[Paleopsych] TLS: (Grimms) Gabriel Josipovici: By a cool well
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Gabriel Josipovici: By a cool well
The TLS July 08, 2005
[This is a great review!]
Where to find the princesses and their frogs
SELECTED TALES. Jacob and Wilhelm Grimm. Edited and translated by Joyce Crick.
344pp. Oxford University Press. Paperback, Pounds 8.99. - 0 19 280479 0.
Why do we need another edition of Grimm's Fairy Tales? Are there not already
several complete editions in English and any number of picture-book selections
for children, with new ones appearing every Christmas? Instead of answering
this question directly let us take another example of a "world's classic", the
Bible. Though there are countless editions of the Bible around, and a large
number of commentaries, OUP's World's Classics edition, published in 1997,
filled a yawning gap. Edited by Robert Carroll, an Old Testament scholar with a
real feeling for literature, and Stephen Prickett, a literary critic and
scholar with a strong interest in the Bible and its afterlife in literature,
this contained a long and extremely interesting introduction and copious
footnotes. It did not try to summarize the many biblical commentaries, which
tend to be theological and historical, but rather to raise questions about the
Bible as a book and a great literary document, which of course it is, as well
as being a cultural and religious one. In a similar way, Joyce Crick, a fine
scholar of German literature who has always been adept at addressing a larger
audience than simply her fellow Germanisten, has set out here to rescue Grimm's
Tales both from children and from folklorists and to help us see it as a major
literary work. Like Carroll and Prickett, she has done a magnificent job, and
both she and OUP are to be congratulated.
For too long these haunting tales have been pulled out of context and subjected
to mythological and psychological exegesis. Crick has done us an enormous
service by returning them to their context in the Germanic lands of early
modern Europe (Brueghel has always seemed to me a better key to their
interpretation than Freud, Marx, or Mircea Eliade). Though she does not include
some of my favourite stories (the wonderfully surreal "Herr Korbes" and
"Lauschen und Flohchen", for example), and though she can do nothing about
conveying the huge linguistic range of the collection, this is nevertheless a
volume to treasure.
Carroll and Prickett had no problem selecting their master text: it had to be
the 1611 King James Bible, which has been a "world classic" from the moment it
was published. Where the Grimms are concerned the choice is a little more
difficult.
To understand why, one needs to understand the publishing history of the Tales.
The brothers Jacob and Wilhelm Grimm were born within a year of each other (in
1785 and 1786) and, as law students at the University of Marburg, were drawn to
the study of the past of the German people, as were many idealistic youths in
the troubled period of the early nineteenth century, when Napoleon's armies
were conquering Europe - simultaneously arousing nationalist opposition in the
areas they occupied and spreading the creed of liberty in states still in the
grip of petty princelings and feudal rule. Enlisted by the young Romantic
writers Achim von Arnim and Clemens Brentano, who were compiling their
anthology of German folk songs, Des Knaben Wunderhorn, to put together an
anthology of the earliest German prose narratives, by 1810 the two brothers had
prepared a manuscript consisting of thirty tales and dispatched it to Brentano.
In 1812, Volume One of their Kinder-und Hausmarchen (Children's and Household
Tales) appeared, followed by a second volume in 1815. These were so successful
that they were thoroughly revised and enlarged for a second edition in 1819. A
"little edition" appeared in 1825, consisting of most of what have become the
best-known fairy tales, which was quickly translated into other European
languages, and this was followed by further revised and enlarged editions in
1837, 1840, 1843, 1850 and 1857. These were mainly the work of Wilhelm, the
more literary of the two, while Jacob pursued his philological and
mythographical interests, becoming a leading figure in the German cultural
renaissance of the nineteenth century. They died within four years of each
other, Wilhelm in 1859, Jacob in 1863.
The question is, which edition does one choose as one's master text? As has
been pointed out by Hans Rollecke, the leading scholar in the field -constantly
acknowledged by Joyce Crick in her introduction and notes to the Selected Tales
she has edited and translated -no two editions are identical, for even when no
major changes were made between editions Wilhelm was constantly rewriting and
"improving". Rollecke chose the 1837 edition as the master text for his edition
of the Tales for the German equivalent of the Pleiade, the Deutsche Klassiker
Verlag.
