The Brothers Grimm ( die BrÃÆ'¼der Grimm or die GebrÃÆ'¼der Grimm ), Jacob and Wilhelm Grimm, are German academics, philologists, cultural researchers, lexicographers and authors who collectively collect and publish folklore during 19th century. They include the first and most famous collectors of folklore, and popularized traditional oral types such as "Cinderella" ("German text"> Aschenputtel > ")," The Frog Prince "(" German DerFroschkÃÆ'¶nig ")," The Goose -Girl " ("Die GÃÆ'¤nsemagd"), "Hansel and Gretel" (" HÃÆ'¤nsel und Gretel "), "Rapunzel", "Rumpelstiltskin" ("Rumpelstilzchen " Sleeping Beauty "(" DornrÃÆ'¶schen "), and" Snow White "(" Schneewittchen "). Their classic collection Children and Household Stories ( Kinder- und HausmÃÆ'¤rchen ), was published in two volumes, in 1812 and in 1815.
The brothers were born in the Hanau town of Hesse-Cassel (now Germany) and spent most of their childhood in the nearby town of Steinau. The death of their father in 1796 impoverished families and affected the brothers for many years afterwards. They attended the University of Marburg where they began a lifelong dedication to researching the early history of German language and literature, including German folklore. The rise of Romanticism during the 18th century has rekindled interest in traditional folklore, which for Grimms and their colleagues represents a pure form of literature and national culture. The Brothers Grimm established a methodology for collecting and recording folklore that became the basis for the study of folklore. Between the first editions of 1812-15, and the seventh and final editions of 1857, they revised their collections many times, so it grew from 156 stories to more than 200. In addition to collecting and editing folklore, the brothers composed the German language legend. Individually, they publish many linguistic and literary scholarships. Together, in 1838 they began working on a large historical German dictionary (Deutsches WÃÆ'¶rterbuch ) of the German text , in a lifetime, they finish only as far as the word 'Frucht,' 'fruit'.
Many Grimms folklore has enjoyed immortal popularity. The tale is available in over 100 languages ​​and has been adapted by filmmakers including Lotte Reiniger and Walt Disney, with films such as Snow White and the Seven Dwarfs and Sleeping Beauty . During the 1930s and 40s, the stories were used as propaganda by the Third Reich; then in a 20th century psychologist such as Bruno Bettelheim reaffirmed the value of the work, regardless of cruelty and violence in the original version of some tales, which Grimms ultimately cleansed.
Video Brothers Grimm
Biography
Initial life
Jacob Ludwig Carl Grimm was born on January 4, 1785, and his brother Wilhelm Carl Grimm was born on 24 February 1786. Both were born in Hanau, in Landgraviate of Hesse-Kassel in Holy Roman Empire (now Germany), to Philipp Wilhelm Grimm, a lawyer, and Dorothea Grimm nÃÆ' Â © e Zimmer, daughter of a member of the Kassel city council. They are the second and third eldest siblings still living in a family with nine children, three of whom died in infancy. In 1791, the family moved to the rural town of Steinau, when Philipp was employed there as a district judge (Amtmann
In 1796, Philipp Grimm died of pneumonia, plunged his family into poverty, and they were forced to let go of their great servants and homes. Dorothea depended on the financial support of her father and sister, the first female adoptive mother of William I, the Elector of Hesse. Jacob is the oldest surviving son, and he was forced at age 11 to take on adult responsibilities (shared with Wilhelm) over the next two years. The two boys followed the advice of their grandfather, who kept urging them to be diligent.
The brothers left Steinau and their family in 1798 to attend the Friedrichsgymnasium in Kassel, which was arranged and paid for by the aunt they. At that time, they were without male providers (their grandfathers died that year), forcing them to depend entirely on each other, and they became very close. The brothers had different temperaments; Jacob was introspective and Wilhelm was out (though he often suffered pain). Sharing a strong work ethic, they excel in their studies. In Kassel, they became very conscious of their lower social status compared to the "high" students who received more attention. However, each brother passed in the head of his class: Jacob in 1803 and Wilhelm in 1804.
Kassel
After graduating from the Friedrichsgymnasium , the brothers attended the University of Marburg. The university is small with about 200 students and there they become very aware that students with lower social status are not treated equally. They were disqualified from recognition for their social status and had to request a dispensation to study law. The richer students receive benefits, but the brothers are excluded even from school tuition assistance. Their poverty keeps them away from students' activities or the social life of the university; However, ironically, the status of their outsiders benefits them, and they pursue their studies with extra strength.
