Grimm's Fairytales

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Grimm's fairy tales are popularly known as the famous collection of children's and household tales , also abbreviated as KHM in research literature , which Jacob and Wilhelm Grimm , known as the Brothers Grimm , published from 1812 to 1858.

At the suggestion of the romantics Clemens Brentano , Achim von Arnim and Johann Friedrich Reichardt, the brothers originally collected fairy tales from their circle of friends and from literary works for their folk song collection Des Knaben Wunderhorn from 1806. Originally, they were not only intended for children, but arose primarily out of an interest in folklore and received comments on fairy tales. Wilhelm Grimm's linguistic revisions created a book fairy tale style that still shapes the image of fairy tales today.

Illustrated title page of the first volume of the second edition from 1819

History of origin

The Brothers Grimm , 1843, portrait by Ludwig Emil Grimm

The beginnings

In search of popular songs for the Des Knaben Wunderhorn collection, Clemens Brentano got in touch through Friedrich Carl von Savigny to his former student Jacob Grimm, who worked in the Kassel library. So from 1806 the Brothers Grimm came to excerpt songs and soon also fairy tales from literary works for him. Brentano presented his editorial offices Von dem Mäuschen, Vogelchen und der Bratwurst and Von dem Tode des Chicken as well as Runge's fairy tales about the fisherman and his wife and the juniper tree as exemplary . He also recommended Friederike Mannel and the Hassenpflug , Wild and Ramus siblings as sources of oral narrative tradition . His suggestion to listen to stories of an old woman in the Elisabeth Hospital in Marburg was not taken into account. Such field research was extremely rare and the Brothers Grimm's own childhood memories also played no role.

The original handwritten version

Jacob Grimm sent 48 texts to Brentano on October 17, 1810. Overall, the collection was somewhat larger, since Brentano did not copy existing texts again. Jacob Grimm had sorted the texts and wrote down 25 himself, Wilhelm 14 and various sources seven. Of the handwritten “original version”, 18 pieces came from literary sources (including two texts by Runge), 16 from the Hassenpflug siblings, 14 from the Wild family, six from Friederike Mannel, two from the wife of the Marburg hospital bailiff and one from the Ramus siblings. Oral contributors were young women of the same age from the middle-class milieu, with the exception of two texts documented by the pharmacist's wife Wild ( straw, coal and bean , lice and flea ). The original was acquired by the collector Martin Bodmer . It is now in the Bibliotheca Bodmeriana in Cologny near Geneva, which he founded.

The first edition

Clemens Brentano did not use the requested material. Jacob and Wilhelm Grimm continued to manage the collection on their own, keeping notes on sources and dates of the photos in more detail. The siblings Hassenpflug and Wild continued to be the most abundant sources. The retired Dragoons sergeant Johann Friedrich Krause, as the oldest contributor, comes closest to the picture of Hessian folk tradition . Now it was Brentano's friend Achim von Arnim , who referred the Brothers Grimm to further texts, u. a. Die Sterntaler , and they encouraged publication in 1812. The book should be inexpensive and encourage cooperation. Fragmentary material was also printed with annotations directly below the text. The first copies appeared on December 20, 1812, most of them in March 1813 in an edition of 900 by publisher Georg Andreas Reimer in Berlin. Delays had occurred because the text of The Fox and the Geese had been lost. In addition, Reimer's interventions in Runge's texts led to tension.

Printing the second part in 1814 (pre-dated 1815) was less complicated. Wilhelm Grimm discovered the Westphalian noble families von Haxthausen and von Droste Hülshoff as sources . Since they ultimately took over their fairy tales from maidservants, farmers, shepherds and others, he actually managed to gain access to the actual people's property, which nonetheless passed through the intellectual filter of well-read women of the bourgeoisie and the nobility. The narrator did not dare to tell everything, the recorders did not pass on every story, and the Brothers Grimm again selected and revised. Heinz Rölleke remarks: “Neither a publisher nor the reading public would have been interested in fragmentary, contradicting, often even sinister notes at that time.” In particular, the second volume now contained contributions by the narrator Dorothea Viehmann , who was newly acquired from May 1813 , and also some of the first part replace. Her contacts as a landlord's daughter and her talent for storytelling made her the ideal image of a fairy tale woman, whose texts were also used to complete others and served as comparative versions of the annotations. She narrated "thoughtfully, confidently and extremely lively with her own pleasure, at first completely freely, then, if you want, slowly again, so that you can copy her with a little practice" (Wilhelm Grimm). Their texts were hardly changed even for later editions.

Sales, especially the second volume, were slow, which is why there were disagreements between the Grimms and their publisher Reimer. In 1819 a second edition of both volumes was published, which is considered to be the most important in the history of editions. A large number of new texts have been included, including some that are now part of the KHM's basic inventory ( Die Bremer Stadtmusikanten , Hans im Glück , Tischlein deck dich ), and numerous texts from the first edition have been thoroughly edited. This is how the Grimms responded to criticism from friends and reviewers.

