You’ve certainly already heard the stories of Cinderella, Rapunzel, Snow White, Hansel and Gretel and Thumbling. Many of them have become classical kids movies that charmed different generations and remain present in children’s lives. These stories, among many others, are part of the Grimm’s Fairy Tales.
Since we have already talked about Aesop’s Fables, today we are going to discuss other popular kids stories: the Grimm’s Fairy Tales.
The Grimm’s Fairy Tales are composed of fairy tales, fables and other stories published by the brothers Jacob and Wilhelm Grimm. There are 2 collections: the first, with 86 stories, was published in 1812; the second, with 70 stories, was published in 1814. Both collections had several editions and in each one some stories were added, while others were removed. In addition to these two volumes of short stories, the Brothers Grimm also published a small selection of 50 short kids stories in 1825.
Initially, the Brothers Grimm published the stories with the intention of preserving the oral culture of the popular stories they heard in Germany, the country where they lived. Therefore, many stories weren’t appropriate for kids: there were evil characters, violence and sexual undertones.
But all the stories were part of Germany’s collective imagination of the 19th Century and the oral culture that had survived until then. The stories helped people face challenges and transmitted the wisdom of that culture.
The Brothers Grimm also recorded these stories with the purpose of organizing all the linguistic elements that would ground the philological studies of the German language. To sum it up, they wanted the German traditions, culture and language to be recorded and preserved, since back then the lands that today are part of Germany were constantly threatened by the Napoleonic wars.
The most common tales that contain moral lessons are the Aesop’s Fables. The Grimm’s Fairy Tales don’t present moral lessons as openly, despite having something to teach. However, many adaptations of these stories add a moral lesson in order to make the teaching they are transmitting very clear.
As we explained in detail in the article about Greek Fables, we believe that giving a moral lesson to stories limits their teachings and what we can learn from them. After all, a story can yield countless interpretations and each person can see and absorb different wisdoms from the same tales.
Jacob and Wilhelm weren’t very concerned with the contents of the stories they were recording, after all, the purpose there was to keep the culture alive. It was common to find scenes of mutilation, mothers as villains, violent vengeances, terrorizing endings and a lot of tragedy.
The problem is that the first edition was published in 1812 as “the Children’s and Household Tales”, and it wasn’t an immediate success – you can imagine why. In the last editions published by the brothers, they adapted and modified the plots in order to make the stories more appropriate for kids.
The Grimm’s Fairy Tales remained part of Germany’s cultural imagery and crossed borders by charming the whole world. Walt Disney’s classic films are adaptations of Grimm’s Fairy Tales; the theaters of many countries welcome plays and musicals based on the brothers’ stories, and many different books adapting or reinterpreting the stories were published.
The fairy tales from today are different from the originals and even from the adapted versions created by the Brothers Grimm themselves. The stories underwent several changes over time in order to fit the historical and cultural context of each period and country.
In spite of that, Jacob and Wilhem managed to accomplish their initial goal: that the German oral tradition continue alive through generations.
Teaching Stories are also ancient tales, just like the ones from the Brothers Grimm. However, while Teaching Stories pass on wisdom from one culture and people, the Grimm’s Fairy Tales aimed to disseminate the social customs and rules. This isn’t the only difference between the Teaching Stories and the Grimm’s Fairy Tales – as they have many.
The main one is the need to adapt. Teaching Stories travel through generations without needing major adaptations, since the wisdom transmitted is connected to the structure of the story. In the Teaching Stories, it’s possible to switch the characters’ genders and change the animals in the stories, for example, without it losing its essence. The Teaching Stories’ adaptation need is in the details, since the transmission of wisdom transcends the characters and narrative details, making them more adequate throughout generations.
The Brothers Grimm’s Fairy Tales, on the other hand, need more and more adaptations in order to adjust to each generation. The need to adapt is becoming necessary increasingly fast due to the changes in paradigms regarding misogyny, racism, and the search for equality, for example. It’s difficult to find an old tale that doesn’t require any adaptation for today’s kids, but the Grimm’s Fairy Tales are structured in a way that they lose their meaning in the face of too many narrative changes.
Many elements of the Grimm’s Fairy Tales are tied: from the characters and their physical and personality traits to the narrative and its structure. This makes it harder for the main goal of the tales to remain after the necessary tweaks have been made to adjust them to future generations, since the social customs and rules have changed a lot since the publication of these stories.
