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Fb2 Clever Maids: The Secret History Of The Grimm Fairy Tales ePub

by Valerie Paradiz

Category: History and Criticism
Subcategory: Fiction
Author: Valerie Paradiz
ISBN: 0738209171
ISBN13: 978-0738209173
Language: English
Publisher: Basic Books; First Edition edition (January 2, 2005)
Pages: 240
Fb2 eBook: 1999 kb
ePub eBook: 1987 kb
Digital formats: mobi lrf rtf mobi

I was enchanted with the Grimm Brothers’ fairy tales from the moment I read them as a little girl, sick and lonely in. .Then I begin to obsessively read

I was enchanted with the Grimm Brothers’ fairy tales from the moment I read them as a little girl, sick and lonely in hospital. I was only seven, but I still remember the transformative experience of reading the tales by myself for the first time. Then I begin to obsessively read. It examines the oral and literary sources of the famous tales, giving names and a history to the storytellers who had passed on their lore to Jacob and Wilhelm Grimm. Most of them were women.

This book "is about the forgotten and unknown women of the Grimms' fairy tales, the social climate in which . Paradiz says that she intended her book to bring scholarly perceptions of the last forty years to a broad lay audience.

This book "is about the forgotten and unknown women of the Grimms' fairy tales, the social climate in which they collected their stories, and the extraordinary collaboration that bridged the gender divisions inherent in romantic culture to bring the stories into print" (xii). The author uses published correspondence of girls and women in the Grimms' circle to confirm their role in initially supplying tales for the Grimm collection. English-speaking devotees of the Grimm tales who have not read the work of Heinz Rölleke may not be aware of this material.

The brothers, Jacob and Wilhelm, were collecting the stories as a means to promote German culture in a time of French domination; they were trying to invoke an essential "Volk" sense, or the spirit of the German commoner. com a few years ago and wanted to plug it for GR.

The famous fairy tales of the Brothers Grimm - stories like Snow White, Red Riding Hood, and Rumplestiltskin - are .

The famous fairy tales of the Brothers Grimm - stories like Snow White, Red Riding Hood, and Rumplestiltskin - are know to millions of people around the world and are deeply embedded in the collective psyche. But as Paradiz? reveals here, the romantic image of the two brothers traveling the countryside,.

Even though Valerie Paradiž's Clever Maids brings little that is surprising to the study of the famed collectors and redactors, it is a book well worth reading for its intimate look into the lives of the Grimms' informants as well as for Paradiž's own storytelling style. Paradiž focuses on the first thirty years of the lives of the Grimm brothers, Jacob and Wilhelm, and more specifically on their women.

More than half of the tales the Grimm brothers collected were contributed by women friends from the upper classes. Set against the backdrop of the Napoleonic wars and the high years of German romanticism, Clever Maids chronicles this most fascinating enterprise in literary history, and illuminates the ways the Grimm tales-with their mythic portrayals of courage, sacrifice, and betrayal-still resonate so powerfully today.

Valerie Paradiz's new book is Clever Maids: The Secret History of the Grimm Fairy Tales In it, Paradiz challenges the stories of the Brothers Grimm traveling the German countryside collecting folktales. Were the Brothers Grimm Helped by Sisters? Listen.

Clever Maids: The Secret History of the Grimm Fairy Tales. In this intimate history, Valerie Paradiz tells the real story of the greatest literary collaboration of the nineteenth century, and gives the long-lost narrators of these beloved tales their due. Jacob and Wilhelm Grimm were major German intellects of their time, contemporaries of both Goethe and Schiller. But as Paradiz reveals here, the romantic image of the two brothers traveling the countryside, transcribing tales told to them by peasants, is far from the truth.

