Grimm legacies _ the magic spell of the Grimms_ folk and fairy tales
The Vibrant Body of the Grimms’ Folk and Fairy Tales, Which Do Not Belong to the Grimms The example of the Brothers Grimm had its imitators even in Russia, including the person of the first editor of Russian Folk Tales, A. N. Afanasyev.
The Vibrant Body of the Grimms’ Folk and Fairy Tales, Which Do Not Belong to the Grimms The example of the Brothers Grimm had its imitators even in Russia, including the person of the first editor of Russian Folk Tales, A. N. Afanasyev. From the viewpoint of contemporary folkloristics, even a cautious reworking and stylization of the texts, written down from their performers, is considered absolutely inadmissible in scientific editions. But in the era of the Brothers Grimm, in the world of romantic ideas and principles, this was altogether permissible. To the credit of the Brothers Grimm, it must be added that they were almost the first to establish the principle of publication of the authentic, popular oral poetic productions.
—Y. M. Sokolov, Russian Folklore (1966)1 It is the brothers Jacob and Wilhelm Grimm who illustrate the connection between folklore and textual criticism most powerfully, just as they demonstrate the continuing influence of Herder on thought. Nationalist politics and folkloric endeavours intertwine throughout all the Grimm brothers’ projects, but the Europe-wide significance of the Kinder- und Hausmärchen (first edition 1812) was the inspiration it provided to proto-folklorists to go out and collect “vom Volksmund,” that is from the mouth of the people (whether or not this was the Grimms’ own practice). —Timothy Baycroft and David Hopkin, Folklore and Nationalism in Europe During the Long Nineteenth Century (2012)2 Just what is a legacy, and what was the corpus of folk and fairy tales that the Brothers Grimm passed on to the German people—a corpus that grew, expanded, and eventually spread itself throughout the world? What do we mean when we talk about cultural legacy and memory? Why have the Grimms’ so-called German 2 Introduction tales spread throughout the world and become so universally international? Have the Grimms’ original intentions been betrayed? Did they betray them? If we fail to address these questions, the cultural legacy of the Grimms’ tales and their relevance cannot be grasped. This does not mean that there are right and wrong answers. Rather, the questions set a framework for inquiry that will lead to greater insight into the Grimms’ legacies, for there is more than just one that they bequeathed to the German people.