(Trigger warning: sexual assault)
We have all grown up reading fairytales, often to teach us a lesson through a magical lens. Some of these treasured tales include “Goldilocks and the Three Bears”, which encourages children not to touch items that are not in their possession.
Well, what if your beloved fairy tales were never made for kids? What if their origins stem from a darker, more twisted place?
According to researchers Sara Graça da Silva and Jamshid J. Tehrani, many contemporary interpretations of “Beauty and the Beast” and “The Name of the Supernatural Helper” (also known as “Rumplestiltskin”) are inspired by versions from the 17th and 18th centuries.
However, they claimed that both storylines have antecedents in Greek and Roman mythology.
Graça da Silva and Tehrani’s research suggests that both tales can be securely traced back to the emergence of major Western Indo-European subfamilies as distinct lineages between 2500 and 6000 years ago, likely existing as oral folklore long before the existence of French and English.
So what were the original stories of our beloved fairytales?
La Belle et La Bête (Beauty and the Beast)
The oldest recorded interpretation of Beauty and the Beast was by the French novelist Gabrielle-Suzanne Barbot de Villeneuve and published anonymously in 1740. However, many interpretations regarding the fairytale come from Ancient Rome and other continents before the 1700s.
Gabrielle-Suzanne Barbot de Villeneuve’s interpretation was never meant for children—it reflected the French 18th-century ideals of class and virtue.
The story presents Beauty as the secret daughter of a fairy and a human king, raised by mortals after being stolen from her real parents. Her destiny is shaped by manipulative fairies and powerful curses, showing how little control she has over her own life.
Meanwhile, The Beast is punished not for arrogance but for rejecting an evil fairy’s advances, turning his curse into a symbol of power and cruelty, rather than a lesson in humility.
By contrast, Disney’s Beauty and the Beast removes the political and moral darkness. Released in 1991, it presents the story as a romantic fantasy emphasizing equality and emotional connection rather than obedience or destiny.
Villeneuve’s Beauty and the Beast captures a world ruled by fate, control, and moral duty, reflecting the harsh realities of 18th-century society, where love grows out of endurance rather than desire.
Disney’s version softens this darkness, turning the story into one of empathy and mutual understanding. Though the tone and purpose have changed, both versions share the same heart—a reminder that true beauty lies not in appearance, but in compassion and the ability to love beyond fear.
Hansel and Gretel
“Hansel and Gretel” was first published by Jacob and Wilhelm Grimm in 1812, famously known as the Grimm Brothers in Germany, as part of their Children’s and Household Tales collection.
The Grimm Brothers gathered these stories during a time of deep poverty and social upheaval in early 19th-century Europe. Many families struggled with famine, and tales like Hansel and Gretel reflected the fear of abandonment and starvation that ordinary people faced.
The story wasn’t intended for children and young audiences at first. Instead, it was meant to drive discussions pertaining to the realities of society and convey moral lessons about survival and the dangers of greed through traditional folklore storytelling.
In the Grimm Brothers’ story, Hansel and Gretel’s parents abandon them in the forest because there isn’t enough food to survive, and the witch’s house of sweets is both a miracle and a trap. The witch plans to eat them, but Gretel kills her by pushing her into her own oven.
Later editions of the tale softened some of these details: the mother became a stepmother to make the story less disturbing, and the violence was toned down to suit a younger audience.
These modern versions of Hansel and Gretel turn the tale into one of adventure and wonder for kids, smoothing over the hunger, fear, and betrayal that once defined it.
However, the heart of the story hasn’t disappeared; it still remembers the darkness from which it came.
Rumplestiltskin
The story of “Rumpelstiltskin” was first published by the Grimm Brothers in 1812. Although their version is the most widely known, Graça da Silva and Tehrani suggest that the tale of Rumpelstiltskin is far older, with roots tracing back over 4,000 years.
Folklorists and linguists have found similar stories across Europe and even in ancient cultures, indicating that the theme of a magical being demanding a child in exchange for help is part of a much older storytelling tradition.
In the true story, the darker themes of greed, desperation, and manipulation drive the plot.
A miller is the father of a nameless girl, often called “the miller’s daughter.” He lies, claiming that his daughter could spin straw into gold. This traps the girl between a greedy king ordering her to prove her skill or be killed. Her survival depends on making a bargain with Rumpelstiltskin, a sinister figure who exploits the girl’s fear.