The famous fairy tales of the Brothers Grimm - stories like Snow White , Red Riding Hood , and Rumplestiltskin - are know to millions of people around the world and are deeply embedded in the collective psyche. In this charming account, writer and scholar Valerie Paradiz reveals the true story of how the fairy tales came to be. Jacob and Wilhelm Grimm, collectors and editors of more than 200 folk stories, were major German intellects of the nineteenth century, contemporaries of Goethe and Schiller. But as Paradiz reveals here, the romantic image of the two brothers traveling the countryside, transcribing tales told to them by peasants, is a far cry from the truth. In fact, more than half the fairy tales the Grimm brothers collected were actually contributed by their educated female friends from the bourgeois and aristocratic classes. While German folkloric scholars-all of them male-fancied themselves the keepers of the cultural flame, it was a handful of women who ensured that millions would know the stories of Sleeping Beauty and Cinderella by heart. Set against the backdrop of the chaotic Napoleonic wars and the years of high German romanticism, Clever Maids chronicles one of the most fascinating literary collaborations in European history and brilliantly captures the intellectual spirit of the men and women of the age. Even more, it illuminates the ways in which the Grimm tales, with their mythic portrayals of courage, sacrifice, and betrayal, still speak so powerfully to us today.
Comments to eBook Clever Maids: The Secret History Of The Grimm Fairy Tales
If you like the Grimm's Fairy Tales as I do then you also might want to find out where they came from. Most everyone these day's know that the Grimm stories have little in common with the watered down DIsney takes on the same stories but not everyone know's how the brothers came across the stories. Pop culture tells us one thing about the origins but Clever Maids: The Secret History of the Grimm Fairy Tales by Valerie Paradiz lets us know different.

The contents are mostly history and back grounds of the Family Grimm and the tales, then there are a few chapters where you get to read some of the rarely or never told stories.
An enjoyable and easy read that history buffs and fairy tale lovers alike can enjoy.
This is about how the Grimms cam to be famous and a bit of backstory behind some fairy tales. Knowing the backstories of the the culture and how the fairy tales came to be, was enjoyable. It was interesting to see how the women were treated in life and how their lives were reflected in the fairy tales.
Knights from Bernin
I do like to read about the history of folklore. Although this may not have been the most academic account of the Grimm Brothers, the tie in with European history was worth the read.
This book was fascinating! I highly recommend it to anyone who wants to know the history of fairy tales, and how they came about. I also learned a lot of interesting insights about German culture in the early 1800s.
I thoroughly enjoyed this book. Paradiz does a great job of keeping things simple and to the point. What I mean is that she taught me the things she has found through research in an engaging, but understanding way. I didn't feel like I was reading from a textbook. I felt like I was listening to a friend.
I really like this. It came on time and I can't wait to read it.
Amazing book, very informative.
While it has some very interesting information regarding the Hassenpflug family, the Wild family, and other female contributors to the KHM, there are also many errors, omissions, inaccuracies and falsehoods. I have detailed several of below. The problem for the reader is how to separate the accurate information from the falsehoods. The normal reader will of course not know what is true and what is not true.

The quote below is from the very first paragraph on the very first page. Unfortunately, very little about it is correct.

"The very first story in the famous anthology of fairy tales collected by the Brothers Grimm is "The Frog Prince"

In the the very first line in her book, Paradiž refers to a text called "The Frog Prince" that is the "first story in the famous anthology of fairy tales." Really? There is no story with that title as the first story in any edition of the KHM! There IS a story called "Der Froschkönig oder der eiserne Heinrich" (The Frog King or The Iron Henry) that is the first text in the 1812 Volume I, but no story exists with that name as the first text of the KHM. “The Frog KING” and “The Frog PRINCE” are two completely different stories. There is a story in the 1815 Volume II titled "Der Froschprinz" (The Frog Prince) but that is a different story than what Paradiž refers to in her first paragraph. It is very sad to see that a presumeably eminent scholar such as Paradiž does not even know what the actual title of the first and most well known of all of the Grimm text in the KHM is. Moreover, it might unfortunately show her lack of knowledge about the Grimms in general. A mistake such as this on the very first page and in the very first line of the book is not a good sign. But as can be seen below, this is regrettably far from the only mistake Paradiž makes in the book. Numerous other ones follow.