Further editions

From the 2nd edition, Wilhelm Grimm took over the collection and revision of the texts. Jacob only got a few texts for the 2nd and 3rd editions, but probably continued to influence the scientific comments. His advice is documented in writing to leave out the all too fragmentary fairy tales The Three Sisters , The Lion and the Frog and The Soldier and the Carpenter . Wilhelm Grimm apparently reacted, albeit tacitly, to contemporary criticism, which had urged the material to be more pleasantly narrated. This showed the incompatibility of Grimm's claim to a historical literature collection with expectations of a children's book. In accordance with Arnims' earlier advice, Wilhelm Grimm added two title coppers from his brother Ludwig Emil Grimm to the 2nd edition and separated the comment section. Subsequently, the sense of genre boundaries was sharpened, so that The Heavenly Wedding was assigned to the new section Children's legends , The children in famine were omitted and The holy woman Kummeris appeared in German sagas instead . Apparently Wilhelm also recognized that some of Hassenpflug's texts were related to French originals. a. by Charles Perrault (e.g. Puss in Boots , Bluebeard , Der Okerlo ), others had already been translated by Jacob Grimm ( From the nightingale and the blindworm , The hand with the knife , The murder castle ). An increasing sentimentalization, de-sexualization (e.g. Rapunzel ) and Christianization (e.g. The girl without hands , The godfather , Allerleirauh , Die Nelke , Die Sterntaler ) can also be observed . From issue to issue, Wilhelm often subtly worked out an ideal of a romantic or, often enough, Biedermeier composition. Following a literary tradition, the role of evil in Hansel and Gretel and Snow White went to stepmothers in order to preserve the idyllic Biedermeier family. Foreign words were replaced, for example fairies by sorceresses, princes by royal sons. From the 2nd edition Wilhelm Grimm interspersed the texts excessively with popular expressions that he often found in books. So the warning of the frog king is now spoken in the wind , the brave little tailor always goes after his pointy nose , and Snow White's queen turns yellow and green with envy . In particular, a number of texts, mostly written in Westphalian dialect , were intended to underline the popular character, but remained rather unnoticed by the reader. The original idea of ​​encouraging a broad public to collect was not fulfilled. Texts added from the 3rd edition are almost entirely based on literary sources (exception: Die Lebenszeit ). These were stylistically revised, mostly told more vividly and with more literal speeches, but freed from direct moralizations (e.g. Der Kluge Knecht ). The third edition appeared in 1837, the fourth in 1840, the fifth in 1843, the sixth in 1850, and the seventh last edition in 1857.

Grimm's remarks

If comments were added directly to the fairy tales of the first edition, these appeared separately for the second edition in 1822 and were only reprinted in 1856. These comments on the individual fairy tales often provide references to many comparative texts, some of which are also reproduced. The origin of the oral versions is given by region. So the contributions of the Hassenpflug, who moved from Hanau to Kassel in their childhood, received the note from Hesse , from the Maingegenden or also from Hanau , those of Dorothea Viehmann always from Zwehrn . Some written sources are also obscured in this way. The Braunschweig collection stands for the fairy tale collection, which appeared anonymously there in 1801 , as does the Erfurt collection for Günther’s fairy tale from 1787.

The small edition

The 2nd edition from 1819 also became the basis for the first translations (including into English) and for the "Small Edition" with 50 titles, which was intended for children and appeared from 1825 onwards. It brought the publication success, which only later went over to the big edition. The "Small Edition" was the first German edition of the KHM to come out with illustrations (7 steel engravings by Ludwig Emil Grimm) in the text, which many critics (including Achim von Arnim ) had previously considered essential for a book's success. Ten editions of the “Small Edition” appeared during the Grimms' lifetime (1825, 1833, 1836, 1839, 1841, 1844, 1847, 1850, 1853, 1858). It only contained the titles: KHM 1 , 3 , 4 , 5 , 6 , 7 , 9 , 10 , 11 , 13 , 14 , 15 , 19 , 21 , 24 , 25 , 26 , 27 , 34 , 37 , 45 , 46 , 47 , 50 , 51 , 52 , 53 , 55 , 58 , 59 , 65 , 69 , 80 , 83 , 87 , 89 , 94 , 98 , 102 , 104 (up to 1853 KHM 104a ), 105 , 106 , 110 , 114 , 161 (only 1825 KHM 124 ), 129 , 130 , 135 , 151 , 153 .

