Beauty is truly one of the most subjective terms. Beauty
is as beauty does; beauty is in the eye of the beholder; beauty is only skin
deep – people regurgitate these old proverbs when unattractive rears its ugly
head. Placating and concealing one’s true feelings about what is attractive and
what is not changes nothing; the real predicament lies in the source of
people’s standards of what is appealing and what is not. Fairy tale literature
entertains its readers with stories of princesses and happy endings; however,
the real message of these antiquated tales suggests that society should
distinguish what is good from evil on the sole basis of physical appearance.
Parents teach their children sexism and racism with each “Once upon a time,”
they share.
Beautiful princesses and handsome princes fill the pages
of most typical, classic fairy tales. Though the stories and their protagonists
change with time, the motif of beautiful being good and ugly being evil remains
the same. Professors Lori Baker-Sperry and Liz Grauerholz’s analyses reveal
that 31% of all stories associate beauty with goodness and 17% associate
ugliness with evil (718). A perfect example of this standard appears in Jacob
and Wilhelm Grimm’s Snow White. The
story describes the characteristics the queen hopes that her child will embody.
The queen never mentions health, intelligence, or courage; she asks for her
child to have skin “white as snow,” lips “red as blood,” and hair “as black as
the wood of the window frame” (249). According to the tale, Snow White
possesses the traits her mother requests, and she becomes “as beautiful as the
bright day and more beautiful than the queen herself” (250). This beauty saves
Snow White from the huntsman who seeks to kill her. He cares not about her
empathy towards others or her philanthropic nature; the huntsman’s reasoning
for sparing the young girl’s life stems solely from her physical appearance.
Sparing a person’s life because she is good-looking suggests that beautiful
people deserve to live and ugly people deserve to die. It sends a very negative
message about the characteristics upon which society places value.
This emphasis on beauty over virtue continues throughout
the tale Snow White. After the
huntsman spares the young girl, she seeks shelter in the home of seven dwarfs.
When the dwarfs discover Snow White sleeping in their home, they do not react
in typical hysterics; any reasonable person would exhibit anger and fear upon
discovering an intruder napping in their home. The dwarfs, however, “were so
delighted to see her that they decided not to wake her up, and they let her
keep sleeping in the little bed” (Grimm 253). Baker-Sperry and Grauerholz state that “women
who achieve a high degree of attractiveness are psychologically and socially
rewarded” (712). According to the dwarfs’ reaction, laws against breaking and
entering do not apply to pretty people; the law of the land exists to keep
ugly, evil people from wrongdoing. The dwarfs do not consider the possibility
of danger, and they do not mention arming themselves against a potential
threat; the dwarfs assume that a beautiful girl is trustworthy and her
inappropriate actions do not need permission. Like the dwarfs, society allows
pretty people to break the rules. Attractive female teachers who engage in
sexual relationships with young male students easily earn forgiveness,
glamorous celebrities who drink and drive walk away with a slap on the wrist,
and beauty queens who are not able to spell rudimentary terms proudly wear
their crowns.
People who are not born with perfect bone structure and
piercing blue eyes suffer a fate more horrific than the physically attractive.
Entitlement evades them and warrants far less appealing identifiers. Snow
White’s evil stepmother prides herself on being the, “fairest of them all”
(Grimm 254). As evil takes hold of this once beautiful queen, her looks fade.
It is not fathomable for a beautiful queen to engage in calamity; therefore,
she takes on the form of an ugly, old peddler woman before she sets out to kill
her stepdaughter. Scholars agree that “both men and women are being
increasingly manipulated by media messages concerning attractiveness” (Baker-Sperry
and Grauerholz 722). The queen’s transformation from the “fairest in the land”
to an ugly peddler woman parallels her transformation into evil. As her looks
fade, so does her sense of morality. The juxtaposition of the ugly, evil queen
and the beautiful, wonderful princes, Snow White, confirms the stereotypes
still present in society. When the nightly news regales the events of a
beautiful, young couple’s carjacking, society shudders at the thought. Replace
that attractive couple with a few old, toothless, dirty bikers and many argue
justification for the attack.
