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Tales From the Enchanted Forest


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Written by Deborah Khora

Illustrated by Karen Hunziker


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Copyright 2012 by Deborah KhoraIllustrations copyright 2012 by Karen Hunziker

Fairy Tale ABCs by the McLoughlin Brothers are public domain.

All rights reserved. No part of this book may be reproduced or trans-mitted in any form or by any means, electronic or mechanical, includ-ing photocopying, recording, or by any information storage and re-trieval system without permission in writing from the publisher exceptfor reviews.

ISBN 13: 978-1477542217

ISBN 10: 1477542213


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This book is dedicated to:Erica, Lucien, Nicole, Bernadette & Justin,

Heidi, Christopher, Eric, James, Ashleigh, Tayler, Aaron, Joshua,Thomas & Adam,

Sean OBrien & Fallon.

With special thanks to Charlie for his good faith and support.

In memory of Alva Hollander, elementary school principal(1929-2008)

And David OBrien(1956-2009)


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Table of Contents

Folklore: An Introduction to History, Art & Literature .................... xi

The Little Shoeshine Boy ...................................................................... 2

The Little White Kitten who Thought the Snow was Her Mother .... 6

The Wise Man & The Wishing Well .................................................. 12

The Code Word .................................................................................. 16

The Little Hamlet that Came to Life .................................................. 22

The Shepherd Girls Blanket .............................................................. 30

The Little Bird who Would Not Fly Free .......................................... 46

The History of the Monarch............................................................... 50

The Owl who Would Not Keep Quiet .............................................. 58

The Everlasting Garden ..................................................................... 62

Angels Always Dip Their Ink Pens in Honey .................................. 70

The Little Star that Refused to Shine ................................................. 74

Night Fall ............................................................................................ 78

Symbols ............................................................................................... 82

Glossary .............................................................................................. 88

End Notes ........................................................................................... 98

References ......................................................................................... 100


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Table of Illustrations

F is for Fishermans Luck .................................................................. xiA Montage of Proverbs ................................................................... xxiMain Street .......................................................................................... 2The Little Shoeshine Boy .................................................................... 4The Little White Kitten ....................................................................... 6Shadow of the Hawk .......................................................................... 8The Witch .......................................................................................... 12The Wise Man ................................................................................... 14The Warlock ...................................................................................... 16

Gertrude in the Forest ...................................................................... 18Candlelight ....................................................................................... 22The Fields Burst into Fruition .......................................................... 23Ladybugs & Gentleman Bugs .......................................................... 24The Ogre............................................................................................ 27The Castle ......................................................................................... 30The People Prepared for an Elaborate Celebration ........................ 32Chess Pieces the Size of Small Children.......................................... 33The Citizens Padded the Treasury .................................................. 34Snow on the Dogwood Tree ............................................................ 36The Shepherd Girls Blanket ............................................................ 38The Beautiful Princess with the Golden Tresses ............................ 42A Tell-tale Trail Through the Garden Gate ..................................... 46K is for King Lir ................................................................................ 50The Snow upon the Mountain Top Melts into a River ................... 51Windmill ........................................................................................... 52The Monarch Butterfly ..................................................................... 56

The Owl who Would Not Keep Quiet ........................................... 58Skull & Hands ................................................................................... 59Three Dry Beans ............................................................................... 62Blue Jays ............................................................................................ 64Plum Trees ........................................................................................ 67Feather Quill ..................................................................................... 70Sarahs Garden ................................................................................. 72Starry Night ...................................................................................... 74The Little Star that Refused to Shine ............................................... 76

Bedtime Stories ................................................................................. 78


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xi

Folklore: An Introduction to History, Art & Literature

Although this book is intended for readers approximately ages 8-14

years old, this introduction is scholarly material for mature students,

parents and teachers. It fills a known gap between classical childrens

literature and education. 1

Fairy tales and folklore have their origins in the medieval dark ageswhen the masses, adults and children alike, were illiterate compared to a

relatively small group of ruling elite. Although official history as told by

various conquerors reflects the development of trade routes and weap-

ons to defend those trade routes, folklore by contrast is history told by

common folk. It has deep roots in public education at a time when su-

perstition was rampant. As we shall see, there are legitimate reasons

why this genre of wizards, witches, warlocks and elves has enduredthrough the ages. The above image, for instance, is how the illiterate

were taught to read. What is more, according to Nietzsche, folklore is the

happy medium between communicating with the use of images and

communication that does not use images, such as music. 2 Nietzsche

F is for Fishermans Luck

Fairy Tales ABCs

McLoughlin Brothers, 1870s


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xii

makes this distinction between Apollonian and Dionysian art consecu-

tively, both names of Greek rulers and gods.

History prior to the development of the printing press is classified by

ages: the stone age, bronze age & iron age, the golden age of enlight-

enment during the 5th century, and the dark ages of the medieval peri-

od, followed by the Renaissance of the 14-16th centuries. The Europe-

an Renaissance was a revival of 5th century ideals with a new twist;

the development of the printing press and literacy for the masses. This

was followed by the industrial age to what may be currently described

as the information age, or the technological revolution due to the inter-

net. As with the technological revolution, the development of the print-

ing press was responsible for disseminating large amounts of infor-mation and education to the masses unprecedented in history.