Text inventory and characteristics

Heinz Rölleke states that Wilhelm Grimm had essentially found his style from the 2nd edition, which in the future will make up the genus Grimm and which shapes our ideas of fairy tales to this day. Runge's fairy tale Vom Fischer and his wife and Vom Wacholderbaum were decisive for this, and they later saw them again and again as authoritative for fairy tales. Young stillings Jorinde and Joringel may have played a similar role . One criterion for the selection of the text was the presumed age and oral tradition (e.g. The Frog King or the Iron Heinrich ), as well as research interests of the Brothers Grimm such as topics of the older animal poses (e.g. the dog and the sparrow , the wolf and the fox ) . From the beginning, the Brothers Grimm's interest in mythology and folklore existed at the same time as their desire to create a children's book. Throughout their entire life as a philologist, they (from the second edition almost exclusively Wilhelm) worked on the texts, exchanged entire fairy tales, recorded new ones, merged several versions of the text or added idioms and proverbs. Jacob Grimm confessed that this had nothing to do with accuracy in the mathematical sense. Therefore, no edition is the same as the other in terms of its text stock. This was done in an effort to reconstruct the hidden core, creating a new style of book fairy tales that can be placed between art and oral folk tales . Snow-white and rose-red can largely be regarded as Wilhelm Grimm's art fairy tale. Other fairy tale books, on the other hand, were used as sources late and were often already influenced by Grimm's fairy tales. Wilhelm Grimm's editing aims for a clear, balanced text structure. This replaced the often lengthy fairy tales that had been widespread until then. There is a constant tendency towards tripartism. The biographer Steffen Martus names an elusive presence of the raptured, which can also be found in Wilhelm Grimm's autobiographical childhood memories. This can be traced up to the accumulation of brother tales with recurring conflicts (see, for example, The Three Feathers ), while the adaptations of Die Gänsehirtin am Brunnen or The Lion and the Frog show less interest. Nonetheless, there are no personal role models for the specific text design. Only the comments on The Fox's Wedding and Die Sterntaler both name their own dark memories. A similar hint can be found in a letter to How children played slaughter with each other . A frequent structural element is the acquisition of magic gifts, the first of which is often food, the second speed and the third, often a musical instrument that beats up opponents, e.g. B. The blue light , The Jew in the thorn . The heroine in need expresses her moral stance in the monologue. In addition to fairy tales and animal tales, there are many tales in a smooth transition, some with motifs from the legend . Only about 50 texts of the last edition would be called pure fairy tales today.

Research history

The original handwritten version sent to Brentano in 1810 has been preserved and is today a valuable source of comparison, as other early fairy tale records were destroyed by the Brothers Grimm after they were printed. As early as 1808, Jacob Grimm also sent seven handwritten texts to Savigny. The research into her fairy tales began with Wilhelm's son Herman, who also tried to evaluate the notes in her personal copies. For a long time his erroneous attribution of contributions by the young Marie Hassenpflug to an old Marie was particularly misleading for fairy tale research . For a long time, the scientific reception was understandably limited to the final edition. Many, in some cases considerable, edits can be recognized by comparing different editions. In 1975, Heinz Rölleke published an edition of the original handwritten version sent by Jacob Grimm to Brentano in 1810, replacing a less reliable copy by Joseph Lefftz from 1927. Heinz Rölleke points out that attempts were made again and again to see a contrast between the Grimm siblings. In fact, it is not possible to discern any differences in the processing between Jacob and Wilhelm Grimm. The middle-class environment in Kassel was often Huguenot- influenced. Dorothea Viehmann was by no means the old peasant woman the Grimms portrayed her as, but an educated woman. In the opinion of many researchers, the pose of the careful collectors of old traditions that the brothers took was largely a fiction owed to the mood of the romantic era : the fairy tale collection is rather a mixture of new texts, art fairy tales and, in some cases, heavily edited and changed folk tales.

The texts were further revised from edition to edition, partly "trivialized" and underpinned with Christian morality. The Grimms also responded to criticism that the fairy tales are not "child-friendly". In order to meet the contemporary tastes of the predominantly middle-class audience, important details have also been changed. In their preface to the edition of the KHM from 1815, they explicitly mention that their collection of fairy tales is an education book . In their preface they repeatedly affirm that the fairy tales they have collected are “real Hessian fairy tales”, which have their origins in Old Norse and ancient German myths. However, they conceal the fact that their main source, the cattle man, is not a Hessian peasant woman, but an educated seamstress with French roots. In the KHM manuscripts, which were found in an abbey in Alsace in 1927, there are, however, notes on the French origin and the parallels to Perrault's fairy tale collection. Due to Perrault and the Huguenot origin of Dorothea Viehmann and the Kassel families Hassenpflug and Wild (they frequented the Grimm house; a daughter of the Wild family later became the wife of Wilhelm), many originally French art fairy tales and fairy tale variants also flowed into the collection. In order to have a fairy tale book with “purely German” fairy tales, some fairy tales that came from France to the German-speaking area, such as Puss in Boots or Bluebeard , were removed after the first edition. However, this did not happen consistently, because the Grimms were well aware that there was also a French version with a tragic ending for Little Red Riding Hood , for example . A national limitation was also questionable because some fairy tales such as Cinderella have an extensive European and even international history of origin and distribution.

