"GOLDILOCKS AND THE THREE BEARS" and the older still "THE STORY OF THE THREE BEARS" are two variations of a 19th-century fairy tale . The original tale tells of an ugly, old woman who enters the forest home of three bachelor bears whilst they are away. She sits in their chairs, eats some of their porridge , and falls asleep in one of their beds. When the bears return and discover her, she starts up, jumps from the window, and is never seen again. The other major version brings Goldilocks to the tale (replacing the old woman), and an even later version retained Goldilocks, but has the three bachelor bears transformed into Papa, Mama, and Baby Bear.
What was originally a fearsome oral tale became a cozy family story with only a hint of menace. The story has elicited various interpretations and has been adapted to film, opera, and other media. "The Story of the Three Bears" is one of the most popular fairy tales in the English language.
* 1 Plot * 2 Origins * 3 Later variations: Goldilocks * 4 Interpretations * 5 Literary elements * 6 Adaptations * 7 See also * 8 Notes * 9 References * 10 External links
In Southey's tale, three anthropomorphic bears – "a Little, Small, Wee Bear, a Middle-sized Bear, and a Great, Huge Bear" – live together in a house in the woods. Southey describes them as very good-natured, trusting, harmless, tidy, and hospitable. Each of these "bachelor" bears has his own porridge bowl, chair, and bed. One day they make porridge for breakfast, but it's too hot to eat, so take a walk in the woods while their porridge cools. An old woman named silver hair approaches the bears' house. As she has been sent out by her family, she is a disgrace to them. She is impudent, bad, foul-mouthed, ugly, dirty, and a vagrant deserving of a stint in the House of Correction . She looks through a window, peeps through the keyhole, and lifts the latch. Assured that no one is home, she walks in. The silver haired old lady eats the Wee Bear's porridge, then settles into his chair and breaks it. Prowling about, she finds the bears' beds and falls asleep in Wee Bear's bed. The dark end of the tale is reached when the bears return. Wee Bear finds his empty bowl, his broken chair, and silver hair in his bed and cries, "Somebody has been lying in my bed, and here she is!" silver hair starts, runs away, breaks her neck and goes to the hospital.
The story was first recorded in narrative form by British writer and
The story of the three bears was in circulation before the publication of Southey's tale. In 1813, for example, Southey was telling the story to friends, and in 1831 Eleanor Mure fashioned a handmade booklet about the three bears and the old woman for her nephew Horace Broke's birthday. Southey and Mure differ in details. Southey's bears have porridge, but Mure's have milk; Southey's old woman has no motive for entering the house, but Mure's old woman is piqued when her courtesy visit is rebuffed; Southey's old woman runs away when discovered, but Mure's old woman is impaled on the steeple of St Paul\'s Cathedral .
Folklorists Iona and Peter Opie point out in The Classic Fairy Tales (1999) that the tale has a "partial analogue" in " Snow White ": the lost princess enters the dwarfs' house, tastes their food, and falls asleep in one of their beds. In a manner similar to the three bears, the dwarfs cry, "Someone's been sitting in my chair!", "Someone's been eating off my plate!", and "Someone's been sleeping in my bed!" The Opies also point to similarities in a Norwegian tale about a princess who takes refuge in a cave inhabited by three Russian princes dressed in bearskins. She eats their food and hides under a bed.
In 1894, "Scrapefoot", a tale with a fox as antagonist that bears
striking similarities to Southey's story, was uncovered by the
Southey most likely learned the tale as a child from his uncle William Tyler. Uncle Tyler may have told a version with a vixen (female fox) as the intruder, and then Southey may have later confused "vixen" with another common meaning of "a crafty old woman". P.M. Zall writes in "The Gothic Voice of Father Bear" (1974) that "It was no trick for Southey, a consummate technician, to recreate the improvisational tone of an Uncle William through rhythmical reiteration, artful alliteration ('they walked into the woods, while'), even bardic interpolation ('She could not have been a good, honest Old Woman')". Ultimately, it is uncertain where Southey or his uncle learned the tale. "Scrapefoot" illustration by John D. Batten
LATER VARIATIONS: GOLDILOCKS
Twelve years after the publication of Southey's tale, Joseph Cundall transformed the antagonist from an ugly old woman to a pretty little girl in his Treasury of Pleasure Books for Young Children. He explained his reasons for doing so in a dedicatory letter to his children, dated November 1849, which was inserted at the beginning of the book:
The "Story of the Three Bears" is a very old Nursery Tale, but it was never so well told as by the great poet Southey, whose version I have (with permission) given you, only I have made the intruder a little girl instead of an old woman. This I did because I found that the tale is better known with Silver-Hair, and because there are so many other stories of old women.
Once the little girl entered the tale, she remained – suggesting
children prefer an attractive child in the story rather than an ugly
old woman. The juvenile antagonist saw a succession of names: Silver
Hair in the pantomime Harlequin and The Three Bears; or, Little Silver
Hair and the Fairies by J.B. Buckstone (1853); Silver-Locks in Aunt
Mavor's Nursery Tales (1858); Silverhair in
Goldilocks's fate varies in the many retellings: in some versions, she runs into the forest, in some she is almost eaten by the bears but her mother rescues her, in some she vows to be a good child, and in some she returns home. Whatever her fate, Goldilocks fares better than Southey's vagrant old woman who, in his opinion, deserved a stint in the House of Correction, and far better than Miss Mure's old woman who is impaled upon a steeple in St Paul\'s church-yard.