The development of trade routes and increasingly sophisticated

weapons beginning with stone and iron to defend those routes, the

invention of the printing press and the internet combined have created

a global system of world trade and a global education for children as

well.

Many forks in the road occurred between official history, art andliterature and that of the common folk as they gained skills in literacy.

Well highlight some of those forks in the road, the schools of thought

and art movements, their impact upon the common folk and how the

folk impacted art. This book may be considered a form of folklore and

folk art. We hope it will provide inspiration to the elementary artist

and the child, as the Renaissance did to the newly literate masses.

In some ways certain ages of antiquity were socially and artistically

superior to our modern corporate culture. In a world without newspa-

pers or books, there was a certain liveliness to the social climate of the

first century we might find lacking on Main Street today. Dion

Chrysostrom, who lived in 70 A.D. gives an account of his day:

One may see in all the crowd and cram and crush everyone

calmly doing his own business; the piper piping and teach-

ing to pipe often in the streets with his pupils, while thecrowd passes by and does not interfere with him; the trainer

producing his dancers for a stage play without noticing a

few fights going on; most remarkable of all, schoolmasters sit

in the streets with their boys, teaching or learning for all that


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multitudinous mob. I myself saw people doing all sorts of

things there, piping, dancing, one giving a show, one reciting

a poem, one singing, one reading a story or fable, and not

one of them preventing anyone else from his own particular

business. 3

As in the first century described above, and the golden age of the

fifth century as well (during which time lived Socrates and Confucius),

education and literature during the medieval dark ages of the 12-13th

centuries were reserved for the wealthy elite and the masses were by

comparison ignorant. Books were hand-written and too expensive to

produce on a scale large enough to educate the masses. They were of-

ten bound in animal skin called vellum and written in Latin.Wealthy patrons hired artists to produce illustrated books of devo-

tional material called illuminated manuscripts. The most famous of

these is The Book of Hours produced by the three Limbourg brothers

for the Duke of Berry. These artists were later commissioned to illus-

trate a Bible. All three brothers died during the bubonic plague. The

plague was believed by some to be a punishment from God and was

used by the Church to lead their followers to repentance.One example of a later version of an illuminated manuscript for

children is found at the beginning of this introduction, Fairytale ABCs

by the McLoughlin brothers. The cost of an illuminated manuscript

today ranges from the hundreds to hundreds of thousands of dollars.

The cost of the graphic at the beginning of this introduction is in the

public domain due to copyright expiration and can be purchased for

only a few dollars.

Patrons of the arts were especially fond of having themselves por-

trayed in the company of saints in their illuminated manuscripts. Per-

haps their love of saints was due to the fact that the only literate class

besides themselves were priests. Another possible rationale, given the

special emphasis on art during this time period is that their devotion

and patronage of the arts earned them a special place in heaven. After

all, even the great banking family, the Medicis, fostered art, as well as

many Popes.

The European Renaissance which followed the medieval dark ages

is a commonly accepted starting point from which to examine the

masses so-called emergence from the darkness of ignorance and super-


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stition to the enlightenment of education and the hope of economic, so-

cial and political mobility by the underclasses that came with it.

It began with the proto-Renaissance (pre-Renaissance) of the 12-13th

centuries, followed by the Renaissance of the 14-15th centuries, reached

its peak during the High Renaissance of the 16th century when Pope Jul-ius commissioned Michelangelo to paint the ceiling of the Sistine Chapel.

With the development of the printing press in Germany in 1440, the

first Bible was mass-produced called the Gutenberg Bible. During this

same time period, Martin Luther challenged the Catholic Church and the

Protestant religion emerged. As the Protestant church moved in the di-

rection of humanism, fewer angels were depicted in religious art. Catho-

lic Michelangelo, however, did not waiver from his belief in angels, norhis apparent belief in God as a source of inspiration, clearly depicted in

his masterpiece Creation of Adam. But his contemporary, Raphael, pur-

sued yet another school of thought; philosophy, which was a neo-

Platonic revival of the golden age of the fifth century. He produced The

School of Athens with mathematical precision according to Platos concept

of universal geometry and dimension as an ideal form. This marked a

significant fork in the road between official art sponsored by the govern-

ment, religious art sponsored by the churches, and the landscape genre,

freelance art, which came soon after. Some schools of thought practiced

bringing order out of chaos as a form of idealism, while others practiced

realism. In a charming example of the abhorrence for chaos written in the

1700s, a French Catholic missionary describes Niagara Falls as:

falling from a horrible precipice, foaming and boiling after the

most hideous manner imaginable, and making an outrageous

noise and dismal roaring, more terrible than thunder. 4

Such irreverence for nature would be unthinkable to those artists pro-

ducing the landscape genre, but travel literature had emerged with the

development of the printing press, and this piece was feasibly written to

entertain an audience back home in France.

