MODULE 4

Traditional Literature For Children

Traditional Literature
Traditional literature is the body of ancient stories and poems that grew out of the human quest to
understand the natural and spiritual worlds and that was preserved through time by the oral tradition of
storytelling before being eventually written down. Having no known or identifiable authors, these stories
and poems are attributed to entire groups of people or cultures. Although in ancient times some
traditional stories may have been told as truths or may have been thought to contain elements of truth,
today we consider them to be mostly or wholly fantasy.

Traditional literature includes several different types of stories, but because they were all shared orally
for so long, they have many features in common. For example, plots are generally shorter than in other
genres of literature because all but the essential details were omitted during countless retellings. Action,
in turn, is concentrated, which kept audiences alert and interested. Characters in traditional literature
tend to have only one outstanding quality, which made them easy to identify. In these stories the audience
has no doubt about who is good and who is bad. Settings are unimportant and are described and referred
to in the vaguest of terms, such as "ln the beginning "or "Long ago in a land far away.... "The language
though full of rhythm and melody, is sparse, since lengthy explanations and descriptions were also pared
down or eliminated by countless retellings. Style is characterized by stock beginnings and endings ("Once
upon a time" and "They lived happily ever after"), motifs or recurring features (use of the number 3, as
in three sisters, three wishes), and repetition of refrains or chants ("Mirror, mirror, on the wall ...
").Themes that are most common in these stories are good versus evil, the power of perseverance, and
ex ns for the ways of the world. One feature that makes these stories particular favorites of young children
is that they almost always have a happy ending.

Evaluation and Selection of Traditional

Literature
For thousands of years, people of all ages were the intended audience for traditional stories. In our
scientifically enlightened times, these stories have come to be seen as childlike in their use of the
supernatural and magic but nonetheless charming and entertaining. The following list of evaluation
criteria was developed with a general child audience in mind.

 A traditional tale, even though written down, should preserve the narrative, or storytelling, style
and should sound as though it is being told.
 Retold versions of traditional tales must preserve the essential content that made the stories
vital to people for thousands of years and that makes them relevant to children today.
 A traditional tale should preserve the flavor of the culture or country of its origin through the use
of colloquialisms, unusual speech patterns, a few easily understood foreign terms, or proper
names that are common to the culture. .
 In illustrated versions of traditional literature, text and illustrations must be of high quality, and
illustrations must match the tone of the text and help to capture the essence of the culture of
origin. There are instances when it would be tempting to base one's evaluation and selection
mainly on illustrations. Not all illustrators are skillful as writers, however.
  Though simple in other respects, traditional tales employ a rich literary style. Even very young
children are fascinated by the chants, stylistic flourishes, and colorful vocabulary that are
characteristic of masterful storytelling.
 In evaluating collections of traditional literature, it is important to consider all of the criteria listed
above, as well as the number and variety of tales in the collection and the quality of reference
aids, such as tables of contents and indexes.

Some adults raise concerns that the gruesome violence that is sometimes found in traditional stories
harms or traumatizes children. In recent times, many traditional stories have been rewritten to omit the
violence, as in the Disney versions of folktales. In a "softened" version of "Snow White," the evil
stepmother is either forgiven by the heroine or banished from the kingdom. More authentic versions of
the tale end like this:

Then she [the stepmother] railed and cursed, and was beside herself with disappointment and anger. First
she thought she would not go to the wedding; but then she felt she should have no peace until she went
and saw the bride. And when she saw her she knew her for Snow-white, and could not stir from the place
for anger and terror. For they had ready red hot iron shoes, in which she had to dance until she fell down
dead. (From Jakob Grimm and Wilhelm Grimm, Household Stories, translated by Lucy Crane [Macmillan,
1886].)

Critics of the softened versions of traditional tales claim that altering the stories robs them of their power,
their appeal, and their psychological benefit to children, who, in the original versions, are reassured that
the evil force is gone forever and cannot come back to hurt them. As parents, teachers, and librarians,
you will be in a position to choose which versions of traditional literature to share. With apologies to all
good stepmothers, it is believed that the unaltered versions, shared within the security of the family or
classroom, have the greater benefit to children.

