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The Witch Must Die: The Hidden Meaning Of Fairy Tales

Description

A noted psychologist shows how fairy tales are a powerful aid to growing up, banishing fears, resolving conflicts, and conquering the darkness that dwells within us

"A dazzling tour de force for anyone interested in the inner world of children and parents."
-Henry Biller, author of The Father Factor

In The Witch Must Die, Sheldon Cashdan explores how fairy tales help children deal with psychological conflicts by projecting their own internal struggles between good and evil onto the battles enacted by the characters in the stories. Not since Bettelheim's The Uses of Enchantment has the underlying significance of fantasy and fairy tales been so insightfully and entertainingly mined.

Reviews

Rating: 4 / 5
Date: 2010-04-02
Summary: "The Witch Must Die"

Fantastic book exploring the dynamics of fairy tales and child psychology. Very informative, an excellent read!

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Rating: 2 / 5
Date: 2009-11-02
Summary: "Started out well..."

I first picked up this book at a B&N while waiting for a friend. The title caught my attention of course, and the fact that I found this book in the psychology section made it all the more intriguing. That day I read about 26 pages and actually liked it a lot. I didn't buy the book that day, but eventually ordered it from Amazon. Now I'm almost all the way done with the book and I have to say that I am very disappointed. Although the principle of the book is interesting and starts out well, the majority of the book is very repetitive. I also find that the author often interprets fairy tales to fit the points he wants to make. There are many psychology books out there about "the hidden meaning of fairy tales" and I must say that if you're considering to buy this book, you might want to consider getting something else instead.

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Rating: 5 / 5
Date: 2008-05-03
Summary: "The Witch Must Die by Sheldon Cashdan"

Cashdan, Sheldon. 1999. The Witch Must Die: The Hidden Meaning of Fairy Tales. New York: Basic Books.
Author Sheldon Cashdan's parents read the more popular fairy tales such as Hansel and Gretel and Jack in the Beanstalk to him as a child. Still, he admits his most vivid childhood memories of fairy tales were brought to him courtesy of Walt Disney. He recalls "sitting in a darkened movie theater watching Snow White and holding (his) breath as the gamekeeper prepared to cut out the heroine's heart" (Cashdan, 1). However, as an adult, teaching undergraduate courses; particularly a seminar titled "The Psychology of Fantasy and Folklore", he became aware of fairy tales as both a teaching tool and a forum for understanding child psychological development.
In chapter one Cashdan discusses some of the myths concerning fairy tales.
* Myth 1-Fairy tales are stories written for children. During his research of fairy tales Cashdan found that many of them "never made their way into children's storybooks" (Cashdan, 2). Of the hundreds of fairy tales Cashdan unearthed only a few, those free of incest, sexual innuendo, and other perversions, were appropriate for children. Their intended use, Cashdan asserts, was entertainment at adult social gatherings.
* Myth 2-All fairy tales were written by The Brothers Grimm. Wilhelm and Jacob Grimm collected centuries-old stories, gleaned from the memories of and relatives, and created an anthology that "many consider the most comprehensive fairy-tale collection of all time" (Cashdan, 7).
* Myth 3-The intent of fairy tales is to teach children lessons. Morality in fairy tales was added later by Charles Perrault. For example, the never talk to strangers caution in Little Red Riding Hood was not part of the original story, but added by Perrault for didactic purposes. According to the author Little Red Riding Hood is about "food and cannibalism" (Cashdan, 9).
In chapter two Cashdan discusses why, although they were not originally intended for children, fairy tales are so appealing to children and why they are helpful psychologically. Fairy tales contain insight into feelings all children struggle to understand. Things such as loving and being loved, fear of abandonment, and even where they stand in the hierarchy of the family find a voice and a release through fairy tales.
Chapters three through ten provide a breakdown of inappropriate behaviors and feelings all children struggle to overcome and compares them to the seven deadly sins; vanity, gluttony, envy, deceit, lust, greed, and sloth. Cashdan points to the witch-like character in various fairy tales; the evil step-mother in Snow White is vain, the witch in Hansel and Gretel is gluttonous, the evil step-mother in Cinderella is envious, the maid-servant in The Goose Girl is deceitful, the Sea Witch in The Little Mermaid is lustful, the giant in Jack and the Beanstalk is greedy, the evil step-sister in Mother Hulda is slothful; and associates the witch's death in each story with a child's ability to overcome inappropriate feelings and behavior.
As a method for understanding the inner workings of a child's mind and an historical index of both well and lesser known traditional tales The Witch Must Die is an excellent resource for parents, teachers, and child psychologists attempting to help children navigate some of the more terrifying impulses, feelings, and actions associated with childhood.

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Rating: 3 / 5
Date: 2008-02-08
Summary: "Interesting analysis of fairy tales"

After reading "Wicked", I became interested in the origins and functions of fairy tales. This well researched book offers insight into such questions.

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Rating: 1 / 5
Date: 2006-10-24
Summary: "Poorly researched and misogynistic"

Early in the text Cashdan makes clear the fact that fairy tales were never intended as children's stories, nor were they meant to convey lessons. Rather, they were a source of entertainment and adventure for adults - characteristics that made the same stories viable later to be adapted for children. He asserts that, rather than teaching specific moral lessons, fairy tales do help children learn to deal with the struggles of everyday life, particularly struggles with what he terms "the seven deadly sins of childhood:" vanity, gluttony, greed, sloth, envy, lust, and deceit. He asserts that the tales teach children through subtle means to resolve "struggles between the positive and negative forces in the self."

Cashdan characterizes the witch-villain as an external manifestation and magnification of the child-hero/ine's inner flaws. Later he states that good and bad female figures relate to the child's positive and negative experiences with the mother figure in her life (never addressing the fact that the good mother is almost always dead or absent in the stories). Cashdan quickly dismisses the possibility of misogyny in the negative portrayal of stepmothers and female villains simply because fairy tales aren't meant to be taken as faithfully realistic.

Later still he returns to the idea of the witch as representative of the hero/ine's sinful characteristics. The primary premise of his text is that the "Witch must die because the witch embodies the sinful parts of the self." This concept reinforces the patriarchal implication that evil is feminine in nature and suggests that it is the "negative" female aspects of the child's character which must be annihilated in order for her to live happily ever after.

Cashdan also claims that witches in fairy tales are often depicted as cannibalistic in order to identify them as fully repugnant and therefore deserving of annihilation; in fact, cannibalism was perceived as an earmark of witchcraft during the European witch hunts. This simple statement (as well as his flaccid bibliography) betrays the fact that Cashdan's text is poorly researched and that he often substitutes speculation for informed observations. Due to its inherent inconsistencies and oversights, Cashdan's text is utterly useless unless to provide points to argue against.