Notes
NOTES INTRODUCTION 1. Trs. Willard R. Task (New York): Harper and Row, 1963), 195-202. 2. Eliade reviewed Jan de Vries's Betrachtungen zum Miirchen, besonders in seinem Verhiiltnis zu Heldensage und Mythos (1954) in La Nouvelle Revue Fram;aise in May, 1956, and used the opportunity to elaborate his ideas about myths and fairy tales. 3. Ibid., 5-6 4. Ibid., 196-97. 5. Ibid., 201. 6. Ibid., 202. 7. London: Granada, 1973. 8. New York: Hill and Wang, 1977. 9. "Change the Object Itself: Mythology Today" in ImageMusic -Text (New York: Hill and Wang, 1977), 165. 10. Mythologies 123. 11. Ibid., 124. 12. Ibid., 125. 13. William Little, The Oxford Universal Dictionary 3rd rev. ed. (Oxford: Oxford Univ. Press, 1955), 1728. 14. Cf. my essay, "The Rise of the French Fairy Tale and the Decline of France" in Beauties, Beasts and Enchantment: Classic French Fairy Tales, trs. Jack Zipes (New York: New American Library, 1989), 1-15. 15. See Straparola's Le piacevoli notti (1550-53), translated as Nai'ES TO PAGES 12-20 163 The Facetious Nights or The Delectable Nights, and Basile's Lo Cunto de 1i Cunti (The Story of Stories, 1634-36), better known as The Pentamerone. The Italians did not "institutionalize" the genre because the literary culture in Italy was not prepared to introduce the tales as part of the civilizing process, nor were there groups of writers who made the fairy-tale genre part of their discourse. 16. Cf. the different essays in Nancy Armstrong and Leonard Tennenhouse , eds., The Violence of Representation: Literature and the History of Violence (New York: Routledge, 1989). 17. Ibid., 24. 18. Cf. Die Domestizierte Phantasie: Studien zur Kinderliteratur, Kinderlekture und Literaturpi:idagogik des 18. und fruhen 19. ]ahrhunderts (Heidelberg: Carl Winter, 1987). 19. This list would include the Grimms, Wilhelm Hauff, Ludwig Bechstein, Hans Christian Andersen, Madame De Segur, and numerous collections of expurgated folk tales from different countries that became popular in primers by the end of the nineteenth century. Here one would have to mention the series of color fairy books edited by Andrew Lang in Great Britian. 1. ORIGINS OF THE FAIR\' TALE 1. "Toward Supreme Fictions," Yale French Studies 43 (1969): 11. 2. See also Philippe Aries, ''At the Point of Origin," Yale French Studies 43 (1969): 15-23. 3. In my book Fairy Tales and the Art of Subversion (London: Heinemann, 1983), I endeavored to trace the origins in relation to the civilizing process, and the present essay is an amplification of the ideas developed in my book. 4. Trs. Michael Shaw (Minneapolis: Univ. of Minnesota Press, 1984). 5. Ibid., 12. 6. Ibid., 48. 7. Ibid., 47. 8. The following remarks are based to a large extent on Renate Baader's excellent study, Dames de Lettres: Autorinnen des preziosen , hocharistokratischen und 'modernen' Salons (1649-1698): Mile de Scudery-Mlle de Montpensier-Mme d'Aulnoy (Stuttgart: Project MUSE (2024-04-25 14:37 GMT) 164 NOTES TO PAGES 22-42 Metzler, 1986). In particular, see "Mme d'Aulnoy und das feminine Salonmiirchen (1697-1698)," 226-77. 9. Cf. Jacques Barchilon, Leconte merveilleux franf;ais de 1690 a1790 (Paris: Champion, 1975) and Raymonde Robert, Leconte de fees litteraire en France de Ia fin du XVIIe aIa fin du XVIIIe siecle (Nancy: Presses Universitaires de Nancy, 1981). 10. See Hubert Gillot, La Querelle des Anciens et des Modernes (Geneva: Slatkine, 1968, reprint of 1914 edition) and the "Introduction " to Charles Perrault, Memoirs of My Life, ed. and trs. Jeanne Morgan Zarucchi (Columbia: Univ. of Missouri Press, 1989), 1-25. 11. Ibid., 239. 12. For the most complete history of this development, see Betsy Hearne, Beauty and the Beast: Visions and Revisions ofan Old Tale (Chicago: University of Chicago Press, 1989). I have also commented on this development in my book Fairy Tales and the Art of Subversion (London: Heinemann, 1983), 32-44. 13. ''A French Writer and Educator in England: Mme Le Prince de Beaumont," Studies on Voltaire and the Eighteenth Century 201 (1982): 201-2. 14. "Beauty and the Beast" in Beauties, Beasts and Enchantment: ClassicFrenchFairyTales, trs.JackZipes (New York: NAL, 1989),237. 15. ''A French writer and Educator in England: Mme Le Prince de Beaumont," 198. 16. The Bonds of Love: Psychoanalysis, Feminism, and the Problem of Domination (New York: Pantheon, 1988), 136. 17. Ibid., 168. 18. Beauty and the Beast, illustr. Alfred Crowquill (London: Orr, 1853). 19. In Grimm Tales Made Gay, illustr. Albert Levering (Boston: Houghton, Mifflin, 1902), 65-70...
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