The 2nd line in the first paragraph continues: “It's about a raspy throated frog with bad manners who seeks the favor of a lovely, but reluctant, princess. Most of us think we know the plot: a handsome prince, who has fallen under and evil spell, is trapped inside the body of a frog. Only the kiss of a princess can restore him to human form. So the frog sets about following the princess around the castle, croaking demands: he wants to eat from her little golden plate, and drink from her little golden cup. The girls father, like so many patriarchs in the Grims fairy tales, exerts full authority over his daughter and orders her to grant the frog's every wish. The sexual innuendo escalates when the frog hops into the princesses bedroom one night in demands to sleep with her in her "pure a little bed." If she refuses, he'll tell the king. But there's always an element of surprise in the Grimm fairy tales, and it seems the princess will not be bullied. She picks the frog up and hurls the slimy creature across the room. Splat. He hits the wall and falls to the floor, whereupon he turns into a handsome prince. Then they kiss."

Note: English language translators like to leave off (delete, remove) the last four words of the title of KHM #1 for some reason. Most English language readers never know about the "or The Iron Henry" part of the title. Those people that do know what the title is usually know it as "The Frog King" (i.e. King, not Prince).

"Raspy throated frog" - Where did that come from? The frog is never described as "raspy throated" in the original German text. "Raspy throated" looks to be an invention or interpretation of the author herself. It is possible that Paradiž read that in an English or American translation, but nevertheless, even if that were the case, that is still no reason for such a mistake. If I was to somewhat quote Treebeard in Peter Jackson's Lord of The Rings movie, I'd say: "a scholar should know better!"

"a lovely, but reluctant, princess" Ok, reluctant I will give Paradiž, but "lovely"? Who said that she was "lovely"? The 1st ed text never states that. Most likely she either made that up herself, or she read that in another English language translation and the translator made it up. Paradiž is certainly free to imagine the text in any way she wants, but I would consider it a good idea if imaginings would be kept separate from actual facts, especially because other American scholars look at questions related to "beauty" in the Grimms texts. Paradiž herself looks at the question. Using this text as an example of beauty would lead one to inaccurate conclusions. Beauty is never mentioned in the first edition of the text.

"Bad manners" Why does Paradiž say that the frog has bad manners? I certainly don't think he has bad manners. It is the girl who has "bad" manners!

"Trapped inside the body of a frog" This may be nit picking, but the seems a very odd way to write it, but details are important. I am imagining a tiny human prince floating inside the body of the frog. Why not just describe him as the original text does - as a prince who has been enchanted? The prince is the frog, he is not "inside him." One should note that the are characters in the KHM who really are trapped inside objects - The Iron Oven is one text that comes to mind. In this text a "king's son" is trapped inside and iron oven.

"Seeks favor" Why does he seek favor? He has been enchanted. In the text, he specifically states that it is only this princess who can release him from the curse. No one else can release him BUT her. Is this really what could be called as "seeking favor"? If she is the only one that can release him from the enchantment who else should he talk to? One must remember that it is the girl who "starts the ball rolling" so to speak. She laments and says that she will "give all" for the return of her ball. She dropped it in the water and she wants it back. The frog then tells her exactly what he wants in return for the ball and she agrees. There is no deception going one here, he is not lying to her. If she was not willing to agree to the conditions set out by the frog, she is free to refuse, but she does not. She makes the promise, knowing full well, that she has no intention of actually keeping this promise. What does this say about her character? Anyway moving on, there is a lot more to say and I will try not to say it in Entish, because that would take a long, long, long, long time.

"The sexual innuendo escalates" Really? When did it begin?

"Only the kiss of a princess can restore him to human form." Again really? Just a few lines later Paradiž contradicts herself when she says the the prince is returned to his human form after the "princess" (her word, not mine, she is actually a “king’s daughter”) throws the frog against the wall. Where was the kiss? So it is not only a kiss that will/would/did "restore" him, throwing him at a wall will do the job also. To be clear, there is never any mention of any “kiss” in either the first or the last edition of this text.

Is this text really "about a raspy throated frog with bad manners who seeks the favor of a lovely, but reluctant, princess" as Paradiž states or is it about an ill-mannered, self absorbed, promise breaking, spoiled, shallow, petulant, king's-daughter whose many faults are overlooked and who in the end "makes an advantageous marriage" anyway? I would say that there is a good argument to pity the prince or king's-son. He should not ridiculed or derided. What does it say about a girl who only agrees the marry a prince when she knows that he is handsome? Yes, the text does say that he is handsome. Isn't she just a bit "shallow?"