Southey's all-male ursine trio has not been left untouched over the years. The group was re-cast as Papa, Mama, and Baby Bear, but the date of this change is disputed. Tatar indicates it occurred by 1852, while Katherine Briggs suggests the event occurred in 1878 with Mother Goose\'s Fairy Tales published by Routledge. With the publication of the tale by "Aunt Fanny" in 1852, the bears became a family in the illustrations to the tale but remained three bachelor bears in the text.
In Dulcken's version of 1858, the two larger bears are brother and
sister, and friends to the little bear. This arrangement represents
the evolution of the ursine trio from the traditional three male bears
to a family of father, mother, and child. In a publication ca. 1860,
the bears have become a family at last in both text and illustrations:
"the old papa bear, the mama bear, and the little boy bear". In a
In publications subsequent to Aunt Fanny's of 1852, Victorian nicety required editors to routinely and silently alter Southey's "here she sate till the bottom of the chair came out, and down came her's, plump upon the ground" to read "and down she came", omitting any reference to the human bottom. The cumulative effect of the several changes to the tale since its original publication was to transform a fearsome oral tale into a cozy family story with an unrealized hint of menace.
Maria Tatar in The Annotated Classic Fairy Tales (2002) notes that Southey's tale is sometimes viewed as a cautionary tale that imparts a lesson about the hazards of wandering off and exploring unknown territory. Like "The Tale of the Three Little Pigs ", the story uses repetitive formulas to engage the child's attention and to reinforce the point about safety and shelter. Tatar points out that the tale is typically framed today as a discovery of what is "just right", but for earlier generations, it was a tale about an intruder who could not control herself when encountering the possessions of others. Illustration by John Batten, 1890
In The Uses of Enchantment (1976), the child psychologist Bruno Bettelheim describes Goldilocks as "poor, beautiful, and charming", and notes that the story does not describe her positively except for her hair. Bettelheim mainly discussed the tale in terms of Goldilock's struggle to move past Oedipal issues to confront adolescent identity problems.
In Bettelheim's view, the tale fails to encourage children "to pursue the hard labor of solving, one at a time, the problems which growing up presents", and does not end as fairy tales should with the "promise of future happiness awaiting those who have mastered their Oedipal situation as a child". He believes the tale is an escapist one that thwarts the child reading it from gaining emotional maturity.
Tatar criticizes Bettelheim's views: " reading is perhaps too
invested in instrumentalizing fairy tales, that is, in turning them
into vehicles that convey messages and set forth behavioral models for
the child. While the story may not solve oedipal issues or sibling
rivalry as Bettelheim believes "
Elms suggests Bettelheim may have missed the anal aspect of the tale that would make it helpful to the child's personality development. In Handbook of Psychobiography Elms describes Southey's tale not as one of Bettelheimian post-Oedipal ego development but as one of Freudian pre-Oedipal anality. He believes the story appeals chiefly to preschoolers who are engaged in "cleanliness training, maintaining environmental and behavioral order, and distress about disruption of order". His own experience and his observation of others lead him to believe children align themselves with the tidy, organized ursine protagonists rather than the unruly, delinquent human antagonist. In Elms's view, the anality of "The Story of the Three Bears" can be traced directly to Robert Southey's fastidious, dirt-obsessed aunt who raised him and passed her obsession to him in a milder form.
The story makes extensive use of the literary rule of three , featuring three chairs, three bowls of porridge, three beds, and the three title characters who live in the house. There are also three sequences of the bears discovering in turn that someone has been eating from their porridge, sitting in their chairs, and finally, lying in their beds, at which point is the climax of Goldilocks being discovered. This follows three earlier sequences of Goldilocks trying the bowls of porridge, chairs, and beds successively, each time finding the third "just right". Author Christopher Booker characterizes this as the "dialectical three", where "the first is wrong in one way, the second in another or opposite way, and only the third, in the middle, is just right." Booker continues "This idea that the way forward lies in finding an exact middle path between opposites is of extraordinary importance in storytelling". This concept has spread across many other disciplines, particularly developmental psychology, biology, economics and engineering where it is called the " Goldilocks Principle ".
Kurt Schwertsik 's 35-minute opera
* ^ Elms 1977, p. 257
* ^ A B C Tatar 2002, p. 245
* ^ A B C D E Opie 1992, p. 199
* ^ Ober 1981, p. 47
* ^ A B Curry 1921, p. 65
* ^ Ober 1981, p. 48
* ^ Dorson 2001, p. 94
* ^ Ober 1981, pp. 2,10
* ^ Opie 1992, pp. 199–200
* ^ A B C D Opie 1992, p. 200
* ^ Ober 1981, p. xii
* ^ Ober 1981, p. x
* ^ Elms 1977, p. 259
* ^ A B C Briggs 2002, pp. 128–129
* ^ Quoted in: Ober 1981, p. ix
* ^ A B C Seal 2001, p. 91
* ^ A B C D Tatar 2002, p. 246
* ^ Ober 1981, p. 142
* ^ Ober 1981, p. 178
* ^ Ober 1981, p. 190
* ^ Tatar 2002, p. 251
* ^ A B Elms 1977, p. 264
* ^ A B C Schultz 2005, p. 93
* ^ Booker 2005, pp. 229–32
* ^ Roald Dahl's Goldilocks
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* Briggs, Katherine Mary (2002) . British Folk Tales and Legends.