQGDOVR

KRZVKHPLJKWDSSHDUWRKHUFKLOGDQGDGXOWYLHZHUV

2QHLQWHUHVWLQJVFHQHLVWKDWRI&LQGHUHOODSLFWXUHGLQKHUGRPHVWLFVHUYLWXGHVLWXDWHGE

WKHILUHSODFHILJV,QVRPHLOOXVWUDWLRQVZHVHH&LQGHUHOODZLWKDERRNDQGWKLV emphasizes the possibility of a child’s liberation through knowledge and education. Without the

ERRNKHUZRUNDQGDEMHFWVWDWHDUHHPSKDVL]HG7KHPHDQLQJRIWKLVVFHQHFDQDOVRFKDQJH

GUDPDWLFDOODFFRUGLQJWRWKHSULQWLQJWHFKQLTXHVDQGVWOHIURPWKHXQUHILQHGURXJKOKHZQ

OLQHVLQHDUOSXEOLVKLQJWRWKHKLJKquality coloured printing of Walter Crane’s toy bookVWR the more expressionistic style of G.P. Jacob Hood’s illustration for Andrew Lang’s VHULHV

7KHILUeplace scene, as it appears in Walter Crane’s toy book &LQGHUHOODDQG

Andrew Lang’s 7KHOXH)DLURRNin the “Coloured Fairy Books,”UHYHDOVWKHLGHRORJLFDO

IUDPHZRUNRIWKHLUUHVSHFWLYHSURMHFWV(DUOLHUFKDSWHUVRIWKHWKHVLVKDYHHPSKDVL]HGWKDW&UDQH

ZDVDFRPPLWWHGVRFLDOLVWDQGKLVIDLUWDOHWRERRNVIXQFWLRQHGDVDOOHJRULHV7KHIDLU godmother in his adaptation of Perrault’s VWRUEHFRPHVWKHDOOHJRULFDOILJXUHRI/LEHUW

&LQGHUHOODLVWKXVDZRUNLQJFODVV%HDXWZDLWLQJWREHOLEHUDWHGDQGWKHVWHSVLVWHUVDUHFDSLWDOLVW

ILJXUHVZKRSRVVHVVRQOWKHYHQHHURIEHDXW,QCrane’s version of the ILUHSODFHVFHQH/LEHUW

ILQGV&LQGHUHOODVLWWLQJLQZRUNLQJFORWKHVEWKHILUHSODFHVKHKDVWDNHQDEUHDNIURPKHUFKRUHV

DQGZDLWVZLWKILVWWRFKLQDQGHOERZWRNQHHLQWKHLFRQLFSRVHIRUWKRXJKWILJ8VLQJKLV socialist aesthetic, Crane has united his labour as artist with Cinderella’s household work to

FUHDWHDFOHDQFXWLPDJHWKDWLQWHQGVWROLEHUDWHVRFLHWIURPXQMXVWODERXUUHODWLRQV%XWQRW

HYHURQHZLOOFRPHWRVHHWKHXWRSLDQSRVVLELOLWLHVIRUDEHWWHUVRFLHWLQWKLVYHUVLRQ

In contrast to Crane’s socialist views, Lang was a defender of impeULDOLVPDQGLPSOLFLWO

DUDFLVWDVGLVFXVVHGLQ&KDSWHULVVWRULHVDUHDWWHPSWVWRWDPHFKLOGUHQIDLULHVZRPHQDQG

WKHUHPQDQWVRIVXSHUQDWXUDOIRUFHV/DQJFRPELQHVKLVQDUUDWLYHYRLFHZLWKWKHIDLU godmother’s wordsVRWKDWZKHQVKHRUGHUVWKHVSHHFKOHVV&LQGHUHOODWRREH/DQJKDVLQD

VHQVHXVHGWKHIDLUWRPRXOGWKHFKLOGLQWRREHGLHQWVXEPLVVLRQWRKLVDJHQGD,QKLVWH[WXDO narrative, Lang makes the “poor girl” so tearful that Cinderella becomes voiceless.7KLV

RXWEXUVWRIWHDUVLVDQH[DPSOHRIKRZJLUOFKDUDFWHUVLQKLV(XURSHDQIDLUVWRULHVFUDWWKHILUVW

VLJQRIGLIILFXOWDQGWKHQZDLWIRUKHOS7H[WXDOOWKHDUHVHQWLPHQWDOL]HGSUHFLVHOEHFDXVH

WKHEDVLVIRUVWURQJHPRWLRQVDSSHDUVLQFRQJUXRXVZLWKWKHFLUFXPVWDQFHV

7KH&LQGHUHOODLPDJHVWKDWFRUUHVSRQGWRWKLVWH[WZHUHLOOXVWUDWHGE3-DFRPERRG and are inserted into Lang’s editorial project with its repetitLYHQDUUDWLYHSDWWHUQVILJ,Q

Lieberman’s view, the textual moment of tears is a pivotalinstance of how Lang’s overly

HPRWLRQDOFKDUDFWHUVDUHYLFWLPVWKHVWRULHVWKUHDWHQWRPDNHJLUOVEHOLHYHWKDWREHGLHQFHLV necessary to increase one’s status through marriage.VXSHUILFLDOJODQFHDWcinder girl’s

/DQJ-)RUGLOOXVDQG3-DFRPERRGLOOXV7KHOXH)DLURRN Lieberman, “Some Day My Prince Will Come,” 191.

sadness may well have supported Lieberman’s position on how this story has little to offer its

ZRPDQYLHZHUV,KDYHDOVRVXJJHVWHGLQ&KDSWHUWKDWWKHIDLUJRGPRWKHULOOXVWUDWLRQLQWKLV story may have informed Alison Lurie’s assertion that the stories in Lang’s books inherit the

PDWULDUFKDODXWKRULWRIWKHIRONWDOHIDLUJRGPRWKHULQFODVVLFDOJDUEZLWKODUJHEXWWHUIO

ZLQJVORRNVGRZQXSRQ&LQGHUHOODZLWKSDUHQWDOVWHUQQHVVDQGZLWKWKHSXPSNLQSDWFKLQWKH

EDFNJURXQG&LQGHUHOODFURXFKHVEDWUHDVXUHFKHVWRIQHZFORWKHVUHFDOOILJ

5HWXUQLQJWR-DFRPEHood’s YHUVLRQRIWKHILUHSODFHVFHQHZKDWLVVWULNLQJLVKRZWKH

JDUJROHPRXQWHGRQWKHILUHSODFHEHFRPHVDPHQDFLQJEHDVWVWDULQJGRZQDWDPLVHUDEOH bookless Cinderella. Lang’s Cinderella is trapped within his world of Victorian male patriarchal

VXSUHPDFDQGWRVRPHH[WHQW-DFRPEHood’s LOOXVWUDWLRQVUHLQIRUFHWKLVSRVLWLRQRZHYHU

ZKHQUHJDUGHGRQWKHLURZQWKHLPDJHVPLJKWZHOOVHUYHWKHHPSDWKHWLFIXQFWLRQRI

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Hood’s illustrations of CinderellaWKHEODFNSRRORIURXJKOZRUNHGOLQHVHFKRHVWKHHPRWLYH

VWDWHRIWKHLPSRYHULVKHGFLQGHUJLUOZLWKKHUUDJJHGKDLUDQGFORWKHVILJ7KH

H[SUHVVLRQLVWLFOLQHVWKDWGHVFULEHWKHFDYHUQRXVKHDUWKVKRZWKDWWKHZRUNRIFOHDQLQJXSDQG

EHDXWLILQJWKHKRPHLVIDUIURPFRPSOHWHVVKHVWDUHVRXWWRZDUGWKHUHDGHUYLHZHUVKH

UHVSRQGVLQDVKRXOGHUKXQFKHGSRVWXUHRIH[DVSHUDWLRQDQGVHOISURWHFWLRQ5HTXLULQJWKHDLGRI

JRRGSDUHQWVWKLVFKLOGLVSLFWXUHGDVDPHPEHURIWKHODERXULQJFODVVZKRVXIIHUVXQGHUWKH gargoyle’s cruelties, inflicted by a number of possible agents both inside and outside of the diegetic worldŚ Lang the editor, Cinderella’s stepmother, and conceivably, oppressive figures in

WKHFKLOGreader’s life. Unlike beautified images of &LQGHUHOODZLWKLQDFOHDQDQGVWOL]HGKRPH

WKLVLPDJHHPSKDVL]HVUDWKHUWKDQWULYLDOL]HVWKHKDUGVKLSVRIOLIH

Walter Crane’s heroine is pictured in the very space of domestic labour. When this image

LVYLHZHGIURPDQDQWL'LVQHVWDQFHDQGIHPLQLVWOHQVEHDXWFRQMRLQHGZLWKGRPHVWLFLWLVSDUW

RIDQRSSUHVVLYHVFHQDULR. Cinderella’s face does not reveal distressś apparently without

FRPSODLQWVKHKDVFOHDQHGWKHILUHSODFHWLOHVKHDWHGWKHKRPHSUHSDUHGDPHDODQGSXWDZDDOO

RIWKHGLVKHV%DVHGRQWKHVHSLFWXUHVZKDWFDQWZHQWILUVWFHQWXUYLHZHUVPDNHRIKRZ

Victorian girls viewed and enjoyed Crane’s toy books? :HFDQGRZHOOWRDFNQRZOHGJHWKDW

ILUVWZDYHIHPLQLVWV6OYLD3DQNKXUVWDQGKHUVLVWHUV&KULVWDEHODQGGHODUHFDOOHQMRLQJ

Walter Crane’s toy books.RXQJ6OYLDZRXOGKDYHEHHQHLJKWHDUVROGZKHQWKHILUVWRI several toy book versions of Crane’s adaptation of Perrault’s “Cinderella” was released.

/DWHULQOLIHQRWRQOGLG6OYLD3DQNKXUVWEHFRPHRQHRI:DOWHUCrane’s students, EXW

VKHDOVRERUURZHGKLVLPDJHVRI&LQGHUHOODDV/DERXUDQGWKHIDLUJRGPRWKHUDV/LEHUW

ILJV). Lisa Tickner’s study of suffragette art, which includes the work of Pankhurst, argues that Crane’s socialist allegory in 7ULXPSKRI/DERXUdirectly influenced Pankhurst’s angel

DQGWKHVRZLQJZRPHQ,ZRXOGJRIXUWKHUWRVXJJHVWWKDW3DQNKXUVWDGRSWHGWKHDOOHJRULFDO

IHPDOHILJXUHV, not only from Crane’s overt political prints, but also from his toy books,IRUWKH

VXIIUDJHWWHFDXVH6HYHUDOH[LVWLQJFRQVLGHUDWLRQVKDYHOHGPHWRWKLVDVVHUWLRQRQWKHVXEYHUVLYH

SRZHURI&LQGHUHOODLPDJHULQKHUZRUN

3DQNKXUVWRYHUVDZWKHLOOXVWUDWHGSULQWVIRUWKHVXIIUDJHWWHPDJD]LQHWomen’s

'UHDGQRXJKWZKLFKLQFOXGHVWKHIURQWSDJHLPDJH3HDFHDQG)DPLQH-XQH7KHOLEHUW angel’s featherSDWWHUQHGZLQJVDUHPXFKlike the fairy’s wings from Crane’s &LQGHUHOODWR

ERRNILJGGLWLRQDOOWKHSURWHVWEDGJHVWKDW3DQNKXUVWGHVLJQHGIHDWXUHWKHZLQJHG

OLEHUWILJXUHDQGWKHFODVVLFDOOGUDSHGEDUHIRRWHGILJXUHZKRVRZVQHZVHHGVonto the world’s

VRLOILJ8QOLNHKHUVLVWHUV6OYLDDOLJQHGKHUVHOIZLWKWKHODERXUPRYHPHQWDQGDOVR

/LVD7LFNQHU7KH6SHFWDFOHRI:RPHQ,PDJHURIWKH6XIIUDJH&DPSDLJQ&KLFDJR8QLYHUVLW RI&KLFDJR3UHVV &UDQH&LQGHUHOOD:DOWHU&UDQH:LOOLDP5RXWOHGJHDQG/RXLV1DSROHRQ3DUNHUThe Children’s Musical &LQGHUHOOD7ROGLQ)DPLOLDU:RUGVWR)DPLOLDU7XQHV/RQGRQHRUJH5RXWOHGJHDQG6RQV KWWSPFJLOOZRUOGFDWRUJRFOF:DOWHU&UDQH&LQGHUHOOD3LFWXUHRRN&RQWDLQLQJ&LQGHUHOOD3XVVLQ RRWV9DOHQWLQHDQG2UVRQ1HZRUN'RGG0HDGDQGFRPSDQ KWWSDUFKLYHRUJGHWDLOVFLQGHUHOODSLFWXUFUDQ 7LFNQHU7KH6SHFWDFOHRI:RPHQ It is also worth remembering that although Dickens’ “Frauds and Fairies” may appear to satirize the VXIIUDJHWWHPRYHPHQWWKHSROHPLFDOTXDOLWRIDQPHOLD%ORRPHUOLNH&LQGHUHOODILJXUHLQWKLVWH[WDFNQRZOHGJHV WKDWWKHVXIIUDJHWWHVPLJKWEHDEOHWRUHSXUSRVHWKH&LQGHUHOODILJXUH OWKRXJK6OYLD3DQNKXUVWZRXOGKDYHRYHUVHHQWKLVLPDJHWKHUHDUHFRQIOLFWLQJVRXUFHVDVWRZKHWKHU VKHRU-RVHSK6RXWKDOOLOOXVWUDWHGLW

sought out global women’s solidarity through FRQQHFWLRQVLQ,QGLDVVXFKWKHVXIIUDgette’s

DJHQFGHULYHGERWKIURPWKHEHDXWLILHGODERXULQJZRPDQDVZHOODVWKH/LEHUWIDLUILJXUH

7KLVLVLQPDUNHGFRQWUDVWWRHDUOLHUWH[WXDODQGSLFWRULDOYDULDWLRQVRID&LQGHUHOODZKRHPERGLHV

VXIIHULQJLQWKHIRUPRIYLFWLPL]DWLRQZLWKRXWUHFRXUVHWROLEHUDWLRQ

7KHUHLVDQRWKHUUHPDUNDEOHSDUDOOHOZLWKWKHVXIIUDJHWWHPRYHPHQWWKHDFWRIVKRH

WKURZLQJGHSLFWHGDWWKHZHGGLQJFHUHPRQin Walter Crane’s toy book shares certain

VLPLODULWLHVZLWKDQHZVZRUWKPRPHQWIRUVXIIUDJHWWHSURWHVWHUV,Q&UDne’s story, the court of

WRZQVPHQDQGZRPHQWKURZROGVOLSSHUVDVWKHPDUULHGFRXSOHULGHDZDLQDFDUULDJHVRWKDWDOO

PDEHKDSSLQWKHHQGILJOWKRXJKWKURZLQJVKRHVDWWKHZHGGLQJZDJRQLVSDUWRIDQ

ROGWUDGLWLRQPHDQWWRVLJQDOWKHZLVKfor the couple’s good fortune, in the context of Crane’s

