CHILDREN AND ADOLESCENT LITERATURE

UNIT 5 - TRADITIONAL AND MODERN FANTASY LITERATURE

Topics
• Definition and Description
• Evaluation and Selection of Traditional Literature
• Types of Traditional Literature
• Modern Fantasy: Definition and Description
• Evaluation and Selection of Modern Fantasy Literature
• Types of Modern Fantasy Literature

Overview
For thousands of years before writing was discovered, the best of the stories was preserved
through the art of storytelling from one generation to the next. In folk literature, we have our
most ancient stories and a priceless literary heritage that links us to our beginnings as thinking
beings. Modern fantasy has its roots in traditional fantasy from which motifs, characters, stylistic
elements, and, at times, themes have been drawn.

Learning Objectives:
After a successful completion of the lesson, the students should be able to:
• distinguish traditional from modern fantasy literature using a venn diagram
• give examples traditional literature
• list things to consider in selecting and evaluating modern fantasy

Definition and Description

You have probably heard of tales like 'Cinderella' and the 'Three Little Pigs', but do you know
how many times they have been retold? Stories like these are part of the genre known as
traditional literature, which are stories that have been passed down through generations. Much
of traditional literature was initially told orally and written down later on. Because of this, the
stories are often altered slightly in each retelling. For example, Cinderella's name in other
versions has been 'Zezolla' and 'Cendrillon.' Nevertheless, the heart of the story will still remain.
The purpose of traditional literature is having the story be relatable to everyone. For this reason,
universal themes are important to the genre. Some common themes include good versus evil,
the weak versus the strong, the beautiful versus the ugly, and the rich versus the poor. Even if
the characters are magical or nonhuman, the message of the story is always one that the
majority of people can understand and value.

Traditional literature is literature that has no known author and stories that have been handed
down orally from one generation to the next, with each storyteller adding slight variations. These
stories often tell of a culture's customs, values, and beliefs. It is for this reason that they are
included in the nonfiction section of the library under the Dewey classification 398.2. These
stories include folk, fairy, and tall tales, myths, legends, and fables. They were used to teach
children important lessons in life and prepare them for society.
Evaluation and Selection of Traditional Literature
People of all ages were the intended audience for traditional stories. 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 general child audience
in mind:
• A traditional tale should preserve the narrative, or storytelling style and should sound as
though it is being told.
• A traditional tale should preserve the flavor of the culture or the 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.
• 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.
• Employ a rich literary style. Even very young children are fascinated by the chants, stylistic
flourishes, and colorful vocabulary that are characteristics of masterful storytelling.
• Consider the number and variety of tales in the collection and the quality of reference aids,
such as table of contents and indexes.
Young (2004) also indicated that "traditional literature has served to educate listeners/readers
about the creation of the world, the history of its people, and the moral values a particular
culture holds dear" (p. 5). Such "oral history" and "oral deed" was a corridor, which enabled
people to get to know the cultures of various foreign countries or tribes. In the past, traditional
stories were once presented to adult (and sometimes child) audiences, but they have become a
major part of children's literature during the 19th and 20th centuries. Some of the stories'
content, however, involved crude humor and sexual implications. The criterion for selecting a
traditional tale might depend on the reader or audience who would be enjoying the tale. As a
prerequisite, it would be wise to consider the age and appropriateness of the content for the
reader or audience.

Types of Traditional Literature

Traditional literature can fall into a number of categories: proverbs, fairytales, folklore, fables,
animal tales, myths and legends, etc. The following are explanations of four of the more
common types.

Fairytales
Often romantic and always fictional, these stories usually occur 'long, long ago' in 'a faraway
land.' They are stories of enchanted creatures like witches, giants, and dragons, and fanciful
settings like castles or forests. Common characteristics include reoccurring numbers, royalty
and, of course, the happily-ever-after ending. For example, take 'Cinderella', the story that
began in the late 17th century. Cinderella, a beautiful girl enslaved by her evil stepmother, longs
for a better life. When her fairy godmother appears to grant her a wish, Cinderella meets the
Prince, who saves her and marries her. The lesson is that kindness and love will triumph over
selfishness and evil.