Proto-Renaissance art progressed from flat-surfaced, one-dimensionalpaintings and sculpture to multi-dimensional works of art that included

weather and atmosphere, light, shadows, perspective, gestures, and the

folds of drapery. Even sculpture advanced to portraying the folds of dra-

pery in marble.


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xv

Some were offended by the attempts to portray divinity in art alto-

gether and the iconoclast movement began as Protestants moved to-

ward humanism. Catholicism and Protestantism continued to use reli-

gious imagery to gain as yet illiterate converts and eventually both

churches sought new converts in the Americas during a time periodcalled the Counter-Revolution; thus Europe brought its unresolved con-

flicts to the new world. America was viewed by the European immi-

grants as the promised land and a restored Garden of Eden, but not for

the Indians, who were subject to a genocide that reduced their popula-

tion by more than a million people. These indigenous hunting and gath-

ering societies were converted to cattle ranching and farming. As with

the bubonic plague during the 13th century, rats, presumably barn rats,brought new diseases to the native inhabitants who were without prior

exposure or immunity.

The sacred texts of the indigenous populations were burned. The

temples of the South American Incas, Aztecs and Mayans were super-

imposed with Western architecture and Christian churches were built

upon the very ruins of the temples of the conquered tribes. Architecture

is an art. In its ideal form, architecture attracts business and tourism to

the city of God, parishioners in the case of churches, and hospitals in

the case of the Bubonic plague. 5 It also symbolizes mans conquest over

nature.

Meanwhile in the East, China, Japan and Korea, found a happy medi-

um in geometrical architecture surrounded by asymmetrical gardens

and landscapes. Unfortunately, an in-depth study of Eastern art is out-

side the scope of this work. In fact, the earliest origins of the printing

press are found in China and Korea, but our focus here is on the West-ern Renaissance.

All great artists travelled to Italy. The city of Florence was a haven to

which artists of every sort fled. During his pilgrimage across the moun-

tains to Italy, Piter Bregel the Elder developed the landscape genre.

He later merged his art with literary proverbs and another technique for

educating the illiterate masses with images and morals was born. This

work was called The Netherlandish Proverbs. In this piece, village peas-ants are engaged in a variety of proverbial activity associated with the

underclasses as perceived by the elite, such as one man beating his head

against the wall. Our variation of this is called A Montage of Proverbs

and it is located on the last page of this introduction.


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xvi

In his mastery of the landscape genre, Bregel used nature as the

greater back drop to humanity, and common folk as the lessor subject

matter in the forefront. In this manner he created the effect that man is

subject to nature rather than the other way around. This created a pop-

ular world-upside-down debate amongst the artists of his day. Thereremains some question amongst scholars as to whose side Bregel was

on, the peasantry or the elite. 6 The elite counter-acted with an art

movement of their own to keep the poor peasants in their place. To the

elite, order meant obedience by the peasantry. They contributed to ste-

reotyping the lower classes and thwarting their upward mobility with

images of war heroes, villains, shepherds, farmers and fools. Hogen-

berg and Ewout Muller of Amsterdam portrayed the activities of thepeasantry and their heroic efforts to overcome their lot as foolish and

subversive. 7 A popular theme that emerged was virtue versus folly.

The peasantry sought to eliminate the stereotypes the elite cast upon

them by creating the folklore genre artist as hero, and the elite as fraud-

ulent, amoral villains. Folklore aimed at an egalitarian ethos 8 and

some scholars now view folklore as the social and unofficial history of

the peasantry in their conflicts with the elite. 9

Meanwhile, Catholic priest Desiderius Erasmus challenged the Latin

translation of the Bible, restored it to Greek, criticized the folly of the

church and art altogether, and attempted to reform monks who were

fond of wine, women and song and loathe to work.

Folklore triumphed as a literary genre in the 1800s. Queen Elizabeth

I implemented the public school during the Protestant Reformation so

the poor peasants might have as good an education as she did. By now

the common folk could read and write. Hans Christian Anderson pro-duced The Ugly Duckling, famous for its underlying message of the art-

ist as social outcast until he is reunited with his true family of swans.

Additionally he produced The Princess and the Pea, Thumbelina, and The

Little Mermaid. The Grimms brothers produced Snow White, Hansel and

Gretel and others, until they were exiled from the Kingdom of Hanover

for putting up a resistance to royal absolutism. The Berlin Academy of

Sciences took them under their umbrella so they could produce a dic-tionary. 10 Since Socrates and Plato, childrens literature has never

been without its social radicals and revolutionaries.

Early indications of folklore are found in The Pied Piper of Hamelin.