DQWLFDSLWDOLVWSROLWLFVWKHVFHQHDOVRFRQYHVDVHQVHRIQLQHWHHQWKFHQWXUVDERWDJH(DUOLHULQ

WKHFHQWXUGLVJUXQWOHG)UHQFKZRUNHUVWKUHZWKHLUVDERWDZRRGHQFORJLQWRLQGXVWULDO

PDFKLQHUDVDZDRIUHYROWLQJDJDLQVWXQIDLUODERXUUHODWLRQV7KLVZRXOGQRWEHWKHODVW

LQFLGHQWRIVKRHVXVHGLQSURWHVW

6XIIUDJHWWHVKRHWKURZLQJRFFXUUHGGXULQJDPHHWLQJRIWKH3ULPH0LQLVWHUZLWKKLV

FDELQHWDWXLOGKDOOLQOLFH3DXODQGPHOLD%URZQGLVJXLVHGDVFOHDQHUVFULHGRXW

“Votes for Women!” and threw their shoes, shattering the administrative building’s stainedJODVV

ZLQGRZV/LNHPDQRIWKHVXIIUDJHWWHV3DXOZDVSXQLVKHGZLWKPRQWKVRIKDUGODERXUDQG

WRUWXUH,QOLJKWRIWKLVUHDOOLIHHIIRUWWRVDERWDJHXQIDLUJHQGHUUHODWLRQVWKHUHSUHVHQWDWLRQRI

&LQGHUHOODDVDsuffering woman might signal activists’ efforts as much DVLWVLJQLILHVRSSUHVVLRQ

“Sylvia Pankhurst,” Academic database, 0DNLQJULWDLQ'LVFRYHURZ6RXWKVLDQV6KDSHGWKH1DWLRQ DFFHVVHGXJXVWKWWSZZZRSHQDFXNUHVHDUFKSURMHFWVPDNLQJEULWDLQFRQWHQWVOYLD SDQNKXUVW K. Bradley Penuel, Matt Statler, and Ryan Hagen, “Sabotage,” (QFFORSHGLDRI&ULVLV0DQDJHPHQW /RQGRQ6(3XEOLFDWLRQV Lynda G. Dodd, “Parades, Pickets, and PrisonŚ Alice Paul and the Virtues of Unruly Constitutional &LWLzenship,” -RXUQDORI/DZDQG3ROLWLFVQR–.DWKHULQHGDPVDQG0LFKDHO/.HHQH OLFH3DXODQGWKHPHULFDQ6XIIUDJH&DPSDLJQ&KDPSDLJQ,OOLQRLV8QLYHUVLWRI,OOLQRLV3UHVV–

6.7. “Aschenputtel” versus G

We have seen how illustrated versions of Perrault’s “Cendrillon” travelled from the French

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RICinderella’s visual evolution would not be complete without the Grimms’ version in English publishing history. “Aschenputtel” in HUPDQ3RSXODU6WRULHVYROZDVQRWRQHRIWKH

WDOHVFKRVHQE&UXLNVKDQNIRULOOXVWUDWLRQ,QWKH(QJOLVKERRNPDUNHWWKLVVWRUZRXOG

UHPDLQZLWKRXWLOOXVWUDWLRQVIRUVHYHUDOGHFDGHVLQWKHQLQHWHHQWKFHQWXU1RQHWKHOHVVWKH satirical nature of Cruikshank’s illustrationsSURPSWHGWKHULPPVWRSURGXFHDSLFWXUHERRN

YHUVLRQIRUWKHHUPDQVSHDNLQJSXEOLFZKLFKZRXOGUHLQIRUFHWKHVROHPQLWRIWKHLUWH[W

:LOKHOPULPPZKRZDVLQWHUHVWHGLQWKHPDUNHWDELOLWRIIXWXUHHGLWLRQVIRUWKHHUPDQ household, politely admitted the value of Cruikshank’s actionSDFNHGVFHQHVLQDOHWWHU correspondence, which Freyberger’s rHVHDUFKKDVEURXJKWWROLJKW)RUWKHHGLWLRQ

:LOKHOPKDGKLVRXQJHVWEURWKHU/XGZLJGUDIWDVHULHVRILOOXVWUDWLRQVWRVXLWWKHURPDQFHRIWKH

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The Grimms’ “Aschenputtel” story emphasizes the heroine’s hardships, and the strength

WKDWVKHJDLQVfrom mourning her mother’s death.When Aschenputtel’s tears dampen the soil,

DKD]HOtree grows and attracting the doves, it also grants her wishes. Ludwig’s illustration plays

ZLWKWKHVPEROLFXVHRIOLJKWDQGVKDGRZILJ/LJKWVKLQHVLQWRDQHFFOHVLDOGRRUZDWKDW

IUDPHVWKHGLVWDQWKD]HOWUHHDQGDVGRYHVIOXWWHULQWRWKHGDUNHQHGLQWHULRUOLJKWGUHQFKHV

-DFREULPP:LOKHOPULPPDQGHRUJH&UXLNVKDQNLOOXVHUPDQ3RSXODU6WRULHV7UDQVODWHGIURP WKH.LQGHU8QGDXVPlUFKHQWUDQV(GJDU7DORUYRO/RQGRQ%DOGZQ )UHEHUJHU0lUFKHQELOGHULOGHUPlUFKHQ ,ELG– The Grimms’ story was published with various eGLWVIURPWR7KHVHHUPDQWH[WVDUHDYDLODEOH RQ:LNLVRXUFHEXWZLWKRXWWKHRULJLQDOWSHIDFHRULOOXVWUDWLRQV7KHWH[WIRUWKHHGLWLRQLVQRWDYDLODEOH-DFRE Grimm and Wilhelm Grimm, “Aschenputtel,” in .LQGHU8QGDXVPlUFKHQ:LNLVRXUFH/D%LEOLRWqTXH/LEUH KWWSGHZLNLVRXUFHRUJZLNLVFKHQSXWWHOB

Aschenputtel’s serene face. With a backdrop of dishes, a broom, and watHUMXJVVKHVLWVQHDUWKH

IORRULQRUGHUWRVHSDUDWHWKHJRRGSHDVIURPWKHEDGRQHV7KHELUGVDUHWKHUHWRKHOSKHUZRUN against her stepmother’s false promise that she can go to the ball on the condition that she

FRPSOHWHVDQLPSRVVLEOHWDVN/RFDWHGLQWKHOLJKWWKHGRYHVDQGWKHWUHHDVVRFLDWHGZLWKGHDWK

DQGQHZOLIHUHFDOOWKHRO6SLULWDQGWKH&KULVWLDQFURVVMXVWDVWKHUHPLQGVKHQSXWWHORIKHU mother’s spiritual presence LQKHUWULDOV

6XEVHTXHQWOSLFWRULDOHGLWLRQVRIWKHGrimms’IDLUWDOHVEHJDQWRIORXULVKLQHUPDQ

ODUJHOLQWKH%LHGHUPHLHUVWOHRIVZHHWFKLOGUHQLQEXFROLFODQGVFDSHV,WZDVQRWXQWLO

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Grimms’ “Aschenputtel.”7KHDGDSWDWLRQLVLQNHHSLQJZLWKWKHSUHIDFHZKLFKDVVXUHVWKH audience that the stories have been adapted to pass the scrutiny of “English mothers” and to be

VXLWDEOHIRUWKHLUFKLOGUHQThe Cinderella picture emphasizes the serenity of the heroine’s

SLHWDQGWKHWH[WGRZQSODVWKHPRPHQWVRIVXIIHULQJILJ7KHYLROHQFHRIWKHHH

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Grimm and Edward Wehnert’s illustrations, and by the 1850s, illustrated versions of Perrault’s story came to pay greater attention to Cinderella’s composure. Additionally, tKHVHSLFWXUHVUHODWH

3DUVRQVVXJJHVWVWKDWWKHELUGVDQGWKHWUHHDUHVPEROVWKDWPDUNKRZWKHVWRULHVDUHURRWHGLQD “matriarchal tradition.” I contend that the religious symbolism is equallSUHVHQWHGLQWKHVWRU3DUVRQV“(OOD Evolving,” 147. Wehnert’s print appears in several editions of RXVHKROG6WRULHV/RQGRQGGHDQG&RPSDQ /RQGRQ'DYLG%RJXH/RQGRQ5RXWOHGJH:DUQH%RVWRQ&URVEDQG1LFKROV 3KLODGHOSKLD3RUWHUDQG&RDWHV/RQGRQ5RXWOHGJHDQGVRQVRZHYHUWKHUHLVQR&LQGHUHOODVWRU LVWKLVODVWHGLWLRQ (GZDUG:HKQHUWLOOXVRXVHKROG6WRULHV&ROOHFWHGEWKHURWKHUVULPPYRO/RQGRQGGH DQG&RLYKWWSZZZDUFKLYHRUJVWUHDPKRXVHKROGVWRULHJULPJRRJSDJHQPRGHXS

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VWRUWRWKHLOOXVWUDWLRQVLQ9LFWRULDQpicture books, and finally to Disney’s film. 7KHZDWKDWWKH

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DQWKRORJWKHFKDSERRNDQGWKHWRERRN2IWKHWKUHHSULQFLSDOVRXUFHYDULDQWV—E3HUUDXOW d’Aulnoy, and the Grimms—Perrault’s version is the only one that traverses all three ERRN

IRUPDWVThe Grimms’ version of the story appears in EnglanGIURPRQZDUGVLQKDUGERXQG

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The heroine’s liberation from suffering ZDVWKHUHIRUHLQWHJUDOWRthe Cinderella story’s YLVXDO

HYROXWLRQ7SLFDOQDUUDWLYHVFHQHVIURP3HUUDXOWLQVSLUHGYDULDQWV—VKRZLQJCinderella’s servile labour, the fairy godmother’s aid, the ball scene, and the shoeWULDO—PLJKWHLWKHUJORULI the heroine’s submission or SUHGLFWKHUXOWLPDWHIUHHGRPIURPRSSUHVVLRQ&XULRVLWDVWRKRZ

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,KDYHQRWHWIRXQGDQLQHWHHQWKFHQWXUexample of the Grimms’ version of the story in toy book form, FKDSERRNRUVLQJOHVWRUKDUGERXQGERRN 6HYHUDOVFKRODUVKDYHQRWHGWKDWWKH'LVQHYHUVLRQRI&LQGHUHOODKDVJHQHUDWHGDFXOWXUDOPHPRUEORFN on alternative variationsŚ Wood, “Domesticating Dreams in Walt Disney’s Cinderella,” 25ś Jack Zipes, “Breaking

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&DWKHULQHd’Aulnoy adorned and empowered the Cinderella figure with luxurious clothing DV

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ZKHUHDXWKRUVDQGLOOXVWUDWRUVGLUHFWOUHVSRQGHGWRHDFKRWKHU7KHSURWRfeminist d’Aulnoy’s horse riding Finette Cendron responds to Perrault’s Cendrillon. Ludwig Grimm’s Aschenputtel engages with the Grimms’ text, but also offers an alternative to George Cruikshank’s playful style. Dickens satirizes Cruikshank’s CindereOODQGVXIIUDJHWWH6OYLD3DQNKXUVWDGDSWVWKH utopian element in Walter Crane’s toy book for the suffragette cause. These examples highlight

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the Disney Spell,” in )DLU7DOHDV0WK0WKDV)DLU7DOH/H[LQJWRQ8QLYHUVLWRI.HQWXFN3UHVV Karlyn Crowley and John Pennington, “Feminist Frauds on the Fairies?Ś DidacWLFLVPDQG/LEHUDWLRQLQ5HFHQW Retellings of ‘Cinderella,’” 0DUYHOV7DOHV24, no. 2 (2010)Ś 297ś Joosen, “Marcia K. Lieberman’s “Some Day My Prince Will Come,” 50–

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OLEHUDWHG'HVSLWHWKLVHYLGHQFHRICinderella’s PXOWLSOHSLFWRULDOSRVVLELOLWLHVWKHWZHQWLHWKDQG

WZHQWILUVWFHQWXULQWHUSUHWLYHHQYLURQPHQWLVIDFHGZLWKFXOWXUDODPQHVLDUHJDUGLQJWKH character’s significance for girls and womenLYHQWKHWKLUGZDYHIHPLQLVWPRWLYDWLRQWRYDOXH

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KDSWHU7KHLVQH9HUVLRQ RUCinderella’s Tale of Cat and Mouse (YRFDWLYHRIWKHVWRUWHOOLQJWUDGLWLRQWKHYRLFHRIDPDWHUQDOQDUUDWRUUHDGLQJIURPDJROG bound picture book to a captive audience commences Disney’s motion picture &LQGHUHOOD

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“Once upon a time in a faraway land.”7KHVHDUHWKHZRUGVLQVFULEHGXSRQWKHILUVWSDJHRIWKLV

SLFWXUHERRNZKLFKLOOXVWUDWHVWKHIDQFLIXOgardens and dwellings in a kingdom of “romance and tradition.”7KHFDPHUD]RRPVLQRQWKHKRPes of the future coupleŚ Cinderella’s dream castle

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“edutainer”SDUWHGXFDWRUSDUWHQWHUWDLQHUZDVGHILQHGEDFRQVHrvative mottoŚ “for all that is good for the family and our country.”'LVQHRYHUVDZ6QRZ:KLWH3LQRFFKLR

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RXWVLGHRIWKLVWKHVLV’s focus on the historic picture book and its revival.

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Disney’s fairyland as slender, paleVNLQQHGZRPHQZKRVLQJDQGGDQFHFRPPXQLFDWHZLWKIDUP

7KLVVKLIWWRZDUGVWKHHGXFDWLRQDOZDVKDUGOQHXWUDO7KHFRPSDQVWRRGWRJDLQHFRQRPLFDOOELW Travis Brandon Roy, “The EdutainerŚ Walt Disney, Nature Films, and American Understandings of Nature in the Twentieth Century” (M.A. thesis, Temple University, 2015), 12, httpŚ//0 VHDUFKSURTXHVWFRPPHUFXUFRQFRUGLDFDSTGWJOREDOGRFYLHZDEVWUDFW(%%&34 Steven Watts quoted in Beverly Lyon Clark, “The Case of the Disney Version,” in .LGGLH/LW7KH Cultural Construction of Children’s Literature in America%DOWLPRUH0G7KH-RKQVRSNLQV8QLYHUVLW3UHVV 2003), 5ś The term “edutainer” in reference to Disney appears throughout Roy, “The Edutainer.” )LOPVOLNH/LWWOH0HUPDLGODGGLQHDXWDQGWKHHDVW3RFDKRQWDVDQG 0XODQ(1998) fall under Michael Eisner’s direction of the company from the midVWRWKHHDUOV

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:KLWHDQG6OHHSLQJHDXWDUHILOPVDERXWKHURLQHVZKRDZDNHQIURPDGHDWKOLNHVOHHS whereas Cinderella awakens from a good night’s rest. The stories are distLQJXLVKDEOHEWKHLU

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The revulsion displayed by ardent feminists towards Disney’s princess creationsUDLVHVWKH question as to whether the company’s version of fantasy is productive for children and sociHWDV

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Lieberman’s argument, Cinderella has been made to stand in for the soFDOOHGWUDGLWLRQDOIDLU

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DVVXPHGin this kind of critiqueŚ the idea of the child’s mind as a blank slate.