Most complete English editions choose to work from the last German edition,
that of 1857, and this is what Joyce Crick has done. That makes sense, for it
yields not only the last word of the Grimms on the subject, but provides us
with a translation of a mid- nineteenth-century children's classic. I cannot
help feeling, however, that an opportunity has been missed and that a selection
from the first edition, of 1812/15, would have given us not just a classic of
German tales for children, but one of the great books of world literature.
To understand why this should be so we need to look in a little more detail at
the differences between the 1810 manuscript, the first publication, and
subsequent editions. Crick is well aware of these differences, discussing the
issue in her introduction, pinpointing changes in her notes to the Tales, and
printing selections from earlier versions in Apppendix A, while in Appendix B
she prints a selection of tales that were in the first edition but were
subsequently removed. Yet I don't feel she has fully grasped what is at issue
here.
Though the brothers had been set to work by von Arnim and Brentano, they
quickly realized that they were unhappy with the attitude of the two Romantic
writers to their sources, which, they felt, was cavalier in the extreme.
Instead of using the ancient German poems and stories as launching pads for
their own Romantic effusions, they were very clear that they wanted to present
to the world what the ancient Germans had said in as unadulterated a form as
possible. This is how they put it in the beautiful opening of their
introduction to the first edition of 1812, repeated in 1819:
It is good, we find, when an entire harvest has been beaten down by storm or
some other heaven-sent disaster, that beneath lowly hedges and wayside bushes
some small corner has still managed to preserve a shelter, and single heads of
corn have remained standing. Then, if the sun shines kindly again, they go on
growing solitary and unnoticed . . . .
"That", they go on, "is how it seemed to us when we saw how, of so much that
once flourished in times past, nothing has survived -even the memory of it has
been almost entirely lost -except, among the common folk, their songs, a few
books, legends, and these innocent household tales . . . ." "We were", they
conclude, in words that were to be echoed by folklorists everywhere in the
century to come, "perhaps only just in time to record these tales, for those
who should be their keepers are becoming ever fewer."
They were, they felt, the keepers and preservers of an ancient seed, what they
describe as "these innocent household tales". Yet, as all the great
nineteenth-century collectors from Scott to Lonnrot demonstrate, this is easier
said than done. Even today, with the help of aural and even visual recordings,
it is not so easy to decide what is part of an authentic tradition, what is
embellishment by the modern singer or narrator, and exactly how to transcribe
what one is hearing. The Grimms, we must remember, were working long before
folklore studies were established, though by the time of the last edition, and
thanks in large part to them, the situation was very different.
Here, then, to demonstrate the problem, is the opening of the very first story
in the collection, "The Frog Prince, or Iron Henry". In the 1810 manuscript it
is called "The King's Daughter and the Enchanted Prince". As Joyce Crick points
out, the drafts in the manuscript were "written down with little attention to
style, often with abbreviated forms, insertions, and minimal punctuation",
which she has normalized:
The king's youngest daughter went out into the forest and sat down by a cool
well. Then she took a golden ball and was playing with it when it suddenly
rolled down into the well. She watched it falling into the depths and stood at
the well and was very sad. All at once a frog reached his head out of the water
and said: "Why are you wailing so much?" "Oh! You nasty frog," she answered,
"my golden ball has fallen into the well." Then the frog said: "If you will
take me home with you and I can sit next to you, I'll fetch your golden ball
for you." And when she had promised this, he dived down and soon came back up
with the ball in his mouth, and threw it onto land.
And here is the 1812 version (because it is considerably longer I will only
give the equivalent of the first version's first two sentences):
There was once a king's daughter who went out into the forest and sat down by a
cool well. She had a golden ball which was her favourite toy; she would throw
it up high and catch it again in the air, and enjoyed herself as she did this .
One day the ball had risen very high; she had already stretched out her hand
and curled her fingers ready to catch it when it bounced past onto the ground
quite close to her and rolled straight into the water .