The legend behind the Pied Piper is that a man hired himself to rid the


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town of Hamlin (Hameln) of rats and when he was not paid for his

work, he returned to the village and lured children away who were en-

chanted by his flute. Factual support for the disappearance of numerous

children is found in the 15th century Luenenberg manuscript which

reads:

In the year of 1284, on the day of Saints John and Paul on 26

June, 130 children born in Hamelin (Hameln, Germany) were

seduced by a piper dressed in all kinds of colors and lost at the

place of execution near the koppen. 11

It is said that the childhood song ring around the rosies, a pocket full

of posies, ashes, ashes, we all fall down was written about a village that

had to be burned to the ground due to the plague. In Discovering the

Global Past, author Merry Weisner suggests that the rhyme was intend-

ed to make certain future generations never forgot the plague. 12 There

are those who dispute this, claiming the limerick was written in the 18th

century. Many great artists died during the plague, including Ambrosio

Lorenzetti, famous for his masterpieces, The Effects of Good Government

and The Effects of Bad Government.Many nursery rhymes and fairy tales are believed to have been writ-

ten about actual historical events. Mary, Mary, quite contrary is said

to have been written about Mary, Queen of Scots, Catholic, cousin to

Protestant Queen Elizabeth. Mary Queen of Scots was convicted of trea-

son for plotting to overthrow her cousin. The Emperors New Clothes by

the brothers Grimm is said to have been written about Julius Caesar be-

cause Rome was then seen as a naked tyranny. According to child psy-chologist Bruno Bettelheim, the genie in the bottle originated from a Ger-

man-Swiss doctor named Theophrastus Bombastus , the first doctor to

put medicine in bottles. 13

The earliest printed version of Little Red Cape (Little Red Riding Hood)

Is Charles Perraults 1697 version. Perrault was one of the first folk tale

authors next to sop to draw from classical Greek literature and state

an explicit moral at the end of his stories.

Children, especially attractive, well-bread young ladies,

should never talk to strangers, for if they do so, they may well

provide dinner for a wolf. I say wolf but there are various


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kinds of wolves. There are also those who are charming, quiet,

polite, unassuming, complacent, and sweet, who pursue young

women at home and in the streets. Unfortunately it is these

gentle wolves who are the most dangerous ones of all. 14

Walter Crane created a wood-cut illustration for Little Red Cape

(wood-cuts were used for printing prior to the development of the print-

ing press) and went on to both write and illustrate numerous folk tales

including Sing A Song of Sixpence and One, Two, Buckle my Shoe. He add-

ed another quality to educating the illiterate in keeping with the neo-

Platonic revival of the time: he made learning fun. Another well-known

trick of the trade that developed was to eliminate adult intervention as

far as possible, and allow children to discover creative solutions to diffi-cult problems on their own. Hansel and Gretel, for instance, provides visu-

al imagery of a childlike sense of abandonment. In spite of the fear factor,

children are enchanted and filled with admiration at Hansels clever use

of bread-crumbs and stones to trace his path home.

Folk tales as art are external representations of internal psychological

processes. They are often placed in pastoral settings with town-weary

folk as celebrities, are larger than life, and represent struggles to over-come difficult circumstances. They are rife with social, political and eco-

nomical absurdities which children relish. Witches, warlocks and ogres

represent real dangers in the world, hostile forces , prejudices and obsta-

cles which one must overcome to fulfill a goal. Identifying which forces

are real and which are fictitious develops courage. 15 Then as now, to

many adults these figures are mere superstition, but to others they are

very real, thus the controversy surrounding J.K. Rowlings Harry Potter

and the Sorcerers Stone.

The moral at the end of folklore suggests if nothing else that there is

something to be learned from reading, and, of course, this technique was

another tool used by the church to both educate and teach the newly lit-

erate morals., and, perhaps, liberation from poverty. Although the great

moralist sop is alleged by some to be a legendary figure rather than an

actual person, some scholars claim he was a Greek slave.

Shortly after the development of the printing press, publishing com-panies began printing the best classical books at very inexpensive pric-

es.16 A great deal of original material was lost in these translations, in-

cluding translations of the Bible. The most famous work of art resulting


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from a Biblical mistranslation is Michelangelos Moses. The sculpture

depicts Moses descending Mount Sinai with two horns on his head, re-

sembling a devil, rather than two rays of light emanating from his head

as in the original text. 17

It had always been the goal of the Catholic church, Michelangelo es-pecially, to prove the existence of God. The flat-surfaced one-

dimensional paintings of the proto-Renaissance were now multi-

dimensional, and artists had indeed proven that there is more than

meets the eye. This achievement of Renaissance artists may be compared

to the recognition that a square has multiple dimensions in the form of a

cube, rather than one. Literature, once called language art, is perceived

as one-dimensional art, that is text on paper. But literature also uses liter-ary images to demonstrate there is more than meets the eye. These imag-

es are most notably found in the Bible. Iconoclasts have not objected to

this form of imagery, however, to any degree close to their objections to

the portrayal of divinity in art .

It may in fact be the hidden meaning, that which is not seen, that

which is not spelled out, the second or third dimension, the ideal rather

than the real, the symbols and the imagination that engage children to

fairy tales and folk lore. Symbolism has always played a large role in art

and although I have not discussed it here, I have included a list of com-

monly recognized symbols at the back of this book. A forest symbolizes

a place of testing, for example. Crossing a bridge symbolizes making a

transition. A cube symbolizes the end of a cycle of immobility.

