The artist usually sets out - or used to - to point a moral and adorn a tale. The tale, however, points the other way, as a rule. Two blankly opposing morals, the artist's and the tale's. Never trust the artist. Trust the tale. The proper functions of a critic is to save the tale from the artist who created it.
The artist usually sets out -- or used to -- to point a moral and adorn a tale. The tale, however, points the other way, as a rule. Two blankly opposing morals, the artist's and the tale's. Never trust the artist. Trust the tale. The proper functions of a critic is to save the tale from the artist who created it.
D. H. Lawrence
For this world also which seems to us a thing of stone and flower and blood is not a thing at all but a tale. And all in it is a tale and each tale the sum of all lesser tales and yet these are the selfsame tale and contain as well all within them. So everything is necessary. Every least thing. This is the hard lesson. Nothing can be dispensed with. Nothing despised. Because the seams are hid from us, you see. The joinery. The way in which the world is made. We have no way to know what could be taken away. What omitted. We have no way to tell what might stand and what might fall.
There is but one world and everything that is imaginable is necessary to it. For this world also which seems to us a thing of stone and flower and blood is not a thing at all but is a tale. And all in it is a tale and each tale the sum of all lesser tales and yet these are also the selfsame tale and contain as well all else within them. So everything is necessary. Every least thing. This is the hard lesson. Nothing can be dispensed with. Nothing despised. Because the seams are hid from us, you see. The joinery. The way in which the world is made. We have no way to know what could be taken away. What omitted. We have no way to tell what might stand and what might fall. And those seams that are hid from us are of course in the tale itself and the tale has no abode or place of beind except in the telling only and there it lives and makes its home and therefore we can never be done with the telling. Of the telling there is no end. And... in whatever... place by whatever... name or by no name at all... all tales are one. Rightly heard all tales are one.
There is another version of the tale. That is the tale the women tell each other, in their private language that the men-children are not taught, and that the old men are too wise to learn. And in that version of the tale perhaps things happened differently. But then, that is a women's tale, and it is never told to men.
From a tale one expects a bit of wildness, of exaggeration and dramatic effect. The tale has no inherent concern with decorum, balance or harmony. ... A tale may not display a great deal of structural, psychological, or narrative sophistication, though it might possess all three, but it seldom takes its eye off its primary goal, the creation of a particular emotional state in its reader. Depending on the tale, that state could be wonder, amazement, shock, terror, anger, anxiety, melancholia, or the momentary frisson of horror.
From a tale one expects a bit of wildness, of exaggeration and dramatic effect. The tale has no inherent concern with decorum, balance or harmony... A tale may not display a great deal of structural, psychological, or narrative sophistication, though it might possess all three, but it seldom takes its eye off its primary goal, the creation of a particular emotional state in its reader. Depending on the tale, that state could be wonder, amazement, shock, terror, anger, anxiety, melancholia, or the momentary frisson of horror.
A man who is not born with the novel-writing gift has a troublesome time of it when he tries to build a novel. I know this from experience. He has no clear idea of his story; in fact he has no story. He merely has some people in his mind, and an incident or two, also a locality, and he trusts he can plunge those people into those incidents with interesting results. So he goes to work. To write a novel? No-that is a thought which comes later; in the beginning he is only proposing to tell a little tale, a very little tale, a six-page tale. But as it is a tale which he is not acquainted with, and can only find out what it is by listening as it goes along telling itself, it is more than apt to go on and on and on till it spreads itself into a book. I know about this, because it has happened to me so many times.
If our life is ever really as beautiful as a fairy tale, we shall have to remember that all the beauty of a fairy tale lies in this: that the prince has a wonder which just stops short of being fear. If he is afraid of the giant, there is an end of him; but also if he is not astonished at the giant, there is an end of the fairy tale. The whole point depends upon his being at once humble enough to wonder, and haughty enough to defy.
You can't tell half a tale, Poison. You can't write half a book. Whatever you choose to do next will completely change the aspect of what has gone before. if you decided to suddenly kill your friends as they slept -' Why would I do that?' Poison interjected. Bear with me, ' Fleet said patiently. 'If you did, then the tale would take on a whole new light. Instead of being the journey of Poison from Gull to save her sister, it would be the terrible story of how a young girl became a cold-blooded killer. They way it would be written would be different. Do you see? Or you might die right now, and it would turn out that it wasn't your tale all along it was Bram's or Peppercorn's, and you were just one of the sideline characters. The whole story has to be known before it can be recorded; otherwise it might suddenly change. That's the beauty, Poison. You never know what's going to happen next. When the tale is ended, then the writing will be visible to your eyes; until then it is unwritten.