If old and ugly set the standard for evil, it is no
wonder so many older women despise their younger competition. Snow White’s queen, the stepmother,
mentions no ill-will towards her stepdaughter before the mirror tells her,
“Snow White is a thousand times more fair” (Grimm 250). The queen reacts with sudden jealousy and
immediately plots the death of her young, beautiful stepdaughter. The queen is
evil, and readers label her the obvious antagonist; however, the true
antagonists are the people who confirm that with age comes a lack of desire.
This message taunts the insecurities of all aging women and forces them to
metaphorically destroy young, beautiful girls. One Western Folklore article states that “attention to specific social
and cultural interactions is in part responsible for the complexity of today’s
feminist responses to fairy tales” (Bacchilega 11). Women come with an
expiration date, according to these tales, and in order to maintain any form of
social or sexual status, they must rid their lives of all present threats. Though
potentially unintentional, the messages fairy tales, such as Snow White, reveal transcend the period
they were written and affect cultural beliefs, even hundreds of years later.
In
today’s society, women are synonymous with petty fights and catty remarks. Men
often comment on the simplicity of their friendships and the ease with which
men befriend other men. Fortunately for men, their age denotes wisdom and
experience. The
Hudon Review adds that “because their power was not primarily a sexual
power, men in fairy tales never develop envious murderous passion against
younger men; whatever power men have does not erode with time” (Sale 390).
Women hear that they are only as powerful as they are beautiful; their power
stops when their sexual prowess fades, and their flight or fight instincts
engage. From a very young age, literature and society teach women that younger
women are potential threats. Rather than embracing and training the upcoming
generation, older women lose their sexual status, and in turn, their power. Any
attempt to maintain their power results an association with evil. Society takes
older, powerful women and reduces them to cut-throat villains or reassigns
their powerful stance to credit male characteristics. A queen can rule, but
only with a king by her side.
Many
little girls dream of sparkling crowns and giant castles; they call themselves
princesses and hope to someday meet their very own Prince Charming. Imagine the
damage these desires cause when the young girls grow up lacking the luster of
which true princesses are made. Princesses do not adhere to set physical
standards; however, due to direct and indirect characterization, a mental image
of the typical princess is not hard to ascertain. Disney princesses typically
have blonde hair, blue eyes, and a beautiful voice. They are naturally skilled
dancers, and oftentimes, woodland creatures befriend them. Disney movies have
shown progression throughout the years, and as a result, many non-typical
princesses light up the big screen. Despite their best efforts, racial
internalization regarding princesses already plagues many young children. A
study from The Journal of Negro Education
states that “most if not all children including children of color see ‘White’
as good, living happily ever after, and pretty” (Hurley 223). If white portrays
all that is good, black obviously represents what is foul or unpleasant. Hurley
states that “black and white color symbolism in … is pervasive and powerful”
(225). She provides examples from various cinematic adaptations that clearly
label white as good and black as bad. Case and point, readers most easily
identify Snow White by her notably pale skin, white birds, and white-horse
prince. Granted, her hair is dark, unlike my typical princesses; however, her
hair is a minute detail in the evil presentation of black. Hurley notes that
the tale, “features a wicked queen dressed in black who lives in a black castle
and has black rats, a dangerous black forest containing black bats, and black
owls” (225). Readers and viewers see black as threatening and dangerous. Sadly,
this trend regularly presents itself in society. Fairy tales, like any form of
literature from any time period, reflect the norms of that society.
Understandably, older versions of the tales focus on a white royal family and
present a white heroine. The problem with dismissing these issues under the
guise of history is the magnitude of the effects racial stereotyping has on
young, impressionable minds.