Fables
Also fictional, these stories are typically short in length and heavily allegorical or symbolic. They
use morals to both entertain and educate the readers. Common characteristics include talking
animals, few characters, and a lot of action, with the lesson of the story appearing at the end.
For example, take the fable of 'The Tortoise and the Hare'. The Hare mocks the Tortoise for his
slowness, so the Tortoise challenges him to a race. Though the Hare is stronger and faster, he
lets pride and over-confidence get in his way. The Tortoise, who is slow yet steady, wins the
race, concluding to the readers that perseverance is more worthy than speed or strength.
Legends
Unlike the other two, this type of traditional literature is based on real people and events, or
those thought to have been real. The stories are exaggerated to depict heroism, or to give
explanation to something not necessarily explainable. Common characteristics include events
that have occurred in the recent past, secular themes, and a hero with an astonishing ability.
For example, 'The Legend of Paul Bunyan', first referenced in 1904, describes the giant and
hardworking lumberjack and his companion, a blue ox named Babe. Paul was thought to have
saved the people with his superhuman strength, which was used to explain the creation of such
things as lakes and animal migration.
Myths
A traditional story written to explain a people's beliefs, a natural event or the relationships of
human beings and gods, goddesses, and heroes.
Myths are made up stories that try to explain how our world works or how we should treat each
other.
The stories are usually set-in times long ago, before history as we know it was written.
Some myths answer questions like “How did our world come to be?” or “Why do tornadoes
happen?”
Myths were shared by groups of people and became part of their culture. Storytellers have
passed the stories on from generation to generation.

Epics
Partitioned into The Folk Epic and the Literary Epic, epics were long narratives in verse form
that told about the adventure of a hero or some historical events. In some classification
systems, an epic was a sub-category of a myth, such as The Odyssey and The Iliad. These
major ancient Greek epic poems were created by Homer, a legendary ancient Greek blind poet.
One of the more popular epics, The Iliad, has been retold by several authors in order to make it
accessible to readers of every age. It was, however, more difficult to find a version where the
author's writing stays true to the oral storytelling style. Rosemary Sutcliff's retelling, Black Ships
Before Troy: The Story of the Iliad, included aspects of the original epic's verses and metaphors
throughout the book, which reflected the oral storytelling style. For example, Sutcliff (1993)
included, "In the high and far-off days when men were heroes and walked with the gods."

Tall Tales
Humorous stories that feature superhuman accomplishments and may be based on a real
person's life. humorous stories containing exaggeration imaginary stories from the Western
Expansion of the1800's
examples: Paul Bunyan, Mike Fink, Pecos Bill, John Henry, and Tugboat Annie stories