One thing to note here is Orrin Robinsons "es/sie" theory. Robinson states that the Grimms often used "es" (it) for "good," young, sexually immature girls. They tended to use "sie" (she) for "bad," older, and sexually mature women. Or another way to put it is that the neuter pronouns (es/it) are for the good characters (male and female), the feminine pronouns (Sie/she) are for the "bad" characters. This text agrees with this theory exactly. The king’s daughter in this text is always referred to with the feminine pronoun "sie" (she). If the theory is correct, this use of the pronoun indicates that the girl in this text is not really a good character after all. Of course her actions are certainly not those that would normally be expected of a "good" character. I am not sure if Paradiž (a scholar) should know about this theory or this use of the German language by the Grimms. If Paradiž is American, there is not necessarily any reason that she should know, unless she wants to write books about "good" girls in fairy tales that is. If one reads enough of the original tales in German, one should notice the Grimms use of language.

It should be noted that the Grimms use “es” (it) for young, innocent, unsexed, “good,” (virgin), girls and they used “sie” (she) for older, sexed, adult, and/or “bad,” women or girls. In many tales the theory holds true. It is another interesting phenomenon that English language readers will never be able to read in any of the usual English language translations because most translators translate both words as “she.” It is fascinating that the reader of the German texts can see exactly who the “good” girl and who the “bad” girl is only by looking at the pronouns used to describe them. The German language reader can also see when a change from “girl” to “woman” takes place by seeing when the pronoun in the original text changes from “es” to “sie.” In certain tales is happens at exactly one point. Again, what is really necessary are good translations that take the things mentioned in this book into account. What we have is a great number of books that discuss many important aspects of the tales, but we are lacking in good English language versions we can read to see how these aspects make themselves known in a language most people could read.

"Princess" - there is a long back history regarding the words "princess" and "king’s daughter." In the text "The Frog Prince," the young girl is always referred to in the Grimms original text as a "Königstochter" (king’s daughter). The Grimms considered the word "princess" to have too much of a Romance (French) origin for a German text. Prince and princess are “Romance” words. They (Wilhelm) systematically went about removing the word "princess" from many of the texts and replaced it with the word "king’s daughter." I think it is high time we start referring to these girls and women as "King’s daughters" and not "princesses" anymore if we really care about what the Grimms really wrote.

"Only the kiss of a princess can restore him to human form." Where does this come from? None of the original Grimm texts ever mention anything about "kissing." This is invention of the author. Maybe she read this in an American or English translation, but German texts never mention anything about "kissing."

"Croaking demands" - Where does the word "croaking" come from? This word is not in the original German texts either. This word is another insertion and interpretation of the author.

"Little golden plate, and drink from her little golden cup." Where do the words "golden cup" come from? The words "golden cup" were added from the second edition onwards. In the first edition there is no mention of wanting to drink from her "golden cup." Here is another of the very unfortunate problem with Paradiž translations and her quotes. She mixes quotes and translations from different editions. Some lines are from the first edition of a text, some lines are from later editions of that same text. Some quotes may come from rewritten translated texts. Who knows. (I will ignore the question of what the title of the text really is for now). What should be noted is that the text from later editions was added by Wilhelm. Since one of the main focuses of Paradiž book is female contributors and what they told the Grimms, any lines from later additions may not have come from any female contributors at all. They may well have been invented by Wilhelm Grimm himself. Using Wilhelm Grimms words may not be the best arguments for a feminist point of view if that is what the book is supposed to be about. After all, Wilhelm is a man.

It should also be noted that Jacob and Wilhelm worked with different families. Jacob worked exclusively with the Hassenpflug family. Wilhelm worked exclusively with the Wild family. There is no indication that they ever switched. Paradiž never mentions this in her book.

"Orders her to grant the frog's every wish." As another reviewer of the book commented here on Amazon, yes her father does order her to do what the frog asks, but it is only because she herself made a promise to him (the frog) before. Promises must be kept. Had she not made the promise to begin with, her father would not have commanded her to do what she had promised. Simple. Don't blame dad. This is not really an example of male domineering. If it is anything, it might better be female backpedaling.