Fairy
tales teach children, from very young age, that they must look a certain way or
descend from a certain ethnicity to meet a handsome prince, fall in love, and
live a life of prosperity. “The Science of Fairy Tales?” argues, “In all
societies, the accidents and vicissitudes of line need accounting for in terms
of the body of knowledge available to the members of society” (Jackson 121). Take
Grimm’s Briar Rose for example,
without the royal family’s social clout, the young, beautiful princess would
face sure death. Had one of the Wise Women not intervened, Briar Rose would
have to suffer for her father’s ridiculous choice. Many children, like Briar
Rose, face punishment stemming from selfish choices their parents make. Briar
Rose’s father excludes one of the thirteen Wise Women, “since the king had only
twelve golden plates for them to dine on” (Grimm 241). His arrogance nearly
cost him his child. Fortunately, she is a princess; therefore, consequences are
not hers to endure. Give the royal princess a dark complexion and low
socioeconomic status; it stands to reason that her fate may not be as pleasant.
Strong
independent heroines often serve the protagonist role in fairy tales. Attractive
women rise above their social status; they do not succumb to the pressures and
abuses their unattractive counterparts subject them to. Sadly, however, much of
the credit for overcoming said oppressions falls upon the male characters in
the tales. Ruth B. Bottigheimer, author of “Tale Spinners: Submerged Voices in
Grimms’ Fairy Tales,” focuses on the symbolic task of spinning and the motif of
spindles. She states that “spinning is the symbol for and the visible attribute
of the penury and personal degradation into which a princess is plunged when
she is deprived of male protection” (147). Women who work menial jobs, such as
spinning, simply need men to rescue them. Consider the rags-to-riches story of Cinderella. Before the handsome prince
swoops in and saves poor, dirty Cinderella, she is nothing more than a
low-class servant. It takes a man to come in and clean Cinderella up; this is
clearly a task she is not capable of handling on her own. Snow White and Sleeping
Beauty both follow this same trend; only true love’s kiss holds the power
to save these beautiful women from certain death. The obvious translation is
that women need men – typically well-off white men – to pull them from the
wreckage of their lives.
Many
parents share classic fairy tales with their children. They paint lovely images
of castles and horses. They allow their daughters to wear tiaras and pretend
ball gowns. Though these princess dreams are innocent and these stories are
part of most people’s childhood, parents should consider their implications.
The older, wiser women should not feel threatened by an immature novice.
Powerful women should not have to feel ugly and evil. A person’s value should
not have an expiration date that draws closer as her looks fade. Children
should not be exposed to the concept of white superiority and black
inferiority. Fairy tales should come with a label – “Warning: Sexism and Racism
Ahead!”
Works Cited
Bacchilega,
Cristina. “An Introduction to the ‘Innocent Persecuted Heroine’ Fairy
Tale.” Western Folklore, vol. 52, no. 1, 1993, pp. 1–12.,
www.jstor.org/stable/1499490.
Baker-Sperry,
Lori, and Liz Grauerholz. “The Pervasiveness and Persistence of the Feminine
Beauty Ideal in Children's Fairy Tales.” Gender and Society, vol.
17, no. 5, 2003, pp. 711–726., www.jstor.org/stable/3594706.
Bottigheimer,
Ruth B. “Tale Spinners: Submerged Voices in Grimms' Fairy Tales.” New
German Critique, no. 27, 1982, pp. 141–150., www.jstor.org/stable/487989.
Grimm,
Jacob and Wilhelm. The Annotated Brothers
Grimm. New York: W. W. Norton & Company, 2012. Print.
Hurley,
Dorothy L. “Seeing White: Children of Color and the Disney Fairy Tale
Princess.” The Journal of Negro Education, vol. 74, no. 3, 2005,
pp. 221–232., www.jstor.org/stable/40027429.
Jackson,
Anthony. “The Science of Fairy Tales?” Folklore, vol. 84, no. 2,
1973, pp. 120–141., www.jstor.org/stable/1260418.
Sale,
Roger. “Fairy Tales.” The Hudson Review, vol. 30, no. 3, 1977, pp.
372–394., www.jstor.org/stable/3850269.
Tatar,
Maria. “Why Fairy Tales Matter: The Performative and the Transformative.” Western
Folklore, vol. 69, no. 1, 2010, pp. 55–64., www.jstor.org/stable/2573528