The brothers were inspired by their legal professor, Friedrich von Savigny, who awakened their interest in history and philology, and they turned to study medieval German literature. They shared the desire of Savigny to see the unification of 200 German countries into one country. Through Savigny and his circle of friends - German romanticism such as Clemens Brentano and Ludwig Achim von Arnim - Grimm was introduced to the ideas of Johann Gottfried Herder, who thought that German literature should return to a simpler form, which he defined as i> lang = "de" title = "German text"> Volkspoesie (natural poetry) as opposed to Kunstpoesie (artistic poetry). The brothers devoted themselves with great enthusiasm for their study, about which Wilhelm wrote in his autobiography, "the spirit we learned in Old German helped us overcome spiritual depression of the day."
Jacob was still financially responsible for his mother, brother, and siblings in 1805, so he accepted a position in Paris as research assistant von Savigny. Upon his return to Marburg, he was forced to leave his studies to support the family, whose poverty is so extreme that food is often scarce. He took a job with the Hessian War Commission. In a letter written to his aunt today, Wilhelm writes about their situation, "We five people only eat three portions and only once a day".
Jacob found a full-time job in 1808 when he was appointed as a court librarian to the King of Westphalia and later became a librarian in Kassel. After their mother's death that year, she became fully responsible for her siblings. He arranged and paid for the study of his brother Ludwig in art school and for Wilhelm's extended visit to Halle to seek treatment for heart and respiratory illness, after Wilhelm joined Jacob as a librarian in Kassel. The brothers also began collecting folklore around this time, in passing and at the request of Brentano. According to Jack Zipes, at this point "the Grimm can not devote all their energies to their research and have no clear idea of ​​the importance of collecting folklore in this early phase."
During their work as librarians - who paid little but gave them enough time for research - the brothers and sisters experienced a productive period of scholarship, published a number of books between 1812 and 1830. In 1812, they published the first volume of 86 folklore, Kinder- und HausmÃÆ'¤rchen , followed quickly by two volumes of German legend and early literary history volumes. They went on to publish works on Danish folklore and Norse mythology, while continuing to edit the collection of German folklore. These works became so widely recognized that the brothers received honorary doctorates from universities in Marburg, Berlin, and Breslau (now Wroc? Aw).
GÃÆ'¶ttingen
In 1825, Wilhelm married Henriette Dorothea (Dortchen) Wild, an old family friend and one of the groups who supplied them with stories. Jacob never married but stayed at home with Wilhelm and Dortchen. In 1830, the two brothers were ignored when the title of the library chief was available, which greatly disappointed them. They moved households to Göttingen in the Hanover Kingdom where they worked at GÃÆ'¶ttingen University, Jacob as professor and head of library and Wilhelm as professor.
For the next seven years, you continue to research, write, and publish. In 1835, Jacob published German mythology Deutsche Mythologie Wilhelm continues to edit and prepare the third edition of German Kinder- und HausmÃÆ'¤rchen for the publication of the third edition In 1837, they lost their university post after joining the protest with GÃÆ'¶ttingen Seven. The 1830s was a period of political upheaval and peasant uprising in Germany, leading to a democratic reform movement known as Young Germany. The Grimm brothers were not directly parallel to Young Germany, but five of their colleagues reacted to the demands of King Ernest Augustus I, who dissolved the Hanover parliament in 1837 and demanded a pledge of allegiance from public servants - including professors at the University. from GÃÆ'¶ttingen. Denied to sign the oath, the seven professors were dismissed and three were deported from Hanover, including Jacob who went to Kassel. He was later joined there by Wilhelm, Dortchen, and their four children. The brothers did not earn in 1838 and again in extreme financial difficulties, so they started what became a life-long project: the writing of a definitive dictionary. The first volume of their German
Berlin and subsequent years
In 1840, von Savigny and Bettina von Arnim succeeded in appealing to Frederick William IV of Prussia on behalf of the brothers offered a post at the University of Berlin. In addition to teaching posts, the Academy of Sciences offers them allowances to continue their research. Once they have established their home in Berlin, they direct their efforts towards work in the German dictionary and continue to publish their research. Jacob turned his attention to examining the German legal tradition and the history of the German language, published in the late 1840s and early 1850s; Meanwhile, Wilhelm began researching medieval literature while editing a new edition of German HausmÃÆ'¤rchen HausmÃÆ'¤rchen .
