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Modern fairy tales are often written or "modified" for youngsters. Songs, poems, romances, history, and science books are similar. Only do this risky surgery if necessary. Thus, children are not the key to understanding fairy tales. Fairy tale libraries are more like attics and lumber rooms with odd playrooms. It's not rare to find an old work of art that wasn't too severely damaged, which only foolishness would have ever tucked aside among the boxes' jumbled and often tattered contents, a hodgepodge of dates, intents, and tastes (Attebery, 2022). Maybe Andrew Lang's fairy tales aren't lumber rooms. Like flea market stalls. Someone dusted the storage facilities and disused rooms. His collections for children were based on his adult mythology and folklore study. Lang made valid points.

The series' first book's introduction mentions children "to whom and for whom they are told." He claims that these people represent "man at his youthful age, true to his early passions, and with his unblunted edge of belief, a fresh longing for marvels." The big question kids ask is "Is it true?" I get the idea that this culture equates believing and being amazed. A developing mind does not instantly distinguish the hunger for miracles from its normal appetite, yet they are very distinct. Lang's use of "belief" in its ordinary sense—the belief that something is feasible or exists—is clear. If this is the case, Lang's emotionless words can only imply that the teller of marvellous tales to children must, may, or at least does trade on their credulity, on the lack of experience that makes it harder for children to distinguish fact from fiction in certain cases, despite the distinction being fundamental to the sane human mind and to fairy-stories.

Tolkien coined this phrase to define fables. Tolkien defines the eucatastrophe as "the abrupt joyful turn in a story which pierces you with a delight that brings tears" (Tolkien, p.100). Night on the Galactic Railroad explores Eucatastrophe through its author, the intriguing but tragically brief Miyazawa, whose viewpoint on life and the world is captivating and whose examination of happiness and death is touching. Giovanni loved the bird catcher instantly. He grinned at the man's infantile reaction to Giovanni's ticket and his joy as he caught and carefully wrapped the herons. Giovanni felt obligated to help the bird catcher despite having just met him and not knowing his name. If it made the man happy, Giovanni would spend a century hunting birds in the Milky Way (de Saint-Exupéry, 2019). Giovanni, moved by his newfound feelings, asked the bird catcher what he desired most, considering a more delicate way to say it. The bird watcher was missing from the seat next to him and his bags from the overhead compartment. Giovanni instantly glanced out the window, thinking he was back outside catching birds, but all he saw was the same magnificent riverbed and white pampas grass (Tolkien, p.81).

The protagonist of The Little Prince discovers that there are only six or seven guys and that one never knows where to find them after experiencing enormous agony, joy, and a solution. The flower implies wind-borne men. Prince finds a rose garden on Earth. He is saddened by the five thousand in the garden.

Saint-view Exupéry's of grownups doesn't shift throughout the novel (Cranmer, 2018). Adults are dull. They accept what they see, which limits them. However, his depiction of adults mocks their fear. Reality—the type youngsters see—threatens their carefully structured universe. As he ages, the narrator learns to pretend, but he never considers himself a grown-up because grownups simply want to hear what they want to hear and don't challenge their traditions. “I'd get down with him. I enjoyed talking bridge, golf, politics, and neckwear with him. A wise man would delight the adult. Reached (Kindle Edition, p.60)”

Tolkien separated the physical world (Primary World) from his imagination (Secondary World) (Secondary World). He adds that a good author can make kids believe a story. "Willing suspension of disbelief" describes this mindset. I disagree. The storyteller becomes a skilled "sub-creator." Tolkien invented Sindarin. Its "secondary-world history" is its mythical growth from Primitive Elvish, whereas its "primary-world history" is Tolkien's genuine language creation.

A few of Tolkien's short stories and fragments, in my opinion, are "stand alone" pieces that have nothing to do with Arda or Middle Earth. Yes. Tolkien's stories were not all set in Arda or Middle-Earth, the two settings on which he focused most of his energy and in which all others pale in comparison. In The Smith of Wootten Major, for instance, we visit the realm of faery, which Tolkien considered to be a kind of parallel place to our own, where "magic" is genuine and where our own "true" stories are created (Wagenknecht, 1946). A similar tale, The Farmer Giles of Ham, follows a man who, when confronted by a giant on his estate, unwittingly becomes a hero. A succession of unfortunate events leads to him confronting a dragon. The recalcitrant protagonist finds himself back in a magical land. Rather than being an actual part of Middle Earth, the kingdom is a satire of the same fairy tale realm where many stories about dragons being slain take place.

Tolkien's "On Fairy-Stories" contains a theology of fantasy that discusses the writer's position and mission in regard to God, the stories' content and structure, and the stories' impact on the readers. According to Tolkien, the author writes because he is a writer. This is especially true of the fantasy genre (Tolkien, P.70). Because of this, we can see how the writer functions as a 'creator,' bringing to life and bringing to life a world and characters that previously existed only in the writer's imagination.

Reference

Attebery, B. (2022).  Fantasy: How It Works. Oxford University Press. https://books.google.com/books?

Cranmer, F. (2018). Religion in Scots Law Callum G Brown, Thomas Green and Jane Mair Humanist Society Scotland, Edinburgh, 2016, 355 pp (free download) https://www. humanism. scot/wp-content/uploads/2016/02/Religion-in-Scots-Law-Final-Report-22-Feb-16. pdf.  Ecclesiastical Law Journal,  20(2), 216-217.

de Saint-Exupéry, A. (2019).  El Principito: The Little Prince. Editorial Verbum. https://books.google.com/books?

Wagenknecht, E. (1946). The Little Prince Rides the White Deer: Fantasy and Symbolism in Recent Literature. The English Journal,  35(5), 229-235. https://www.jstor.org/stable/807113

Hi Luis, you have made an interesting and insightful post on Fairy stories and their characteristics. Good job! Since childhood, I find fairy stories quite interesting and memorable and I would recommend them to everyone. From an analytic point of view, they mainly feature imaginary beings and magic which makes them epic and a favorite to most readers. As you have noted, stories like the Night on the Galactic Railroad and The Little Prince are generally suited for developed readers and adults who are able to infer deeper meaning and identify key themes. I agree that such stories are effective in relaying deep and difficult messages that may not be easy for most child readers to comprehend at a single take. That is the case with fairy stories that do not have a happy ending as a majority of readers in this category would expect. Nevertheless, the possibility of future opportunities to read the material implies that readers can always develop their understanding of the intended meaning as well as make their own interpretations.