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LGHRORJLFDOIUDPHZRUNVZKLFKXQGHUOLHVLPSOHFDXVHDQGeffect assumptions about the image’s

LPSDFWRQYLHZHUVVanessa Joosen critiques Lieberman’s impactful essay and finds her

DVVXPSWLRQVDERXWFKLOGKRRGDQGWUDGLWLRQDOIDLUWDOHVPDLQWDLQHGEVXEVHTXHQWDXWKRUV-RRVHQ declares that traces of a “tabula rasa” notion of childhood coincided with children’s literDWXUHDQG feminist theory, and Lieberman’s attack on Disney.,ILQQRFHQWEHKDYLRXUDQGLQWHOOHFWXDO

VLPSOLFLWKDYHFRPHWRGHVFULEHWKHWUDGLWLRQDO&LQGHUHOOD, which is to say Disney’s heroine,

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ZHOONot everyone, including children, read Disney’s films as “totalizing narratives.”

Lieberman, “Some Day My Prince Will Come,” 188, 190– ,ELG Lieberman, “Some Day My Prince Will Come,” 200. Joosen, “Marcia K. Lieberman’s “Some Day My Prince Will Come,” 52. )RUDQDGGLWLRQDOFULWLTXHRIWKHEODQNVODWHFRQFHSWVHH6WHYHQ3LQNHU7KHODQN6ODWH7KH0RGHUQ 'HQLDORIXPDQ1DWXUH1HZRUN3HQJXLQERRNV )RUPRUHRQFKLOGDJHQFLn response to Disney’s films seeŚ Clark, “The Case of the Disney Version”ś Karin Beeler, “DVD Screen Culture for ChildrenŚ Theories of Play and Young Viewers,” Academic blog, 6FUHHQLQJ WKH3DVW1RYHPEHUKWWSZZZVFUHHQLQJWKHSDVWFRPGYGVFUHHQFXOWXUHIRUFKLOGUHQWKHRULHVRI SODDQGRXQJYLHZHUV

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GLVFDUGLQJ'LVQHILOPVDOWRJHWKHUto do so would be to forget the film’s powerful visual appeal.

Recognizing the importance of the viewer’s agency, recent DisneyUHODWHGVFKRODUVKLS

KDVIRFXVHGRQWKHVXEYHUVLYHDQGFRXQWHUFXOWXUDOSRVVLELOLWLHVLQYLWHGEWKHFKDUDFWHUVDQG imagery deployed in Disney’s fairyland.)RUH[DPSOHV7LVRQ3XJKQRWHVWKHLPSOLFLW homosexuality of the pirate characters who appear again and again in Disney’s medieval loreś

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IRUWKLVFKDSWHU'DYLG:KLWOHy contends that Snow White’s interaction with the natural

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FRQWURODQGGRPHVWLFDWHWKHGHVWUXFWLYHIRUFHVRIQDWXUHHYHQGHDWKDQGGHFD,QWKLVILOPLWLV the animal characters who bring complexity to Snow White’s fairyland, and they add to the value

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Wood, “Domesticating Dreams in Walt Disney’s Cinderella”ś Pugh, “IntroductionŚ The Disney Middle Ages”ś David Whitley, 7KH,GHDRI1DWXUHLQ'LVQHQLPDWLRQ)URP6QRZ:KLWHWR://(6HFRQG(GLWLRQ VKJDWH6WXGLHVLQ&KLOGKRRGWRWKH3UHVHQW)DUQKDP6XUUHVKJDWH Pugh, “IntroductionŚ The Disney Middle Ages,” 10ś Wood, “Domesticating Dreams in Walt Disney’s Cinderella,” 41. :KLWOH7KH,GHDRI1DWXUHLQ'LVQH

educational concepts, which inform Disney’s images, as well as the pictures of the heroines and

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The conceptualization of childhood, innocence, and education as expressed in Disney’s outlook has shifted over time. Addressing the issue of the Disney Company’s FRUSRUDWHLPDJHLURX[

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DPRQJWKHVDOLHnt concepts of childhood, which inform the Western tradition of children’s books, and eventually Disney’s films. The idea that a book can mould a child’s habits derives from

/RFNHDQWKHRUAlthough Locke suggested that the nascent mind was a like a “ZKLWHSDSHU devoid of all characters, without ideas,” the terms “blank books” and “blank slates”UHFDOO-RKQ

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“crucible of ideal American culture” when he made the statementŚ “I think of a child’s mind as a blank book.”&RQQHFWLRQVEHWZHHQ5RXVVHDX’s ideasand Disney’s princess films can be felt in

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Wo the animal helpers who come to her aid of their own accord. In other words, Disney’s

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Rather than presume too much of Walt Disney’s fairy tale heroines LQWKHLUSRZHURYHU

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)RUPRUHRQGVWRSLDLQ'LVQHVHHGHODLGH9LOOPRDUHDQd Peter G. Stillman, “Pleasure and Politics in Disney’s Utopia,” &DQDGLDQ5HYLHZRIPHULFDQ6WXGLHVQR-DQXDU–-HDQ%DXGULOODUG “America After Utopia,” 1341HZ3HUVSHFWLYHV4XDUWHUOQR)DOO–HQULURX[DQG Grace Pollock, “IntroductionŚ Disney’s Troubled Utopia,” in 7KH0RXVH7KDW5RDUHG'LVQHDQGWKH(QGRI ,QQRFHQFH8SGDWHGDQGH[SDQGHGHG/DQKDP0G5RZPDQ/LWWOHILHOG–-DFN=LSHVFLWHV/RXLV Marin’s 8WRSLFVinŚ Jack Zipes, “Walt Disney’s Civilizing Mission,” in )DLU7DOHVDQGWKHUWRI6XEYHUVLRQQG HG1HZRUN5RXWOHGJH Jack Zipes, “DeDisneyfying DisneyŚ Notes on the Development of the Fairy Tale Film,” in 7KH (QFKDQWHG6FUHHQ7KH8QNQRZQLVWRURI)DLU7DOH)LOPV1HZRUN5RXWOHGJH &ULVWHQ&RQJHUDQG&DUROLQH(UYLQ7KH:RPHQHKLQG'LVQH6WXII0RP1HYHU7ROGRXDFFHVVHG -XQHKWWSZZZVWXIIPRPQHYHUWROGRXFRPSRGFDVWVWKHZRPHQEHKLQGGLVQH Robin Allan, “Disney’s European Sources,” in 2QFHXSRQD7LPH:DOW'LVQH7KH6RXUFHVRI ,QVSLUDWLRQIRUWKH'LVQH6WXGLRVHG%UXQRLUYHDX0XQLFK3UHVWHO

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Before sweeping the Cinderella story aside as one of Disney’s twoGLPHQVLRQDO

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DSSHDUFORWKHGLQ&LQGHUHOOD, these two later films offer far less potential for Whitley’s

VXEYHUVLYHUHUHDGLQJVIWHUOLVWHQLQg to Princess Aurora’s dreams, the creatures in 6OHHSLQJ

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What is surprising, however, is that despite Whitley’s insights into the wild side of

Snow White’s animal friends, he finds little that is redemptive in &LQGHUHOOD5DWKHUKHDUJXHV

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ILJ7KLVH[WUHPHFXWHVLILFDWLRQRIWhe animal is beyond Whitley’s limits for DJHQXLQH

HQJDJHPHQWZLWKQDWXUHHUHMHFWVWKHPLFHVWUXJJOLQJLQDFRPSHWLWLYHHQYLURQPHQWDVZHOO as Lucifer that “round tub of fur that passes for a cat.”&RQVLGHULQJWKHcat’sEORRGVRDNHG

GHPLVHPLPPHGLDWHUHWRUWLV“Poor Lucifer!” I loved Lucifer as a child, and will soon take a

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7.5.3. Cinderella’s Entourage of Mice

7KHVHQWLPHQWDOTXDOLWRIWKHDQLPDOVLQ&LQGHUHOODRIIHUVWKHPRVWGLUHFWSDWKZDIRU

HPSDWKL]LQJZLWKDisney’s heroine. Empathy entails feeling for another person or creature in the

DWWHPSWWRXQGHUVWDQGWKHP7KHUHIRUHHPRWLRQVDUHMRLQHGWRWKHUHDGHUviewer’s cognitive

:DOW'LVQH6OHHSLQJHDXWGLUHFWHGE&OGHHURQLPL/RVQJHOHV&:DOW'LVQH 3URGXFWLRQV'9' :KLWOH7KH,GHDRI1DWXUHLQ'LVQH ,ELG– ,ELG

DELOLWWRGLVFHUQWKHERXQGDULHVEHWZHHQVDPHQHVVDQGGLIIHUHQFHDVZHOODVWKHWKUHVKROG between the self and others. In this way, the film’s animal characters––ZRPHQPLFHPHQPLFH

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,WLVIURPWKHPLFHcharacters’parody of the stepfamily’s relentless demands that the

DXGLHQFHFDQLQternalize Cinderella’s overbearing workload. Jaq, the leader of the mouse clan,

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ILJXUHWKHRQHZKRFORWKHVDQGIHHGVWKHPZLWKZKDWHYHUVFUDSVVKHFDQVSDUH-DTODPHQWVDQG

EHJLQVWKHVLQJalong to Cinderella’s cutthroat work environmentŚ “Night and day it’s Cinderelli.

0DNHWKHILUHIL[WKHEUHDNIDVWZDVKWKHGLVKHVGRWKHPRSSLQ.”7KHVHDPVWUHVVODGPLFH

FKLSLQempathetic verseŚ “And the sweepin and the dXVWLQ7KHDOZDVNHHSKHUKRSSLQ.HHSD busy. They fix her. Work. Work. Work. Poor Cinderelli.”,QDTXLFNVKLIWIURPVRUURZVDGQHVV

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WKHZRPHQPLFHZHDYHWRJHWKHUIDEULFZKLOHVLQJLQJILJ2QHGUHVVZHDULQJODGPRXVH feels empowered in her role when she pronouncesŚ “leWWKHZRPHQGRWKHVHZLQJRXSRLQWLQJ

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:DUG.LPEDOO2002), considered to be the most defiant of Disney’s SULQFLSDODQLPDWRUVE

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Lucifer’s attempts to rid the Tremaine household of mice offer a subplot to what some children and adults might see as a “PXVKORYHVWRU.” As a humorous character, he sits on a string of

SHDUOVDQGGUDJVWKHPDORQJXQGHUKLVEXWWDVKHFODPEHUVWRZDUG-DTWKHPRXVHRQOWRJHWD button catapulted onto his nose. Lucifer’s pink nose is constantly a source of pain.

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Disney’s core animators from the classic era are commonly referred as the nine old men. Kimball was one RIWKHQLQH'RQ3HUL:RUNLQJZLWK'LVQH,QWHUYLHZVZLWKQLPDWRUV3URGXFHUVDQGUWLVWV-DFNVRQ8QLYHUVLW 3UHVVRI0LVVLVVLSSL :DVNRQRWHVKRZLQWKH7UXH/LIHGYHQWXUHVHULHVVRPHDQLPDOVWDNHXSWKHUROHRIYLOODLQ:DVNR 8QGHUVWDQGLQJ'LVQH

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WKHPHQmice arrive at Cinderella’s door, Lucifer pounces on Gus and traps him with the key in a bowl. The hardworking animals retaliateŚ Jaq bites the cat’s tail, a militia of mice charge with pitchforks, birds shatter dishes onto the cat’s head, and cDQLQH%UXQRUXVKHVWRWKHUHVFXH

UULYLQJKHJURZOVDWWKHFDWVQDSVDWKLPDQGSHWULILHG/XFLIHUMXPSVRQWRWKHZLQGRZOHGJH and falls from the tower. In the uncut version of the film, Lucifer’s death is definitive. Splat—D

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Presumably added in by the character’s animator, Kimball, the dramatic touch of the

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Cinderella’s supporters, they are not meant to have feelings for the cat, and, as humanWSHV

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,QWKHHQG-DTDQGXVSDUDGHLQWRYLFWRUZLWKFRXUWORXWILWVHODWHGDWCinderella’s glory. Unfortunately, Disney’s idealization of the American menPLFHZKRKDYHWUDQVFHQGHG

WKHLUZRUNDGDHQYLURQPHQWRYHUpowers the earlier scenes of the women’s craftsmanship. ,

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FRQWURORIWKHZRPHQPLFH"IWHUDOOWKHVWHSVLVWHUVWRUHXSWKHGUHVVWKDWWKHZRPHQPLFH created, Disney’s mDJLFDOZDQGWRRNDOOWKHFUHGLWIRUWKHJRZQDQGDWWKHHQGRIWKHVWRUWKH

ZHUHPHUHOOHIWDWKRPHLQWKHQRZFDWIUHHGRPHVWLFVSKHUH:KDWLIWKHZLOGQHVVLQWKHFDWZDV allowed to thrive? What if the heroine’s suffering was less repressed"(PRWLYHDWWHQWLRQWRWKH

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DVRQgender. However, a study of Disney’s fairy tales would not be complete without

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In Prajna Parashar’s discussion of race in 3HWHU3DQVKHGUDZVDFRQQHFWLRQ between America’s relationship to Indigenous people DQGWKH9LFWRULDQFKLOGZKRGHVLUHVWR

'RXJODV%URGHVXJJHVWVWKDWWKHJURWHVTXH,QGLDQFKLHIWDLQLQ3HWHU3DQGRHVQRWPDNHWKHILOPUDFLVW because of how the white patriarch Hook is also caricaturized. Douglas Brode, “Racial and Sexual Identity in AmericaŚ Disney’s Subversion of the Victorian Ideal,” in 0XOWLFXOWXUDOLVPDQGWKH0RXVH5DFHDQG6HLQ'LVQH (QWHUWDLQPHQWXVWLQ8QLYHUVLWRI7H[DV3UHVV–

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WKDWUDFLVPLQ'LVQHWDNHVWKHIRUPRI“pasting racial stereotypes on anthropomorphized animals,” Parashar does not take the study of animality further.The lost boys from Peter Pan’s

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FKLOGUHQOLYHVLGHEside with Neverland’s Indigenous people. The halfQDNHGJURXSRI

“Indians” are grotesque amalgamations of various apelike speciesś they have the baboon’s fDFLDO stripes and the Gorilla’s facial structure. 7KHFRQWUDVWEHWZHHQWKHDQLPDOFKLOGUHQDQGWKHWULEDO

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(LVQHUHUDODGGLQ3RFDKRQWDVDQG0XODQDOVRIHDWXUHKXPDQOLNH animals and animal familiars, such as Aladdin’s monkey, Jasmine’s tiger, and Jafar’s parrot.