After the Revolution of 1848 in the German states, the brothers were elected to the civilian parliament. Jacob became a leading member of the National Assembly in Mainz. Their political activities were short-lived, as their hopes diminished for the united Germany and their growing disappointment. In the late 1840s, Jacob resigned from his university position and saw German Geschichte der deutschen Sprache's publication ). Wilhelm continued at his university post until 1852. After retiring from teaching, the brothers devoted themselves to the German Dictionary for the rest of their lives. Wilhelm died of an infection in Berlin in 1859, and Jacob became increasingly closed, deeply saddened by the death of his brother. He continued to work in the dictionary until his own death in 1863. Zipes wrote the Grimm brothers dictionary and about their enormous body of work: "Symbolically the last word is Frucht (fruit). "
Maps Brothers Grimm
Collaboration
Children and House Stories
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The rise of romanticism, Romantic nationalism, and trends in assessing popular culture in the early 19th century revived interest in fairy tales, which have declined since the end of the 17th century. Johann Karl August MusÃÆ'¤us published a collection of popular stories between 1782 and 1787; The Grimms helped the resurrection with their collection of folklore, built on the belief that national identity can be found in popular culture and with ordinary people ( Volk ). They collect and publish fairy tales as a reflection of German cultural identity. However, in the first collection, they included the fairy tale of Charles Perrault, published in Paris in 1697 and written for the literary salon of an aristocratic French audience. Scholar Lydie Jean explains that a myth is created that the Perrault story comes from ordinary people and reflects the folklore that exist to justify their inclusion - though many of them are original.
The brothers were directly influenced by Brentano and von Arnim, who edited and adapted the folk songs of Des Knaben Wunderhorn ( The Magic Horn Boy or spill over). They begin their collection with the aim of creating a traditional storytelling and preserving stories as they have been passed down from generation to generation - a practice threatened by increasing industrialization. Maria Tatar, professor of German studies at Harvard University, explains that it is surrender from generation to generation and origin in oral tradition that gives folklore an important change. The fairy tale versions differ from region to region, "picking up pieces of culture and local knowledge, drawing phrase shifts from a song or other story and refining characters with features taken from viewers watching their performance."
However, as Tatar describes, Grimms uses unique German stories, such as "Little Red Riding Hood", which has been in many versions and regions throughout Europe, because they believe that such stories are a reflection of the culture Germanic. Next, the brothers see the fragments of the old religion and faith reflected in the stories that they think continue to exist and survive through telling stories.
Methodology
When Jacob returned to Marburg from Paris in 1806, their friend Brentano searched for the help of the brothers and sisters to add to the collection of folklore, at which time the brothers began collecting fables in a regular manner. By 1810, they had produced a collection of manuscripts from several dozen fairy tales, written after inviting storytellers to their homes and copying what they heard. These stories are heavily modified in transcription, and many have roots in earlier written sources. At Brentano's request, they printed and sent him a copy of the fable they collected for inclusion in the third volume of Des Knaben Wunderhorn German texts . Brentano either ignored or forgot about the tales, leaving his copy in a church in Alsace where they were discovered in 1920 and known as the ÃÆ'-lenberg script. This is the earliest version of the Grimms collection and has been a valuable resource for scholars studying the development of the Grimms collection from an early time. The manuscript was published in 1927 and again in 1975.
The brothers earned a reputation for collecting stories from the peasants, although many of the stories came from middle-class or aristocratic acquaintances. Wilhelm's wife, Dortchen Wild and his family, with their breeding aides, told the brothers of some of the more famous folklore, such as "Hansel and Gretel" and "Sleeping Beauty". Wilhelm collected a number of fairy tales after making friends with August von Haxthausen, whom he visited in 1811 in Westphalia, where he heard stories from the circle of von Haxthausen's friends. Some of the storytellers came from Huguenot's ancestors, telling French stories as told to Grimm by Marie Hassenpflug, a French-educated lady Huguenot, and perhaps these informants are familiar with Perrault's Histoires ou contes du temps passÃÆ'Â © ( Stories from the Past ). Other stories were collected from Dorothea Viehmann, wife of a middle-class tailor and also of French descent. Despite his middle-class background, in his first English translation he was characterized as a farmer and was given the name Gammer Gretel
According to experts like Ruth Bottigheimer and Maria Tatar, some tales may have been in writing during the medieval period with writers like Straparola and Boccaccio, but have been modified in the 17th century and rewritten by Grimms. In addition, Tatar writes that the purpose of the brothers preserving and shaping the tales as unique in German during the French occupation was a form of "intellectual resistance" and, thus, they developed a methodology for collecting and preserving stories the people who set the model to be followed later by writers throughout Europe during the period of occupation.