The hand copies of the Brothers Grimm ( Kassel hand copies ) with their handwritten notes were declared World Document Heritage by UNESCO in 2005 and are in the holdings of the University Library of Kassel .

reception

After the Second World War , the prevailing opinion in West Germany was that the fairy tales of the Brothers Grimm were partly responsible for the atrocities of the Nazis. The British major TJ Leonard examined the school books of the Wilhelmine era in 1947 and in his first steps in cruelty , published in the same year, came to the conclusion that the Grimm fairy tales had created an unconscious tendency to cruelty in German children. In the American zone of occupation , children's and house fairy tales were sorted out from schools and libraries and shipped overseas, and in the British zone of occupation no license was issued for reprinting for a while. Although opposing opinions were also expressed, voices critical of fairy tales dominated the discourse until the 1970s. A gradual turnaround was brought about by Bruno Bettelheim's publication Children need fairy tales (1976), in which, from a psychoanalytical point of view, he worked out the comforting and strengthening effect of Grimm fairy tales for children.

Recent research a. a. by Holger Ehrhardt , holder of the Brothers Grimm Endowed Professorship at the University of Kassel, however, prove that the Grimms, with the fairy tales “ The Maiden Killed by the Jews ” or “The Jew's Stone”, convey anti-Jewish clichés and ritual murder legends as German folk good and exaggerated them into popular wisdom to have. With “ Der Jude im Dorn ” ( The Jew in the Thorn ), the two even exacerbated the anti-Jewish stigmatization in the 1837 edition compared to the first edition from 1815. “ Rumpelstiltskin ” also uses anti-Semitic stereotypes. Its title figure is a symbol of the disturbed relations between Jews and non-Jews, whereby anti-Jewish traditions are spread and intensified in it. “In its strangeness and diabolism, the dwarf, whose name, like that of the devil, may not be called, embodies the potentially dangerous outsider, the 'other' who lives in the middle of society but quite differently and who therefore becomes a projection surface for them Fears and (self-) attributions “of the members of the majority society who see him as a threat. According to the classic anti-Semitic ritual murder legend, the dwarf demands a (Christian) child in return for his magical services. In a paradoxical inversion, in the end it is not the king with his greed for wealth, but the threatening helper who realizes reprehensible wishes, who is abandoned to disregard and destruction with Rumpelstiltskin.

The Brothers Grimm themselves saw their collection again and again as an education book . However, this was not aimed at conveying norms, but rather at a certain understanding of the world that matched the pedagogical ideas of Enlightenment and Romanticism. So even gruesome content loses its horror in a comfortable tone. Jacob Grimm even presented the collection project at the Congress of Vienna .

Although Grimm's fairy tales are among the best-known works in German literature, the original texts of the fairy tales are unknown to most readers, so that many external details that are general knowledge are actually not recorded in the Grimm fairy tale collection. Some common misconceptions: Grimm's fairy tales by no means always begin with “Once upon a time”. The familiar opening formula is used in about 40 percent of the stories. Corresponding dialect variants are also possible. Many well-known verses have a different wording in the original text than is commonly assumed. The witch's house in Hansel and Gretel does not consist of gingerbread, but of bread, cake and sugar. The fairy tale Snow White is the Brothers Grimm Snow White . Sleeping Beauty does not prick herself on a rose, but on a spindle; Cinderella goes to the ball with different clothes, but does not get them from a fairy, but from a tree at her mother's grave. The frog prince transforms himself back into a person, not after being kissed, but after being hurled against the wall in disgust.

On the occasion of the 200th anniversary of children's and household tales (2012), the literary critic Jens Bisky wrote: “Was it an accident in literary history that Clemens Brentano did not work on the fairy tales? For the true fairy tale lover, it means: Los von den Grimms! They have neglected their imagination. ”Brentano himself had already taken an extremely critical position:“ Out of loyalty I find the story extremely dissolute and messed up and in some ways very boring. ”August Wilhelm Schlegel and Heinrich Voss also expressed their disapproval while Bettina von Arnim, Görres, Goethe, Savigny and Friedrich Schlegel were full of praise.

List of fairy tales

The texts are abbreviated in the research literature according to their number within the children's and house fairy tales (KHM) , e.g. B. KHM 15 for Hansel and Gretel . The addition "a" indicates texts that were replaced by others up to the last edition. The order only occasionally indicates regional or motive connections. An alphabetical listing can be found in the category: Grimm's fairy tales .