The Truth and Tales app has Teaching Stories for kids! They’re offered in two formats: interactive stories and audio books. In the interactive stories, kids can listen and read the story at the same time – and even have fun with the interactive aspects and mini games; the audio books, by contrast, allows kids to only listen to the story, which can be used in moments that require more peace and quiet, such as before going to bed or during car trips.
Text: Luisa Scherer
Translation: Mariana Gruber
Fables exist in cultures all over the world and are used as an instrument of wisdom transmission. Greek fables are quite famous, mainly in Western culture, and have been present in many people’s lives since their early childhoods. They appear in kids books and educational materials and are transmitted orally in the classroom and at home.
The origin of Greek fables can’t be traced back exactly, but history mentions Aesop, a storyteller supposedly born in the sixth or seventh century B.C in Asia Minor, who was later brought to Greece as an enslaved man.
One of the earliest known books printed in Guntenberg’s press in 1476 was Aesop’s Fables. French poet Jean de La Fontaine, who lived in the seventeenth century, was a great promoter of Aesop’s Fables.
According to Theon of Alexandria (math and astronomy professor as well as scholar of books from classic authors, who lived from AD 335 to 400): “The Fable is an invented story that illustrates the truth”.
Fables rely on animal characters with human traits.
According to InfoEscola, fables “make an analogy between human reality and the situation lived by the characters with the intent of teaching something or proving a well-established truth”, as Theon of Alexandria pointed out. Many call this well-established truth a moral lesson.
Storytelling is an old and universal form of entertainment. For this reason, the fable’s purpose is to impact and clarify moral, ethical and social values in a pleasant, gentle, effective and non-threatening way.
Greek fables are used as an educational tool in order to illustrate a society’s ethical, moral and social rules, so that people (usually kids) learn them without the need to live through a similar experience.
Due to their ancient nature and to the fact that they have been spread orally throughout history, Greek fables suffered alterations and transformations with time. Its “moral lessons” at the end of the fables didn’t use to exist and people were free to interpret the story and reflect on it as they wished.
The moral lesson might be the most popular aspect of the fables. The moral lesson is an item which is present in every single article published about fables, in every research website, information books, in how to create a fable, and so on and so forth.
I can even remember some sentences that originate from the fables’ moral lessons: “Slow and steady wins the race”; “All actions have consequences”; “No act of kindness, no matter how small, is ever wasted”.
In the book “A Companion to the Works of Gotthold Ephraim Lessing”, the author John Pizer brings up some important issues raised by Lessing, a German poet, playwright, philosopher and art critic who lived in the seventeenth century.
According to Lessing, the fables’ moral teachings have to be intuitive. Describing a fox as astute, a dog as loyal and a rooster as proud, is for him part of the semiotics of allegory, which “presuppose a need for relatively overt narrative description in linking an animal’s moral attributes to its character”.
Lessing says that, in a simple fable, in which there are no semiotics of allegory, “such associations are directly intuited”. In other words, there’s no need to label the character because the reader will perceive its traits. According to the author, the semiotics of allegory “would block the intuitive cognition of a moral truth by now allowing the reader’s imagination to do its own work. This process of intuitive cognition is at the core of Lessing’s famous summary definition of the fable”, which “presupposes the perceptions of the narrated event as real, a perception that detailed description, given its ‘inanimate’ quality, can only obscure”.
Considering Lessing’s stance on the subject, we leave a few important questions here:
According to Theda Detlor in the book “Aesop´s Fables – Reproducible Read-Aloud Tales With Instant Activities that Get Kids Discussing, Writing About & Acting on the Important Lessons in The Wise & Classic Stories”, fables help kids in many aspects:
The grasshopper liked to sing and enjoy life without worrying about the future. The ant, on the other hand, worked hard to store food, mainly during the summer, in order to have enough to eat throughout the winter.
While the ant worked, the grasshopper sang. It also tried to persuade the ant to stop working and come sing with it.
When winter came, the grasshopper had nothing to eat. The ant, however, since it had worked all summer long, was well-prepared to survive the winter.
The hare and the tortoise lived in the woods. The hare would always tease the tortoise for being slow and, one day, the tortoise said enough. It decided to challenge the hare to a race, who accepted, sure that it would win.
Once the race started, both started running. The hare was way quicker than the tortoise, to the point it decided to lie down to rest right next to the finish line. However, the tortoise kept going at its slow pace and eventually reached the finish line before the hare, which woke up when it was already too late.
Starving, the fox walked through an orchard until it spotted a bunch of grapes. It noticed the grapes were ripe and perfect to be eaten. Since the path was clear and no one was around, the fox decided to pick the grapes.
