Transformations and Male Maturation
51
of memorable male characters in European folklore, asserting ‘we find
ourselves at a loss when called upon for the names of male protagonists:
Iron Hans and Tom Thumb perhaps; the Brave Little Tailor, Strong Hans
and Lucky Hans – but here we are already in the realm of the folktale jest’
(1991: 314). Maria Tatar concurs with Luthi on this point, arguing that
while the most popular Grimm heroines are named, ‘male heroes are
exceptionally unmemorable in name, if not deed’ (2003: 85) and gener-
ally distinguished by a degree of naïveté – if not outright foolishness.
1
Nonetheless, Tatar has unearthed some additional characteristics that
prove especially significant to this discussion, particularly in detailing
the qualities exhibited by apparent ‘fools’ that come of age. Drawing
comparison between approved females in the tale type ‘The Kind
and Unkind Girls’ (ATU 480), and their lazy or cruel counterparts (a
variation on ‘The Beautiful and the Ugly Twin Sisters’ (ATU 711)), Tatar
observes that tales featuring ‘Three Brothers’ (ATU 654) typically imbue
the youngest son with the same favoured qualities as these girls, often
proving more caring and considerate than their siblings. In each case,
irrespective of gender, ‘the protagonists must demonstrate compas-
sion, humility, gratitude and kindness’ (1992: 67) and are accordingly
rewarded in some way – often with help (usually supernatural or animal
intervention) that results in their betrothal.
2
A similar point was noted
by Carolyn G. Heilbrun, who argued that women might identify with
the youngest brother in these stories, perceiving them to have ‘femi-
nine’ virtues, listed as ‘animal loving, generous, affectionate and warm
to the possibilities of affiliation’ (1993: 150).
3
(In fact the ‘youngest son’
plot is akin to a male version of ‘Cinderella’, enabling the most down-
trodden of three siblings to triumph, with marriage presented as their
reward.) Although Heilbrun appears to essentialise what constitutes
‘feminine’ characteristics, her point is to affirm the progressive implica-
tions of cross-gender identification, applauding a specific male charac-
ter in fairy tales with whom women can identify. Significantly, in all
the films discussed in this chapter, the same traits tend to be approved,
asking protagonists to dispense with the self-interest and conceit that
typifies older siblings in such tales, and prove themselves to be caring
individuals that women are able to relate to.
‘Coming-of-age’ in these films does not necessarily occur in adoles-
cence, but later in life, and is demonstrated through becoming a more
responsible, empathetic and emotionally open man – promoting a
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