From 1st edition, volume 1 (1812)

From 1st edition, Volume 2 (1815)

From 2nd edition (1819)

From 3rd edition (1837)

From 4th edition (1840)

From 5th edition (1843)

From 6th edition (1850)

Children's legends (appendix, from 2nd edition)

More texts

Six text fragments are reproduced separately in the annotation volume: The man from the gallows ; The louse (corresponds to KHM 85b Princess with the louse ); The strong Hans ; Puss in Boots ; The wicked mother-in-law (corresponds to KHM 84a The mother-in-law ); Fairytale fragments in folk songs . The texts Die alte Hexe , Mährchen v. Fanfreluschen's head and Vom König von England from the handwritten original version from 1810 were ruled out before the first print version. The first edition of the annotation volume also contained the fairy tales from Basiles Pentameron in a complete, albeit summarized, German translation. Independently of the children's and house tales, the Brothers Grimm also published German sagas (1816, 1818), Irish fairy tales (1826) and various individual texts in magazines and almanacs.

literature

Text output

There are currently numerous editions of the Grimm fairy tales on the book market: illustrated books for children, almost always in a selection and in more or less faithful text versions. The illustrated edition edited and illustrated by Nikolaus Heidelbach (Weinheim / Basel 1995 etc.) notes the edition from which the fairy tale originates behind each text; the edition published by Günter Jürgensmeier (Düsseldorf 2007) offers the text of the last edition from 1857 together with a useful index.

At present, three text editions in particular meet scientific requirements: The one by Heinz Rölleke (Frankfurt 1985), which offers the complete text of the third edition from 1837, with an informative edition history of the Grimm fairy tales, very brief individual comments, a selection of the original Grimm comments and the fairy tale texts of the other editions.

Heinz Rölleke also produced a new edition of the last edition from 1857 (Stuttgart 1980), which includes a new edition of the text volumes and the facsimile annotation volume from 1856, with detailed comments and an extensive bibliography.

A third complete two-volume edition comes from the editor Carl Helbling and was published in 1986 by Manesse Verlag , Zurich. It contains numerous illustrations by Ludwig Richter and Moritz von Schwind as well as an afterword by the editor and begins with the dedication: To Ms. Bettina von Arnim .

A fourth important edition is that of Hans-Jörg Uther (Hildesheim / Zurich / New York 2004): In addition to a brief edition history, it offers a complete reprint of the important second edition of the Grimm fairy tales from 1819 and also includes the third volume published in 1822 with the Remarks by the Grimms that are significant in terms of research history.

At the beginning of July 2010, the German-language Wikisource was able to complete the transcription of all major editions up to the seventh edition in 1857, the last edition. Scans and e-texts can be viewed there in parallel. The hand copies of the first edition from 1812/15 can now also be viewed online.

  • Jacob Grimm , Wilhelm Grimm : Children's and house fairy tales. Collected by the Brothers Grimm. Realschule bookstore, Berlin 1812/1815. ( Volume 1. Volume 2 , each digitized and full text in the German Text Archive )
  • Heinz Rölleke (Ed.): Brothers Grimm: Children's and Household Tales . 3 volumes. Stuttgart 1980 etc. (Contains the text of the 7th edition (last hand) of the “Large Edition” from 1857 and the annotation volume from 1856. With detailed comments by the editor on every fairy tale, a list of the fairy tale contributors and mediators, a tabular overview of the various fairy tale versions and a detailed bibliography. 2010, ISBN 978-3-15-030042-8 )
  • Heinz Rölleke (ed.): Children's and house fairy tales collected by the Brothers Grimm. Frankfurt 1985 and other (Complete edition based on the third edition (1837). This edition offers an informative edition history of the KHM, brief individual comments, a selection of the original Grimm comments and the fairy tale texts of the other editions; they are now also available in an inexpensive edition; 2007 , ISBN 978-3-618-68016-1 .)
  • Heinz Rölleke (ed.): Children's and house fairy tales. Collected by the Brothers Grimm. Enlarged reprint of the two-volume first edition from 1812 and 1815 based on the personal copy of the Brothers Grimm Museum Kassel with supplementary booklet: Transcriptions and Commentaries . Vandenhoeck & Ruprecht, Göttingen 1986 u.ö. ISBN 3-525-20764-6 .
  • Heinz Rölleke (Ed.): Brothers Grimm: Children's and Household Tales . Stuttgart 2009, ISBN 978-3-15-010724-9 . (Contains the text of the 7th edition (last hand) of the "Large Edition" from 1857 without annotations.)
  • Hans-Jörg Uther (Ed.): Brothers Grimm: Children's and Household Tales. (= Fairy tales of world literature ). 4 volumes. Munich 1996. (Contains the text of the 7th edition (last hand) of the "Great Edition" from 1857 in the new sentence. Edited text critically, with a detailed afterword on the history of its origins and effects, extensive comments on every fairy tale, large index of names and subject matter a dictionary, a list of sources, contributors and mediators, and a typology of fairy tales.)
  • Hans-Jörg Uther (Ed.): Brothers Grimm: Children's and Household Tales. (= Research edition: Jacob - Wilhelm Grimm. Works. Vol. 43–45). 3 volumes. Hildesheim 2004, ISBN 3-487-12544-7 . (Facsimile of the 2nd edition of the KHM from 1819 as well as the annotation volume from 1822 - with foreword, dictionary, type and motif concordance, bibliography and register)
  • Hans-Jörg Uther (Ed.): German fairy tales and legends . Directmedia, Berlin 2004, ISBN 3-89853-480-4 . (The electronic version from the Digital Library series contains, along with other German-language fairy tale collections, the text of the first edition of the KHM from 1812/1815 and the text of the last edition from 1857.)
  • Carl Helbling (Ed.): Grimm's fairy tales, children's and house fairy tales, collected by the Brothers Grimm, complete edition. Manesse Verlag, Zurich 1989, ISBN 3-7175-1162-9 (1st volume, 1986), ISBN 3-7175-1164-5 (2nd volume, 1996).
  • Grimms Märchen, completely revised and illustrated edition especially for digital reading devices. 7th edition. Null Papier Verlag, Neuss 2011-2014, ISBN 978-3-95418-032-5 (PDF). (This digital book contains all the completed fairy tales by the brothers Jakob and Wilhelm Grimm of the published original editions 1 to 6 from 1812 to 1850. All fairy tales in the original dialect are also available in High German.)
  • Gerd Haffmans (Ed.): Children's and Household Tales collected by the Brothers Grimm. Haffmans Verlag bei Zweiausendeins , Frankfurt 2007, ISBN 978-3-86150-588-4 . (True to the letter reprint of the first edition of the "Small Edition" from 1825 with an afterword by Peter Rühmkorf)
  • Axel Winzer (Ed.): Children's and Household Tales collected by the Brothers Grimm. Haffmans Verlag bei Zweiausendeins, Leipzig 2012, ISBN 978-3-86150-459-7 . (Text-critical reprint of the greatly increased and improved 5th edition of the large edition of 1843 with transfer of the dialect fairy tales, dictionary and editorial afterword)