His price to spin straw into gold eventually led to demanding that the girl give her firstborn child. This illustrates the harsh, transactional nature of the 19th century, in which women were used as currency among men.
Later retellings soften such elements and transform Rumplestiltskin from an exploitative figure into a playful trickster. The girl remains clever-witted to see through his tricks and say his true name, which unmasks his power.
Rumplestiltskin endures a dark reminder that the words that are spoken and the names that we know can decide our fate.
The Little Mermaid
“The Little Mermaid” was written by the Danish author Hans Christian Andersen and first published in Copenhagen in 1837.
It emerged during a time when 19th-century European society valued modesty, sacrifice, and moral restraint—standards which focused especially on women.
The mermaid’s suffering is a metaphor for the women who craved a greater world and a life beyond her own, yet for the painful pursuit of acceptance in a society that prizes traditional ideals of purity and obedience.
Andersen’s mermaid does not dream of adventure or freedom in a bright, musical world, as Disney’s 1989 adaptation portrays her. She yearns for an immortal soul and the love of a human prince, believing these will bring her true worth.
To achieve this, she visits a seawitch who cuts out her tongue in exchange for legs, warning her that every step on land will feel as if she’s walking on knives.
To deepen the story’s melancholic tone, the prince never falls in love with her. Instead, he marries another woman.
In the end, the mermaid faces a terrible choice: kill the prince to save herself, or die. She refuses to harm him and throws herself into the sea, where her body dissolves into foam.
Le Maître Chat, ou le Chat botté (Puss in Boots)
“Puss in Boots” was first written by Charles Perrault in 1697 in France, appearing in his collection Histoires ou contes du temps passé (Tales of Past Times). This was during the reign of Louis XIV, an era in which wit and charm were often valued more than honesty in French society.
In Perrault’s “Puss in Boots”, a poor miller’s youngest son inherits nothing but a cat. At first, he believes his life is ruined, but the cat quickly proves to be far from ordinary.
Asking only for a pair of boots and a bag, the cat begins a catching game and presents it to the king as gifts from his master, whom he calls the “Marquis of Carabas.” When the king passes by, the cat tricks him into believing the young man has been robbed, earning him fine clothes and royal favour.
Racing ahead to a castle owned by a powerful ogre, the cat flatters him into turning into a mouse, then kills him and claims the castle for his master. The king, convinced by the illusion of wealth, allows the miller’s son to marry the princess.
What begins with poverty ends in triumph, as wit and cunning prove stronger than fortune or birthright.
Perrault’s “Puss in Boots” rewards deceit and manipulation rather than honesty. Perrault’s cat lies, steals, and kills to lift his master from poverty, showing a world where success depends on trickery and appearances.
Modern-day retellings (such as the Shrek films and children’s books) portray Puss as a lovable rogue who prevails through courage and humour.
Sleeping Beauty
“Sun, Moon, and Talia” was written by Italian author Giambattista Basile and published in 1634 in Naples as part of his collection Lo cunto de li cunti (The Tale of Tales).
Basile’s stories were geared towards an aristocratic audience, reflecting the harsh realities and moral codes of 17th-century Europe, where life was shaped by rigid social order and the desire to please those in power.
In Basile’s version, the princess Talia pricks her finger on a splinter of flax and falls into a deep, magical sleep. A passing king discovers her motionless body and is overcome by desire, and assaults her while she lies unconscious.
She gives birth to twins, Sun and Moon, while still asleep. When one of the babies sucks the splinter from her finger, Talia awakens.
The king returns and confesses his actions, but his jealous wife discovers the truth and orders the children to be killed and cooked for the king’s meal. The cook spares them, and the king intervenes when the queen prepares to burn Talia alive. The queen is executed, and Talia becomes queen in her place.
Later retellings, such as Charles Perrault’s The Sleeping Beauty in the Wood (1697) and the Grimm brother’s Little Briar Rose (1812), softened these disturbing elements. The assault and cannibalism were removed, replaced by a chaste awakening kiss and a joyful marriage.
Modern adaptations, from Disney’s Sleeping Beauty (1959) to Maleficent (2014), have turned the tale into one of romance. These newer, present versions transform the story’s focus on violence to focus on true love and celebrating a soft heart. This shifts the focus from abuse of power to resilience and the impact of acts of kindness, through Aurora.