"The sexual innuendo escalates when the frog hops into the princesses bedroom one night and demands to sleep with her in her "pure a little bed."" First of all, why do so many American scholars always insist upon mentioning this supposed "sexual innuendo"? The story can't be read without "sexual innuendo"? The frog does say that he is tired and he wants to sleep. The original text also explicitly states that they "fell joyfully asleep together." Where does the sex come in? More importantly the description is wrong. The frog does not hop into the girls bedroom. She carries him there herself. "Demanding" to sleep with her is rather strong word, after all, he told her exactly what he wanted in exchange for getting her ball back. She agreed to it. He's only asking for what she agreed to in the beginning. If she did not like the conditions the frog demanded, then she should not have agreed. In my opinion, the more important element for people in the 19th century was the lack of a marriage here (not the sex). In the 20th and 21st century, "sleeping together" without being married is not as much of an issue as it might have been 200 years ago. Of course, much of this also depends on what edition and what text is being quoted. "Demands" do appear in the 7th edition of #1, but it does not appear in the 1st ed.

"If she refuses, he'll tell the king." Where does this come from? This is not stated anywhere in the original German 1812 text. The line about telling the king only appears in the later editions of the text. Even there, he says that he will tell her "Vater" (father), not "the king." Probably something that Wilhelm added.

"Splat." This line is actually from the first edition of the text. But it is not in later editions of the text.

"Then they kiss." Where does this come from? Again, there is no mention of any kissing in any German edition of the text. This is an invention and/or insertion by the Paradiž.

Cover and Title: "The Secret History of the Grimm Fairy Tales." What is secret about this history? It seems to me that the title was written this way in order to sell more books. People like to find out secrets. There is absolutely nothing secret about the history of the Grimm texts. On the contrary, the lives and the writings of the Grimms is extremely well documented. Many of their letters and much of their writings have survived and have even been published in numerous books. There is a wealth of material regarding the Grimms available. Of course, much of this material is available only in German, so American scholars may not be aware of it and so they may consider it all rather secret to them.

Prologue X I I Paradiž notes that "other men contributed to the collection as well, of course, but the method of their involvement was different. Rather than transcribe the stories from storytellers or share ones they remembered from childhood, male contributors – who were often scholars and bookish professors –dug up old manuscript in libraries and copied out forgotten tales to assist the brothers in tracing a history of the genre."

Well OK, if she knows this to be a fact, but I am not so sure about that. Wilhelm Grimm also copied out manuscripts from old books. 1810 #1 the story of the Brave Taylor he copied out of a 1557 book by Montanus. I could probably list at least a dozen other texts that originally came from old books. Stilling #69, Harsdörfer #27, Schulz #12, Grant #8, and many many more (all numbers are 1812 text numbers). I don't really think these were contributed by "other men." I think many, if not most of these texts were found in the books by the Grimms themselves. I would like to see the sources that are the basis for those statements.

Prologue XV Paradiž notes "those who know about the Wilds and the Hassenpflugs are Grimm specialists and folklorists, writing for one another as they disapprovingly shake their heads at popular assumption, made again and again, that the brothers collected the tales from peasants as they roam the countryside."

OK, it has been over 200 years now since the publication of the first edition, when then can we finally put this idea to rest then? When can we not talk about it anymore? Can we not just state the actual facts of how they collected at some point? Of course, not getting things right is still happening today, as can be seen in this book.

Page 37. "Motivated by the very real threat they felt to their Hessian way of life, and urged on by Bettina and Achim von Arnim and Brentano to press forward with their impressive collections of folk material, Jacob and Wilhelm set their sights on editing and anthology of fairy tales. But this time, they wouldn't be turning to manuscripts and out of print books for the treasures they were seeking. Their main sources would be their sister Lotte's friends, the girl next-door."
Come on, really? The first edition is full of texts from books and other sources. I listed several above already. Stilling #69, Harsdörfer #27, Schulz #12, Grant #8, Rapunzel is from Schulz, and on and on.

Page 40 "The Virgin Mary calls for her young charge on her fourteenth birthday." While this is accurate for the seventh addition as published in 1857, it is not true of the first edition of 1812. In the 1812 edition it is written "in her fourteenth year." In her 13th year she is 13 years old. Since much of the focus of her book is the early period of collecting, it might be good to quote the texts that came from that actual time period. I.e. the 1812 and 1815 first edition.

