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We concluded in the seminar that there were two different versions of The Yellow Dwarf: one with a happy ending, and the other with a sad ending. Why do you think this fairy tale has been edited and has been provided with a different version of the original story? Do you think children really need a story with a happy ending and “wouldn’t enjoy” a story ending differently?
The original story written by Madame d’Aulnoy ends with the two lovers dead and transformed into palm trees (exotic element):
The only favour the good mermaid, in despair at the ill-fortune, could obtain from Destiny was to change the lovers into palm trees. The two perfect bodies became two beautiful trees, bearing ever a faithful love one to the other, embracing each other with their intertwined branches, and in this tender union immortalising their loves. ()
However, there is an adapted version within the London & New York: George Routledge and Sons edition, where the King kills the Dwarf and the Syren takes the King and Toutebelle back to the Queen.
With one blow he slew the wicked Dwarf, and then conducted the Princess to the sea-shore, where the friendly Syren was waiting to convey them to the Queen. On their arrival at the palace, the wedding took place, and Toutebelle, cured of her vanity, lived happily with the King of the Gold Mines. ()
The choice Madame d’Aulnoy makes in the denouement of her fairy tale could be linked to the early steps of novel evolution. The adaptation of the fairy tale and the modification in the end presents a variant that relates more to the genuine formula of fairy tales. In the article , the author asks the following questions related to how adults educate their children:
The fairytale may be one of the most important cultural and social influences on children’s development. Who we become as adults, is largely influenced by the stories we were told. Though we teach young boys and girls to believe in happy endings, the question remains: how much faith is sufficient to sustain the fairytale’s suggested belief that someday, somewhere, a better world awaits? In the age of broken dreams and brush reality and so many examples of people who did not make it after all, what is our responsibility, if any, in telling a child what’s possible?
The same author concludes with the idea that we need fairy tales throughout our personal development because these encourage children to believe that everything is possible in life.
Fairytales offer ways of resolving a stranglehold situation that at times may seem insurmountable and can inspire a child to look beyond the limiting circumstances. Thus, fairytales are nothing but lessons in faith. Faith, that everything is possible.
Her questions and final answer could lead us to the idea that fairy tales should establish this belief in a child’s heart: everything is possible. Another article called conveys the idea that fairy tales should encourage the evolution of hope in a child’s mind and soul:
For children’s fairy tales, a happy ending is nice. It conveys the idea that even if we have to go through many troubles and hardships in life, things will all work out in the end. True, often that is not the case in the material world. But from a spiritual perspective, unless we wilfully choose to turn our back on God and our fellow human beings, things will work out in the end. No matter what pain and struggle we have to suffer through here on earth, we will ultimately find happiness as angels in heaven.
The article entitled supports the idea that children literature should contain ‘emotional vulnerability’ for the young. Children like books in which there are terrible things happening, but they also need to see how heroes are returned from the dark to hope, and the feeling that life still has something to offer.
By having their emotions challenged, children develop this need of accomplishing the right thing:
Being small and powerless gives children a thirst for justice.
Nevertheless, happy endings in literary works dedicated to children are important in building up their ‘emotional tank’.
But my essential point is that children’s fiction is, and should remain, a world apart. There’s plenty of time for adults to discover that, alas, terrible things happen to good people who have done nothing to deserve it.
On the other side, in the article , we have a perspective oriented more towards the idea that happy endings are delusional:
But when did this become the default? The very idea of the happy ending as appropriate literary fare for children is an illusion from practically every possible angle. Most fairy tales are full of darkness and violence, and as often as not do not end happily.
At the same time, this attempt of creating the pure belief within children that childhood is the realm of possibilities and fantasy is the way the adult wants the child to perceive childhood:
In the real world children have always experienced traumatic incidences, and have periodically inflicted them on their companions. The denial of this in choosing what stories to share with them says a great deal about what adults want to believe about childhood, rather than speaking to children’s own understanding of the world.
Nevertheless, the main purpose in stories dedicated to children remains an attempt from the adult’s side to help the children develop empathy. But this doesn’t mean all stories for children have to conclude with a happy ending. There is a great diversity of children literature (and fairy tales) that has a sad ending, but it can still teach fundamental traits every human should possess. However, this could already be an inclination towards novel writing or stories that are not really fairy tales. What we can notice here is this tendency in longer literary works dedicated to children to have various kinds of endings. This conclusion might also strengthen the choice Madame d’Aulnoy had made regarding the ending in The Yellow Dwarf.
From my perspective, I think children need fairy tales with happy endings in their lives. On a psychological level, these do not only encourage the child to be courageous, take risks and never lose his or her hopes, but they also have great contribution in the development of imagination.
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