The grapes were hanging high in the vines, but the fox spared no effort to try to catch them, despite its own limitations. It tried to reach the grapes through many ways.
After several failed attempts, the fox was exhausted and disappointed, as well as still starving. Admitting defeat, it shrugged, turned around and left. It felt so frustrated by its unsuccessful attempts that it tried to comfort itself by saying, scornfully: “Actually, looking carefully, the grapes were rotten and not as ripe as they seemed to be when I saw them for the first time.”
There was a lion who lived in a forest and who was feared by all the animals. One day, he was sleeping with a full belly under the shade of a tree when a little mouse woke him up as he tip-toed past him.
Startled, the lion caught the mouse beneath his paw. The little mouse begged the lion not to eat him. He begged him so much, the lion let him go.
Some time later, the lion was strolling through the forest. Suddenly, he got trapped in a hunter’s net. He roared in anger because he couldn’t escape.
The little mouse, who was close by, went to check what was happening and spotted the lion stuck in the trap. He quickly gnawed at the ropes until the lion was free.
Written by Luisa Scherer
Translated by Mariana Gruber
Knowing the fables are tools to develop many functions during childhood, we have brought them to Truth and Tales, our kids stories app that has many interactive stories for kids.
Leo, the Lion is one of the stories available in the Truth and Tales Library, as an interactive story and in audiobook format as well. Leo, the Lion has many similarities to Rumi’s stories, to Aesop’s fables and to Indian and Afghan fables. The interactive story is an adaptation to technology in which kids can roar as lions, make music with flowers and even see themselves as a lion with the Augmented Reality tool.
There is no moral lesson in Truth and Tales’ stories because we believe that kids are free to perceive the teachings and wisdoms of the story, which can be infinite.
Download the app and try out one of the interactive stories or audiobooks!
Childhood is a time during which we learn a lot and cognitive development is being constantly stimulated when we are little. Stories with humor in them also have an important role in this development.
Each new stimulus children receive makes them explore the world, their senses, and, therefore, learn and interact with their environment. Reading stories is a way to stimulate these learnings.
In this article, we explained that reading stimulates the growth of white matter in the brain, which is a set of nervous fibers in the brain that help it to learn and function.
Researchers Olufolake Orekoya, Edmund SS Chan and Maria PY Chik, all from Hong Kong Baptist University, wrote the article “Humor and Reading Motivation in Children: Does the Tickling Work?”. In this article, they explain how reading and, mainly, literature with elements of humor can be beneficial to children’s learning.
They present a two-year investigation about learning and teaching children’s literature done by five universities with elementary school students. It reveals that most children prefer reading books that make them laugh.
The results also showed that what makes children avid readers are books with funny stories. The study reported what were children’s preferences when it came to reading, which goes from funny stories to adventurous ones, fantasy and others.
Children are easily adaptable to the bond in humor and creativity, both of which help cognitive development. As children grow up and become more cognitively mature, they may appreciate different forms of humor present in the stories.
The article states that “humor appreciation is closely related to cognitive development”. “When a child is engaged in humour appreciation, he or she intends to finish a problem-solving exercise to identify and unfold the incongruity hidden beneath the humour stimuli.” (Zigler, Levine, & Gould, 1967)
“Literature confirms the benefits and significance of humour for school learning socially, cognitively, affectively and behaviorally since it facilitates playful learning environment, lessened learning anxiety, stimulated students’ learning motivation, and deepened teacher-student relationship (Davies & Apter, 1980).”
“When children read humourous texts, they engaged in a ‘cognitive play’, ‘where words and concepts are used in ways that are surprising, unusual, and incongruous, activating schemas with which they are not normally associated’ (Martin, 2007, p. 109; Shultz & Robillard, 1980).”
According to Rod A. Martin, reading as a cognitive activity possibly activates “positive emotion of mirth (i.e. enjoyment), leading to enhancement of creativity, memory and social virtues that include: sense of responsibility, helpfulness and generosity) (Martin, 2007).”
John Morreall, who is a PhD in Philosophy and Emeritus Professor of the College of William and Mary in Williamsburg, evaluated three traditional theories regarding laughter and humor: the Theory of Superiority, the Theory of Relief and the Theory of Incongruity. Based on these theories, he put forward a new one which claims that humor is cognitive play.
John explains that “not all laughter is about persons, and so there need be no comparison of persons”, as it was stated in the Theory of Superiority of humor. He says “we may be amused by a stage comedian doing a perfect impression of some movie star without comparing ourselves with that comedian or the movie star. And even if we do compare ourselves with persons about whom we are laughing, we need not judge ourselves superior to them. They may make us laugh by surprising us with unexpected skills that we lack.”