Page 50 "Nevertheless, in spite of Mr. Wild's objections, the brothers managed to gather a good number of stories from his daughters." I do not think this is true. Heinz Rölleke himself notes on page 346 of his book on the 1810 manuscripts that "the contributions from the Wild Family were written down by Wilhelm exclusively, the contributions from the Hassenpflug Family were written down exclusively by Jacob Grimm." I'd say that it was Wilhelm alone who got stories from the Wild sisters, certainly not both.

Page 51 "slinking tails." The actual German word is "Zieselschwänze." Ziesel comes from the Swabian meaning attract, approach, call, entice, lure, decoy, hush, rush, urgent. I wrote it as "lure-tails" in my translation of the 1812 text. "Slinking" means something different.

Page 62 "Using the magic powers she has stolen from the sorcerer, the heroine finds her sisters' arms...." Where does it say that she has stolen magic powers from the sorcerer? This is never mentioned in the original text. She may have already had these powers. What magic powers did she steal? The text does specifically state that when the 3rd sister passes his test, the Hexenmeister had no more power over HER.

Page 64 "Just then a musician happens by." Where does this come from? In the original German text some time passes before the musician comes. In the original text it is written that the musician comes "ein paar Tage später" (a pair of days later).

Page 77, 82, 83. Paradiž first refers to "six small shirts," then later she refers to them as "little sweaters" and "small sweaters." Are they "sweaters" or are they "shirts." In the original they are "Hemdchen" or "shirtlets".

Page 128 the author uses the word "corn" here. The German word is "Korn," but in this sense it means "grain" not "corn." Many American translators confused this word and write "corn" instead of "grain." It is important because "corn" known as "maize" was not imported into Europe until after the discovery of America. "Corn" as "maize," is not the same thing as "Korn." When Americans see the word "corn" we generally think of "maize" -popcorn, the yellow stuff.

Page 87 Paradiž refers to "seven-mile boots which carry them one mile for every step they take." Where does this come from? They are never referred to that way in the original text. Also if they were "seven-mile" boots would they not carry them "seven-miles" for every one step rather than one mile? Should these boots not correctly be called "one-mile boots" or just "mile-boots"?

Page 119 "Circling the house several times in consternation, he finally decides to jump onto the roof." The original text never describes how the wolf feels, it only describes what he does - it describes his actions. "Consternation" is what Paradiž thinks that he feels.

Page 120 Paradiž refers to "nearly 30 tales" from the Wild family. I count only 24.

Page 138 "he is wearing a remarkable green coat." The author inserts the word "remarkable" into the text. While the coat may be "remarkable," it is not stated in the text. This is the authors interpretation.

Page 157 Paradiž writes "the old mother retired to her sleeping chambers, took out a small knife, and cut herself in the finger so that she bled." I was so very disappointed to read that Paradiž wrote this. Here, Paradiž makes the same mistakes that almost all other translators make. Margaret Hunt, Ralf Mannheim, Maria Tatar, and Jack Zipes (in both of his editions) all write that the mother cuts only into one single finger. In the original German text she cuts several fingers. In German, "Ihre Finger" is plural. It is also expressly stated later that "sie bluteten" (they bled)-plural. I make a note of it because the symbolism of cutting one single finger may be different than the symbolism of cutting several different fingers. Since three drops of blood fall onto the handkerchief, each drop may have come from a different finger if multiple fingers are cut. If only one finger is cut, then the three drops all come from the same finger. Since different fingers have different symbolic meanings, the interpretation can change. If the three drops of blood come from three different fingers, then each drop can have a different meaning depending on which finger it came from. In either case, her translation is unfortunately incorrect. That line has never changed in any edition of the KHM so the words will be the same in any edition one chooses to quote.

Page 161 Paradiž describes the punishment of the chambermaid, but what she fails to mention is that the chambermaid herself pronounces this punishment she will be subject to. It is simple enough to mention, so why not mention it? The punishment is not set out by any male figure in the text. You can't really call this misogyny, can you?