Write
From 1807 onwards, the brothers added to the collection. Jacob established the framework, maintained through many iterations; from 1815 until his death, Wilhelm assumed sole responsibility for editing and rewriting the story. He makes fairy tales with similar styles, adds dialogue, removes pieces "that might reduce rough tones", fixes plots, and incorporates psychological motives. Ronald Murphy writes in the Owls, Crows and Pigeons that the brothers - and especially Wilhelm - also add religious and spiritual motives to the stories. He believed that Wilhelm "gathered" little of the old Germanic religion, Norse mythology, Roman and Greek mythology, and the biblical stories he improved.
Over the years, Wilhelm worked extensively on prose, extending and adding detail to the stories to many that grew to twice as long in the earliest published editions. In later editions, Wilhelm applied the language to make it more appealing to bourgeois hearings, eliminating sexual elements, and adding Christian elements. After 1819, he began writing for children (initially the children were not considered the main audience), adding completely new stories or adding new elements to the existing tales, often very didactic elements.
Some changes are made based on unfavorable reviews, especially from those who reject that not all fairy tales are suitable for children due to violent scenes and sexuality. He works to modify plots for many stories; for example, "Rapunzel" in the first edition of German Kinder- und HausmÃÆ'¤rchen clearly shows sexual relations between princes and girls in the tower , which he edited in subsequent editions. Tatar wrote that the moral was added (in the second edition, the king's regret was added to the scene where his wife was burned at the stake) and often the characters in the fair were altered to appear more German: "every fairy ( Cost ), prince ( Prinz ) and daughter ( Prinzessin ) - all French words - is transformed into a more Teutonic enchantress ( Zauberin ) or a wise woman ( weise frau ), the king's son ( KÃÆ'¶nigssohn ), princess ( KÃÆ'¶nigstochter ). "
Theme and analysis
The Grimm legacy contains legends, novels, and folklore, mostly not intended as children's fairy tales. Von Armin is very concerned about the contents of some fairy tales, as it shows the children being eaten, and suggests that they be removed. Instead, you add an introduction with warning advice that parents direct children to stories that are age-appropriate. Regardless of the inconvenience felt by von Armin, none of the stories are omitted from the collection, in the belief of the brothers and sisters that all fairy tales are valuable and reflect inherent cultural qualities. In addition, the stories are didactic at the time of discipline based on fear, according to scholar Linda DÃÆ'Â © gh, who explains that fairy tales like "Little Red Riding Hood" and "Hansel and Gretel" are written into "warning tales" for children.
The stories in Kinder- und HausmÃÆ'¤rchen include scenes of violence that have been sanctified. For example, in the original version of "Snow White" Grimms, the Queen is Little Snow White's mother, not her stepmother, yet she orders Huntsman to kill Snow White (her biological daughter) and bring home the lungs of the child and heart so she can eat them. The story ends with the queen mother dancing at the wedding Snow White wearing a pair of hot iron shoes that kill her. Another story ("The Goose Girl") has a naked servant and is pushed into a barrel of "sharp studs" pointing in and then rolling on the streets. The Grimms version of "The Frog Prince" depicts the princess throwing frogs against the wall instead of kissing her. To some extent, cruelty and violence may be a reflection of the medieval culture from which fairy tales originated, such as the burning wizard's scene, as described in "The Six Swans".
Tales with spinning motifs are widely represented in the collection. In his essay "Tale Spinners: Submerged Voices in Grimms' Fairy Tales", Bottigheimer's literature scholar explains that these stories reflect the extent to which spinning is so important in the life of women in the 19th and earlier centuries. Spinning, and especially spinning hemp, is generally done at home by women. Many stories begin by describing the occupation of the main character, as in "There is ever a mill", but spinning is never called work, probably because you do not consider it a job. Conversely, spinning is a communal activity, often done in the Spinnstube spinstube, a place where women are likely to keep the tradition verbal survives by telling a story while engaging in a tedious job. In the story, the personality of a woman is often represented by her attitude toward spinning; a wise woman may be an old maid and Bottigheimer explains that the scroll is a symbol of "industrious and well-ordered womanhood." In some stories, such as "Rumpelstiltskin", spinning is associated with threats; in others, spinning may be avoided by characters who are too lazy or unaccustomed to spin due to their high social status.