“After two millennia in which the Superiority Theory was the only widely accepted account of laughter, the Relief Theory and the Incongruity Theory emerged in the 18th century. According to the Relief Theory, laughter operates like a safety valve in a steam pipe, releasing built-up nervous energy.”
This theory, however, started to be questioned. The act of speaking and the elements of humor in said speech didn’t seem to require emotions. In addition, some experiences of fun also rely solely on the element of surprise. The Theory of Incongruity was one of the most widely accepted in the twentieth century, since it stated that “humorous amusement is a reaction to something that violates our mental patterns and expectations.”
After considering the theories of humor mentioned above, professor John Morreall wrote that there are four insights. “First, humor is a cognitive phenomenon – it involves perceptions, thoughts, mental patterns, and expectations. Secondly, humor involves a change of cognitive state. Thirdly, that cognitive change is sudden. And fourthly, amusement is pleasurable.”
To these four insights he added others:
“ 1) Humor is a nonserious activity in which we suspend practical concern and concern about what is true.
2) Humor is primarily a social experience.
3) Humor is a form of play in which laughter serves as a play signal. Coining the term shift for a sudden change, we can say that humor involves the enjoyment of cognitive shifts.”
Putting all these ideas together, he presented the following theory of humorous amusement:
Laughter makes people experience a cognitive shift and “their playful disengagement and their pleasure are expressed in laughter, which signals to others that they can relax and enjoy the cognitive shift too.”
Brian David Boyd, professor from The University of Auckland in New Zealand, explains that laughter, although it is often triggered by words, is in itself pre-verbal and non-verbal.
According to an excerpt from his article, “laughter and sobbing are ‘the ﬁrst two social vocalizations that children make’; unlike speech, they are relatively involuntary, socially contagious, and with a consistent emotional valence; like other primate social calls they do not require ﬁne articulation but only an ’alternation of the presence and absence of vocal sounds, superimposed on relatively more stable mouth postures,’ and their motor activity depends on mid-brain and brain stem circuits rather than the higher speech centers.”
This confident sharing of expectations that happens in verbal communication is essential for social play. This also happens in games and activities, so that there is as much room as possible for the unexpected.
“Shared expectations that allow for surprises that catch us off guard, that simulate risk and stimulate recovery, are the key not only to play of all kinds but also to humor. In jokes we are often primed for surprise, but despite our actively seeking to anticipate an unexpected resolution, the punch line still takes us unawares, but in a way that allows the tripping up of our expectations to be followed by a swift regaining of balance.”
The article also says that “our very recognition that we share such expectations makes our amusement socially binding in the way that physical play, through its dependence on the less novel expectations of ritualized behavior, also serves to unite.
If a would-be joke does not take us by surprise, if, as we say, we see the punch line a mile off, we will not ﬁnd it funny. On the other hand, springing a joke with insufﬁcient preparation can also ruin it.
But if our expectation has been primed, if we know a joke is coming, and we still ﬁnd the punch line takes us by surprise, it will be even funnier: it resembles exactly the relationship between the keen general expectation of play, and the acute particular surprises animals, including humans, especially enjoy in play.”
At last, in his article, professor Brian brings up a question asked by the philosopher Daniel C. Dennett: “What advantage could Homo sapiens gain from laughing? Why would laughter and humor have evolved as behaviors that matter so much to us?”
His answer was the following: “Laughter, by signaling our pleasure in cognitive play, invites and encourages us to prepare playful surprises for one another. Playing socially with our expectations reinforces our sense of solidarity, our recognition of the huge body of expectations we share; it trains us to cope with and even seek out the unexpected that surrounds and can extend these expectations; and yet it can offer a ﬁrst more or less playful warning to those who diverge from them in ways we reject.”
Written by Débora Nazário
Translated by Mariana Gruber
Now that we already know the role humor has in stories and children’s preferences for funny tales, here are some reading recommendations!
Truth and Tales, the app we developed, has many stories that are full of twists and humor! They are Teaching Stories, which you can learn more about here. The Teaching Stories usually make use of lots of humor in order to develop a certain level of preparedness to the unexpected as well as give the stories a special touch!
The Truth and Tales story called “The Child and the Dragon” presents several funny characters and dialogue, in addition to twists and turns the reader never sees coming!
Download the app and try reading, playing or listening to our stories!