Best 488 quotes in «fairy tales quotes» category

Americans live not by facts, but by a lengthy list of myths.

Am I the same cold, ragged damp Sara? And to think I used to pretend and pretend and wish there were fairies! The one thing I always wanted was to see a fairy story come true. I am living in a fairy story. I feel as if I might be a fairy myself, and able to turn things into anything else.

And at the end of seven years the Queen of the Faeries pays a tithe to Hell,” Aikin finished, as he joined them. “That’s what it says in ‘Tam Lin’.

«And in the end» said the witch to the drowning prince «You've been the one choosing the thornless path in spite of knowing where it could lead. The one who afraid of the pricking roses, plunged himself into an abyss without petals

And I think I decided not to love Charlie because I thought I had to be rescued. For practical reasons but also as a proof of love. It's better that Charlie and I didn't make an automatic transaction, love exchanged for rescue. All you can do after that is put the love and the rescue up on the shelf, moving them farther and farther back as you make room for all the other items you acquire over the years. This way a ragged stem still grows between us, almost pretty. Though really we should crush it now, before the buds bloom skeletal.

And then they lived happily, and we who hear the story are happier still.

[...] and the pea was put in the museum, where it can still be seen, if no one has stolen it.

Am I really standing here, conversing with a bloody unicorn?" Tiffy was certain her mind had finally left the building.

And those characters [in a fairy tale] dwell in a moral world, whose laws are as clear as the law of gravity. That too is a great advantage of the folk tale. It is not a failure of imagination to see the sky blue. It is a failure rather to be weary of its being blue- and not to notice how blue it is. And appreciation of the subtler colors of the sky will come later. In the folk tale, good is good and evil is evil, and the former will triumph and later will fail. This is not the result of the imaginative quest. It is rather its principle and foundation. It is what will enable the child later on to understand Macbeth, or Don Quixote, or David Copperfield.

And those women were sneaky. They understood that including fantastical elements in their tales- golden eggs, signing harps, talking frogs- worked to mask a deeper purpose....it made the stories look on the surface like 'a mere bubble of nonsense' within which it was possible to 'utter harsh truths, to say what you dare' about the state of women's lives. Because they were just stories, right? Harmless little fantasies?

Anyway, it’s unthinkable! Dragons and knights are born enemies. They need to be enemies just like dogs hate cats, cats hate mice and mice hate scientists. Without somebody to hate where would all the hate go? The hate would just boil up inside you, eat away and cause you to have indigestion then a heart attack. We need to release the anger, and we release it on dragons who release it back on us. We slay them and they roast us. It is the natural order of things, Emma.

Apart from such visits, for the first time in her life Eliza was truly alone. In the beginning, unfamiliar sounds, nocturnal sounds, disturbed her, but as the days passed she came to know them: soft-pawed animals under the eaves, the ticking of the warming range, floorboards shivering in the cooling nights. And their were unexpected benefits to her solitary life: alone in the cottage, Eliza discovered that the characters from her fairy tales became bolder. She found fairies playing in the spiders' webs, insects whispering incantations on the windowsills, fire sprites spitting and hissing in the range. Sometimes in the afternoons, Eliza would sit on the rocking chair listening to them. And late at night, when they were all asleep, she would spin their stories into her own tales.

Apart from such visits, for the first time in her life Eliza was truly alone. In the beginning, unfamiliar sounds, nocturnal sounds, disturbed her, but as the days passed she came to know them: soft-pawed animals under the eaves, the ticking of the warming range, floorboards shivering in the cooling nights. And there were unexpected benefits to her solitary life: alone in the cottage, Eliza discovered that the characters from her fairy tales became bolder. She found fairies playing in the spiders' webs, insects whispering incantations on the windowsills, fire sprites spitting and hissing in the range. Sometimes in the afternoons, Eliza would sit on the rocking chair listening to them. And late at night, when they were all asleep, she would spin their stories into her own tales.

Are you the same woman I brought here, Sasha? You're like a kid at Christmastime."--Monroe "You would be, too, if someone fulfilled your most secret fantasies."--Sasha

Are you here for a reason, Cheshire? Why, yes, I would enjoy a cup of tea. I take mine with lots of cream, and no tea. Thank you.

As it so happens, Mr. Jest, I’ve sometimes come to believe as many as six impossible things before breakfast…

As she put it, she knew of nothing so ravishing as having a child whom she could whip whenever she was in a bad mood. ("The Queen Fantasque")

As they climbed into the wagon, the widows thanked her again, and reminded her to be careful out there. There was danger in the woods, especially for a woman on her own. Fairies, demons, and shapeshifters who might take advantage of an unguarded lady.