)RUDPRUHFRPSOHWHSRVWcolonial study of animality in Disney’sIDLUWDOHV,ZRXOGZDQWWR

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Parasher, “Mapping the ImaginaryŚ The Neverland of Disney’s Indians,” 38– ,ELG :DOW'LVQH3HWHU3DQGLUHFWHGE&OGHHURQLPL:LOIUHG-DFNVRQDPLOWRQ/XVNHDQG-DFN.LQQH /RVQJHOHV&:DOW'LVQH3URGXFWLRQV'9' )RUDSRVWFRORQLDOFULWLTXHRI3RFDKRQWDVDOEHLWRQHWKDWGRHVQRWDGGUHVVDQLPDOLWVHH6DUGDU Ziauddin, “Walt Disney and the Double Victimization of 3RFDKRQWDV,” 7KLUG7HW:LQWHU– 5HEHFFD0LOOHUFRQVLGHUVDQLPDOLWDQGUDFHLQILOPVVXFKDV'XPERDQG/DGDQGWKH7UDPS (1955). However, Disney’s fairy tale films are outside of her corpus. Rebecca Erin Miller, “The Animated AnimalŚ Aesthetics, Performance and Environmentalism In American Feature Animation” ('RFWRUDOWKHVLV1HZRUN 8QLYHUVLW

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,IWKHSLFWRULDOLVWREHWDNen seriously, then admitting that there is much more to Disney’s

DQLPDWLRQWKDQUHSHWLWLYHSORWOLQHVLVFUXFLDOWRXQGHUVWDQGLQJLWVDSSHDODQGSRZHU7KHYLVXDOLW of Disney’s early fairy tales does much more than illustrate a beautiful passive woman who

ZRUNVKHUGDVLQKRSHVRIDSULQFHZKRZLOOVDYHKHUIURPDQXJODQGFRQQLYLQJYLOODLQDQG provide her with material reward (a combination of Lieberman’s and Zipes’ suggestions). The appeal of classic Disney animals has much to do with these films’ aestKHWLFIRUPDWLRQWKH

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The vitality of animated characters and their worlds relies on Disney’s act of picking and

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(QJODQG)UDQFHDQGHUPDQLondon became Disney’s preferred destination for pictorial

LQVSLUDWLRQDIWHU::,,7KHUDQJHRIOLQNVEHWZHHQ(XURSHDn sources and Disney’s animated

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DQWKURSRPRUSKL]HGFKDUDFWHUVUHVHPEOHWKHFXWHQHVVRIFhildren’s books. Princesses move into

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WUDQVIRUPLQJVKRUWVWRULHVLQWRIXOOlength feature fairy tale films. According to Allan, Disney’s

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DQGEDQLPDWLQJthe characters’ fluid movement7KHLQWURGXFWLRQRI“meticulously plotted gags culminating in a chase scene,” OHDGLQJWRWKHILQDOEDWWOHDQGWKHKDSSLOHYHUDIWHUEHFDPH essential to the formula’s narrative)RUH[DPSOHSORWWHGJDJWSHPRPHQWVLQ&LQGHUHOOD

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DQWKURSRPRUSKLVPEXWDOVRLWLVZRUWKQRWLQJWKDWseveral of Disney’s animators in the 1930s

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6FHQHVIURPBeatrix Potter’sLOOXVWUDWHGERRNVDUHWKHSULQFLSDOSLFWXUHERRNVRXUFHWKDW

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Potter outfitted her rabbits, cats, and mice in coats, dresses, and hats, and so did Disney’s animators. Disney’s seamstress mice resemble Potter’s ladyPLFHZKRFXUWVDQGVHZOLWWOH

)RUH[DPSOHWKH&KHVLUHCat’s interaction with Alice (i.e. how he sends her astray) is part of the Disney YHUVLRQ3ORWWHGJDJWSHPRPHQWVLQ&LQGHUHOODUHYROYHDURXQG/XFLIHUZKRIRUH[DPSOHWUDSVWKHPLFHLQWHDFXSV ,ELG 6DWLULFDODUWLVWVWRVSHFLDOL]HLQWKHDQWKURSRPRUSKL]HGDQLPDOLQFOXGH(DUQHVWULVHW UDQGYLOOH-RKQ7HQQLHO(GZDUG/HDU-RHUDQWZDVD VDWLULFDODUWLVWIRU/RVQJHOHV5HFRUGOEHUWXUWHUDQG-RHUDQWSURGXFHGFRPLFDUW EHIRUHWKHMRLQHG'LVQHAllan, “Disney’s European Sources,” 102–OODQ:DOW'LVQHDQG(XURSH– The artist’s feline companion was the model for both of these cats. “Lucifer,” 'LVQH:LNLDFFHVVHG 'HFHPEHUKWWSGLVQHZLNLDFRPZLNL/XFLIHU Allan, “Disney’s European Sources,” 104–

EXWWRQVRQWRMDFNHWVILJAdditionally, a cat keeps mice in a teacup in Potter’s 7KH

7DLORURIORXFHVWHUś drawing from this source, Kimball brings the cat’s play with

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GHOLJKW7KHVFHQHFRPELQHVWKHFXWHDQGWKHVDWLULFDODQGLWH[HPSOLILHVRQHRIWKHPDQ moments in Kimball’s oeuvre where his animation transitions from the creature character’s fluid

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OWKRXJK/XFLIHULVWKHOHDVWKXPDQlike of the film’s animals, the anthropomorphism of

Disney’s animals was EWKLVWLPHEHFRPLQJDFKDUDFWHULVWLFIHDWXUH,GHQWLFDOVRQJELUGV

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:KLWHDVWKHH[FHSWLRQthe animal characters in Disney’s animations (not just the princess films)

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Disney’s pictures, he asserts that in the cinema, “viewers are brought together to be entertained

DQGDEVRUEHGUDWKHUWKDQWREHHQJDJHGLQUHIOHFWLRQ7KHQDUUDWLYHTXDOLWRIFRPIRUWWDNHVRYHU and the encouragement to do otherwise does not present itself.”

Allan identifies this connection between the film scenes and Potter’s illustrations. Allan, :DOW'LVQHDQG (XURSH, 104, 106ś Allan, “Disney’s European Sources,” 104– Lucas Seastrom, “Ward Kimball and Lucifer the Cat,” Independent historian’s blog, 8QLYHUVLWRI:DOW 'LVQHXJXVWKWWSDQLPVWXGLHVEORJVSRWFRPZDUGNLPEDOODQGOXFLIHUFDWKWPO Rebecca Millar argues that Disney’s lack of differentiDWLRQEHWZHHQWKHKXPDQDQGWKHDQLPDOVLJQDOV humankinds’ growing encroachment into the animal’s wildlife. Miller, “The Animated Animal.” =LSHV)DLU7DOHVDQGWKHUWRI6XEYHUVLRQ Zipes, “Breaking the Disney Spell,” 94–

LYHQWKDW=LSHVGHFULHVWKHGHWULPHQWDODEVRUSWLYHHIIHFWRIWKHPRYLQJSLFWXUHWKLV

FKDSWHUDUULYHVDWDcrossroads. Is Disney’s reXVHRISLFWXUHERRNLPDJHUWRUHYLYHWKHIDLUWDOH

IRUWKHEHWWHURUQRW"1XDQFHGDQVZHUVZLOOOLNHOJREHRQGDQHLWKHURUVFHQDULRVVXFKLWLV possible that Disney’s filmERRNVKDYHKRPRJHQL]HGWKHSLFWXUHERRNWUDGLWLRQUHVXOWLQJLQDQ

DSSHDOLQJDHVWKHWLFDQGWKDWWKHSLFWXUHERRNDORQJVLGHWKHOLWHUDUIDLUWDOHKDVWKXVODUJHO

EHHQUHSODFHG,WLVDOVRSRVVLEOHWKDWWKHMX[WDSRVLWLRQEHWZHHQVDWLULFDODQGFXWHDQLPDOOLNH

FUHDWXUHVas was the case with Kimball’VFDWVRIIHUVDEDVLVIRUexpanding the viewer’s

LQWHUSUHWLYHUDQJHRI'LVQHILOPV:KLOHFRQWLQXLQJWRDGGUHVVthe film’s pictorial importance,

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77

WLVVXHLVKRZWKH'LVQHYHUVLRQDOWHUVWKHIDEULFRIWKHSDJHWXUQLQJERRNWXUQLQJWKHERRNV

RIROGLQWRVSHFWUHVRIWKHOLEUDUERRNVKHOIDQGHUDVLQJWKHSUH'LVQHILHGSLFWRULDOWUDGLWLRQ

IURPFXOWXUDOPHPRUWWKHEHJLQQLQJRI&LQGHUHOODDJORZLQJOLJKWVKLQHVXSRQDJROGHQ

FRGH[DQGDVWKLVHWKHUHDOOLJKWH[SDQGVWKHERRNRSHQV7KH&LQGHUHOODERRNLVWKHNLWVFKLHVW

FRPSDUHGWRRWKHUILOPERRNV—the cover looks like fool’s gold covered in fake gems—DQG

VHYHUDORSHQLQJDQGFORVLQJVFHQHVVKDUHLWVGHYLFHRIWKHVWRUERRNRSHQLQJ7KHGLVWLQFWLRQV

EHWZHHQWKHVHERRNVZKLFKIHDWXUHZLWKLQWKHILOPVVXJJHVWWKHSRZHUWKDWWKH'LVQHFDQRQ

PLJKWLHOGRYHUFXOWXUDOPHPRU7KHERRNVIHDWXUHGLQWKHSULQFHVVWULDGILOPVDQGLQ

3LQRFFKLRDQGOLFH(1951) further confirm Disney’s attempt to DSSURSULDWHWKHIDLUWDOH

ERRN

Much more of a deluxe book than a child’s plastic toy, 6QRZ:KLWHRSHQVZLWKWKHLPDJH

RIDZKLWHOHDWKHUERXQGFRGH[ILJVSDUWRIWKHLOOXPLQDWHGTXDOLWRIWKH handcrafted book, a little squirrel grabs at the letter S in Snow White’s name, and a dove,

FKLSPXQNELUGUDEELWDQGDFOHDQLQJEUXVKWRSSHGZLWKDFURZQDOVRRUQDPHQWWKHSDJH

These details locate the authenticity of Disney’s fairy tale in a code[ZKLFKKDVUHFRUGHGWKH bygone stories of America’s European past. The published fairy tale may well be rooted in

PHGLHYDODQGDQFLHQWFXOWXUHVEXWEHIRUHWKHODWHVHYHQWHHQWKFHQWXUWKHVWRULHVZHUHQRW

UHFRJQL]HGDVIDQWDVWLFDOIDLUWDOHV,QKLVGLVFXVVLRQRIIDLUWDOHQDUUDWLYHVLQ'LVQHODQG3XJK describes Disney’s brand of medievalism as an “inherently flexible reinterpretation of history

JXLGHGQRWEGDWHVDQGIDFWVEXWEDQDVQFKURQRXVQRVWDOJLDIRUIDLUWDOHVDQGIDQWDVLHVVHWLQ

WKHSDst, while inspired by an American view of the future.”7KLVILOPERRNLVDSULPHH[DPSOH

RI'LVQHILHGPHGLHYDOLVP

%XLOGLQJRQthis nostalgic allure, Disney’s authority over the fairy tale’s history is

PHPRULDOL]HGLQ6OHHSLQJHDXW)LOPHGLQOLYHDFWLRQEHIRUHWKHDQLPDWLRQEHJLQVLVDJRWKLF

VWOHOHFWHUQLQIURQWRIDQLFRQLFPHGLHYDOWDSHVWUILJ8QOLNHWKHSODVWLFPHGLHYDOLVP

RIWKH&LQGHUHOODERRNFRYHUKHUHDVHHPLQJODXWKHQWLFWDSHVWUVKRZVDXQLFRUQDQGOLRQ

JXDUGLQJWKHFDQGOHOLWERRN7KHERRNVKLPPHUVZLWKJHPVDQGRSHQVWRDQLOOXPLQDWHG

PDQXVFULSWSDJHRIDPHGLHYDOFDVWOHRQJROGRYHUOD7KHGLVSODRIWKLVERRNZKLFKVHHPLQJO

IHDWXUHVWKHTXLQWHVVHQWLDOYHUVLRQRIWKHVWRULVDEOHWRHSLWRPL]HWKHEgone allure of Disney’s

IDLUWDOHSURMHFWFFRUGLQJWR'LVQHORUHWKHXQLFRUQWDSHVWUXVHGIRUWKHILOPFRPHVIURP

:DOW'LVQH6QRZ:KLWH Pugh, “IntroductionŚ The Disney Middle Ages,” 5. :DOW'LVQH6OHHSLQJHDXW

WKH&ORLVWHUVLQWKH0HWURSROLWDQ0XVHXPRI)LQHUWZKLFKVXJJHVWVWKDWWKH6OHHSLQJHDXW

ERRNVFHQHZDVGHVLJQHGWRLQVFULEH'LVQHy’s canon into America’s European cultural

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The details in Disney’s opening scene of the Pinocchio story offer an additional vision of Disney’s efforts to DWWDFKWKHHQWLUHIDLUWDOHJHQUHWRKLVQDPH%HIRUHWKH3LQRFFKLRERRN

RSHQVXSRQWKHFDrpenter’s desk, the camera lens shows Disney’s plans foUWKHIDLUWDOHFDQRQ

ILJ7KHUHDUHRWKHUIDLUWDOHERRNVRQWKHGHVNDQGWKHLUVSLQHVDUHVWUDWHJLFDOOWLWOHG

“Cinderella” and “Alice in Wonderland.” These closed books advertise IRUWKFRPLQJILOPVSULRU

WRWKHLUUHOHDVHGDWHV0RUHRYHUWKHVXJJHVWWKDW'LVQHZDVFDUYLQJRXWKLVKROGRQWKHIDLU

WDOHWUDGLWLRQSLFWXUHESLFWXUHDQGVWRUEVWRU

In the case of Disney’s OLFHLQ:RQGHUODQGDQXQXVXDOWSHRIERRNDSSHDUVZLWKLQWKH

VWRULWVHOIUDWKHUWKDQGXULQJWKHRSHQLQJDQGFORVLQJVFHQHV7KHDQWKURSRPRUSKL]HG students of the law at Alice’s trial MRWdown the Queen’s judgements by writing the proceedings

RQWDEXODHUDVDH7KHVHDUHDSUHFXUVRUWRWKHSDJHWXUQLQJFRGH[DQGWKHDOVRLQWHJUDWHWKH concept of the child’s mind asDEODQNVODWHILJV7KLVGHWDLOKLQWVDWWKHHUDVXUHRIWKH literary tradition, in that soon the written word disappears from the tablets, and Disney’s picture book takes over Alice’s mindDQGIDWH6KHLVIDWHGWREHFDXJKWLQWKH'LVQHYHUVLRQZKLFK

SUHVHQWVDVSDFHZKHUHKLVWRULVIRUHYHURXWRIRUGHU

%RE7KRPDVDisney’s Art of Animation: From Mickey Mouse, To Hercules1HZRUNSHULRQ – OWKRXJK'LVQHORUHDWWULEXWHVWKLVWDSHVWUWRWKH&ORLVWHUVLQ1HZRUN,FRQWHQGWKDWIXUWKHUDWWHQWLRQ WRWKHGHWDLOVLQGLFDWHVWKDWWKH'LVQHYHUVLRQLVDKEULGL]DWLRQRIWKH/DGRIWKH8QLFRUQFFOHKRXVHGLQWKH 0XVpHQDWLRQDOGX0RHQJHLQ3DULV :DOW'LVQH3LQRFFKLRGLUHFWHGE1RUPDQ)HUJXVRQDQG7HH/RVQJHOHV&:DOW'LVQH 3URGXFWLRQV'9' :DOW'LVQHOLFHDQG:RQGHUODQGGLUHFWHGE&OGHHURQLPL:LOIUHG-DFNVRQDQGDPLOWRQ/XVNH /RVQJHOHV&:DOW'LVQH3URGXFWLRQV'9'

7KHSDJHRSHQLQJERRNWKDWIHDWXUHVLQWKHHDUOIDLUWDOHILOPVYLVXDOL]HVWKHZDLQ which Disney’s canon absorbs the picture book WUDGLWLRQ7KHZULWLQJWDEOHWVRIHUDVXUHWKH

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VXJJHVWWKDW'LVQHPLJKWKDYHVXFFHHGHGLQtaking over the fairy tale’s pictorial history.

