Starting with snow white


jealousy , is absent. Instead, a scene of  expulsion



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american fairy tales

jealousy
, is absent. Instead, a scene of 
expulsion
ensues. However, given the absence of jealousy, the tenor of this expulsion 
likewise changes. It is an action of compassion, to preserve the life of the child, not one 
of malice or intended destruction.
Nevertheless, with their 
adoption 
of Lisa, the fairies give way to the next episode.
All of the fairies give “charms” with exception to the last, who, frustrated with her own 
misstep and twisted ankle, curses the child (Basile 207). As a result, upon the child’s 7th 
year, while combing her hair (her mother) Cilla, would “forget the comb sticking in the 
hair on her head and this would cause her to die” (Basile 207). When the curse’s 


35
prophesy is executed, Cilla “order[s] seven crystal chests one within the other and [has] 
her child put within them, and then the chest was laid in a distant chamber in the palace” 
(Basile 207). Again, 
renewed jealousy 
is absent, displaced by a curse, resulting in the 
child’s accidental 
death
and 
exhibition
. Although the preface introduces and details a 
theme and central focus of jealousy in the narrative, for the first several episodes, this 
critical quality is altogether absent.
Only after Cilla’s death does this fundamental episodic action come into play.
Finally, the narrative begins to align itself more closely with Jones’ episodic structure
with the jealousy of a cruel mother-figure, in this case, the baron's wife. In her husband’s 
absence (before which he “begg[ed] her not to open the forbidden chamber,” per Cilla’s 
request at the time of her death), the baron’s wife is induced by “suspicion,” which leads 
to “jealousy, […] fired by curiosity” (Basile 207). Unable to help herself, she opens the 
door to find the child, “lying as it were in a deep sleep”; however, Lisa is no longer child-
like. As she grew, the “chests lengthened with her” (Basile 208). Thus, when the jealous 
wife pulls her out by her hair, yanking also the comb, it is a 
young
woman
who “came 
again to life” (Basile 208).

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