Literature on Grimm's fairy tales

  • Lothar Bluhm: Grimm Philology. Contributions to fairy tale research and the history of science. Hildesheim 1995, ISBN 3-487-09860-1 .
  • Lothar Bluhm, Heinz Rölleke: "Popular sayings that I always listen to". Fairy tale, proverb, idiom . Stuttgart 1997, ISBN 3-7776-0733-9 .
  • Hannah Fissenebert:. In: Christopher Balme (Ed.):. 1st edition. Volume 55. Narr Francke Attempto Verlag, Tübingen, ISBN 978-3-8233-8314-7 .
  • Julia Franke, Harm-Peer Zimmermann (ed.): Grimmskrams & Märchendising . Berlin 2008, ISBN 978-3-938714-06-5 .
  • Regina Freyberger: fairy tale pictures - picture fairy tales. Illustrations to Grimm's fairy tales 1819–1945 . Oberhausen 2009, ISBN 978-3-89896-350-3 .
  • Hermann Gerstner: Brothers Grimm. (= Rowohlt's monographs. Volume 201). 9th edition, Reinbek bei Hamburg 1997, ISBN 3-499-50201-1 . Gerhard Lauer : The Brothers Grimm and their consequences. In: Regina Bendix, Ulrich Marzolph (Hrsg.): Hearing, reading, seeing, feeling. Fairytale reception in a European comparison. Schneider Verlag Hohengehren, 2008, pp. 5–19.
  • Beat Mazenauer, Severin Perrig: How Sleeping Beauty won her innocence. Archeology of fairy tales. Munich 1998, ISBN 3-423-30670-X (on the fairy tales Sleeping Beauty , Bluebeard , Little Red Riding Hood , Cinderella and Dummling )
  • Heinz Rölleke : "Where wishing still helped": Collected essays on d. "Children's u. House fairy tale “d. Brothers Grimm. (= Wuppertal series literature. Volume 23). Bonn 1984, ISBN 3-416-01855-9 .
  • Heinz Rölleke: Grimm fairy tales and world literature. Notes on a Neverending Story. In: fairytale mirror. 4 (1), 1993, pp. 6-7.
  • Heinz Rölleke: The fairy tales of the Brothers Grimm. An introduction . Stuttgart 2004, ISBN 3-15-017650-6 .
  • Heinz Rölleke: The fairy tales of the Brothers Grimm: Sources and studies. Collected Essays. 2nd Edition. Trier 2004, ISBN 3-88476-667-8 .
  • Heinz Rölleke: Grimm's fairy tales and their sources. the literary templates of the Grimm fairy tales are presented and commented on in synoptic form 2nd Edition. Trier 2004, ISBN 3-88476-717-8 .
  • Heinz Rölleke: As old as the forest. Speeches and essays on the fairy tales of the Brothers Grimm. (= Literary Studies Series. Volume 70). Trier 2006, ISBN 3-88476-857-3 .
  • Ingrid Tomkowiak , Ulrich Marzolph: Grimm's fairy tales international.
  • Hans-Jörg Uther: Handbook to the children's and house fairy tales of the Brothers Grimm . Berlin 2008, ISBN 978-3-11-019441-8 . (2nd edition [paperback] 2013, ISBN 978-3-11-031743-5 )

Cultural-historical transformations

musical

Film adaptations

TV adaptations

  • Grimm's Fairy Tales , Japanese anime television series, 1987–1988.
  • Grimm , US crime series with elements of fantasy and mystery, 2011–2017.
  • Once Upon a Time (Original title: Once Upon a Time) , American fantasy series by Edward Kitsis and Adam Horowitz, 2011-2018.
  • The Brothers Grimm (TV series), American crime series by Ehren Kruger with fantasy and mystery elements - planned .