As the literary fairy tale spread in France to every age group and every social class, it began to serve different functions, depending on the writer's interests. It represented the glory and ideology of the French aristocracy. It provided a symbolic critique, with utopian connotations, of the aristocratic hierarchy, largely within the aristocracy itself and from the female viewpoint. It introduced the norms and values of the bourgeois civilizing process as more reasonable and egalitarian than the feudal code. As a divertissement for the aristocracy and bourgeoisie, the fairy tale diverted the attention of listeners/readers from the serious sociopolitical problems of the times, compensating for the deprivations that the upper classes perceived themselves to be suffering. There was also an element of self-parody, revealing the ridiculous notions in previous fairy tales and representing another aspect of court society to itself; such parodies can be seen in Jacques Cazotte's "A Thousand and One Follies" (1746), Jean-Jacques Rousseau's "The Queen Fantasque" (1758), and Voltaire's "The White Bull" (1774). Finally, fairy tales with clear didactic and moral lessons were approved as reading matter to serve as a subtle, more pleasurable means of initiating children into the class rituals and customs that reinforced the status quo.

and a table in a kitchen at which the nightingales feasted on fairy tales, the angels stuffed themselves with fog

At least that left hope for him. Except "Beauty and the Geek" wasn’t exactly the proper translation of the popular fairy tale.

at the center of every fairy tale lay a truth that gave the story its power.

At the sight of Day, her whole face lit up. "Mikhail! You came! Barbara said you would, but that we might have to wait for hell to freeze over first. Did it?

Ava's father believed that myths and fairy tales - like dreams - opened a window into the unconscious. by listening to the language of dreams and old tales, he said, all humans could learn to understand themselves and the world, better.

And, they would still be alive today...If they hadn't died, that is

A story could lead you into a different world for a while. It might be a world where a foolish youngest son could turn into a brave and clever hero, or a beaten young woman could end up as a wise leader of folk. And when the story was ended and that world was gone, you still had the idea of it inside you. Like a flame that didn't go out even when the bad things rattled and swirled and screamed, and worse, oh, much worse, when they whispered and goaded and tormented.

Bad in good and good in bad, see the life you could have had? Your life is the keyhole, and you are the key, don’t look back, NOW choose to be happy!” Deetkatu, Meet the Little People…An Enchanting Adventure

At midmorning the next day, she stood out by the line, hanging the laundry up to dry. But when she reached into the basket for the last item, a worn, moss-green shirt, she found it empty. Looking up, she saw the little fox holding the shirt in its mouth. It leapt, dropping the shirt, then picked it up again.

Bad in good and good in bad, see the life you could have had? Your life is the keyhole, and you are the key, don’t look back, NOW choose to be happy!” Deetkatu, See the Little People…An Enchanting Adventure

A world without fairy tales and myths would be as drab as life without music

Be at peace all of you, for hunger has a whip, and he will drive the strange away in the night.

Be aware! Bad things can happen and the bigger they are, the greater the test. You can learn from them or pity yourself and focus on the negative, which will never get you out of the lesson, remember you hold the key!” Den the Wise Oak Tree, See the little people…An Enchanting Adventure

Because, no matter how old we get, we always need to believe in fairytales.

Being in our secret place brings much peace and the more we go there, the more it will increase. Now we let it all go by, have faith in what we see and it IS what will be.” Gramma Tenanye, See the Little People…An Enchanting Adventure

Being in our secret place brings much peace and the more we go there, the more it will increase. Now we let it all go by, have faith in what we see and it IS what will be.” Gramma Tenanye, Meet the Little People…An Enchanting Adventure

Being the reader of a dark fairy tale is much like being the hero of one. Our lives are filled with pain, boredom, and fear. We want to venture into the dark wood, to see the oddities and the beauties it holds, and to test ourselves against them. So we pick up a book of fairy tales. The real ones. THe weird ones. The dark ones. We see oddities and beauties galore. We test our courage and our understanding. Finally, we put the book down and return to our lives. And hopefully, just like the hero of the fairy tale, we return stronger, richer, and wiser. In difficult times - of recession and violence and political bitterness - we long for a dark forest to which we can escape; and from which we can return, better than we were before.

BELIEVING IS SEEING what you want! Seeing, might be believing, what you don't want! Your inside eyes are your special sight, to create your life in every way, But the environment you see with your eyes creates your thoughts every day. The beliefs that come from outside of you will make more of the same; So to see a change you must think out of the box; this is how you play the game. What you think, see and feel all at once, is how you create your life; Be the observer in your heart and mind, not what will repeat your strife, This will promote a healthy brain, to focus on joy rather than pain, See what you want, as if it is happening NOW, the Little People just showed you how! Because, your imagination is your real tool, no matter what anybody else tells you! The Little People Journey into the Mystic Sea

Beware a kiss, he told her. Kisses are powerful things. You expose part of your soul.