Finally, the 1857 version (since this is considerably longer again, I will only
give the equivalent of the first version's initial one and a half sentences):
In the old days, when wishing still helped, there lived a king whose daughters
were all beautiful, but the youngest was so beautiful that the sun itself,
which after all has seen so many things, marvelled whenever it shone upon her
face. Not far from the king's palace there lay a big, dark forest, and in the
forest, beneath an ancient linden tree, there was a well. Now if it was a very
hot day the king's daughter would go out into the forest and sit at the edge of
the cold well; and if she was bored she would take a golden ball, throw it up
high and catch it again; and that was her favourite toy.
The first version is clearly very raw. It plunges straight in, a little too
breathlessly perhaps, but it still has time for an adjective to convey the
young girl's pleasure at being where she is: the well is "cool", inviting one
to sit down beside it, and highlighting the contrast with what is to come, for
water is an element alien to humans and which they cannot control. When her
ball rolls into it she is "very sad", and when a frog pops up out of its
depths, she is immediately repelled by him: "Oh! You nasty frog".
The second version provides the classic fairy-tale opening: "There was once .
.
.". Since in this story, unlike the majority of them, the fact of being the
youngest child is irrelevant, for the tension develops between the girl and the
frog and the girl and her father (who holds that once she has given the frog
her promise she can't go back on it), not between siblings, it removes that bit
of information. After that it is difficult to decide if its greater
expansiveness weakens or strengthens it. What is important is that the girl is
playing with a ball which falls into the well and is only given back to her by
the frog in exchange for a promise to let him sit next to her. Do we need to be
told that it was "her favourite toy" and that "she enjoyed herself" as she
played with it? But perhaps the expansion creates the sense of her pleasure and
self-absorption, as does the new phrase, "she had already stretched out her
hand and curled her fingers ready to catch it", and so prepares us for her
response to the frog and indeed to the rest of the story, which implies that we
cannot live our lives simply taking pleasure in our own games but must somehow
relate to others if we are to grow up. That, it seems to me, is reinforced by
the splicing onto the story at this stage of the faithful servant of the Frog
Prince, who, in a very German way, cannot utter his sorrow at what has happened
to his master, but from whose chest the iron bands that have constricted him
fall away one by one when his master regains his rightful shape.
The 1857 version carries the principle of expansion much further. Now, instead
of the focus being on the narrative, it is on the (wise and kindly old)
narrator, telling us that "In the old days, when wishing still helped . . .",
and that the youngest was not just beautiful but "so beautiful that the sun
itself, which after all has seen many things, marvelled whenever it shone upon
her". Now the forest is no longer just a forest but "big and dark", and the
well now lies "beneath an ancient linden tree". It is as though this narrator
can no longer trust us to imagine for ourselves, but has to fill in every
detail for us.
What the successive changes bring out, first of all, is that, despite the
Grimms' Romantic claim (echoed by nearly all the early collectors of folk songs
and tales) that they were preserving the precious seed of the Folk that was in
imminent danger of disappearing, we can never get at a version that is
absolutely authentic: every version will bear the imprint of the last speaker
or compiler, no matter how neutral and scientific one tries to be. As Italo
Calvino points out in his introduction to his collection of Italian tales, the
task of the compiler is therefore to be as sensitive to the essential nature of
his material as possible, and to try and "render" it as well as possible, using
all the resources at his command. My own feeling is that the Grimms came as
close to perfection as is possible in the first, 1812/15 edition of their
tales, but strayed further and further from their original ideal with each
subsequent edition.
