fairy-tales

He was furious with himself for having lived these last days on a wish. On a lie. A kiss does not make the future. Love alone does not make a life.

IN MY DEFENSE, I didn__ mean to start the Apocalypse. It wasn__ just my personal aversion to oblivion; I had a clear financial motive: The end of the world is bad for business.

Not all fairy tales have happily ever afters, some just have afters.

The wise old fairy tales never were so silly as to say that the prince and the princess lived peacefully ever afterwards. The fairy tales said that the prince and princess lived happily ever afterwards; and so they did. They lived happily, although it is very likely that from time to time they threw the furniture at each other.

He built a tower to try and be closer to her and walled himself inside.__he stared at him for a moment as if waiting for something. __nd?__e glanced at her, puzzled. __nd, what?__he widened her eyes. __ow does the story end? Did the sorcerer win his Moon Maid

Some foolish people must have a tragedy, for they cannot believe in happy endings

I know these are only dreams. I know these days are long past. I wake to a dream in which Hammer__ breath has stopped, and mine with it, and hearts have gone to a quiet sunny meadow with the sweetest little cottage in the middle, with a millwheel and a stream. Our bodies will lie tangled until they become earth, like roses twining so closely there is no beginning and no end, and only the shades of beauty that were their growing.Every dream I ever had as a child has come true, simply because Hammer loved me. Perhaps this one will too.

You've honey on your tongue, ma fifille," Maman once said. "If you'd lived in earlier times, you could have been a troubadour.""...There aren't any troubadours any more, are there, Maman?" Marie said. "And if there were, girls wouldn't be allowed to be one.""Probably not," Maman agreed sadly."I'll be one anyway," I said with determination.Maman smiled and gently pulled on my hair. "I'm sure you will, ma fifille, a clever girl like you. You can do whatever you like in this world if you just have courage enough.

I tell them: don__ depend on a woodsman in the third act. I tell them: look for sets of three, or seven. I tell them: there__ always a way to survive. I tell them: you can__ force fidelity. I tell them: don__ make bargains that involve major surgery. I tell them: you don__ have to lie still and wait for someone to tell you how to live. I tell them: it__ all right to push her into the oven. She was going to hurt you. I tell them: she couldn__ help it. She just loved her own children more. I tell them: everyone starts out young and brave. It__ what you do with it that matters. I tell them: you can share that bear with your sister. I tell them: no-one can stay silent forever. I tell them: it__ not your fault. I tell them: mirrors lie. I tell them: you can wear those boots, if you want them. You can lift that sword. It was always your sword. I tell them: the apple has two sides. I tell them: just because he woke you up doesn__ mean you owe him anything. I tell them: his name is Rumplestiltskin.

If our life is ever really as beautiful as a fairy tale, we shall have to remember that all the beauty of a fairy tale lies in this: that the prince has a wonder which just stops short of being fear. If he is afraid of the giant, there is an end of him; but also if he is not astonished at the giant, there is an end of the fairy tale. The whole point depends upon his being at once humble enough to wonder, and haughty enough to defy.

OMG. He's a gift shop, a lamb kebab with mint,/a solar panel poetry machine with biceps. He's the path/through the dark woods, the light on the page, a postcard/from the castle and a one-way ticket there. He's the most/astounding arrangement of molecules ever!/Just look at those tights! An honest-to-God prince at last.

Since there are thousands of fairy tales, one may safely guess that there are probably equal numbers where the courage and determination of females rescue males, and vice versa.

Because, no matter how old we get, we always need to believe in fairytales.

The very name of the genre itself - fairy tale - originated during this time, for the French writers coined the term conte de fee during the seventeenth century, and it has stuck to the genre in Europe and North America ever since. This "imprint" is important, because it reveals something crucial about the fairy tale that has remained part of its nature to the present. The early writers of fairy tales placed the power of metamorphosis in the hands of women - the redoubtable fairies. In addition, this miraculous power was not associated with a particular religion or mythology, through which the world was to be explained. It was a secular mysterious power of compassion that could not be explained, and it derived from the creative imagination of the writer. Anyone could call upon the fairies for help, and it is clear that the gifted French women writers of the seventeenth century preferred to address themselves to a fairy and to have a fairy resolve the conflicts in their tales rather than the Church, with its male-dominated hierarchy. After all, it was the Church that had eliminated hundreds of thousands of so-called female witches during the previous two centuries in an effort to curb heretical and nonconformist beliefs. However, those "pagan" notions survived in the tradition of the oral wonder tale and surfaced in published form in France when it became safer to introduce in a symbolical code supernatural powers and creatures other than those officially sanctioned by the Christian code. In short, there was something subversive about the institutionalization of the fairy tale in France during the 1690S, for it enabled writers to create a dialogue about norms, manners, and power that evaded court censorship and freed the fantasy of the writers and readers, while at the same time paying tribute to the French code of civilite and the majesty of the aristocracy. Once certain discursive paradigms and conventions were established, a writer could demonstrate his or her "genius" by rearranging, expanding, deepening, and playing with the known functions of a genre that, by 1715, had already formed a type of canon, which consisted not only of the great classical tales-"Cinderella," "Sleeping Beauty," "Rapunzel," "Rumpelstiltskin," "Puss in Boots," "Little Red Riding Hood," "Beauty and the Beast," "Blue beard, " "The Golden Dwarf," "The Blue Bird," and "The White Cat"-but also the mammoth collection The Arabian Nights.

Ultimately, the definition of both the wonder tale and the fairy tale, which derives from it, depends on the manner in which a narrator/author arranges known functions of a tale aesthetically and ideologically to induce wonder and then transmits the tale as a whole according to customary usage of a society in a given historical period. The first stage for the literary fairy tale involved a kind of class and perhaps even gender appropriation. The voices of the nonliterate tellers were submerged, and since women in most cases were not allowed to be scribes, the tales were scripted according to male dictates or fantasies, even though they may have been told by women. Put crudely, it could be said that the literary appropriation of the oral wonder tales served the hegemonic interests of males within the upper classes of particular communities and societies, and to a great extent this is true. However, such a statement must be qualified, for the writing down of the tales also preserved a great deal of the value system of those deprived of power. And the more the literary fairy tale was cultivated and developed, the more it became individualized and varied by intellectuals and artists, who often sympathized with those society marginalized or were marginalized themselves. The literary fairy tale allowed for new possibilities of subversion in the written word and in print, and therefore it was always looked upon with misgivings by the governing authorities in the civilization process.

It dawned on her as she grew older, that fairy tales instilled false hopes in people, and that no white knights existed in this world. The mothers should be well aware of that aspect of reality, so why they fed their daughters with the same crap for centuries baffled her.

Hammer", I finished lamely, as he waited patiently for my thoughts to find their voice, "we have got to find better words for the things we have in our hearts.""Words seem to be weak things," he murmured into my hair, and I could only hope our hearts would prove stronger.

We can't give you any further information," the fairies replied. "Be satisfied, madam, with the assurance that your daughter will be happy." She thanked them very much and did not forget to give them many presents. Although the fairies were quite rich, they always liked people to give them something. Throughout the world this custom has been passed down from that day to our own, and time has not altered it in the least.("Green Serpent")