Once upon a time, long, long ago, I learned to read fairy tales and I

decided I wanted to be a fairy-tale writer when I grew up. Many times I

wondered if Hogenberg and Ewout Muller were right. Great folly has

been committed in this pursuit on occasion, not the least of which is di-

rectly related to ignorance about mathematics and the unyielding speci-

fications of the printing press. Ive actually awaken from a nightmare

where columns of text were pillars of Roman architecture in symbol. It

behooves the budding author, then, to learn a bit about the transition

from illuminated manuscripts to the commercial printing press, lest

midway through the process one is facing the ghost of Erasmus and hisadmonishments for playing with complex questions, and second child-

hoods. 18 It is entirely feasible that a whole new genre of horror stories

can be written on this subject matter alone.


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xx

I studied a bit of art in college and Id like to study it further. A great

deal of my study on this genre has been supplemented by independent

study . There is at least one fact I can authoritatively conclude about the

genre: a child who grows up in the company of Kings & Queens, Princes

& Princesses, paupers and fool, has a greater likelihood of pursuing ahigher education and learning about monarchies, Queen Elizabeth I,

public education versus private Catholic schools, the French Revolu-

tion, the American Revolution, the Native American Indian holocaust,

The American Constitution, and so on.

Ideally, I hope to inspire the same love of learning that was instilled

in me when I learned to read, either by studying independently or pur-

suing a formal education. Indeed, the Public Library opened in 1571courtesy of the Medici family of Florence that all might have access to

learning via independent study; the Biblioteca Medicea Laurenziana.

There is a vast field of treasure in medieval history for adults and

children alike, far more than is within the scope of this work. Tutorials

for the proper public behavior of Princes, as well as table manners for

Princesses were written during this period. Work considered pagan,

such as the fables of sop, were gradually shunned as well as works

considered too moralizing. 19 These works retain great value for their

insights into the life and times of the characters who graced their pages

and the celebration of human achievement that is the humanities. In ret-

rospect to my childhood, I cannot recall an educational bridge between

fairy-tales, folklore, and real art history. I hope this book provides an

elementary bridge.

~Deborah Khora~


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xxi

A Montage of Proverbs

From top left to bottom right: Let sleeping dogs lie, laughter is the best

medicine, money talks, dont cry over spilled milk, youll catch more flies

with honey than vinegar.


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2

The Little Shoeshine Boy

O

nce upon a time in the Enchanted Forest there lived a

little boy who shined shoes for a penny at the village

inn. If he did an extra fine job, a kind patron might tosshim a quarter and say, Go home early today, boy. He

was so very poor. Yet there was no end to the shoes in sight. As

he gazed down Main Street at all the pedestrians strolling the

walk he thought to himself, there is no end to the money I could

make. The thought of it made him very happy. But in truth his

employment rendered him only fifty cents each day.

One hot summer afternoon the little shoeshine boy grew wearyof his life of servitude. He realized he must take decisive action.

He could walk away from it all. Leave Main Street behind. Start a

new life. Never look back. So that is what he did. But as he ran

Main Street


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3

free through the meadow to his cottage in the woods, the shoes

he left unfinished came running after him.

His eyes opened wide in horror as he raced faster toward

home. He skipped across the stone bridge over the brook, out of

breath, heart pounding, til he was safe inside. Then he heard a

knockity-knock-knock. The shoes were kicking at the door.

So what did the little shoeshine boy do? He grabbed a tin of

shoeshine, some cheese cloth, and courageously opened the door.

Then he finished shining the shoes.

Moral of the story: Finish what you start, then you are free to

move on.

The End


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The Little Shoeshine Boy

4

As he ran through the meadow to his cottage in the woods,the shoes he left unfinished came running after him.


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Glossary

6

Abandon: To desert. To surrender to ones feelings or impulses. Leave

without intending to return.

Abdicate: To give up formally, renounce as a throne, power or rights.Give up a possession, claim or right.

Abroad: Out of ones home. In foreign lands.

Abundance: A plentiful , ample supply. Wealth. Bounty.

Aesthetic: One who is very responsive to beauty in art or nature.

Align: To place in line.

Ambiguous: Having a double, doubtful or uncertain meaning. Cloudy.

Ambrosia: The food of the gods giving immortality in mythology.Amorous: Loving, affectionate.

Antiseptic: Preventing infection. Clean.

Apothecary: An ancient pharmacy.


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7

Archaeologist: One who studies history from buried remains by exca-

vation.

Aristocrat: Nobility. Self-government. Government by its best citizens.

Artifact: Anything made by human work or art.

Aster: A family of flowers. Greek for star.

Ballad: A sentimental poem or song.

Banish: To expel, send away to a foreign place, exile. Deport.

Bold: Taking risks, adventurous.

Bombard: Originally hurling with stones. To attack with bombs.

Botanist: One who studies plants.Bree: Broth.

Bucolic: Characteristic of shepherds or herdsmen. Pastoral, country.

Buffoon: One given to jokes or pranks. Italian for clown.