Why should this have been? Crucially, in the wake of the success of the first
edition and of the many letters it elicited, Jacob and Wilhelm Grimm began to
think of their work not as a collection of early German narratives but as a
book designed specifically for children. Thus propriety, or what was deemed
acceptable to children, became a key issue. Some tales, such as the
magnificent, brief "Wie Kinder Schlachtens miteinander gespielt haben"
(translated by Crick in an appendix under the title "Playing Butchers"), two
versions of which were offered in 1812, were removed for the second edition
after parents had complained that they were too violent for their children
(English readers have long been surprised at the violence and sadism that were
left in or even increased in subsequent editions, but it seems that if
punishment was deserved the Grimms did not mind including it). In the 1812
version of "Rapunzel", the girl, shut up in the tower by the witch, but letting
her long hair down to allow the prince to climb up to her, gives the game away
by saying to the witch: "Tell me, Godmother, why are my clothes getting so
tight they don't fit me any longer?". This becomes, in the later versions:
"Tell me, Dame Godmother, how is it that you are so much heavier to draw up
than the young king's son, who only takes a moment to reach me?". In that
mysterious tale "Allerlei-Rauh" ("Coat-o'-Skins"), a father falls in love with
his daughter after the death of his wife and determines to marry her. She
escapes and wanders, disguised, in a forest, where she is found by "the King,
her betrothed" in the 1812 edition, "the king to whom that forest belonged" in
1819, no doubt in an effort to distinguish her rescuer from her pursuer.
But it is not just a question of propriety. As they thought of their collection
more and more as tales for children rather than as ancient Germanic household
tales, the Grimms inevitably altered them in the light of a particular image of
the child as pure and innocent, an image which developed, especially in Germany
and England, in the course of the nineteenth century, and which we, today, find
deeply suspect. The changes were also dictated by more mysterious imperatives,
of which the Grimms were certainly not conscious. Joyce Crick, in one of her
excellent notes (to "The Goose-Girl"), remarks that the tales "are invitations
to interpretation, but never yield a single meaning". This alerts us to the
fact that what we are witnessing in the transformation of the tales is a
phenomenon that has analogues in other times and places. Eric A. Havelock tried
to explain the phenomenon in ancient Greece, in the transition from oral to
written, in his marvellous Preface to Plato (1963). We see it in the Jewish
tradition in the transformation of biblical narratives into Midrash. God calls
Abraham. Why? The Bible does not say. But Jewish tradition finds it hard to
live with the apparently arbitrary ("How odd of God to choose the Jews"), and
so elaborates a series of stories about Abraham's childhood, about his belief
in the one God, his hatred of idol-worship, and his consequent persecution by
the idolatrous King Nimrod. That, then, is why God called Abraham and told him
to leave his house and go where He, God, would tell him. We are at the point of
transition, in all these cases, between two different attitudes to the world
and to storytelling. Walter Benjamin struggles to explain this in his essay
"The Storyteller", contrasting storyteller and novelist:
The storyteller takes what he tells from experience: his own or that reported
by others. And he in turn makes it the experience of those who are listening to
his tale. The novelist has isolated himself. The birthplace of the novel is the
solitary individual, who . . . is himself uncounselled, and cannot counsel
others.
The novelist deals with information, the storyteller with wisdom. This wisdom
is artisanal. It belongs to shared work, in the fields or the house. Moreover,
"storytelling, in its sensory aspect, is by no means a job for the voice alone.
Rather, in genuine storytelling the hand plays a part which supports what is
expressed in a hundred ways with its gestures trained by work".
Benjamin is not simply looking at differences between stories and novels, he
grasps that to make sense of both sets of phenomena you need to have some
understanding of what it is that drives storytelling on the one hand and novel
writing on the other. More light is shed on this in a remarkable entry by
Kierkegaard in his journal for 1837 (he was twenty-three). It is worth quoting
in full:
There are two recommended ways of telling children stories, but there are also
a multitude of false paths in between.
The first is the way unconsciously adopted by the nanny, and whoever can be
included in that category. Here a whole fantasy world dawns for the child, and
the nannies are themselves deeply convinced that the stories are true . . .
which, however fantastic the content, can't help bestowing a beneficial calm on
the child. Only when the child gets a hint of the fact that the person doesn't
believe her own stories are there ill-effects -not from the content but because
of the narrator's insincerity -from the lack of confidence and suspicion that
gradually envelops the child.
The second way is possible only for someone who with full transparency
reproduces the life of childhood, knows what it demands, what is good for it,
and from his higher standpoint offers the children a spiritual sustenance that
is good for them -who knows how to be a child, whereas the nannies themselves
are basically children.