Folktales
-no known author
-stories that were originally told rather than written and passed down from one generation to the
next
-stories written down at a later time
-frequently contains patterns of three or seven and repetitive phrases
Examples: The Three Little Pigs, Little Red Riding Hood, and Anansi stories
Religious Stories
Most people did not like to classify religious stories with traditional literature because it
insinuates that these stories were fictionalized, like myths, and denounced religion. However,
religious tales did have features of traditional literature. According to Tunnell and Jacobs (2000),
religious tales involved a "human's quest to discover and share with one another the truth
concerning the spiritual aspects of existence" (p. 72), which were first told through oral
storytelling. Some examples of religious tales were The Bhagavad Gita - The Divine Song of
God and The Old Testament. Also, tales associated with religious celebrations and holidays
were considered religious stories, such as the Christmas story of La Befana from Italy.
The Tale of Three Trees: A Traditional Folktale retold by Angela Elwell Hunt, was about three
trees who grew up to become the lumber used to create the manger, the fishing boat, and the
cross for Jesus Christ. The third tree, which became the cross, discovered that God's love was
more powerful than hatred and this gives strength to His Christian followers. Although this
religious tale discussed the hardships Jesus Christ encountered on the cross, the features of
traditional literature were present and did include a satisfying ending for its readers.
Modern Fantasy
Modern Fantasy is distinguished from other genres by story elements that violate the natural,
physical laws of our world. Stories in this genre include such elements as talking animals,
imaginary worlds, fanciful characters, and magical beings. Authors of modern fantasy do not
merely make up an imaginary story. They must create a setting with a new set of physical laws,
believable characters, and a credible plot. These stories should invite the reader to examine
issues of the human condition and believe that such world could really exist. Lastly, Modern
Fantasy differs from Traditional Fantasy in that the stories have an identifiable author and were
written as early as the 1800s.
Did you obsess over the Twilight series, or did you maybe wait in line to see the latest Hobbit
film? If so, you're probably a fan of fantasy literature, a genre depicting abilities, creatures, or
settings not found or feasible in the real world. You might have been able to guess that already,
but what makes stories like these modern?
The truth is, fantasy has been around about as long as humans have been telling stories. In
fact, some of the earliest stories (i.e., Sumerian and Greek epics) we know of could be classified
under this genre because they involve infeasible characters and feats. However, for the longest
time, epic poems and other sources of traditional mythological material were indeed fantasy's
only refuge.
Many toyed with myths and folklore in literature over time, but the true synthesis of these
traditions into the literary genre we know and love didn't happen until the late 19th and early
20th centuries. Of all the contributors to this literary fusion, perhaps the most influential and
well-known is J.R.R. Tolkien. With the publication of The Hobbit in 1937, and its sequel, The
Lord of the Rings, between 1954 and 1955, Tolkien fueled a fascination that has lasted to the
present day.

Evaluation and Selection of Modern Fantasy Literature

The usual standards for fine fiction must also be met by authors of modern fantasy. Believable
and well-rounded characters who develop and change, well-constructed plots, well-described
settings with internal consistency, a style appropriate to the story, and worthy themes are
elements to be expected in all fiction. In addition, the following apply specifically to modern
fantasy:
• Persuading readers to open themselves up to believing that which is contrary to reality,
strange whimsical, or magical, yet has an internal logic and consistency. The plot, characters,
and setting must be so well developed that the child reader is able to suspend disbelief and to
accept the impossible as real.
• For a modern fantasy to be truly imaginative, the author must provide a unique setting.
Moreover, a modern fantasy’s author’s creation must be original.

Types of Modern Fantasy Literature

1) Modern Folktales (Literary Folktales)

They are tales told in a form similar to that of a traditional tale with the accompanying typical
elements: little character description, strong conflict, fast-moving plot with a sudden resolution,
vague setting, and sometimes magical elements. However, these tales were original and written
by known authors.
Examples: Hans Christian Andersen’s Fairy Tales (e.g., “The Ugly Duckling”, “The Nightingale”,
“Thumbelina”, “The Emperor’s New Clothes”, 1835).

2) Animal Fantasy
They are stories in which animals behave as human beings in that they experience emotions,
talk, and have the ability to reason. The animals in fantasies also retain many of their animal
characteristics. Animal fantasies often have easy-to-follow episodic plots. Animal fantasy
constitutes a form of literary symbolism, the animal characters symbolizing human counterparts,
and these fantasies are often vehicles for exploring human emotions, values, and relationship.
Examples: The Tale of Peter Rabbit (Beatrix Potter, 1902), The Wind in the Willows (Kenneth
Grahame, 1908), Voyages of Dr. Dolittle (Hugh Lofting, 1922), Charlotte’s Web (E.B. White,
1952), Sylvester and the Magic Pebble (William Steig, 1969) (see the video at Prairie School
Television).

3) Toy Fantasy
They are stories in which admired or beloved toys (e.g., teddy bears, puppets, or dolls) are
brought to life and transformed into animated beings who talk, think, live, breathe, and love like
humans do. Modern toy fantasies are most frequently in picture-book format.
Examples: The Adventures of Pinocchio (Carlo Collodi, 1881), Winnie-the-Pooh (A. A. Milne,
1926).

4) Magical Fantasy
The magic itself – whether a magical object or a character with magical powers – becomes the
very subject of the story, rather than simply a means to an end. Note that the magic always
operates according to some established rules.
Examples: Pippi Longstocking (Astrid Lindgren, 1950), Charlie and the Chocolate Factory
(Roald Dahl, 1964), Sylvester and the Magic Pebble (William Steig, 1969).