Page 167 Paradiž describes Wilhelm's book "Poor Henry," but this book in fact was written by the "Brothers Grimm," (both brothers) not by Wilhelm alone. Wilhelm's text is in the beginning of the book, Jacob's text begins in the middle of the book.

Page 183 Paradiž writes "As older men, the brothers lived in Berlin, where they worked on the voluminous German dictionary, reaching as far as the word Frucht (fruit), before their deaths; Wilhelm passing in 1859, followed by Jacob in 1863." This is sadly not quite accurate. Nor is it very true. It was Jacob who died while working on the entry for "Frucht." Wilhelm was working on entries for the letter "D" when he died several years earlier (just do the math from the numbers above). Wikipedia does discuss it a bit more stating that Jacob was able to finish the entries for the letters A, B, C, and E. Jacob died while working on the entry for "Frucht." Paradiž statement seems to imply that both brothers worked on the same entry when they did not. I make a note of the last word that Jacob ever wrote in my new upcoming book on the 1815 KHM. Also, the statement does not make much sense either. Would it take Jacob 4 years of work to work on the entry for one single word? Did they both reach the word "Frucht" when Wilhelm died in 1859, then Jacob sat around for the next 4 years doing nothing until he also died? That would be very slow work indeed! Remember, Wilhelm died 5 years earlier.

Page 184 in another spectacular and very unfortunate misunderstanding of the facts, Paradiž writes that "Marie Hassenpflug did not escape the misfortune of a false identity constructed by male scholars. For more than 100 years after the publication of volumes one and two of the Children's and Household Fairy Tales, Grimm researchers were led to believe that she was "old Marie," the maidservant of the Wild family, and not the highly cultivated, self-possessed lady of the court that Marie Hassenpflug became." I will not mention that Paradiž, a female scholar, is herself perpetuating false information. She seems to have entirely misunderstood who "old Marie" really was said to have been. But she is not alone. Another scholar, Jack Zipes, is also very much unaware of who "old Marie" was. Zipes writes about her with great affection in his 2014 book "Grimm Legacies." For those interested in knowing who "old Marie" was, please look at my review of Zipes 2014 book on Amazon.com. "Marie" was thought to have been a servant in the Wild household. There was never any thought in the past that "old Marie" was "Marie Hassenpflug." "Marie" was in fact "Marie Hassenpflug." It is a little confusing, but only more so because some scholars just can’t get it right and end up publishing nonsense.

The sentence that Paradiž writes above is just a very poorly written sentence. There are some individual “factoids” in it that are true, but when taken together and written like this, the whole ends up being misleading, unclear and just wrong. the VERY SHORT VERSION OF “OLD MARIE:”

1. Several Grimm texts were noted with “Marie” or “Mie.”
2. Herman Grimm, Wilhelm’s son, thought these referred to “Marie Müller,” the housekeeper of the Wild’s.
3. Subsequent research has shown that the notes in #1 actually referred to “Marie Hassenpflug,” not “Marie Müller.”
4. “Marie Müller” was also called “alte Marie” (old Marie) by Herman Grimm.
5. The notes to #1 actually do refer to “Marie Hassenpflug.”
6. Side note: Jack Zipes is also unaware of who “Marie Müller” is. He describes her as an “elderly housekeeper” from whom the Hassenpflug sisters “may have heard” many of their “stories.” This “Marie” has lead some scholars astray for over 100 years. Also, she (Marie Müller) lived in the Wild household, not the Hassenpflug household. Why a woman living in the Wild household would tell stories to girls of the Hassenpflug household is rather odd. If she lived in the Wild household, would she not tell stories to the Wild girls (if she did that at all)? Why would she walk (or ride or whatever) all the way to the Hassenfplug house to tell the Hassenpflug girls stories?

Page 189 Paradiž writes of "The Große Ausgabe (Great Edition) of the fairytales." I would not write it as "Great." Since the Grimms themselves referred to "kleine" (small) and "große" (large) editions, I think that the words "Large Edition" would be better.

Odds and Ends.

Paradiž always refers to an "Amalia Hassenpflug." I only know her as "Amalie." Why change her name? Maybe it is an Americanization? If it is, why not change the names of the other sisters also to Maria and Janet? It seems odd.

Best to skip it and watch a movie.
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