This suggests that what happened to the Grimm Tales in the course of fifty
years of "revision" was that they were transformed from tales told by speakers
who were deeply convinced that they were true (whatever meaning one assigns to
the term) into tales told by writers (Wilhelm Grimm, in effect) who did not
believe in them and therefore added scene-setting, morality and psychology to
make them both attractive and meaningful. It also gives us a hint as to why a
novelist like Dickens had (and still has) the effect he had on his readers: he
was one who knew "how to be a child". However, it was perhaps Kleist alone
among the writers of the century who really grasped what was at issue here. His
great novella, Michael Kohlhaas, takes many of the elements that go to make up
the Grimm Tales and stands them on their head, bidding an anguished farewell as
it does so both to community values and to the power of wishful thinking. But
Kleist had no successors, and, by and large, nineteenth-century novelists and
storytellers took the path of Midrash and romance, still the staple diet of
readers of twentieth-century fiction, with neither writers nor readers quite
believing what they are doing, but under a strange compulsion to pretend that
they do.
The odd thing about the changes the brothers made to the Tales in the course of
the different editions is that at some level they always seem to have
understood the nature of the material they were dealing with better than anyone
else. As Joyce Crick is at pains to point out, even though they kept adding new
tales (and occasionally removing old ones), they had a very clear sense of the
overall shape they wanted their collection to have. All the editions begin with
the mysterious and powerful "Frog Prince" and all end with "The Golden Key",
whose theme is identical to that of "The Fox and the Geese", with which the
first, 1812, volume ended: a poor lad goes into the snow to find wood and comes
across a golden key. "Now he thought that where there was a key there must be a
lock to match, so he dug in the earth and found a little iron casket."
Eventually he manages to fit the key into the tiny lock. "Then he turned it
once -and now we must wait until he has unlocked it completely and lifted the
lid, and then we shall find out what marvellous things were in the casket."
Here, surely, is a tale about tales, to adapt Kafka, an injunction to be
patient, to read and savour and not rush to interpret. For, as Kafka said
elsewhere, "Perhaps there is only one cardinal sin: impatience. Because of
impatience they were expelled, because of impatience they do not return".
Despite my reservations about her choice of text, Joyce Crick nevertheless
still gives us the best guidance possible to the world of the storyteller as
exemplified by the Grimm Tales (her nearest rival in the field, The Annotated
Brothers Grimm by Maria Tatar, published by Norton last year, stays resolutely
within the world of the "fairytale" as traditionally understood). For one
thing, she provides a generous selection of other writings by Jacob and Wilhelm
Grimm -prefaces, essays and the like -to help us understand what it was they
felt they were trying to do. Secondly, as I have said, she is alert to the
overall shape of the collection, recognizing that the brothers put it together
with all the care of a Yeats or Wallace Stevens bringing a new volume of poems
before the public. Thirdly, instead of focusing exclusively on the tales of
magic and transformation, as do most commentators, she gives us a large enough
selection of tales to make us grasp the sheer variety of the collection, which
is a crucial part of its meaning and significance: tales of foolish peasants,
discharged soldiers and cunning craftsmen, animal tales, pious tales, riddles
and counting rhymes. The first four tales in all the Grimm editions lay the
main genres before us. The first is the "fairytale" of the frog prince. The
second, "Cat and Mouse As Partners" is an animal fable, though "fable" is the
wrong term for an imaginative if anthropomorphic representation of the animal
world. The third, "Our Lady's Child", is a religious piece -the Tales are
deeply imbued with the pietistic spirit so prevalent in German popular culture
of the time, a spirit which is by and large repugnant to us in its mixture of
morality, cruelty and smugness, but which is indubitably there. The fourth,
"The Boy Who Set Out To Learn Fear", introduces us to a key figure in these
German tales: the Dummling or simpleton. The title of the story doesn't
accurately reflect its contents, for the boy doesn't want to learn fear but
rather "what it means to make the flesh creep". The ending is as wonderfully
ambiguous as anything in the Tales, for when his new bride's resourceful
chambermaid pours a bucketful of little fishes over him as he sleeps he wakes
up and cries: "Oh, my flesh is creeping! My flesh is creeping, wife dear! Yes,
now I do know what flesh- creeping is".
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