5) Enchanted Journeys and Alternative Worlds

In many fantasies we see the protagonists undertaking journey to some fantasy world or
alternative world. Realistic stories also use the journey motif, but only in fantasy journeys do
magical things occur.
The great advantage to sending fictional characters on a journey is that the possibilities for plot
variations are virtually endless. The plots of fantasies are usually quite loose, sometimes
episodic, simply stinging together a series of adventures.
We rely on the central character to be our touchstone with reality (Alice and Dorothy judge
everything they see in Wonderland and Oz by the standards they knew at home).
The journey may have some purpose (e.g., Alice wants to find the Queen’s Garden, Dorothy
wants to find the Emerald City and ultimately a way back home), but the purpose is usually
overshadowed by the thrill and delight offered by the extraordinary events happening in the
fantasy world.
Examples: Alice’s Adventures in Wonderland (Lewis Carroll, 1865), The Wonderful Wizard of
Oz (L. Frank Baum, 1900), Peter Pan (Sir James Barrie, 1911), Harry Potter and the Sorcerer’s
Stone (J. K. Rowlings, 1998).
Another type of alternative world is the land of miniaturized characters. Young readers are
attracted to these miniature worlds because they can identify with the diminutive characters and
because these stories often depict the clever triumph of the small and weak characters over the
larger, but duller, bullies of the world.
Examples: Gulliver’s Travels (Jonathan Swift, 1726), The Borrowers (Mary Norton, 1953).

6) Heroic or Quest Fantasy (High Fantasy)

They are adventure stories with a quest, or search, motif. The quest may be pursuit for a lofty
purpose, such as justice or love, or for a rich reward, such as a magical power or a hidden
treasure.
The conflict usually centers on the struggle between good and evil. The protagonist is engaged
in a struggle against external forces of evil and internal temptations of weakness. The plots of
heroic fantasy are usually more tightly woven, with all the actions directed toward a single
purpose – the triumph of good over evil.
Heroic fantasy owes a great deal to the ancient myths, legends, and traditional folktales, from
which are derived themes, plot structures, even characters and settings.
Examples: The Hobbit / The Lord of the Rings trilogy (J.R.R. Tolkien, 1937), The Lion, the
Witch, and the Wardrobe (C.S. Lewis, 1950), The Book of Three (Lloyd Alexander, 1964), The
Hero and the Crown (Robin McKinley, 1985).

7) Supernatural and Mystery Fantasy

One common form of supernatural fantasy is the ghost story. Ghosts in children’s books can be
fearful threats or helpful protectors. Another common form is the mystery in which the solution is
partially supernatural or arrived at with supernatural assistance, for example, witchcraft.
Examples: The legend of Sleepy Hollow (Washington Irving, 1917), Harry Potter and the
Sorcerer’s Stone (J. K. Rowling, 1998).
8) Science Fiction
Science fiction is a form of imaginative literature that provides a picture of something that could
happen based on real scientific facts and principles. They may portray a world that young
people will one day inhabit; thus, they are sometimes called “futuristic fiction”.
Much of science fiction is devoted to dramatizing the wonders of technology. Science fiction, in
fact, closely resembles heroic fantasy, with magic replaced by technology, and the plots focused
on mighty struggles between the forces of good and evil and with the fate of civilization hanging
in the balance.
Science fantasy presents a world that often mixes elements of mythology and traditional fantasy
with scientific or technological concepts, resulting in a setting that has some scientific basis but
never has existed or never could exist.
Science fiction seldom contains much humor because the science fiction writer usually wants to
create the illusion of reality, or at least of possibility. Many SF works deal with ethical problems
facing humanity as science and technology outpaces our development as human beings.
Examples: Frankenstein (Mary Shelley, 1818), The Time Machine (H.G. Wells, 1895), Rocket
Ship Galileo (Robert Heinlein, 1947), A Wrinkle in Time (Madeleine L’Engle, 1962), The White
Mountains (John Christopher, 1967), The Giver (Lois Lowry, 1993).