Fables and fairy tales spring from oral traditions of stories passed down from generation to generation, with plots and characters that are endlessly reinvented and recombined in order to make sense of the uncertainties of life. Over time, the elements of these archaic stories, gathered from cultures the world over, are transformed in literary and visual reinterpretations.[1] 

Since the nineteenth century, illustrated stories for children have acquired a specific moral dimension intended to teach the right way to live, while also being entertaining and amusing. The proof sheet of prints depicting Aesop’s Fables in the exhibition would have been easily identified with their corresponding tale, and easily interpreted. Without accompanying text, some of the fables are still recognisable, such as the dog in the manger. Others are more enigmatic, since the tale has faded out of common use.

These traditional stories often sought to engage a sense of wonder, suspending natural laws to allow for talking animals and magical interventions. The illustrations to fairy tales by Walter Crane were influenced by the style of medieval woodcuts and illuminated books, with sinuous outlines and rich colours. The prints have the glow of stained-glass windows, intensifying the magical atmosphere evoked by their shape-shifting narratives. In the illustration to The Frog Prince, first published in 1874, Crane presents the moment of transformation with a series of hieroglyphs showing the frog disintegrating and the prince materialising in a rosy cloud. 

NARRATIVE

in Fables and Fairy Tales