RZHYHUEDQDO]LQJWKHHPRWLRQDOFRQWHQWSURYLGHGEDQLPDOFKDUDFWHUVWKLVFKDSWHUKDV

SRLQWHGWRDQDOWHUQDWLYHUHDGLQJZKLFKFRXOGFRXQWHUDFWWKHWKUHDWWKDW'LVQHPLJKW permanently cast a shadow over the picture book’s rich narrative culture. It is my concluding

FRQWHQWLon that greater attention to childhood and educational concepts, which inform Disney’s

LPDJHVDVZHOODVWKHSLFWXUHVRIWKHKHURLQHVDQGDQLPDOVWKHPVHOYHVFDQJHQHUDWHHPSDWKHWLF appeal and critical encounters with Disney’s fairy tale princess films.

7KHVLVRQFOVLRQDQG1HZHJLQQLQJV 9DOHRIDLU7DOHDQWDV )DQWDVFDQKDYHQHJDWLYHDVVRFLDWLRQVWKHVHUDQJHIURPpassion’s violent triumph over reason

WRGDQJHURXVPDOHIDQWDVLHVIURP:HVWHUQGRPLQDWLRQRYHUFXOWXUDORWKHUVDQGZLOGQDWXUHWRWKH seduction of capitalism’s false promises. These negative connotations may be interpreted as fairyland’s shadowy crevicesEXWWKHGRQRWDFFRXQWIRUWKHULFKLPDJLQDWLYHXQLYHUVHWKDWWKH

IDLUWDOHIDQWDVKDVRIIHUHGLOOXVWUDWRUVDXWKRUVDQGUHDGHUYLHZHUV:KLOHGLVPDQWOLQJWKH notion that fairyland was entirely innocent to begin with, this study’s driving question KDVEHHQ

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FUHDWLYHSURGXFWLRQ5HDGHUYLHZHUVRIG’AuOQR3HUUDXOWDQGthe Grimms’ illustrated stories,

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RFFXUVDORQJVLGHWKHSRWHQWLDOIRUfantasy’s communal and liberatory possibilities:KLOHLWLV

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7KLVVWXGRIWKHIDLUWDOH’s visual evolution in EuroPHULFDQQDUUDWLYHFXOWXUHKDVJLYHQ

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HPSKDVL]HVHGLWLRQVSHFLILFLWDQGLQWHUSLFWRULDOLW––leading me to appreciate the genre’s trove

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XWRSLDQQRYHOVFKDSERRNVWRERRNVDQGIDLUWDOHDQWKRORJLHV—YLVXDOPDWHULDOIURPERWK within and outside of the context of children’s literature. My overview of first and subseqXHQW

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RSSRVLWLRQDOYLHZVRQJHQGHUVH[XDOLWUDFHDQGLGHRORJDUHLntegral to the genre’s diversity.

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Disney’s fairy tale princess films. While critiquing a homogenizing approach to the VictoriaQV,

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SXEOLVKLQJYHQXHVVXFKDVPDOHGRPLQDWHGVDWLULFDOPDJD]LQHVDQGIHPDOHfriendly children’s books. These publishing contexts, namely the satirical press and the children’s toy book, have

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PRGHVHPHUJHLQGHOLJKWIXOPRPHQWVOLNHWKHFKLOGPHQRI3XQFKWKHXWRSLDQJOLPPHUVRID better world in Crane’s allegorical illustrations and houseOLNHWRERRNVDQGZKHQWKH

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7KHHPSKDVLVRQYLVXDOYDULDWLRQVEHWZHHQUHWHOOLQJVDQGSXEOLFDWLRQIRUPVOHGPHWRSD greater attention to the Cinderella figure’s evolution in illustrations leading up to KHU

Disneyfication. Greater awareness of the genre’s illustration history can counter theVWUDQJOHKROG

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G’Aulnoy. Pictorially, CinderellaFKDUJHVDKHDGRQKRUVHEDFNLQG’Aulnoy’s “Finette Cendron” and, conversely, she runs away from the ball in Perrault’s “Cendrillion.” Subsequently, gender

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KXQGUHGyears, authors and illustrators have responded to each others’ practices, and reader

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VXSHUQDWXUDOEHLQJVZKRILJXUHLQFRORXUIXODQGEODFNDQGZKLWHIDLUODQGVVVXFKFORVH attention to the images has offered alternative possibilities for understanding a story’s underlying age, gender, race and animal relations, and for travelling into the author and illustrator’s creative

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Rousseau’s philosophies, John Ruskin’s aesthetic ideals (which influenced alternative perspectives in the Victorian era), Andrew Lang’s ethnographic theories, and Walt Disney’s

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RIQGUew Lang’s theories of racial superiority by suggesting that readerYLHZHUVPLJKWQRW interpret H.J. Ford’s illustrations in the way that Lang wouldKDYHOLNHG/DQJZKRWKHRUL]HG about the white male hero’s disLGHQWLILFDWLRQIURPDQLPDOVLQKLVYLVLRQRIFXOWXUDOHYROXWLRQ

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Lang’s books. She voraciously read them one after the other and this turned the public library into a place of solace, learning, and imagining. The ornate coloured covers of Andrew Lang’s

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———7KH&UXLNVKDQN)DLURRN)RXU)DPRXV6WRULHV. New YorkŚ G.P. Putnam’s Sons, KWWSVDUFKLYHRUJVWUHDPFUXLNVKDQNIDLUEFUXLSDJHQPRGHXS ———7KH&RPLFOPDQDFNQ(SKHPHULVLQ-HVWDQG(DUQHVW&RQWDLQLQJ0HUU7DOHV XPRURXV3RHWU4XLSVDQG2GGLWLHV)LUVW6HULHV9RO/RQGRQ&KDWWR DQG:LQGXVKWWSDUFKLYHRUJGHWDLOVFRPLFDOPDQDFNHSKFUXL ———7KH&RPLFOPDQDFNQ(SKHPHULVLQ-HVWDQG(DUQHVW&RQWDLQLQJ0HUU7DOHV XPRURXV3RHWU4XLSVDQG2GGLWLHV6HFRQG6HULHV9RO/RQGRQ &KDWWRDQG:LQGXVKWWSDUFKLYHRUJGHWDLOVFRPLFDOPDQDFNHSKFUXL ———7KH6FRXUJH2U0RQWKO(SRVLWRURI,PSRVWXUHDQG)ROO9RO/RQGRQ3ULQWHGE :1-RQHVIRU0-RQHVKWWSDUFKLYHRUJGHWDLOVVFRXUJHRUPRQWKOFUXL ———. “Splendid Spread.” In 7KH&RPLFOPDQDFNDQ(SKHPHULVLQ-HVWDQG(DUQHVW &RQWDLQLQJ0HUU7DOHVXPRURXV3RHWU4XLSVDQG2GGLWLHV/RQGRQ&KDWWR DQG:LQGXVKWWSDUFKLYHRUJGHWDLOVFRPLFDOPDQDFNHSKFUXL 'HIRH'DQLHO5RELQVRQ&UXVRH. New ed. Oxford World’s Classics.2[IRUG2[IRUG8QLYHUVLW 3UHVV Dickens, Charles. “Frauds and Fairies.” RXVHKROG:RUGV:HHNO-RXUQDO&RQGXFWHGE &KDUOHV'LFNHQV2FWREHU KWWSZZZYLFWRULDQZHERUJDXWKRUVGLFNHQVSYDSYDKWPO 0DUN'LRQ:KHHOEDUURZRI3URJUHVV7RVWXIIHGDQLPDOVZKLWHHQDPHORQUHGVWHHOZRRG DQG UXEEHUZKHHOEDUURZ Ewing, Juliana Horatia, A.W. Bayes and Gordon Browne, illus. “Good Luck Is Better than Gold.” In 2OG)DVKLRQHG)DLU7DOHV/RQGRQ6RFLHWIRU3URPRWLQJ&KULVWLDQ .QRZOHGJHKWWSVDUFKLYHRUJVWUHDPROGIDVKLRQHGIDLUHZLQSDJHQPRGHXS UHHQDZD.DWHDoll’s Tea Party%RVWRQ/RWKURS3XEOLVKLQJ&R KWWSXIGFXIOHGX8) ———8QGHUWKH:LQGRZ3LFWXUHV5KPHVIRU&KLOGUHQ/RQGRQ5RXWOHGJH6RQV KWWSDUFKLYHRUJGHWDLOVXQGHUZLQGRZSLFWYJUHHULFK ———DQG5REHUW%URZQLQJ7KH3LHG3LSHURIDPHOLQ/RQGRQ)UHGHULFN:DUQH KWWSDUFKLYHRUJGHWDLOVSLHGSLSHURIKDPHOEURZ RUGRQ(OL]DEHWKDQG073HQQ5RVVLOOXVLUG&KLOGUHQ7KH/LWWOH3ODPDWHVRIWKH )ORZHU&KLOGUHQWKHG&KLFDJR3)9ROODQG&R KWWSVFDWDORJKDWKLWUXVWRUJ5HFRUG ———)ORZHU&KLOGUHQ7KH/LWWOH&RXVLQVRIWKH)LHOGDQGDUGHQ&KLFDJR3)9ROODQG FRPSDQKWWSVFDWDORJKDWKLWUXVWRUJ5HFRUG ———The Butterfly Babies’ Book&KLFDJR5DQG0F1DOO KWWSVFDWDORJKDWKLWUXVWRUJ5HFRUG Grimm, Jacob, and Wilhelm Grimm. “Aschenputtel.” In .LQGHU8QGDXVPlUFKHQ:LNLVRXUFH /D%LEOLRWqTXH/LEUHKWWSGHZLNLVRXUFHRUJZLNLVFKHQSXWWHOB ULPP-DFRE:LOKHOPULPPDQGHRUJH&UXLNVKDQNLOOXVHUPDQ3RSXODU6WRULHV 7UDQVODWHGE(GJDU7DORU/RQGRQ-RKQ&DPGHQRWWHQ KWWSVERRNVJRRJOHFDERRNV"LG K&V4- ———HUPDQ3RSXODU6WRULHV7UDQVODWHGIURPWKH.LQGHU8QGDXVPlUFKHQ&ROOHFWHGE 00ULPP)URP2UDO7UDGLWLRQ7UDQVODWHGE(GJDU7DORU9RO/RQGRQ %DOGZQ

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Longfellow, Henry Wadsworth, and Poetry Foundation. “The Skeleton in Armor (1841).” 3RHWU )RXQGDWLRQKWWSVZZZSRHWUIRXQGDWLRQRUJSRHPVDQG SRHWVSRHPVGHWDLO 0DF'RQDOGHRUJHDQGUWKXUXJKHVLOOXV3KDQWDVWHV)DHULH5RPDQFHIRU0HQDQG :RPHQ5HSXEOLFDWLRQRIHGLWLRQ1HZRUN'RYHU3XEOLFDWLRQV 0DF'RQDOGHRUJHDQG0DXGXPSKUHLOOXV7KH/LJKW3ULQFHVVDQG2WKHU)DLU7DOHV New Yorkś LondonŚ G. P. Putnam’s sons, c1893. KWWSDUFKLYHRUJGHWDLOVOLJKWSULQFHVVRWKPDFG 0RUH7KRPDV8WRSLD7UDQVODWHGE5DSKH5REQVRQ&DPEULGJH8QLYHUVLW3UHVV KWWSVDUFKLYHRUJGRZQORDGPRUHVXWRSLDWUEURSHJRRJPRUHVXWRSLDWUEURSHJRRJSG I ———8WRSLD(GLWHGE5RQDOGHUGHU1HZRUN'RYHU3XEOLFDWLRQV 0RUULV:LOOLDP1HZVIURP1RZKHUHDPPHUVPLWK.HOPVFRWW3UHVV KWWSDUFKLYHRUJGHWDLOVQHZVIURPQRZKHUHPRUU ———1HZVIURP1RZKHUHWKHG/RQGRQ/RQJPDQVUHHQDQG&R KWWSZZZJXWHQEHUJRUJILOHVW[W Morris, William, and Walter Crane, illus. “News from Nowhere (chapt XVIL).” 7KH &RPPRQZHDO6RFLDOLVW/HDJXH0D ———7KH6WRURIWKHOLWWHULQJ3ODLQDPPHUVPLWK.HOPVFRWW3UHVV KWWSDUFKLYHRUJGHWDLOVVWRURIJOLWWHULQPRUU Mr. Punch’s Victorian Era: An Illustrated Chronicle of the Reign of Her Majesty the4XHHQ 9RO/RQGRQ%UDGEXUJQHZ&RPSDQ KWWSVERRNVJRRJOHFDERRNV"LG WVR- Mr. Punch’s Victorian Era: An Illustrated Chronicle of the Reign of Her Majesty the Queen 9RO/RQGRQ%UDGEXUJQHZ&RPSDQ KWWSVERRNVJRRJOHFDERRNV"LG LFR- Mr. Punch’s Victorian Era: An Illustrated Chronicle of the Reign of Her Majesty the Queen 9RO/RQGRQ%UDGEXUJQHZ&RPSDQ KWWSVERRNVJRRJOHFDERRNV"LG 2V40- 3DQH&ROOLHU-RKQDQGHRUJH&UXLNVKDQNLOOXV3XQFKDQG-XGWKHG/RQGRQ%HOO 'DOGKWWSDUFKLYHRUJGHWDLOVSXQFKDQGMXGZLWXQNQJRRJ Perrault, Charles. “Cendrillon.” In LVWRLUHV2X&RQWHV'X7HPSV3DVVpQGHG3DULV&ODXGH %DUELQIUZLNLVRXUFHRUJ 3HUUDXOW&KDUOHV0DULHCatherine D’Aulnoy, Leprince de Beaumont, and Hégésippe Moreau. /H0RQGH(QFKDQWp&KRLGH'RXH&RQWHVGH)pHV(GLWHGE)pOL[)DXUHRHDX 3DULV1HOVRQ 5RVVHWWL&KULVWLQDDQGUWKXU5ackham, illus. “Rackham’s Illustrations for Goblin Market (digitized Images from the 1933 Edition).” 7KHULWLVK/LEUDU KWWSVZZZEOXNFROOHFWLRQLWHPVJREOLQPDUNHWLOOXVWUDWHGEDUWKXUUDFNKDP 5RVVHWWL&KULVWLQDDQG'DQWHDEULHO5RVVHWWLLOOXVREOLQ0DUNHWDQG2WKHU3RHPVQGHG /RQGRQ0DFPLOODQKWWSDUFKLYHRUJGHWDLOVJREOLQPDUNHWDQGURVVJRRJ 5RVVHWWL&KULVWLQDDQG/DXUHQFHRXVPDQLOOXVREOLQ0DUNHW/RQGRQ0DFPLOODQ KWWSFRQWHQWGPEDORUHGXFGPUHIFROOHFWLRQDEZSFLG 5RXVVHDX-HDQ-DFTXHVePLOH7UDQVODWHGE%DUEDUD)R[OH1HZRUN-0'HQWDQG6RQV Ruskin, John. “Herne HillŚ Dear George MacDonald,” August 11, 1872. T 35. Ruskin Archives.

