Red Riding Hood
Birds of passage provide the best known examples of fairy tales symbolism of Rankian Birth Trauma and return-to-womb fantasy. Rank refers to the fable of the stork as reflecting the unconscious womb fantasy. The bird of passage which, according to the fairy tale, returns to the "place beyond" to fetch a new baby might as well take the child with it. The child who asks adults the question: "Where do babies come from?" and is given the "fable of the stork" answer might express her return to womb fantasy in this manner.
The childrens' favorite fairy tale "Little Red Riding Hood" has been consistently interpreted in terms of the Birth Trauma; namely, the little girl's "Red Hood" is a symbol of congestion of blood in the head in difficult birth, and the account of the child cut out from the hungry wolf's belly is likewise interpreted in terms of Birth Trauma symbolism.
Psychoanalysts generally agree that the fairytale story of Hansel and Gretel present with the plainest symbolic representations of the Birth Trauma motif. The witch's edible house of chocolate cake, the cage in which the children are fed generously to fatness are taken to be symbols of the physiologically optimal condition of the intrauterine state of the fetus. The wicked cannibalistic witch, of course, represents the Trauma of the birth passage; the ""vagina dentata" (dangerous vagina with teeth) of the mother which persecutes the child cannibalistically in the passage to life. The mother's vagina is thus represented in folktales variously as the "strangler," the cannibalistic "witch-mother," the child asphyxiating "sphinx daemon," or "succubus daemon" persecutor of youth.
Rank identifies a second class of fairy tales which shift emphasis from the child as a passive hero persecuted by the witch-mother to the child as a youthful lover locked in battles of deliverance. He is the handsome prince who delivers the helpless virgin from the villain (father-figure) and wins her love against all odds. The love story is, of course, interpreted in relation to the so-called "sexual trauma of the Oedipus Complex," in which the mother-fixated libido of the pre-oedipal stage must find a mother substitute for sexual libido gratification.
The typical story of deliverance is represented in fairy tales of "Sleeping Beauty," "Brunhilde," and "Rapunzel." The birth passage motif in represented in stories of passage through flames, through thorny forests, closing rocks and climbing slippery glass mountains. The story motifs of breaking protective coverings(opening of coffins and ripping open of garments is associated with virginal defloration and these are understood in relation to the "sexual trauma of the Oedipus" which challenges the mother fixated to substitute primal anxiety of the birth passage with the pleasure of heterosexual coitus).
The story in which the hero is hidden away from the persecuting father is presented to us in Mathew's fairy tale of Jesus escaping Herod's persecution to safety in Egypt ("out of Egypt I called my son").
The frequent representation of the hero's invulnerability in stories in which he is presented with a magical impenetrable armor, a horny skin or helmet are motifs of womb fantasy(this is confirmed in the cross-cultural magical motif of post-natal maternal protection associated with the child coming to the world in a protective hood, the birth caul (Yoruba: "Ige").
We may last of all recall the fairy tale figure of "Tom Thumb"(German: "Daumling") whose name is cognate with the common Indo-European and Asiatic root of the name "Tammuz," "Dummuzi," "Thomas," the pan-Mediterranean child-deity whose symbol is the crescent moon as child-penis figure(compare the words: "edema," "tummy," "tumescent," "daemon," "Adam").
Fuhrman's observation that fairy tales arose in northern cultures from wintertime entertainment; in order to pass time and provide consolation in the long gloomy nights of winter explains the preoccupation with Birth Trauma symbolism in fairy tales(similarly, among people of the southern hemisphere, fairy tales were "moonlight tales").
The writer JohnThomas Didymus is the author of the "Confessions of God: The Gospel According to St. JohnThomas Didymus."( http://www.resurrectionconspiracy.com/ ). If you have found this article interesting please read article SLEEP, DREAM AND DREAM SYMBOLISM IN PSYCHOANALYTIC THEORY on his blog: http://johnthomasdidymus.blogspot.com/2010/09/sleep-dream-and-dream-symbolism-in.html
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