Drama adaptations

See also

Web links

Wikisource: Children's and Household Tales  - Sources and full texts

Individual evidence

  1. Heinz Rölleke : Origin and publication history of the Grimm fairy tales. In: Brothers Grimm: Children's and Household Tales. 19th edition. Artemis & Winkler, Düsseldorf / Zurich 1999, ISBN 3-538-06943-3 , pp. 827-833.
  2. Heinz Rölleke: The fairy tales of the Brothers Grimm. An introduction. Reclam, Munich 2004, ISBN 3-15-017650-6 , pp. 79-80.
  3. Heinz Rölleke: The fairy tales of the Brothers Grimm. An introduction. Reclam, Munich 2004, ISBN 3-15-017650-6 , pp. 80-81.
  4. Heinz Rölleke: Origin and publication history of the Grimm fairy tales. In: Brothers Grimm: Children's and Household Tales. 19th edition. Artemis & Winkler, Düsseldorf / Zurich 1999, ISBN 3-538-06943-3 , pp. 838-844.
  5. Heinz Rölleke: Origin and publication history of the Grimm fairy tales. In: Brothers Grimm: Children's and Household Tales. 19th edition. Artemis & Winkler, Düsseldorf / Zurich 1999, ISBN 3-538-06943-3 , pp. 844-846.
  6. Heinz Rölleke: Origin and publication history of the Grimm fairy tales. In: Brothers Grimm: Children's and Household Tales. 19th edition. Artemis & Winkler, Düsseldorf / Zurich 1999, ISBN 3-538-06943-3 , pp. 833-836.
  7. Heinz Rölleke: Origin and publication history of the Grimm fairy tales. In: Brothers Grimm: Children's and Household Tales. 19th edition. Artemis & Winkler, Düsseldorf / Zurich 1999, ISBN 3-538-06943-3 , p. 834.
  8. Heinz Rölleke: Origin and publication history of the Grimm fairy tales. In: Brothers Grimm: Children's and Household Tales. 19th edition. Artemis & Winkler, Düsseldorf / Zurich 1999, ISBN 3-538-06943-3 , pp. 836-845.
  9. Heinz Rölleke: Origin and publication history of the Grimm fairy tales. In: Brothers Grimm: Children's and Household Tales. 19th edition. Artemis & Winkler, Düsseldorf / Zurich 1999, ISBN 3-538-06943-3 , pp. 839-870.
  10. Lothar Bluhm, Heinz Rölleke: “Speeches of the people that I always listen to”. Fairy tale - proverb - saying. On the folk-poetic design of children's and house fairy tales by the Brothers Grimm. New edition. S. Hirzel Verlag, Stuttgart / Leipzig 1997, ISBN 3-7776-0733-9 , pp. 60, 85.
  11. ^ Heinz Rölleke: Children's and Household Tales. In: Encyclopedia of Fairy Tales. Volume 7. Walter de Gruyter, Berlin / New York 1993, p. 1283.
  12. Heinz Rölleke: The fairy tales of the Brothers Grimm. An introduction. Reclam, Munich 2004, ISBN 3-15-017650-6 , p. 77.
  13. Heinz Rölleke: Origin and publication history of the Grimm fairy tales. In: Brothers Grimm: Children's and Household Tales. 19th edition. Artemis & Winkler, Düsseldorf / Zurich 1999, ISBN 3-538-06943-3 , p. 856.
  14. Philipp Otto Runge, Jacob and Wilhelm Grimm: "From the Machandelboom". "Von dem Fischer un syner Fru". Two fairy tales edited and commented by Heinz Rölleke. (= Literary Studies Series. Volume 79). Wissenschaftlicher Verlag Trier, Trier 2008, ISBN 978-3-86821-045-3 , p. 7.
  15. Hans-Jörg Uther: Handbook on the children's and house tales of the Brothers Grimm. de Gruyter, Berlin 2008, ISBN 978-3-11-019441-8 , p. 165.
  16. ^ Heinz Rölleke: Children's and Household Tales. In: Encyclopedia of Fairy Tales. Volume 7. Walter de Gruyter, Berlin / New York 1993, p. 1281.
  17. Heinz Rölleke: The fairy tales of the Brothers Grimm. An introduction. Reclam, Munich 2004, ISBN 3-15-017650-6 , p. 68.
  18. Hans-Jörg Uther: Handbook on the children's and house tales of the Brothers Grimm. de Gruyter, Berlin 2008, ISBN 978-3-11-019441-8 , 335.
  19. Heinz Rölleke: The fairy tales of the Brothers Grimm. An introduction. Reclam, Munich 2004, ISBN 3-15-017650-6 , p. 98.