Cardiopulmonary resuscitation: To revive the heart and lungs by

injecting air and putting pressure on the heart.

Centralism: Concentration of control in a central authority.

Charge: To entrust with a duty. To commit, pledge.

Cithara: An ancient Greek stringed instrument. The poor mans harp.

Citizen:A person owing loyalty to and protected by the government.

Clew: Something that serves as a guide in solving a problem, usually

spelled clue.

Conservative: A political tendency to preserve the existing order of

things. Opposed to change.

Constitution: The composition of a thing. The fundamental laws that

govern a state.

Conquer: To overcome by force, as in war. Beat, best, defeat, master.

Cordially: Warmly, heartily and sincerely.

Courage: To meet danger or opposition fearlessly. Bravery.

Criteria: A standard or rule by which a judgment can be made. Mark,

standard, yardstick.

Damsel: A young unmarried woman.

Decisive: Ending uncertainty or dispute. Unquestionable.


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Glossary

8

Delectable: Delightful. Enchanting.

Dionysus: Greek god of wine.

Dowry: A natural talent. Also, the property a wife brings to her hus-

band at marriage.

Dominion: Sovereign authority. The right to command, rule or judge.

Ecosystem: An interdependent system of production.

Edify: To enlighten and benefit, especially morally and spiritually.

Elixir: A sweetened, alcoholic medicinal preparation for prolonging life.

Elucidate: To explain. To clarify something. Illustrate.

Emerge: To come into view, as from a hiding place.Employment: Hired to work for another in return for wages or salary.

Engulf: To swallow up, bury or overwhelm. Drown, flood, overwhelm.

Enlighten: Revealing or increasing knowledge. Educate, inform.

Enzyme: Protein able to hasten a chemical reaction.

Epiphany: A sudden realization.

Equestrian: A rider on horseback.

Ethics: The philosophy of human conduct with emphasis on right andwrong. A rule of habit or conduct.

Erudite: Extensive learning. Scholarship. Lettered.

Excavate: To uncover by digging. Unearth. Break, turn over, remove

with a tool.

Exculpate: To free from blame, prove innocence.

Exotic: Not native. Belonging to another part of the world.

Expulsion: To drive out by force.Exquisite: Marked by rare and delicate beauty or excellence.

Fanfare: A noisy parade.

Fte Galante: An outdoor celebration. In Rococo art, a place for upper

class amusements that does not exist.

Fictitious: Not genuine or real. False. Fanciful, made-up.

Flatter: To praise excessively. To try to gain favor by praising. Butter

up. Sweet-talk.

Fortnight: Two weeks.

Fragment: Parts broken off. A small detached portion. A separated bit.


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9

Gallant: Unafraid, possessing spirit, courage.

Garb: Clothing, drapery. Italian for grace. Apparel, attire.

Generous: Abundant and overflowing. Plenty. Handsome. Freely giv-ing.

Genre: A particular category, especially a category of art or literature

characterized by a certain form, style or subject matter.

Genius: In ancient mythology, a supernatural being appointed to guide

a person throughout life. Unusual intelligence. Liveliness of imagination

or talent.

Gourmet: Good food and drink.

Hamlet: A little village without a church.

Handsome: Generous.

Haversack: A bag for carrying rations on a hike.

Herald: A messenger. Any bearer of important news. Announce, intro-

duce, proclaim.

Humble: Free from pride or vanity. Modest, lowly, meek.

Hullabaloo: A loud, confused noise. Uproar. Racket, din.

Hypothesis: An unproved scientific conclusion drawn from known

facts. Theory.

Iconoclast: One who attacks conventional or cherished beliefs and in-

stitutions. One who opposes the use of religious images.

Idyll: A poem or prose piece, usually short, depicting simple scenes of

pastoral, domestic or country life.

Infirmary: A place for treatment of the sick.

Inequity: Grievous violation of right or justice, wickedness, a wrongful

act.

Inspiration: The arousal of the mind with some idea, feeling or im-

pulse, especially one that leads to creative action. Encouragement. Up-

lift.

Intent: Purpose, aim, goal, design, objective.

Intrigue: Curiosity, interest or fascination. Secret plan.


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Glossary

10

Jester: One who provokes laughter. A court fool. Clown.

Justice: The rendering of what is due or merited. Traditionally a sys-

tem of reward and punishment.

Kaleidoscope: A swiftly changing scene or pattern.

Kin: Kindred, alike. Ones relatives by blood, family.

Law: A rule of conduct, recognized by custom or decreed by formal

enactment, considered as binding on members of the community. De-

cree, edict.

Legend: An unauthenticated story from earlier times, preserved by

tradition and thought to be historical.

Leisure: Freedom from the demands of labor or duty.

Liberal: Characterized by or inclining toward opinions or policies fa-

voring progress or reform, as in politics or religion. Not intolerant, or

prejudiced. Broad-minded.

Litigant: A participant in a lawsuit.

Lo and Behold: See! Observe!

Lofty: Having great or imposing height. Occupying a high position.