———. “The Puppet ShowŚ Or, Amusing Characters for Children, with Coloured Plates,” c ———. “Introduction.” In HUPDQ3RSXODU6WRULHVY–[LY/RQGRQ-RKQ&DPGHQRWWHQ ———. “Lecture IVŚ Fairy LandŚ Mrs. Allingham and Kate Greenaway.” In 7KHUWRI(QJODQG /HFWXUHVJLYHQLQ2IRUG–1HZRUNDUODQG3XE ———/HWWHUVDQGGYLFHWRRXQJLUOVDQGRXQJ/DGLHVRQ'UHVV(GXFDWLRQ0DUULDJH Their Sphere, Influence, Women’s Work, Women’s Rights1HZRUN-:LOH6RQV ———. “‘Of Queens Garden’ in Sesame and Lilies (1865).” In 6HOHFWHG:ULWLQJVHGLWHGE 'LQDK%LUFK–2[IRUG2[IRUG8QLYHUVLW3UHVV ———5XVNLQ6HOHFWHG:ULWLQJV2[IRUG2[IRUG8QLYHUVLW3UHVV 5XVNLQ-RKQDQG5LFKDUG'ROHLOOXV7KH.LQJRIWKHROGHQ5LYHUVWHG/RQGRQ6PLWK (OGHU ———7KH.LQJRIWKHROGHQ5LYHU%RVWRQ0DKHZ%DNHU KWWSDUFKLYHRUJGHWDLOVNLQJJROGHQULYHUUXVNJRRJ 7KDFNHUD:LOOLDP0DNHSHDFHDQG5LFKDUG'ROHLOOXV7KH5RVHDQGWKH5LQJ2U7KH LVWRURI3ULQFHLJOLRDQG3ULQFHXOER)LUH6LGH3DQWRPLPHIRUUHDWDQG6PDOO &KLOGUHQVWHG/RQGRQ6PLWK(OGHUDQG&R KWWSDUFKLYHRUJGHWDLOVURVHULQJRUKLVWRUWKDFULFK 7KDFNHUD:LOOLDP0DNHSHDFHDQG5LFKDUG'ROHLOOXV7KH5RVHDQGWKH5LQJ5HSULQWRIWKH 1854 edition. Children’s Classics. LondonŚ Bloomsbury, 1994. “The British Lion’s Vengeance on the Bengal Tiger.” 3XQFKXJXVW KWWSOLEUDUFVXQHGX6&3HHNLQWKH6WDFNVSXQFK 7KH&RPUDGH9RO–:HVWSRUW&RQQHFWLFXWUHHQZRRG5HSULQW&RUS 7KH'LYHUWLQJLVWRURI&LQGHULOOD2U7KH/LWWOHODVV6OLSSHU(PEHOOLVKHGZLWK&XWV GainsbroughŚ Mozley’s Lilliputian Book Manufactory, 179 7KHLVWRURI&LQGHUHOOD2U7KH/LWWOHODVV6OLSSHU'HUE7KRPDV5LFKDUGVRQ KWWSVRORERGOHLDQR[DFXN2;98/6&23B2;R[IDOHSK 7KHLVWRURI&LQGHUHOOD2U7KH/LWWOHODVV6OLSSHU'HUE0R]OHDQG6RQV :HKQHUW(GZDUGLOOXVRXVHKROG6WRULHV&ROOHFWHGEWKHURWKHUVULPP9RO /RQGRQGGHDQG&R KWWSZZZDUFKLYHRUJVWUHDPKRXVHKROGVWRULHJULPJRRJSDJHQPRGHXS Wilde, Oscar, and Walter Crane, illus. “The Happy Prince.” In 7KHDSS3ULQFHDQG2WKHU 7DOHV–/RQGRQ'DYLG1XWW KWWSDUFKLYHRUJGHWDLOVKDSSSULQFHRWKHUZLOG 3ULPDU6RUFHVLOPV

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Figs. 1 and 2 Richard Doyle, “She runs away, and this is his condition: A Little Play in Three Acts,” and “Climbing” illustrations in ,)DLUODG6HULHVRILFWUHVIURPWKH(OI:RUOG/RQGRQ/RQJPDQVUHHQDQG &RSODWHVYLLLLLL&RUWHVy of John Ryland’s Library Children's Printed Collection, R198978.

Fig. 3 Richard Doyle, “The Fairy Queen Takes a Drive,” illustration in ,)DLUODG6HULHVRILFWUHVIURPWKH (OI:RUOG/RQGRQ/RQJPDQVUHHQ5HDGHU'HUSODWH6RUFH8QLYHUVLWRI)ORULGD%DOGLQ /LEUDURI+LVWRULFDO&KLOGUHQV/LWHUDWUHKWWSIGFIOHG8)MFFHVVHG6HSWHPEHU

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Fig. 4 Antoine Clouzier, “Contes de ma mère L’Oye,” frontispiece in Charles Perrault, LVWRLUHVRX&RQWHVGXWHPSV SDVVpYHFGHV0RUDOLWH(ParisŚ Claude Barbin, 1697). SourceŚ Christie’s KWWSZZZFKULVWLHVFRPORWILQGHU/RWSHUUDXOWFKDUOHVKLVWRLUHVRXFRQWHVGXGHWDLOVDVS[ FFHVVHG-DQXDU

Fig. 5 Anonymous (Antoine Clouzier?), “Contes des Fées,” frontispiece in MarieCatherine D’Aulnoy, /HV&RWHV GH)pHVYRO/D+DH7KLVHGLWLRQDVOLNHOEDVHGRQDVLPLODUHGLWLRQSEOLVKHGE%DUELQLQ3DULV 6RUFHKWWSWSLFWUDQLYPRQWSIUHQHUDWHU1RWLFHSKSQPQRWLFH WDE FFHVVHG -DQDU

Fig. 6 Ludwig Grimm, “Dorothy Viehmann,” frontispiece detail in .LGHUGDVPlUFKHYRO%HUOLQ 5HLPHU6RUFHKWWSVGHLNLSHGLDRUJLNL'RURWKHDB9LHKPDQQPHGLD)LOH'RURWKHDB9LHKPDQQ-3 FFHVVHG0D

)LJ&RORUHG%RRN&RYHUVIRUQGUH/DQJ“Coloured Fairy Books,” (London: Longmans, Green, and Co., 6RUFHVYDULHGVRUFHVRQ3LQWHUHVWKWWSVSLQWHUHVWFRPSLQ

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Fig. 9 John Ruskin, “The Dwarf,” drawing and detail in 7KHSSHW6KRRUPVLJ&KDUDFWHUVIRU&KLOGUH WRJUDSK0DQVFULSWF&RUWHVRI7KH0RUJDQ/LEUDU0VHP1HRUN

Fig. 10 George Cruikshank, “Blue Light,” illustration in Jacob Grimm and Wilhelm Grimm in HUPDRSODU 6WRULHV/RQGRQ-RKQ&DPGHQ+RWWHQ6RUFHKWWSVERRNVJRRJOHFDERRNVLG K&V+4- FFHVVHG0D

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Fig. 15 Esquire Wind’s long nose. Richard Doyle, frontispiece detail in -RKQ5VNLQ7KH.LJRIWKHROGH5LYHU VW/RQGRQ6PLWK(OGHU&RUWHVRI7KH-RKQ5VNLQ/LEUDUDQG5HVHDUFK&HQWHU/DQFDVWHU8QLYHUVLW 8.E

Fig. 16 Esquire Wind’s short nose. Richard Doyle, frontispiece detail in John Ruskin, 7KH.LJRIWKHROGH5LYHU %RVWRQ0DKH%DNHU6RUFH+DUYDUG8QLYHUVLW KWWSDUFKLYHRUJGHWDLOVNLQJJROGHQULYHUUVNJRRJFFHVVHG6HSWHPEHU

Fig. 17 Arthur Hughes, “I felt two large soft arms thrown round me from behind,” illustration in George 0DF'RQDOGKDWDVWHV)DHULH5RPDFHUHSEOLFDWLRQRIHGLWLRQ1HRUN'RYHU3EOLFDWLRQV

)LJVDQG0DG+PSKUHLOOVWUDWLRQVLQHRUJH0DF'RQDOG7KH/LJKWULFHVVDGWKHU)DLU7DOHV (London: G. P. Putnam’s Sons, 1893), 33 & 59. Source: New York Public Library, KWWSDUFKLYHRUJGHWDLOVOLJKWSULQFHVVRWKPDFGFFHVVHG0D

)LJVDQGOHIWWRULJKW: Maria Louise Kirk, “She Learnt Nearly all of that Evening,” “They cam and alighted in a row upon the Coil, and Turned into Diamonds Directly,” and “In three minutes they were floating among the clouds,” illustrations in -HDQ,QJHOR0RSVDWKH)DLU3KLODGHOSKLD-%/LSSLQFRWW&RPSDQ 6RUFH8QLYHUVLWRI0LQQHVRWDKWWSKGOKDQGOHQHWPQEFFHVVHG 'HFHPEHU

Fig. 23 Walter Crane, “The Happy Prince,” frontispiece in Oscar Wild,LQ7KHDSSULFHDGWKHU7DOHV /RQGRQ'DYLG1WW6RUFH+DUROG%/HH/LEUDUKWWSDUFKLYHRUJGHWDLOVKDSSSULQFHRWKHULOG FFHVVHG6HSWHPEHU

)LJ'DQWHDEULHO5RVVHWWLIURQWLVSLHFHLQ&KULVWLQD5RVVHWWLREOL0DUNHWDGWKHURHPVQGHG /RQGRQ0DFPLOODQ6RUFH+DUYDUG8QLYHUVLWKWWSDUFKLYHRUJGHWDLOVJREOLQPDUNHWDQGURVVJRRJ FFHVVHG0D

)LJOHIWJohn Tenniel, “Goodbye feet,” illustration in Lewis Carroll, Alice’s Adventures In Wonderland/RQGRQ 0DFPLOODQDQG&R6RUFH&RPPQLW7H[WVKWWSDUFKLYHRUJGHWDLOVOLFHVGYHQWUHV,Q:RQGHUODQG FFHVVHG0D )LJULJKW-RKQ7HQQLHOLOOVWUDWLRQLQ/HLV&DUUROO7KURJKWKH/RRNLJODVVDG:KDWOLFH)RG7KHUH /RQGRQ0DF0LOODQ&R6RUFHKWWSVHQLNLVRUFHRUJLNL7KURJKBWKHB/RRNLQJ ODVVBDQGB:KDWBOLFHB)RQGB7KHUHFFHVVHG0D

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Fig. 28 John Tenniel, “Advice from a Caterpillar,” illustration in Lewis Carroll, Alice’s Adventures In Wonderland /RQGRQ0DFPLOODQDQG&R6RUFH&RPPQLW7H[WV KWWSDUFKLYHRUJGHWDLOVOLFHVGYHQWUHV,Q:RQGHUODQGFFHVVHG0D

Fig. 29 John Tenniel, “And hast though slain the Jabberwok,” illustration in Lewis Carroll 7KURJKWKH/RRNLJ ODVVDG:KDWOLFH)RG7KHUH/RQGRQ0DF0LOODQ&R6RUFH KWWSVHQLNLVRUFHRUJLNL7KURJKBWKHB/RRNLQJODVVBDQGB:KDWBOLFHB)RQGB7KHUHFFHVVHG0D

)LJ/DUHQFH+RVPDQLOOVWUDWLRQLQ&KULVWLQDRossetti’s REOL0DUNHW/RQGRQ0DF0LOODQ&R 6RUFHKWWSYLFWRULDQHERUJDUWLOOVWUDWLRQKRVPDQKWPOFFHVVHG0D

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)LJ6DYLQJ6FHQH-)RUGLOOXVWUDWLRQLQQGUH/DQJ“Beauty and the Beast,” 7KHOH)DLURRNVWHG &RORUHG)DLU%RRNV/RQGRQ/RQJPDQVUHHQDQG&R6RUFH8QLYHUVLWRI&DOLIRUQLD/LEUDULHV KWWSDUFKLYHRUJGHWDLOVEOHIDLUERRNODQJLDODFFHVVHG6HSWHPEHU

Fig. 33 H.J. Ford, illustration in Andrew Lang, “Fairy Gifts,” 7KHUHH)DLURRNVWHG&RORUHG)DLU%RRNV /RQGRQ/RQJPDQVUHHQDQG&R6RUFHPHULFDQ/LEUDULHV KWWSDUFKLYHRUJGHWDLOVJUHHQIDLUERRNODQJJRRJFFHVVHG6HSWHPEHU

Fig. 34 H.J. Ford, “Hok Lee,” illustration in Andrew Lang, “The Story of Hok Lee and the Dwarfs,” 7KHUHH )DLURRNVWHG&RORUHG)DLU%RRNV/RQGRQ/RQJPDQVUHHQDQG&R6RUFHPHULFDQ /LEUDULHVKWWSDUFKLYHRUJGHWDLOVJUHHQIDLUERRNODQJJRRJFFHVVHG6HSWHPEHU

Fig. 35 H.J. Ford, “Iwanich seizes the Magician by his beard and dashes him to the ground,” illustration in Andrew Lang, “The Witch and her Servants,” 7KHHOOR)DLURRNUGHG&RORUHG)DLU%RRNV/RQGRQ/RQJPDQV UHHQDQG&R6RUFH&RPPQLW7H[WV KWWSDUFKLYHRUJGHWDLOVQGUH/DQJV7KHHOOR)DLU%RRNFFHVVHG2FWREHU

)LJ3ULQFHERVWRSULQFHVV3-DFRPEHood, illustration in Andrew Lang, “The White Cat,” 7KHOH)DLU RRNVWHG&RORUHG)DLU%RRNV/RQGRQ/RQJPDQVUHHQDQG&R6RUFH8QLYHUVLWRI &DOLIRUQLD/LEUDULHVKWWSDUFKLYHRUJGHWDLOVEOHIDLUERRNODQJLDODFFHVVHG6HSWHPEHU

)LJWKRULWDWLYH)DLURGPRWKHU3-DFRPE+RRGLOOVWUDWLRQLQQGUH/DQJ“Cinderella,” 7KHOH )DLURRNVWHG&RORUHG)DLU%RRNV/RQGRQ/RQJPDQVUHHQDQG&R6RUFH8QLYHUVLWRI &DOLIRUQLD/LEUDULHVKWWSDUFKLYHRUJGHWDLOVEOHIDLUERRNODQJLDODFFHVVHG6HSWHPEHU

Fig. 38 H.J. Ford, “How the boys were half turned into bears,” illustration in Andrew Lang, “How the Little Brother set Free his Big Brothers,” 7KHUR)DLURRNVWHG&RORUHG)DLU%RRNV/RQGRQ/RQJPDQVUHHQDQG &R6RUFH+DUYDUG8QLYHUVLWKWWSDUFKLYHRUJGHWDLOVEURQIDLUERRNODQJJRRJFFHVVHG0D

)LJ. 39 H.J. Ford, “The Bunyip,” illustration in Andrew Lang, “The Bunyip,” 7KHUR)DLURRNVWHG &RORUHG)DLU%RRNV/RQGRQ/RQJPDQVUHHQDQG&R6RUFH+DUYDUG8QLYHUVLW KWWSDUFKLYHRUJGHWDLOVEURQIDLUERRNODQJJRRJFFHVVHG0D

)LJH.J. Ford, illustration in Andrew Lang, “Prince Hyacinth and the Dear Little Princess,” 7KHOH)DLURRN VWHG&RORUHG)DLU%RRNV/RQGRQ/RQJPDQVUHHQDQG&R6RUFH8QLYHUVLWRI&DOLIRUQLD /LEUDULHVKWWSDUFKLYHRUJGHWDLOVEOHIDLUERRNODQJLDODFFHVVHG6HSWHPEHU