  20. Steffen Martus: The Brothers Grimm. A biography. Rowohlt, Berlin 2009, ISBN 978-3-87134-568-5 , p. 219.
  21. Hans-Jörg Uther: Handbook on the children's and house tales of the Brothers Grimm. de Gruyter, Berlin 2008, ISBN 978-3-11-019441-8 , p. 134.
  22. Hans-Jörg Uther: Handbook on the children's and house tales of the Brothers Grimm. de Gruyter, Berlin 2008, ISBN 978-3-11-019441-8 , p. 321.
  23. Heinz Rölleke: Origin and publication history of the Grimm fairy tales. In: Brothers Grimm: Children's and Household Tales. 19th edition. Artemis & Winkler, Düsseldorf / Zurich 1999, ISBN 3-538-06943-3 , p. 858.
  24. Heinz Rölleke (ed.): The oldest fairy tale collection of the Brothers Grimm. Synopsis of the handwritten original version from 1810 and the first prints from 1812. Edited and explained by Heinz Rölleke. Martin Bodmer Foundation , Cologny / Geneve 1975, DNB 760515212 , pp. 9, 16, 18-19.
  25. Heinz Rölleke: Origin and publication history of the Grimm fairy tales. In: Brothers Grimm: Children's and Household Tales. 19th edition. Artemis & Winkler, Düsseldorf / Zurich 1999, ISBN 3-538-06943-3 , pp. 849-850.
  26. ^ Dorothea Viehmann , Kassel-Lexikon, RegioWiki
  27. Fairy tales by the Brothers Grimm. Retrieved on August 31, 2017 (German).
  28. Karl Privat: Preschool of Cruelty. A discussion about the fairy tales of the Brothers Grimm. In: Berliner Tagesspiegel . February 7, 1947.
  29. Kristin Wardetzky: Fairy tales in education and teaching. In: fairytale mirror. 25, 2014, pp. 7-9.
  30. Kristin Wardetzky: Fairy tales in education and teaching. In: fairytale mirror. 25, 2014, p. 8.
  31. Federal Ministry of the Interior (ed.): Antisemitism in Germany. Manifestations, conditions, prevention approaches. Report of the independent expert group on anti-Semitism. Berlin 2012, p. 71. ( bmi.bund.de ( Memento from August 2, 2015 in the Internet Archive ))
  32. The unknown about the Brothers Grimm: their anti-Semitism In: Osthessen-News. October 16, 2014.
  33. Gerd Bockwoldt: The image of the Jew in the fairy tales of the Brothers Grimm. In: Journal of Religious and Intellectual History. Volume 63, No. 3, 2011, pp. 234–249.
  34. Elizabeth Jütten: discourses on justice in work Jacob Aquarius. Tübingen 2007, ISBN 978-3-484-65166-1 , p. 213.
  35. Steffen Martus: The Brothers Grimm. A biography. Rowohlt, Berlin 2009, ISBN 978-3-87134-568-5 , pp. 211-22.
  36. Steffen Martus: The Brothers Grimm. A biography. Rowohlt, Berlin 2009, ISBN 978-3-87134-568-5 , p. 222.
  37. Süddeutsche Zeitung. December 20, 2012, p. 14. In the same issue, Stephan Speicher characterizes the Grimm fairy tales as “incomprehensibly raw works”.
  38. quoted from Reinhold Steig, Clemens Brentano and the Brothers Grimm, Stuttgart 1914, DNB 361715080 .
  39. 150 years of children's and house fairy tales by the Brothers Grimm. Bibliography and materials for an exhibition at the German State Library. Berlin (East) 1964, DNB 455408122 , p. 27.
  40. Heinz Rölleke (ed.): The oldest fairy tale collection of the Brothers Grimm. Synopsis of the handwritten original version from 1810 and the first prints from 1812. Edited and explained by Heinz Rölleke. Fondation Martin Bodmer, Cologny / Geneve 1975, pp. 180-186, 128-130, 286-288, 400.
  41. Heinz Rölleke: The fairy tales of the Brothers Grimm. An introduction. Reclam, Munich 2004, ISBN 3-15-017650-6 , p. 14.
  42. Heinz Rölleke: The fairy tales of the Brothers Grimm. An introduction. Reclam, Munich 2004, ISBN 3-15-017650-6 , p. 9.
  43. IMDB.com
  44. 'The Brothers Grimm' TV Show Adaptation Is Finally Happening & It Needs To Include These Plots: Kaitlin Reilly, Bustle, March 19, 2015.