That's how you get deathless, volchitsa. Walk the same tale over and over, until you wear a groove in the world, until even if you vanished, the tale would keep turning, keep playing, like a phonograph, and you'd have to get up again, even with a bullet through your eye, to play your part and say your lines.
Catherynne M. Valente
The fairy tale, which to this day is the first tutor of children because it was once the first tutor of mankind, secretly lives on in the story. The first true storyteller is, and will continue to be, the teller of fairy tales. Whenever good counsel was at a premium, the fairy tale had it, and where the need was greatest, its aid was nearest. This need was created by myth. The fairy tale tells us of the earliest arrangements that mankind made to shake off the nightmare which myth had placed upon its chest.
Ultimately, the definition of both the wonder tale and the fairy tale, which derives from it, depends on the manner in which a narrator/author arranges known functions of a tale aesthetically and ideologically to induce wonder and then transmits the tale as a whole according to customary usage of a society in a given historical period. The first stage for the literary fairy tale involved a kind of class and perhaps even gender appropriation. The voices of the nonliterate tellers were submerged, and since women in most cases were not allowed to be scribes, the tales were scripted according to male dictates or fantasies, even though they may have been told by women. Put crudely, it could be said that the literary appropriation of the oral wonder tales served the hegemonic interests of males within the upper classes of particular communities and societies, and to a great extent this is true. However, such a statement must be qualified, for the writing down of the tales also preserved a great deal of the value system of those deprived of power. And the more the literary fairy tale was cultivated and developed, the more it became individualized and varied by intellectuals and artists, who often sympathized with those society marginalized or were marginalized themselves. The literary fairy tale allowed for new possibilities of subversion in the written word and in print, and therefore it was always looked upon with misgivings by the governing authorities in the civilization process.
There's magic in that. It's in the listener, and for each and every ear it will be different, and it will affect them in ways they can never predict. From the mundane to the profound. You may tell a tale that takes up residence in someone's soul, becomes their blood and self and purpose. That tale will move them and drive them and who knows what they might do because of it, because of your words. That is your role, your gift.
Most high and happy princess, we must tell you a tale of the Man in the Moon, which if it seem ridiculous for the method, or superfluous for the matter, or for the means incredible, for three faults we can make but one excuse: it is a tale of the Man in the Moon. It was forbidden in old time to dispute of chimaera, because it was a fiction. We hope in our times none will apply pastimes, because they are fancies; for there liveth none under the sun that knows what to make of the Man in the Moon. We present neither comedy, nor tragedy, nor story, nor anything, but... that whosoever heareth may say this: 'Why, here is a tale of the Man in the Moon'.
That's what we do, man, we're like storytellers. We tell you stories from the streets. Whether we did it before when we was young or we heard it from one of the homies telling us a tale of what he been through. It's all in having fun and creating a movie like vibe to tell a tale from the streets.
Had we lived, I should have had a tale to tell of the hardihood, endurance and courage of my companions which would have stirred the heart of every Englishman. These rough notes and our dead bodies must tell the tale, but surely, a great rich country like ours will see that those who are dependent on us are properly provided for.
Robert Falcon Scott
Often I felt that these men were play-acting: the unreality of their role was their security, even their own destinies were to them saga and folk-tale rather than a private matter; these were men under a spell, men who had been turned into birds or even more likely into some strange beast, and who bore their magic shapes with the same unflurried equanimity, magnanimity, and dignity that we children had marvelled at the beasts of fairy tale. Did they not suspect, moreover, with the wordless apprehension of animals, that if their magic shapes were to be stripped from them the fairy tale would be at an end and their security gone, too, while real life would begin with all it's problems, perhaps in some town where there was neither nature or mirage, no link with the folk-tale and the past, no ancient path to the far side of the mountains and down to the river gullies and out beyond the grass plains, no landmarks from the Sagas? - Only a restless search for sterile, deadening enjoyment.