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delivered tales to the Grimms. Many of the storytellers came to the Grimms' house in Kassel. The brothers 
particularly welcomed the visits of Dorothea Viehmann, a widow who walked to town to sell produce from 
her garden. 
An innkeeper's daughter, Viehmann had grown up listening to stories from travelers on the road to 
Frankfurt. Among her treasures was "Aschenputtel"—Cinderella. Marie Hassenpflug was a 20-year-old 
friend of their sister, Charlotte, from a well-bred, French-speaking family. Marie's wonderful stories blended 
motifs from the oral tradition and from Perrault's influential 1697 book, Tales of My Mother Goose, which 
contained elaborate versions of "Little Red Riding Hood", "Snow White", and "Sleeping Beauty", among 
others. Many of these had been adapted from earlier Italian fairy tales. 
Given that the origins of many of the Grimm fairy tales reach throughout Europe and into the Middle 
East and Orient, the question must be asked: How German are the Grimm tales? Very, says scholar Heinz 
Rolleke. Love of the underdog, rustic simplicity, creative energy—these are Teutonic traits. The coarse 
texture of life during medieval times in Germany, when many of the tales entered the oral tradition, also 
coloured the narratives. Throughout Europe children were often neglected and abandoned, like Hansel and 
Gretel. Accused witches were burned at the stake, like the evil mother-in-law in "The Six Swans". "The 
cruelty in the stories was not the Grimms' fantasy", Rolleke points out. "It reflected the law-and-order 
system of the old times". The editorial fingerprints left by the Grimms betray the specific values of 19th-
century Christian, bourgeois German society. But that has not stopped the tales from being embraced by 
almost every culture and nationality in the world. What accounts for this widespread, enduring popularity? 
Bernhard Lauer points to the "universal style" of the writing. "You have no concrete descriptions of the land, 
or the clothes, or the forest, or the castles. It makes the stories timeless and placeless." "The tales allow us to 
express 'our utopian longings'," says lack Zipes of the University of Minnesota, whose 1987 translation of 
the complete fairy tales captures the rustic vigour of the original text. "They show a striving for happiness 
that none of us knows but that we sense is possible. We can identify with the heroes of the tales and become 
in our mind the masters and mistresses of our own destinies. " 
Fairy tales proynde a workout for the unconscious, psychoanalysts maintain. Bruno Bettelheim 
famously promoted the therapeutic value of the Grimms' stories, calling fairy tales the "great comforters". 
By confronting fears and phobias, symbolized by witches, heartless stepmothers, and hungry wolves, 
children find they can master their anxieties. Bettelheim's theory continues to be hotly debated. But most 
young readers aren't interested in exercising their unconsciousness. The Grimm tales in fact please in an 
infinite number of ways. Something about them seems to mirror whatever moods or interests we bring to our 
reading of them. This flexibility of interpretation suits them for almost any time and any culture. 

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