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Extra info for A Long Way From Verona
These, so it would appear, did not alter fundamentally for centuries, despite some changes in Victorian times, when the classic fairy-tale text became the Grimms’ collection. As regards morality, in the widest sense of the word, Perrault’s stories seem to have been considered still relevant. Nor would their rural setting have seemed unfamiliar, when even town dwellers were still accustomed to the traditions of an agricultural society. Late in the nineteenth century came more signiﬁcant changes.
He mentions that the mother knew that her son had fantasies about cannibalism, and like many parents was doubtful of the wisdom of telling her child a tale containing horriﬁc elements. xxxiv introduction where an equally horrifying episode is kept until the second part). In the ﬁrst, the parents, faced with starvation, prefer to abandon the children in the forest rather than to watch them die; it is in the second and more fantastic section that the fear of being eaten is made explicit, and the danger does not come from a parent, but from a monstrous stranger.
When the basic subject is cannibalism, or the risk of being eaten, the idea is disguised; the potential victim becomes an animal (Puss), or the aggressor a nonhuman being, an ogre or ogress. When sex is the subject, it is concealed by symbolic objects. Even where it is difﬁcult to say what the symbols mean speciﬁcally, as in Bluebeard, there can be little doubt about the general implication. Again, in considering the probable revisions made by Perrault, it looks as though the purpose was to exclude or alter the more unpleasant episodes.
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