Marinate: Soak in brine. Pickle with wine, oil and spices. Tenderize.

Meander: To wind and turn in a curving course. Wander aimlessly.

Medicine: Any agent used in the treatment of disease, the relief ofpain, or to restore to health.

Minstrel: A wandering musician who sings and recites poetry.

Moderate: Keeping or kept within reasonable limits. Temperate. Not

extreme.

Muse: To experience dreams or daydreams. Music. Eloquence. In

Greek mythology any of nine goddesses who presided over the arts

and sciences.

Native: Natural rather than acquired. Born in a particular place or

region. Hereditary.


32/41


33/41

Glossary

12

Resplendent: Shining with bright luster. Vividly bright, splendid,

gorgeous.

Ruble: A Russian silver coin.

Salvage: To save, as a ship or its cargo from wreck or capture. Savefrom destruction or danger. Rescue, redeem.

Scholar: A person eminent for learning, usually elderly, noted for

wisdom.

Science: Known facts, ideas and skill.

Scullery: Room where kitchen vegetables are cleaned and vegetables

are washed.Sculptor: One who creates sculpture by carving wood, modeling clay

or plastics, working metal or chiseling stone, etc.

Servitude: Enslavement. Bondage. Duties of a servant. Menial ser-

vice.

Shilling: British coin. A former coin of colonial America.

Simpleton:A weak-minded or silly person.

Sinister: Suspiciously wrong or wicked.Sociology: The science that treats of the origin and evolution of hu-

man society and social phenomena.

Specialty: A special occupation, craft or study. An article dealt in ex-

clusively or chiefly.

Spectrum: The band of color observed when a beam of light is passed

through a prism that separates each component of the light according

to wavelengths, ranging from long for red to short for violet.

Spinster: A woman who has remained unmarried, especially one no

longer young.

Sprig:A young shoot or sprout of a tree or plant.

Subtle:Slight difference. Difficult to notice.

Swain: A young country gallant. A lover., admirer, beau.

Temperance: The state or quality of being temperate, habitual mod-eration. Avoiding extremes.

Thatched: A covering of reeds or straw, etc. as for a roof.

Theater: Stage. A place to present dramas, operas, lectures.


34/41


13

Threadbare: Worn so that the threads show, as a rug or garment. Tat-

tered. Showing signs of neglect.

Tinker: Loosely, one who does repairing work of any kind; a jack-of-

all-trades. To fidget.

Translation: To express in another language. Re-state.

Treacherous: Having a deceptive appearance. Unreliable, untrustwor-

thy. Not true to duty.

Treasury: The place where public or private funds are kept. Where

valuables are kept.

Triumph: To win a victory. Be successful. Master.

Troubadour: A singer, especially of love songs. French.

Tu-whit-tu-whoo: The cry of an owl, as used by Shakespeare.

Tyrant: One who rules oppressively or cruelly. Dictator.

Vagabond: One who wanders from place to place without visible

means of support. Nomad, vagrant.

Van Guard: The advance guard of an army. Those in the forefront of a

movement, as in art.Vigor: Vital or natural power, as in a healthy animal.

Virtue: Any admirable quality or trait. A love of what is right. Moral

excellence. Goodness, innocence.

Wane: To diminish in size and brilliance, as the moon. Less active or

intense.

Wax:To become full, especially of the moon.Wastrel: An idler, loafer, vagabond. Spending resources wastefully.

Whit: The smallest particle or speck. Dot, dash, grain, speck.

Wisdom: The power of true right and discernment. Conformity to a

course of action dictated by such discernment. Mature understanding.

Thorough.

Woe: Overwhelming sorrow or grief. Agony, stress, pain.

Yore: Old time. Days long past. Yester-year.


35/41

14


36/41


37/41

End Notes

16

1 Snipes, Jack, Fairy Tale Discourse: Toward a Social History of the Genre,

Introduction to Fairy Tales and the Art of Subversion (N.Y., Routledge,

Taylor & Francis Group, 2006), pg. 1. Even though the fairy tale may be

the most important cultural and social event in most childrens lives,

critics and scholars have failed to study its historical development as agenre.

2 Benton, Janetta Rebold, Arts & Culture, ( Saddle River, Pearson

Education, Inc., 2008), pg. 288.

3 Graves-Rouse, John Clive, Great Dialogues of Plato, (N.Y., The

New American Library of World Lit.., Inc., 1956), pg. 7.

4 Artz, Frederick B., From the Renaissance to Romanticism,

(Chicago, The University of Chicago Press, 1962), pg. 164.5 Kleiner, Fred S., Gardners Art Through the Ages, (Boston, Thom-

son Higher Education, 2009), pg. 502.

6 Kunzle, David, Bruegels Proverb Painting and the World Upside

Down, (Art Bulletine, June 77, vol. 59, Issue 2), pg. 202.

7 ibid, pg. 201.

8 Perrie, Maureen, Folklore as Evidence of Peasant Mentalitie: Social At-

titudes and Values in Russian Popular Culture, (The Russian Review, 1989,

vol. 48, No. 2), pg. 127.