)LJH.J. Ford, “King Loc Carries Abeille away from her Mother,” illustration in Andrew Lang, “The Story of King Loc,” 7KHOLYH)DLURRNVWHG&RORUHG)DLU%RRNV/RQGRQ/RQJPDQVUHHQDQG&R 6RUFH1HRUN3EOLF/LEUDUKWWSDUFKLYHRUJGHWDLOVROLYHIDLUERRNODQJFFHVVHG2FWREHU

)LJH.J. Ford, “The Princess carried off by the Bees,” illustration in Andrew Lang, “Rossanella,”7KHUHH )DLURRNVWHG&RORUHG)DLU%RRNV/RQGRQ/RQJPDQVUHHQDQG&R6RUFHPHULFDQD KWWSDUFKLYHRUJGHWDLOVJUHHQIDLUERRNODQJJRRJFFHVVHG6HSWHPEHU

)LJ3 H.J. Ford, “Samba found skulking by his wife,” in Andrew Lang, “Samba the Coward,” 7KHOLYH)DLU RRNVWHG&RORUHG)DLU%RRNV/RQGRQ/RQJPDQVUHHQDQG&R6RUFH1HRUN3EOLF /LEUDUKWWSDUFKLYHRUJGHWDLOVROLYHIDLUERRNODQJFFHVVHG2FWREHU

)LJOHIW:DOWHU&UDQHLOOVWUDWLRQLQODGGLDGWKH:RGHUIO/DPSQGHG/RQGRQHRUJH5RWOHGJH 6RQV6RUFH8QLYHUVLWRI)ORULGD%DOGLQ/LEUDURI+LVWRULFDO&KLOGUHQV/LWHUDWUH KWWSIGFIOHG8)FLWDWLRQFFHVVHG0D )LJULJKWH.J. Ford, “The African Magician gets the Lamp from the slave,” illustration in Andrew Lang, “Aladdin and the Wonderful Lamp,” 7KHUDELD1LJKWV(WHUWDLPHWV/RQGRQ/RQJPDQVUHHQ&R 6RUFH1HRUN3EOLF/LEUDUKWWSVDUFKLYHRUJGHWDLOVDUDELDQQLJKWVHQIRUGJRRJFFHVVHG6HSWHPEHU

)LJOHIWH.J. Ford, “ODGGLQVPRWKHUEULQJVWKHVODYHVLWKWKHIRUWEDVLQVRIJROGEHIRUHWKHVOWDQ,” illustration in Andrew Lang, “Aladdin and the Wonderful Lamp,” 7KHUDELD1LJKWV(WHUWDLPHWV/RQGRQ /RQJPDQVUHHQ&R6RUFH1HRUN3EOLF/LEUDU KWWSVDUFKLYHRUJGHWDLOVDUDELDQQLJKWVHQIRUGJRRJFFHVVHG6HSWHPEHU )LJULJKW:DOWHU&UDQHLOOVWUDWLRQLQODGGLDGWKH:RGHUIO/DPSQGHG/RQGRQHRUJH5RWOHGJH 6RQV6RUFH8QLYHUVLWRI)ORULGD%DOGLQ/LEUDURI+LVWRULFDO&KLOGUHQV/LWHUDWUH KWWSIGFIOHG8)FLWDWLRQFFHVVHG0D

Fig. 48 Walter Crane, illustration in “Cinderella,” &LGHUHOODLFWUHRRN&RWDLLJ&LGHUHOODVVLRRWV 9DOHWLHDGUVR1HRUN'RGG0HDGDQGFRPSDQ6RUFH1HRUN3EOLF/LEUDU KWWSDUFKLYHRUJGHWDLOVFLQGHUHOODSLFWUFUDQFFHVVHG0DUFK

)LJ:DOWHU&UDQHLOOVWUDWLRQLQ7KH)URJULFH/RQGRQHRUJH5RWOHGJHDQG6RQV6RUFH 1HRUN3EOLF/LEUDUKWWSVDUFKLYHRUJGHWDLOVIURJSULQFH&UDQFFHVVHG2FWREHU

)LJOHIWH.J. Ford, “7KH'HDWKRIWKHIULFDQ0DJLFLDQ,” illustration in Andrew Lang, “Aladdin and the Wonderful Lamp,” 7KHUDELD1LJKWV(WHUWDLPHWV/RQGRQ/RQJPDQVUHHQ&R6RUFH1H RUN3EOLF/LEUDUKWWSVDUFKLYHRUJGHWDLOVDUDELDQQLJKWVHQIRUGJRRJFFHVVHG6HSWHPEHU )LJULJKW:DOWHU&UDQHLOOVWUDWLRQLQODGGLDGWKH:RGHUIO/DPSQGHG/RQGRQHRUJH5RWOHGJH 6RQV6RUFH8QLYHUVLWRI)ORULGD%DOGLQ/LEUDURI+LVWRULFDO&KLOGUHQV/LWHUDWUH KWWSIGFIOHG8)FLWDWLRQFFHVVHG0D

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Fig. 52 Anonymous, “Robin Goodfellow: His mad pranks and merry jests,” TitleSDJHLOOVWUDWLRQ6RUFH KWWSVHQLNLSHGLDRUJLNL3FNBPWKRORJPHGLD)LOH3FNB-3FFHVVHG0D

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)LJ%DELWKKDPPHUDQGERRN:DOWHU&UDQHIURQWLVSLHFHDQGGHWDLOLQThe Baby’s Opera: A Book of Old 5KPHVLWK1HUHVVHV/RQGRQDQG1HRUN)UHGHULFN:DUQHDQG&R6RUFH6PLWKVRQLDQ /LEUDULHVKWWSDUFKLYHRUJGHWDLOVEDETRWVRSHUDFUDQFFHVVHG0D

)LJ.DWHUHHQDDIURQWLVSLHFHLQ8GHUWKH:LGRLFWUHV5KPHVIRU&KLOGUH/RQGRQ 5RWOHGJH6RQV6RUFH8QLYHUVLWRI&DOLIRUQLD/LEUDULHVKWWSDUFKLYHRUJGHWDLOVQGHULQGR SLFWYJUHHULFKFFHVVHG0D

Fig. 60 Kate Greenaway, “Three little girls sitting on a rail,” illustration in 8GHUWKH:LGRLFWUHV5KPHV IRU&KLOGUH/RQGRQ5RWOHGJH6RQV6RUFH8QLYHUVLWRI&DOLIRUQLD/LEUDULHV KWWSDUFKLYHRUJGHWDLOVQGHULQGRSLFWYJUHHULFKFFHVVHG0D

Fig. 61 Kate Greenaway, “You see Merry Phillis that dear little maid,” illustration in 8GHUWKH:LGRLFWUHV 5KPHVIRU&KLOGUH/RQGRQ5RWOHGJH6RQV6RUFH8QLYHUVLWRI&DOLIRUQLD/LEUDULHV KWWSDUFKLYHRUJGHWDLOVQGHULQGRSLFWYJUHHULFKFFHVVHG0D

Fig. 62 Kate Greenaway, “The laughter sprite,” illustration in Doll’s Tea Party%RVWRQ/RWKURS3EOLVKLQJ&R 6RUFH8QLYHUVLWRI)ORULGD%DOGLQ/LEUDURI+LVWRULFDO&KLOGUHQV/LWHUDWUHKWWSIGFIOHG 8)FFHVVHG0D

)LJ-HVVLH:LOlcox Smith, “Beauty and the Beast,” LOOXVWUDWLRQLQQQDOLFH&KDSLQ7KH1RZ'DV)DLU RRN1HZRUN'RGG0HDG6RXUFHKWWSVUODOQHIDLUWDOHVFRPLOOVWUDWLRQVEHDWEHDVW VPLWKEHDWKWPOFFHVVHG0D

Fig. 64 Florence Mary Anderson, “It was very cold in the Milky Way,” illustration in /LWWOH)RONV7KH0DJDLQHIRU RVDQGLUOV/RQGRQ&DVVHODQG&R/WG6RXUFHKWWSVSLQWHUHVWFRPSLQ FFHVVHG0D

Fig. 65 M.T. Penny Ross, “Tiger SwallowTail,” illustration The Butterfly Babies’ BooN&KLFDJR5DQG0F1DOO 6RUFH2KLR8QLYHUVLWKWWSVFDWDORJKDWKLWUVWRUJ5HFRUGFFHVVHG0D

Fig. 66 Arthur Rackham, “Peter Pan in the fairies’ orchestra,” illustration in J. M Barrie HWHUDL.HVLJWR DUGHV/RQGRQ+RGGHUDQG6WRJKWRQ&RUWHVRI5DUH%RRNVDQG6SHFLDO&ROOHFWLRQV0FLOO 8QLYHUVLW/LEUDU

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Fig. 67 Thomas Stothard, “Belinda smiled, and all the world was gay. All but the sylph,” frontispiece in Alexander 3RSH5DSHRIWKH/RFN'LJLWDO6RXUFH&RQFRUGLD8QLYHUVLW'LJLWDO,PDJHDQG6OLGH&ROOHFWLRQ

)LJVOHIWDQGULJKWGeorge Cruikshank, “Hard Frost,” 1836, and “February—Valentines Day,”1837, LOOVWUDWLRQVLQ7KH&RPLFOPDDFN)LUVW6HULHVYRO/RQGRQ&KDWWRDQG:LQGVDQG 6RUFH%RVWRQ3EOLF/LEUDUKWWSDUFKLYHRUJGHWDLOVFRPLFDOPDQDFNHSKFULFFHVVHG)HEUDU

Fig. 70 George Cruikshank, “Splendid Spread,” 1850, in 7KH&RPLFOPDDFN6HFRG6HULHVYRO /RQGRQ&KDWWRDQG:LQGV6RUFH%RVWRQ3EOLF/LEUDUKWWSVDUFKLYHRUJ VWUHDPFRPLFDOPDQDFNHSKFULSDJHPRGHSFFHVVHG)HEUDU

)LJHRUJH&ULNVKDQN“Rights of Women or the Effects of Female Enfranchisement,” 1853 LQ7KH&RPLF OPDDFN6HFRG6HULHVYRO/RQGRQ&KDWWRDQG:LQGV6RUFH%RVWRQ3EOLF /LEUDUKWWSVDUFKLYHRUJVWUHDPFRPLFDOPDQDFNHSKFULSDJHQPRGHSVHDUFKFFHVVHG)HEUDU

)LJHRUJH&UXLNVKDQNIURQWLVSLHFHLQ-DFREULPPDQG:LOKHOPULPPHUPDQ3RSXODU6WRULHVWUDQV (GJDU7DORUYRO/RQGRQ%DOGZQ6RXUFHKWWSVERRNVJRRJOHFDERRNVLG /:94 -SJ 35UHGLUBHVF Y RQHSDJHTI IDOVHFFHVVHGXJXVW

)LJOHIWGeorge Cruikshank, “The Travelling Musicians, or The Waits of Bremen,” illustration in Jacob Grimm DQG:LOKHOPULPPHUPDQ3RSXODU6WRULHVWUDQV(GJDU7DORUYRO/RQGRQ%DOGZQ6RXUFH KWWSVERRNVJRRJOHFDERRNVLG /:94-SJ 35UHGLUBHVF Y RQHSDJHTI IDOVHFFHVVHG XJXVW )LJULJKWGeorge Cruikshank, “Jew in the Bush,” illustration in Jacob Grimm and Wilhelm Grimm, HUPDQ 3RSXODU6WRULHVWUDQV(GJDU7DORUYRO/RQGRQ%DOGZQ6RXUFH KWWSVERRNVJRRJOHFDERRNVLG /:94-SJ 35UHGLUBHVF Y RQHSDJHTI IDOVHFFHVVHG XJXVW

Fig. 75 George Cruikshank, “Fearful Quarrels, and Brutal Violence are the Natural Consequences of the Frequent Use of the Bottle,” illustration in Charles 0DFND7KHRWWOH/RQGRQSODWHYL6RUFH%ULWLVK/LEUDU 'LJLWDO&ROOHFWLRQVKWWSVEONFROOHFWLRQLWHPVWKHERWWOHDVHULHVRIWHPSHUDQFHWKHPHGLOOVWUDWLRQVE JHRUJHFULNVKDQNLWKSRHWUEFKDUOHVPDFNDFFHVVHG)HEUDU

Fig. 76 George Cruikshank, “The Giant Ogre discovers Hop’ o my Thumb…” illustration in 7KH&ULNVKDN)DLU RRN)RU)DPRV6WRULHV(New York: G.P. Putnam’s Sons, 1911) 133. KWWSVDUFKLYHRUJVWUHDPFULNVKDQNIDLU EFULSDJHQPRGHSFFHVVHGJVW

Fig. 77 Richard Doyle, “Punch,” Sept. 10 1859, cover illustration in FK6RUFHKWWSYLFWRULDQHERUJ DUWGHVLJQERRNVKWPOFFHVVHG)HEUDU

)LJ78 Anonymous, “Turkey in Danger,” Mar. 29 1853, cartoon in0UPunch’s Victorian Era YRO/RQGRQ%UDGEUJQH&RPSDQ6RUFHKWWSVERRNVJRRJOHFDERRNVLG WVR -FFHVVHG0D

Fig. 79 Anonymous, “The French Game of LeapFrog over the British Lion,” Jan. 31, 1857, cartoon inMr. Punch’s 9LFWRULD(UDYRO/RQGRQ%UDGEUJQH&RPSDQ6RUFH KWWSVERRNVJRRJOHFDERRNVLG WVR-FFHVVHG0D

Fig. 80 Anonymous, “Royal Nursery Rhymes,” Jan. 7, 1843, FDUWRRQLQMr. Punch’s Victorian Era YRO/RQGRQ%UDGEUJQH&RPSDQ6RUFHKWWSVERRNVJRRJOHFDERRNVLG WVR -FFHVVHG0D

Figs. 81 and 82 Anonymous, “Pets of Manchester School,” Apr. 18, 1854, and “The Game of Speculation,” Mar. 29, FDUWRRQVLQMr. Punch’s Victorian EraYRO/RQGRQ%UDGEUJQH&RPSDQ 6RUFHKWWSVERRNVJRRJOHFDERRNVLG WVR-FFHVVHG0D

Fig. 83 Richard Doyle?, “The Irish Tom Thumb,” Mar. 9, 1844, cartoon in0UPunch’s Victorian Era YRO/RQGRQ%UDGEUJQH&RPSDQ6RUFHKWWSVERRNVJRRJOHFDERRNVLG WVR -FFHVVHG0D

Fig. 84 Richard Doyle?, “Cinderella, or Lord John Trying it on Again,” Feb. 20, 1851, cartoons inMr. Punch’s 9LFWRULD(UDYRO/RQGRQ%UDGEUJQH&RPSDQ6RUFH KWWSVERRNVJRRJOHFDERRNVLG WVR-FFHVVHG0D

Fig. 85 John Tenniel, “1HZ&URZQVIRUROd ones, Aladdin,” Mar. 20, 1876, FDUWRRQLQMr. Punch’s Victorian Era YRO/RQGRQ%UDGEUJQH&RPSDQ6RUFHKWWSVERRNVJRRJOHFDERRNV LG 2V40-FFHVVHG0D