The tales were also criticized for lacking enough of the German language, affecting the stories that the brothers included and the use of their language. Scholars like Heinz RÃÆ'¶lleke say that the stories are an accurate depiction of German culture, showing "rural simplicity [and] sexual decency". German culture is deeply rooted in the forest ( wald ), where dark hazards are to be avoided, especially old ones with big oak trees and not yet where Little Red Riding Hood's mother sent her daughter to deliver food to Grandma's house.
Some critics like Alistair Hauke ​​use Jung's analysis to say that the death of your father and grandfather is the reason for Grimm's tendency to idealize and forgive him, as well as the dominance of female criminals in fairy tales, like stepmother and evil stepbrother in "Cinderella "but this ignores the fact that they are collectors, not story writers. Other influences may be found in stories such as "Twelve Brothers," reflecting the structure of your family of siblings who face and overcome disputes. The autobiographical elements are in some fairy tales, and according to Zipes, the work may be a "search" to replace the lost family life after their father died. The collection includes 41 stories about siblings, which Zipes says represent Jacob and Wilhelm. Many of your stories follow a simple groove in which characters lose their homes, work diligently on a particular task and, in the end, find a new home.
Edition
Between 1812 and 1864, the German Kinder- und HausmÃÆ'¤rchen was published 17 times: seven of the "Great editions" ( GroÃÆ'Ÿe Ausgabe ) and ten "Small editions" ( Kleine Ausgabe ). The Great Edition contains all the stories collected to date, extensive annotations, and scientific records written by the brothers; The Small Edition only has 50 fairy tales and is intended for children. Jacob's and Wilhelm's sister, Emil Grimm, illustrated the Little edition, adding Christian symbolism to the images, depicting Cinderella's mother as an angel, and adding the Bible to the bedside table of Little Red Riding Hood's grandmother.
The first volume was published in 1812 with 86 folklores, and a second volume with 70 additional stories was published at the end of 1814 (dated 1815 on the title page); together, the two volumes and their 156 stories are considered the first of the Great (annotated) editions. An expanded second edition with 170 stories published in 1819, followed in 1822 by volume of comments and scientific annotations. Five major editions were published in 1837, 1840, 1843, 1850, and 1857. The seventh and final edition of 1857 contains 211 stories - 200 folklores and eleven legends.
In Germany, the German Kinder- und HausmÃÆ'¤rchen is also released in "popular posters of Bilderbogen (broadsides)" format and in a single story format for more popular stories, such as "Hansel and Gretel". Stories are often added to collections by other authors without respect for copyright as fairy tales become the focus of attention for children's book illustrators, with famous artists such as Arthur Rackham, Walter Crane, and Edmund Dulac portraying the stories. The popular selling edition was released in the mid-19th century and included a complicated painting by George Cruikshank. On the death of the brothers, copyright is given to Hermann Grimm (son of Wilhelm) who continues the practice of printing volume in an expensive and complete edition; however, copyright disappeared after 1893 and the stories began to be published in various formats and editions. In the 21st century, the Kinder- und HausmÃÆ'¤rchen is a universally known text known as Grimms' Fairytale in English. The collection of Jacob and Wilhelm's stories has been translated into over 160 languages ​​with 120 different text editions available for sale in the US alone.
Philology
While at the University of Marburg, the brothers came to see a culture tied to language and considered the purest cultural expression in grammar. They moved from Brentano practice - and the other romantic - which often changes the original oral style of folklore to a more literary style, which is considered to be made by brothers. They think that people's style ( volk ) reflects the inspired and naturally inspired poetry ( naturpoesie ) compared to kunstpoesie (art poetry), which they see as artificial built. As historians and scholars of literature, they investigate the origin of the story and attempt to extract it from the oral tradition without losing the original character of the spoken language.
The brothers strongly believe that the dream of national unity and independence depends on full knowledge of the cultural past reflected in folklore. They work to find and crystallize a kind of Germanness in the stories they collect because they believe that folklore contains kernels of ancient mythology and beliefs that are essential to understanding the essence of German culture. By examining cultures from a philological point of view, they seek to build relationships between German law and culture and local beliefs.
The Grimm family considered the stories to be derived from traditional German folklore, which they thought had been "contaminated" by later literary traditions. In the transition from oral tradition to textbooks, fairy tales are translated from regional dialects into German Standard (Hochdeutsch . During many modifications and revisions, however, the Grimm attempted to reintroduce regionalism, dialect and Low German to fairy tales - to reintroduce the original form language of the oral story.