Birthdays were wretched, delicious things when you lived in Beau Rivage. The clock stuck midnight, and presents gave way to magic. Curses bloomed. Girls bit into sharp apples instead of birthday cake, chocked on the ruby-and-white slivers, and collapsed into enchanted sleep. Unconscious beneath cobweb canopies, frozen in coffins of glass, they waited for their princes to come. Or they tricked ogres, traded their voices for love, danced until their glass slippers cracked. A prince would awaken, roused by the promise of true love, and find he had a witch to destroy. A heart to steal. To tear from the rib cage, where it was cushioned by bloody velvet, and deliver it to the queen who demanded the princess's death. Girls became victims and heroines. Boys became lovers and murderers. And sometimes... they became both.

But as she continued and finished her tale, I could tell that her heart was elsewhere, and when she excused herself to go to bed, she left without saying good night. After that, the princesses in her stories were always beautiful. Always.

But here's a great thing about stories: they can be retold.

But life is not a fairy tale. It's brighter and darker, longer and briefer, duller and more magical. It's full of contradictions, but one thing it's not is neat.

Be Strong when you are weak, be brave when you are scared, be humble when you are victorious. Be Badass Everyday! Pink

Cinderella proof that a new pair of shoes can change your life.

Classic fairy tales do not deny the existence of heartache and sorrow, but they do deny universal defeat.

Clichés are relatives of the fairy tale, and tropes aren’t bad; they go with the territory.

Come sit, dear," the old woman said. "We were just discussing kelpies and changelings." I turned a delightfully amused face at Ronan, hoping to see him embarrassed to be caught in a world of fantasy, but his face was impassive, completely unperturbed. Those were the hardest boys to ignore: the ones that weren't concerned with your opinion of them, not afraid to be caught listening to fairytales.

Contemporary writers use animal-transformation themes to explore issues of gender, sexuality, race, culture, and the process of transformation...just as storytellers have done, all over the world, for many centuries past. One distinct change marks modern retellings, however, reflecting our changed relationship to animals and nature. In a society in which most of us will never encounter true danger in the woods, the big white bear who comes knocking at the door [in fairy tales] is not such a frightening prospective husband now; instead, he's exotic, almost appealing. Whereas once wilderness was threatening to civilization, now it's been tamed and cultivated; the dangers of the animal world have a nostalgic quality, removed as they are from our daily existence. This removal gives "the wild" a different kind of power; it's something we long for rather than fear. The shape-shifter, the were-creature, the stag-headed god from the heart of the woods--they come from a place we'd almost forgotten: the untracked forests of the past; the primeval forests of the mythic imagination; the forests of our childhood fantasies: untouched, unspoiled, limitless. Likewise, tales of Animal Brides and Bridegrooms are steeped in an ancient magic and yet powerfully relevant to our lives today. They remind us of the wild within us...and also within our lovers and spouses, the part of them we can never quite know. They represent the Others who live beside us--cat and mouse and coyote and owl--and the Others who live only in the dreams and nightmares of our imaginations. For thousands of years, their tales have emerged from the place where we draw the boundary lines between animals and human beings, the natural world and civilization, women and men, magic and illusion, fiction and the lives we live.

Corto à lui même: Ce serait bon de vivre dans une fable. Bouche Dorée à Corto: Oh oui!… Mais toi tu vis continuellement une fable et tu ne t'en aperçois plus. Lorsqu'un adulte entre dans le monde des fables, il ne peut plus en sortir. Le savais-tu?

Creators of literary fairy tales from the 17th-century onward include writers whose works are still widely read today: Charles Perrault (17th-century France), Hans Christian Andersen (19th-century Denmark), George Macdonald and Oscar Wilde (19th-century England). The Brothers Grimm (19th-century Germany) blurred the line between oral and literary tales by presenting their German "household tales" as though they came straight from the mouths of peasants, though in fact they revised these stories to better reflect their own Protestant ethics. It is interesting to note that these canonized writers are all men, since this is a reversal from the oral storytelling tradition, historically dominated by women. Indeed, Straparola, Basile, Perrault, and even the Brothers Grimm made no secret of the fact that their source material came largely or entirely from women storytellers. Yet we are left with the impression that women dropped out of the history of fairy tales once they became a literary form, existing only in the background as an anonymous old peasant called Mother Goose.