Historical Overview of Traditional Literature

Perhaps the world's first stories grew out of the dreams, wishes, ritual chants, or retellings of the notable
exploits of our primitive ancestors. No one knows. Little can be said about the early history of this genre
except that these stories existed only in oral form for thousands of years.

Folklorists are intrigued by the startling similarity of traditional tales around the world. Cinderella-like
tales, for example, can be found in every culture. One explanation for this is that the first humans created
these stories and took them along as they populated the globe. We call this theory monogenesis (single
origin)" Another theory credits the fundamental psychological similarity of humans for the similarity of
their stories. Polygenesis (many origins) holds that early humans had similar urges and motives; asked
similar, fundamental questions about themselves and the world around them; and, logically, created
similar stories in response. Both theories have merit; and since the answer lies hidden in ancient
prehistory, neither theory has prevailed over the other.

The first known English publication of any traditional literature was that of Aesop's Fables in 1484 by
William Caxton, the printer. Although this work was instantly popular, further collections of traditional
stories in print were slow to come, owing mainly to the Puritans, who disapproved of any and all popular
literature. During the Puritan Movement, which lasted roughly from 1500 to 1700, traditional literature
retained its popularity with the common people through the chapbook, named after the chapmen, or
peddlers, who sold them. These inexpensive little books contained stories of adventure and humor that
were loosely based on the epics, legends, and folk heroes of traditional literature.

As the Romantic Movement gradually replaced the Puritan Movement in Europe in the eighteenth
century, traditional literature was Sana naman binabasa ninyo ang mga ibinibigay ko sa inyong modules.
accepted by all levels of society once more. The first evidence of this change in attitude was the
publication by Charles Perrault in 1697 in France of eight "courtly" tales under the title Tales of Mother
Goose. Included in this collection were "Cinderella," "The Sleeping Beauty," "Little Red Riding Hood and
"Puss in Boots." The popularity of this publication is evidenced by its many editions in both France and
England, but it was another hundred years before the next collection of traditional literature appeared.

The publication in 1812 of Jakob and Wilhelm Grimm's Nursery and Household Tales, which included such
tales as “Rumpelstiltskin” "Snow White and the Seven Dwarfs," and "Hansel and Gretel," gave the world
some of its best-loved stories. As the nineteenth century progressed, other important collections of
traditional literature appeared in Europe and England for the first time. In Norway, Peter Christian
Asbjornsen and Jorgen Moe collected such folktales as "The Three Billy Goats Gruff," "East o' the Sun
and West o' the Moon," "Henny Penny," and "Pancake"; these were published in 1851 in book form
under the title The Norwegian Folktales In England, Joseph Jacobs compiled from already printed sources
his English Fairy Tales (1894), which included "The Three Bears," "The Three Little Pigs," and "The Little
Red Hen." Jacobs's adaptations of many tales for a child audience is an important part of his contribution.
By the time the Scot, Andrew Lang, published his valuable four-volume collection of folktales from around
the world (The Blue, Red, Green, and Yellow Fairy Books, 1889-1894), the value and importance of
traditional literature had been generally accepted.

The popularity of traditional literature with children has continued to grow in the twentieth century,
owing in part to a renewed interest in storytelling. Other trends contributing to the popularity of this
genre are the publication of single illustrated retellings of works of traditional literature, publication of
cultural variants of traditional tales from around the world.

Types of Traditional Literature

For the beginning student of traditional literature, classification of stories can be confusing. For instance,
not everyone uses the same terms when referring to certain types of traditional stories. Also, we have a
large body of modern stories that were written by known authors in the style of the traditional ones but
are not of ancient and unknown origin and therefore are not "traditional" in the strict sense. We have
chosen the term traditional literature to refer to the entire body of stories passed down from ancient
times by the oral tradition. The term folktale is sometimes used in the same way The term retold tale
refers to a version of a tale that is obviously based upon a well-known tale but in which the language and
bits of the plot have been altered to modernize or further dramatize the story.