9 ibid, pg. 119.

10 Damrosh, David, The Longman Anthology, World Literature, vol.

D, (N.Y., Pearson Education, Inc., 2009), pg. 192.

11 Rerez-Cuervo, Maria, J., The Lost Children of Hamelin, Retrieved on

Dec. 31, 2011, www.forteantimes.com/features/articles/3805/

the_lost_children_of_hamelin.html.

12 Weisner, Merry, Discovering the Global Past: A Look at the Evi-

dence, (Boston, Houghlin Mifflin Co., 2007), pg. 379.

13 Bettelheim, Bruno, The Uses of Enchantment, (N.Y., Alfred A.

Knopf, 1976), pg. 316.

14 Ashliman, D.L., Charles Perraults Mother Goose Tales, Retrieved on

Dec. 31, 2011, www.pitt.edu/~dash/perrault02.html.

15 Sterling & Scott, Plato: The Republic, (N.Y., W.W. Norton & Co.,

1985), p.p. 128-136.16 Flemming, William, Arts & Ideas, (N.Y., Holt, Rinehart & Win-

ston, Inc., 3rd Ed.), pg. 292.

17 ibid, pg. 271.


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17

18 Erasmus, Desiderus, The Praise of Folly, Retrieved on Dec. 31,

2011, www.information.com/etexts/gutenberg/dirs/

etexts05/7efly10.htm.

19 Kline, Daniel, Medieval Literature for Children, (N.Y.,

Routledge, 2003), pp.1-10.

20 Rogers, Ann, The New Cookbook for Poor Poets, (N.Y., Charles

Scribners Sons, 1979), pg. 1.

21 Weisner, Merry, E., Discovering the Global Past: A Look at the

Evidence, (Boston, Houghton Mifflin Company, 2007), pg. 3.

22 ibid., pg. 2.

23 de La Tour Landry, Geoffroy, Book of the Knight of the Tower,

retrieved on Dec. 31, 2011, www.quod.lib.umich.edu/c/cme/kntTour-L/1:2?rgn=div1;view=fulltext., pg. x.

24 The History of Plumbing, Roman & English Legacy, retrieved on

Dec. 31, 2011, www.plumbingsuppy.com/pmroman.html.

25 ibid.

26 Gower, John, Confessio Amantis, modern English translation by

Richard Brodie, retrieved on Dec. 31, 2011, www.richardbrodie.com/

Prologue.html.27 Blackburn, Nick, Kings & Queens, retrieved on Dec. 31, 2011

www.snap-dragon.com/kings_and_queens.htm.

28 ibid.

29 www.plumbingsupply.com.

30 Blackburn, Nick.


39/41

References

18

Africa, Thomas W., Rome of the Caesars, (N.Y., John Wiley & Sons, Inc.,

1965).

Artz, Frederick B., From the Renaissance to Romanticism, (Chicago, The

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Aurelius, Marcus, Meditations, (N.Y., Walter J. Black, 1945).Benton, Janetta Rebold, Arts & Culture, (Upper Saddle River, Pearson

Education, Inc., 2008), pg. 288.

Bettelheim, Bruno, The Uses of Enchantment, (N.Y. Alfred A. Knopf,

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Blackburn, Nick, Kings & Queens, retrieved on Dec. 31, 2011, www.snap

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Browne, Lewis, This Believing World, (N.Y., The MacMillan Company,1926).

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Estes, Clarissa Pinkola, PhD., Women Who Run With the Wolves,

(N.Y., Ballantine Books, 1992).

Fisher, David, Legally Correct Fairy Tales, (N.Y., Warner Books, Inc.,

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Flemming, William, Arts & Ideas, 3rd Ed., (N.Y., Holt, Rinehart & Win-

ston, Inc.).

Fromm, Erich, Escape From Freedom, (N.Y, Henry Holt & Company,

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Garner, James Finn, Once Upon A More Enlightened Time, (N.Y., Mac-

Millan, 1995).

ibid, Politically Correct, The Ultimate Storybook, (N.Y., Smithmark

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Gibson, Walters, Bruegel, (N.Y., Thames & Hudson, Ltd., 1977).

Giordano-Zecharya, Manuela,As Socrates Shows the Athenians Did Not

Believe in gods, (Numen International Review for the History of Re-

ligions, 2005, vol. 52).

Gower, John, Confessio Amantis, modern English translation, RichardBrodie retrieved on Dec. 31, 2011, ww.richardbrodie.com/

Prologue.html.

Graves-Rouse, John Clive, Great Dialogues of Plato, (N.Y., The New

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Katz, Solomon, The Decline of Rome & the Rise of Medieval

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Kleiner, Fred S., Gardners Art Through the Ages, 13th Ed., vol. 2,

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Kunzle, David, Bruegels Proverb Painting and the World Upside Down,

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Rogers, Ann, The New Cookbook for Poor Poets, (N.Y., Charles Scrib-

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Singh, Simon, The Code Book, (N.Y., Doubleday, 1999).

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1935).

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