The mere fact that no "moral" is actually drawn by the narrator from a folk-tale is evidence merely that the original intention with which such tales were framed has been lost sight of in the course of ages. At the present day, indeed, the incidents have come to occupy among us the primary place, the stories themselves being regarded as sources of amusement rather than of instruction. It will be gathered from the foregoing remarks that I am inclined to go much further than even Mr. Ralston in seeking a "moral" in folk-tales. I should expect to find it in most of his mythological stories; and to test how far the view here advocated is consistent with fact I have made a classification of the seventy-eight tales contained in the first volume of Grimm's work, based on the "moral" they enforce. The following tables give the result arrived at, the number added to the title of each story showing the order in which it stands in the English translation[1] of Grimm's work. When a story comes under more than one heading it is mentioned in the subordinate class by reference only.
- 1. The superiority of Goodness (typified by Beauty) and Love over Evil (although aided by Magic).
- a. The power of Beauty [and Goodness].
- (a) The Frog Prince (1).
- (b) The Twelve Brothers (9).
- (c) Little Brother and Sister (11).
- (d) The Three Little Men in the Wood (12).
- (e) Rapunzel (16).
- (f) Cinderella (21).
- (g) The Six Swans (49).
- (h) Briar Rose (50).
- (i) Little Snow White (52).
- (j) Allerleiraugh, or Coat of All Colours (65).
- (k) The Twelve Hunters (67).
- (a) The Frog Prince (1).
- a. The power of Beauty [and Goodness].
- b. Love superior to Magic (Evil).
- (a) The Seven Crows (25).
- (b) The Handless Maiden (31).
- (a) The Seven Crows (25).
- b. Love superior to Magic (Evil).
- ↑ Published by Messrs. Addey & Co. (1853).