Nowadays, retold tales are often accompanied by completely new and original illustrations that
sometimes give remarkable insights into the deeper meaning or relevance of these tales. Variant, a term
often used in reference to folktales, refers to a story that shares fundamental elements of plot or character
with other stories, and therefore is said to be in the same story family. There are hundreds of variants of
"Cinderella," for example, from all over the world. All of the following types of traditional literature occur
in variant and retold tale versions.
Myths
Myths are stories that recount and explain the origins of the world and the phenomena of nature. They
are sometimes referred to as creation stories. Myths may have originated in ancient religious rituals. The
characters in these stories are mainly gods and goddesses, with occasional mention of humans, and the
setting is high above earth in the home of the gods. Though often violent, myths nonetheless mirror
human nature and the essence of our sometimes primitive emotions, instincts, and desires. Some
folklorists believe that myths are the foundation of all other ancient stories. The best-known mythologies
are of Greek, Roman, and Norse origin.

Many excellent collections of myths are currently available for children. In addition, single myths are often
published in picture book format. The complexity and symbolism often found in myths make them
appropriate for an older audience (9 years and up) than is usual with traditional literature. Some myths
have been simplified for a younger audience, but oversimplification robs these stories of their power and
appeal.

Epics
Epics are long stories of human adventure and heroism recounted in many episodes. Some epics are told
in verse. Epics are grounded in mythology, and their characters can be both human and divine. However,
the hero is always human, or, in some cases, superhuman, as was Ulysses in the Odyssey, Beowulf in the
epic of that name, and Roland in The Song of Roland. The setting is earthly but not always realistic.
Because of their length and complexity, epics are perhaps more suitable for students in high school or
college, but on the strength of their compelling characters and events, some epics have been adapted
and shortened for younger audiences.

Legends and Tall Tales

Legends are stories based on either real or supposedly real individuals or their marvelous deeds.
Legendary characters such as King Arthur, Lancelot, and Merlin, and legendary settings such as Camelot
are a tantalizing mix of realism and fantasy. Although the feats of the heroes of legend defy belief today,
in ancient times these stories were considered factual.

Tall tales are highly exaggerated accounts of the exploits of persons, both real and imagined, so they may
be considered a subcategory of legends, albeit of much more recent origin. In the evolution of the tall
tale, however, as each teller embroidered upon the hero's abilities or deeds, the tales became
outlandishly exaggerated and were valued more for their humor and braggadocio than for their factual
content. Legends, in contrast, are more austere in tone. Legends, because of their length, seriousness,
and complexity, are often suitable for middle-graders; the shorter and more humorous tall tales can be
enjoyed by children aged 7 and up.

Folktales
Folktales are stories that grew out of the lives and imaginations of the people, or folk. Folktales have
always been children's favorite type of traditional literature and are enjoyed by children from about aged
3 and up. One of the most interesting and important characteristics of these tales is their universality.

No theories adequately explain this phenomenon, but the folktales of all cultures, regardless of geography
or other surface cultural differences, are remarkably similar.

Folktales vary in content as to their original intended audiences. Long ago, the nobility and their courtiers
heard stories of the heroism, valor, and benevolence of people like themselves-the ruling classes. In
contrast, the stories heard by the common people portrayed the ruling classes as unjust or hard
taskmasters whose riches were fair game for those common folk who were quick-witted or strong enough
to acquire them. These class-conscious tales are sometimes referred to as castle and cottage tales,
respectively.

Some people use the terms folktale and fairy tale interchangeably. In fact, the majority of these stories
have no fairies or magic characters in them, so to use one term in place of the other can be confusing and
erroneous. We categorize fairy tales under magic tales, a kind of folktale having magic characters such as
fairies.

The following is a list of the most prevalent kinds of folktales. Note that some folktales have
characteristics of two or more folktale categories.

