But fairy tales relate directly to a child audience, it’s a deeper literature than it appears. Its origins are lost in time because they originally narrated in oral form to entertain those performing monotonous tasks, such as embroidery or cooking. The great contribution of people as the Brothers Grimm and Charles Perrault was documenting these stories in written form. Jacob and Wilhelm Grimm felt that this step was needed to preserve its endangered in industrial societies of the 19th century. Ironically, the books were eliminated oral variations added by the Narrator to adapt or enrich the story with some regional or picaresque hue. Once printed, it is unlikely to modify it, especially when the custom of reading group disappears. On the other hand, gender aroused a great interest in children; so many violent and sexual details were removed or softened. This process took place in life of the Brothers Grimm, who over the impressions of their “Tales for children and home” was modifying the contents of many stories. For example, in the original of the toad Prince, Princess lies immediately with the newly transformed frog; while in the next edition already have the blessing of King prior to their marriage. For Rapunzel, witch realizes the Prince visits when the young woman naively asks why because does not fit the clothes as before. Little Red Riding Hood by Perrault is devoured by the Wolf along with his grandmother to give way to a moral about the dangers of interacting with strangers and the stepsisters of Cinderella maim is the big toe and the heel of the foot respectively, to fit the glass slipper. With the passage of time, this process of censorship has increased even more, mainly with the incursion of the story in the film. Disney’s Little Mermaid is not converted to foam when the Prince marries another; the talking cricket not succumbs in a hammer blow at the hands of Pinocchio. The Prince in snow white does not try to buy the sarcophagus of glass with all its contents to the dwarves, nor of sleeping lie with her while she asleep, before returning to his Castle forgetting your necrophilia adventure.
Although some modifications to the original stories appear to be appropriate, there are others who inadvertently spoil part of the implicit meaning. Many fairy tales represent a transition from childhood to adulthood. From there that its protagonists are children who must pass tough tests to reach the happy ending, usually represented by the marital union. I.e., the arduous tasks and injustices suffered at the hands of third parties is not more than the maturation process that we have all spent with respective disappointments and frustrations, but that in the end will lead to a State of maturity in which we can tackle them with better tools. In that sense, some filmic modifications such as Disney’s snow white, ignore these meanings and sacrifice their symbolic value perhaps by mere ignorance. For example, the dwarves are beings who are at an intermediate stage between childhood and adulthood. They are hardworking and sorted as adults, but simple and small as children. In any of the existing versions, either printed or cinematographic, they pose a threat to the integrity of snow white, even though in the case of seven unknown living with a teenage girl in a cabin in the middle of the forest. However, in the Disney version, they have well-defined personalities and are rather cluttered, perhaps to better justify the agreement Exchange House and food for domestic help. This could unimportant, but gives a leading emphasis the dwarves that does not have in its original version. There, they constitute an aid in the process of development and even so, they can’t stop snow white to make their own decisions or it says potentially fatal errors. The first attempts to eliminate his rival witch are another example of important omission in Disney. First, approaching the Dwarfs House disguised as selling silk ties. An attachment that is completely obsolete, but which at the time was serving to adjust the corset. The witch at a so with such force that snow white can not breathe and falls fainting. Fortunately, the dwarves return in time to cut the tape and revive it. Then, snow white is seduced by a poisoned comb the witch, once again disguised, and placed in his head producing an effect similar to the tapes. The choice of these objects clearly relates to the desire of snow white by feel attractive, a perfectly natural concern in a teenage girl of any age. Finally, the poisoned Apple has a red side and another lighter. The witch, to suspicion of snow white, offers from Apple in two. She will eat white fruit side, while the young girl will enjoy the red side. I.e., is symbolically offered an equality between mother (and stepmother) and daughter where both share the same fruit without mentioning the symbolic implications of color in the portion of snow white. Here it is worth noting that the rivalry between mother and daughter is clearly addressed in the story. In fact, snow white does not suffer abuse at the hands of her stepmother during the period of his childhood. The problems start when the beauty of both women starts to rival.
The dwarves resigned to give dead, but noticing that breakdown there is no in the body, placed in a glass sarcophagus to preserve it as well at the top of a mountain. The long period of time that passes before being found by the Prince alludes to the maturity required to establish an egalitarian relationship between adults (in this case, with the Prince). Perhaps the only detail improved in modern versions is the kiss with which the Prince wakes up to snow white. In the original version, his assistants carry the coffin on the shoulders and to tripping over a shrub the poor woman will give the ground with sarcophagus. The coup allows you to dislodge the piece of Apple that had jammed and thus regain consciousness.
At the end, the stepmother is forced to wear red-hot iron shoes and “dancing” to death.