In early 1812, they published the German text of Die beiden ÃÆ'¤ltesten deutschen Gedichte aus dem achten Jahrhundert: Das Lied von Hildebrand und Hadubrand und das WeiÃÆ'Ÿenbrunner Gebet ( The Two Oldest German Poems of the Eighth Century: Hildebrand and Hadubrand's Songs and Wessobrunn's Prayer ). The Song of Hildebrand and Hadubrand is a 9th-century German heroic song, while Prayer Wessobrunn is the earliest known German heroic song.
Between 1816 and 1818, the brothers published two volumes of German Deutsche Sagen ( sold poorly, but Zipes said that the collection was "an important source for the story people and critics alike ".
Less well known in the English-speaking world is the pioneering scientific work of the brothers in the German dictionary, Deutsches WÃÆ'¶rterbuch , which they began on 1838. Not until 1852 they began to publish dictionaries in installments. Work in the dictionary can not be solved in their lives because in it they give history and analysis of every word.
Reception and inheritance
Kinder- und HausmÃÆ'¤rchen is not a direct-selling book, but its popularity is growing with every edition. The early editions attracted lukewarm critical reviews, generally on the grounds that the stories were not of interest to the children. The brothers responded with modifications and rewrites to increase the book market's appeal to the demographics. In the 1870s, the tales were so popular that they were added to the teaching curriculum in Prussia. In the 20th century, work has retained its status as the second after the Bible as the most popular book in Germany. Its sales resulted in a mini-industry critique that analyzed the content of fairy tales in the context of literary history, socialism, and frequent psychological elements along the Freudian and Jungian lines.
In their research, the brothers made the science of folklore studies (see folkloristics), producing a research model that "launched public fieldwork in most European countries", and set standards for the research and analysis of stories and legends that made them pioneer. in the field of folklore in the 19th century.
During the Third Reich, Grimm's stories were used to cultivate nationalism, and the Nazi Party decided that Kinder- und HausmÃÆ'¤rchen Sleeping Beauty . The stories of Grimms have provided many of the earliest foundations on which the Disney empire was built. In the movie, Cinderella's motif, the story of a poor girl who finds love and success, continues to be repeated in movies like Pretty Woman, Princess Diaries, Princess Diaries II , Ever After , Helpers in Manhattan , and Ella Enchanted . In 1962, the lives of the two brothers became the subject of the movie The Wonderful World of the Brothers Grimm featuring all star actors, including Laurence Harvey and Karlheinz BÃÆ'¶hm in the title role.
Twentieth-century educators debate the value and influence of teaching stories that include brutality and violence, leading to some of the more terrible details to sanitize. DÃÆ'Â © gh writes that some educators believe that children should be protected from cruelty in any form; that stories with happy endings are good to teach, whereas darker stories, especially legends, may be more dangerous. On the other hand, some educators and psychologists believe that children can easily see the difference between what is a story and what is not and that the fairy tale continues to have value for the children. Bruno Bettelheim's 1976 publication The Uses of Enchantment brings a new wave of interest in stories as children's literature, with an emphasis on "therapeutic value for children". More popular stories like "Hansel and Gretel" and "Little Red Riding Hood" have been the subject of modern childhood, presented in coloring books, puppet shows, and cartoons. Other stories, however, have been considered too dreadful and have not yet made a popular transition.
Regardless of the debate, Grimm's stories continue to be tough and popular all over the world, although recent studies in the UK seem to indicate that parents think the story is too harsh and inappropriate for children, Libby Copeland wrote for > Slate .
Nevertheless, the children remain captivated by the Grim tales with their own brethren adhered to as stories and even as part of the stories themselves. The Grimm brothers imagine them as fraudsters who exploit the superstitious German farmers until they are asked to face the original fairy tale that calls them to eventually become heroes. Grimm follows a detective who finds him a Grimm, the latest in a ranks of guards who are sworn in to maintain a balance between humans and mythological creatures. Ever After High imagines Grimm Brothers (here called Milton and Giles) as Ever After High boarding schools where they train children from the fairy tales of previous generations to follow in the footsteps of their parents. The 10th Kingdom mini series states that the brothers are trapped in a fairy-tale world for years where they witnessed the events of their story before finally making it back to the real world. The Sisters Grimm series follows their descendants, Sabrina and Daphne, as they adapt to life in Ferryport Landing, a city in New York inhabited by fairy tales. Separate from the previous series is the The Land of Stories and his Sisters Grimm, a self-described coven that is determined to track and document creatures from a fairy-tale world that cross into the real world. Their ancestors were actually chosen by Mother Goose and others to tell fairy tales so they could give hope to mankind.
Source of the article : Wikipedia
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