Fig. 86 and 87 Randolph Caldecott, “With one another they did fight, about the children’s life,” and “And he that was of mildest mood, Did slaye the other there,” illustrations in DEHVLWKH:RRG/RQGRQ)UHGHULFN:DUQH 6RUFHKWWSJWHQEHUJRUJILOHVKKKWPFFHVVHG0D

Fig. 88 Anonymous, “Who Shall Educate?,” Apr. 23, 1853, cartoon in Mr. Punch’s Victorian Era YRO/RQGRQ%UDGEUJQH&RPSDQ6RUFHKWWSVERRNVJRRJOHFDERRNVLG WVR -FFHVVHG0D

Fig. 89 Anonymous, “The Royal Red Riding Hood,” Sept. 12, 1841, FDUWRRQLQMr. Punch’s Victorian Era YRO/RQGRQ%UDGEUJQH&RPSDQ6RUFHKWWSVERRNVJRRJOHFDERRNVLG WVR -FFHVVHG0D

)LJOHIWJohn Tenniel, “The Old Story,” Jan. 19, 1884, cartoon inMr. Punch’s Victorian Era YRO/RQGRQ%UDGEUJQH&RPSDQ6RUFHKWWSVERRNVJRRJOHFDERRNV LG 2V40-FFHVVHG0D )LJULJKW:DOWHU&UDQHLOOVWUDWLRQLQ/LWWOH5HG5LGLJRRG/RQGRQHRUJH5RWOHGJH6RQV 6RUFH6PLWKVRQLDQ/LEUDULHVKWWSDUFKLYHRUJGHWDLOV/LWWOH5HG5LGLQJ&UDQ0D

Fig. 92 Richard Doyle, “Here Behold the Monarch Sit,” LOOVWUDWLRQLQ:LOOLDP0DNHSHDFH7KDFNHUD7KH5RVHDG WKH5LJVWHG/RQGRQ6PLWK(OGHUDQG&R6RUFH8QLYHUVLWRI&DOLIRUQLD/LEUDULHV KWWSDUFKLYHRUJGHWDLOVURVHULQJRUKLVWRUWKDFULFKFFHVVHG0DU

)LJVOHIWDQGULJKWRichard Doyle, “Burning with Love will knock you Down,” and “Fancy their feelings on EHKROGLQJWKHLUKVEDQGIDWKHUVRYHUHLJQLQWKLVSRVWUH!” illustrations in William Makepeace Thackeray, 7KH 5RVHDGWKH5LJVWHG/RQGRQ6PLWK(OGHUDQG&R6RUFH8QLYHUVLWRI&DOLIRUQLD/LEUDULHV UURUSHUOLQNUHIHUHQFHQRWDOLGFFHVVHG0DU

Fig. 95 Richard Doyle, “Gruffanuff, and her What her Station,” illustration in William Makepeace Thackeray, 7KH 5RVHDGWKH5LJVWHG/RQGRQ6PLWK(OGHUDQG&R6RUFH8QLYHUVLWRI&DOLIRUQLD/LEUDULHV UURUSHUOLQNUHIHUHQFHQRWDOLGFFHVVHG0DU Fig. 96 Richard Doyle?, “The Irish Tom Thumb,” GHWDLORIILJUH

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)LJOHIWDisraeli. John Tenniel, “Good Bye,” cartoon detail in Mr. Punch’s Victorian EraYRO /RQGRQ%UDGEUJQH&RPSDQ6RUFHKWWSVERRNVJRRJOHFDERRNVLG LFR- FFHVVHG0D )LJULJKWJohn Tenniel, “A Mad TeaParty,” illustratiRQLQ/HLV&DUUROOAlice’s Adventures In Wonderland /RQGRQ0DFPLOODQDQG&R6RUFH&RPPQLW7H[WVKWWSDUFKLYHRUJGHWDLOV OLFHVGYHQWUHV,Q:RQGHUODQGFFHVVHG0D

Fig. 100 John Tenniel, “The Monster Slain: And hast though slain the WaggaRHN&RPHWRPDUPVP Beamish Boy,” cartoon in Mr. Punch’s 9LFWRULD(UDYRO/RQGRQ%UDGEUJQH&RPSDQ 6RUFHKWWSVERRNVJRRJOHFDERRNVLG LFR-FFHVVHG0D

)LJ:DOWHU&UDQHLOOVWUDWLRQLQ7KH6OHHSLJHDWLFWUHRRN&RWDLLJ6OHHSLJHDWOHEHDUG The Baby’s OSKDEHW1HRUN'RGG0HDGDQG&R6RUFH8QLYHUVLWRI1RUWK&DUROLQDDW &KDSHO+LOOKWWSDUFKLYHRUJGHWDLOVVOHHSLQJEHDWSLFUDQFFHVVHG0D

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)LJOHIWWalter Crane, “Labour’s May Day: Dedicated to the Workers of the World,” Cover page illustration in William Morris, “Chapter XVII” of 1HVIURP1RKHUHSULQWHGLQ7KH&RPPRHDO0D/RQGRQ /RQGRQ6RFLDOLVW/HDJH2IILFH6RUFH8QLYHUVLWRI0LFKLJDQKWWSDUFKLYHRUJ GHWDLOVPLFKHGFFHVVHG0D )LJULJKW%RRN&RYHUIRU:LOOLDP0RUULV1HVIURPRKHUHRUHSRFKRIUHVWEHLJVRPHFKDSWHUVIURP DWRSLDURPDFH+DPPHUVPLWK.HOPVFRWW3UHVV/RQGRQ6RUFH/LEUDURI&RQJUHVV KWWSVORFJRYLWHPFFHVVHG0D

Fig. 108 Walter Crane, “Labour’s May Day: Dedicated to the Workers of the World,” detail of figure 106.

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Fig. 113 Walter Crane, “Gardez le Clef,” illustration detail in OHEHDUG/RQGRQHRUJH5RWOHGJH6RQV 6RUFH6PLWKVRQLDQ,QVWLWWHKWWSDUFKLYHRUJGHWDLOV%OHEHDUG&UDQFFHVVHG2FWREHU

Fig. 114 Freedom. Walter Crane, “Labour’s May Day: Dedicated to the Workers of the World,” detail of figure 106.

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Fig. 116 Freedom Figure! Walter Crane, illustration in “Cinderella,” &LGHUHOODLFWUHRRN&RWDLLJ &LGHUHOODVVLRRWV9DOHWLHDGUVR1HRUN'RGG0HDGDQGFRPSDQ6RUFH1HRUN 3EOLF/LEUDUKWWSDUFKLYHRUJGHWDLOVFLQGHUHOODSLFWUFUDQDFFHVVHG0DUFK

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Fig. 121 Ogre. Walter Crane, “Puss in Boots,” illustration in &LGHUHOODLFWUHRRN&RWDLLJ&LGHUHOODVV LRRWV9DOHWLHDGUVR1HRUN'RGG0HDGDQGFRPSDQ6RUFH1HRUN3EOLF/LEUDU KWWSDUFKLYHRUJGHWDLOVFLQGHUHOODSLFWUFUDQDFFHVVHG0DUFK

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Fig. 124 George Cruikshank, “The King of the Golden Mountain,” illustration detail in Jacob Grimm and Wilhelm ULPPHUPDRSODU6WRULHVWUDQV(GJDU7DORUYRO/RQGRQ%DOGQ6RUFH KWWSVERRNVJRRJOHFDERRNVLG /:94-SJ 35UHGLUBHVF Y RQHSDJHTI IDOVHFFHVVHG JVW

Fig. 125 Walter Crane, “Frog Prince,” tailpiece in Walter Crane, RVHKROG6WRULHVIURPWKH&ROOHFWLRRIWKH URWKHUVULPPWUDQV/F&UDQHVWHG/RQGRQ0DFPLOODQ6RUFH8QLYHUVLWRI&DOLIRUQLD /LEUDULHVKWWSDUFKLYHRUJGHWDLOVKRVHKROGVWRULHVJULPULFKFFHVVHG2FWREHU

Pagination for the “King of the Golden Mountain” illustration in the digitized version of the book is off. 7KLVLPDJHVKRXOGEHEHWZHHQSDJHV

Fig. 126 Walter Crane, The Six Swans,” illustration in Walter Crane, “RVHKROG6WRULHVIURPWKH&ROOHFWLRRIWKH URWKHUVULPPWUDQV/F&UDQHVWHG/RQGRQ0DFPLOODQ6RUFH8QLYHUVLWRI&DOLIRUQLD /LEUDULHVKWWSDUFKLYHRUJGHWDLOVKRVHKROGVWRULHVJULPULFKFFHVVHG2FWREHU

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Fig. 129 Adolphe Lalauze, “Charles Perrault,” frontispiece in Andrew Lang, Perrault’s Popular Tales2[IRUG &ODUHQGRQ3UHVV&RUWHVRI7KH2VERUQH&ROOHFWLRQRI(DUO&KLOGUHQV%RRNV7RURQWR3EOLF/LEUDU

Fig. 130 Prayerful Cinderella by the Fireplace. John Absolon, “Cinderella,” illustration in Sir Henry Cole SVHGRQP)HOL[6PPHUOHGERRNRI6WRULHVIURPWKHRPH7UHDVU/RQGRQ0F/HDQ&QGDOOF 6RUFH7RURQWR3EOLF/LEUDUKWWSWRURQWRSEOLFOLEUDUFDGHWDLOMVS(QWW 5'0'& '5 '&'FFHVVHG0D

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Fig. 132 George Cruikshank, “The prince picking up Cinderella’s glass slipper,” illustration in “Cinderella,” 7KH &ULNVKDN)DLURRN)RU)DPRV6WRULHVNew York: G.P. Putnam’s Sons, 1911), 183. Source: New YorN 3EOLF/LEUDULHVKWWSVDUFKLYHRUJVWUHDPFULNVKDQNIDLUEFULSDJHQPRGHSFFHVVHG0DUFK

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Fig. 134 Antoine Clouzier, “Cendrillion,” Headpiece illustration in Charles Perrault, “Cendrillon, Ou La Petite Pantoufle de Verre,” in Histoires Ou Contes Du Temps Passé (Paris: Barbin, 1697). Source: Wikisource, KWWSVIULNLVRUFHRUJLNL+LVWRLUHVBRB&RQWHVBGBWHPSVBSDVV&B&HQGULOORQFFHVVHG0D

Fig. 135 Antoine Clouzier?, “Finette Cendron,” Headpiece illustration in MarieCatherine D’Aulnoy, “Finette Cendron,” in Les Contes de Fées, vol. 4 (Paris: Barbin, 1698). Source: Les Contes de Fées du XVIIe Siècle, KWWSOHVFRQWHVGHIHHVIUFRQWHVHWDWHUVPPHGDOQRILQHWWHFHQGURQFFHVVHG-DQDU

)LJ/DVWZRUGV([FHUSWLQ7KH'LYHUWLQJLVWRURI&LQGHULOOD2U7KH/LWWOHODVV6OLSSHU(PEHOOLVKHGZLWK &XWV(GainsbroughŚ Mozley’s Lilliputian Book Manufactory, 1793), 30. Courtesy of Osborne Collection of Early Children’s Books, Toronto Public Library.

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)LJ%RRN&RYHUIRUA Pretty Book for Children, Or, An Easy Guide to the English Tongue : Perfectly Well Adapted to Their Tender Capacities, and Is Design’d as Well for the More Easy Instruction of Those That Can but -XVW5HDGDVIRUWKH(QWHUWDLQPHQWRI2WKHUV7KDWUHD/LWWOHGYDQFHGWKHG/RQGRQ-RKQ1HZEHULQ6W Paul’s Churchyard, 1761). Courtesy of Osborne Collection of Early Children’s Books, Toronto Public Library.

Fig. 141 Ball scene. Anonymous, illustration in “Cinderella,” 3UHWWRRNIRU&KLOGUHQWKHG/RQGRQ-RKQ Newbery in St. Paul’s Churchyard, 1761), 74. Courtesy of Osborne Collection of Early Children’s Books, Toronto 3XEOLF/LEUDU

Fig. 142 Anonymous, “Of Abraham offering up his son…,” illustration in 3UHWWRRNIRU&KLOGUHQWKHG (LondonŚ John Newbery in St. Paul’s Churchyard, 1761), 54. Courtesy of Osborne Collection of Early Children’s %RRNV7RURQWR3XEOLF/LEUDU

)LJQRQPRV7LWOHSDJHLQLangley’s History of Cinderella and Her Glass Slipper/RQGRQ/DQJOH &RUWHVRI%RGOHLDQ/LEUDULHV8QLYHUVLWRI2[IRUG2SLH&

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)LJ0RWKHUILJUHQRQPRVLOOVWUDWLRQLQ7KHLVWRURI&LGHUHOOD2WOHRUNVKLUH3EOLVKLQJ Stationary Co., c.1860), 3. Courtesy of Opie Collection of Children’s Literature, Opie C 825.

)LJ0RWKHUILJUHQRQPRVLOOVWUDWLRQLQ7KHLVWRURI&LGHUHOOD2WOHRUNVKLUH3EOLVKLQJ 6WDWionary Co., c.1860), 2. Courtesy of Opie Collection of Children’s Literature, Opie C 825.

Fig. 148 George Cruikshank, “The pumpkin and the Rat and the mice and the lizards being changed by the Fairy LQWRDFRDFKKRUVHVDQGVHUYDQWVWRWDNH&LQGHUHOODWRWKH%DOODWWKH5RDOSDODFH,” illustration in “Cinderella and the Glass Slipper,” 7KH&ULNVKDN)DLURRN)RU)DPRV6WRULHV(New York: G.P. Putnam’s Sons, 1911), 173. 6RUFH1HRUN3EOLF/LEUDULHVKWWSVDUFKLYHRUJVWUHDPFULNVKDQNIDLUEFULSDJHQPRGHS FFHVVHG0DUFK

Fig. 149 George Cruikshank, “The fairy changing Cinderella’s kitchen dress into a beautiful ball dress,” LOOVWUDWLRQ in “Cinderella and the Glass Slipper,” 7KH&ULNVKDN)DLURRN)RU)DPRV6WRULHV(New York: G.P. Putnam’s 6RQV6RUFH1HRUN3EOLF/LEUDULHVKWWSVDUFKLYHRUJVWUHDPFULNVKDQNIDLUEFULSDJHQ PRGHSFFHVVHG0DUFK

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)LJ6OYLD3DQKUVWRU-Rseph Southall?, “Peace or Famine–Which?,” Cover image in Sylvia Pankhurst, ed., Woman’s Dreadnought-QH6RUFHVKWWSVOYLDSDQNKUVWFRPVOYLDBWKHBDUWLVWVOYLDVB FDPSDLJQLQJBDUWSKSDQGKWWSVVHDUFKFRQQHFWLQJKLVWRULHVRUJN'HWDLOVDVS[5HVRUFH,' 3DJH,QGH[ 6HDUFK7SH 7KHPH,' FFHVVHG0D&RUWHVRIWKH0VHPRI/RQGRQ

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Fig. 162 Edward H. Wehnert, “Cinderella,”LOOVWUDWLRQLQRVHKROG6WRULHV&ROOHFWHGEWKHURWKHUVULPPYRO /RQGRQGGHDQG&R6RUFH2[IRUG8QLYHUVLWKWWSDUFKLYHRUJVWUHDPKRVHKROGVWRULH JULPJRRJSDJHQPRGHSFFHVVHG)HEUDU

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