 Cumulative
The cumulative tale uses repetition, accumulation, and rhythm to make an entertaining story
out of the barest of plots. Because of its simplicity, rhythm, and humor, the cumulative tale has
special appeal to 3- to 5-year-olds. "The Gingerbread Boy," with its runaway cookie and his
growing host of pursuers, is a good example of this kind of tale.

 Humorous
The humorous tale revolves around a character's incredibly stupid and funny mistakes. These tales
are also known as noodleheads, sillies, drolls, and numbskulls. They have endured, no doubt, for
their comic appeal and the guaranteed laughter they evoke.

 Beast
Beast tales feature talking animals and overstated action. Human characters sometimes occur.
Young children accept and enjoy these talking animals, and older children can appreciate the fact
that the animals symbolize humans. "Goldilocks and the Three Bears," perhaps the best-loved
folktale of all, is a good example of a beast tale. .

 Magic
Magic tales, also known as wonder tales or fairy tales, contain elements of magic or enchantment
in characters, plots, or settings. Fairies, elves, pixies, brownies, witches, magicians, genies, and
fairy godparents are pivotal characters in these stories, and they use magic objects or words to
weave their enchantments. Talking mirrors, hundred-year naps, glass palaces, enchanted forests,
thumb-sized heroines, and magic kisses are the stuff of magic tales. "Aladdin and the Wonderful
Lamp" is a well-loved magic tale.

 Pourquoi
Pourquoi tales explain phenomena of nature. The word pourquoi is French for why, and these
tales can be understood as primitive explanations for the many "why" questions early humans
asked. The strong connection between these tales and myths is obvious, which is why some
folklorists identify pourquoi tales as the simplest myths. Note, however, that deities play no role
in pourquoi tales as they do in myths. Moreover, the setting in pourquoi tales is earthly, while the
setting in myths is the realm of the gods. An example of a pourquoi tale is "Why the Sun and the
Moon Live in the Sky."
  Realistic
Realistic tales are those whose characters, plot, and setting could conceivably have occurred.
There is no magic in these tales, and any exaggeration is limited to the possible. Only a few realistic
tales exist.

Fables
The fable is a simple story that incorporates characters-typically animals-whose actions teach a moral
lesson or universal truth. Often, the moral is stated at the end of the story. Throughout history, fables
have appealed to adults as well as to children, for the best of these stories are both simple and wise.
Moreover, their use of animals as symbols for human behavior have made them safe, yet effective,
political tools. Perhaps because of their adult appeal, fables were put into print far earlier than other
forms of traditional literature.

Aesop's fables compose the best-known collection of fables in the Western world, but other collections
deserve our notice. From Persia, there are the Panchatantra Tales; from India, the Jataka Tales; and from
France, the collected fables of Jean de La Fontaine.

Religious Stories
Stories based on religious writings or taken intact from religious manuscripts are considered to be religious
stories. These stories may recount milestones in the development of a religion and its leadership, or they
may present a piece of religious doctrine in narrative form. Stories of the latter sort are usually called
parables.

Scholars of religion, language, and mythology have found a definite thread of continuity from myth and
folk narrative to early religious thinking and writing. Many of the stories, figures, and rituals de- scribed
in the sacred scriptures of Christianity, Hinduism, and Buddhism, among other religions, have their roots
in ancient mythology.

Regardless of whether one considers the religious stories to be fact or fiction, the important point is that
these wonderful stories should be shared with children. Because religion in the classroom is potentially
controversial, however, many teachers and librarians do not feel comfortable sharing stories with any
religious connection. This is unfortunate, since many wonderful stories and some superlative literature,
as well as characters, sayings, and situations essential to the culturally literate person, are therefore
missed.

Traditional literature, the wealth of ancient stories accumulated over the course of human existence, is
one of the treasures of our species. We listen to these endlessly fascinating stories, we reflect on them,
and they help to tell us who we are. Good companions of our childhood, they easily become part of us
and stay with us throughout our lives. Every child deserves access to this wonderful literary heritage.