Little Red Riding Hood Retold by Beatrix Potter and Illustrated by Helen Oxenbury

Beatrix Potter understood very well the power of hunger.  The fox and wolf she cast as villains in her two versions of Little Red Riding Hood are wily rascals whose bellies ache.  While they may be cleverer than their prey, it is not a foregone conclusion that they will get what they want.

The Tale of Jemima Puddle-duck (1908) was clearly inspired by the familiar fairy tale.  The heroine, dressed in a blue bonnet and pink patterned shawl meets a friendly gentleman with black prick ears and sandy-colored whiskers while she looks for a safe nesting place. She confides in him her secret plan to hatch eggs outside the farm and he graciously offers a convenient space cozy with feathers where she can sit on them afternoons. Luckily she also confesses where she has been going to Kep the collie dog, who immediately sees through foxy gentleman’s courtesies, recruits the fox-hound puppies as allies, and saves her silly neck—but not the eggs.

Four years later Potter retold Perrault, this time following the text very closely, adding only the woodcutters from Grimm and an original work song.   She started planning the illustrations, because photographs of a model dressed in a cape and sketches of the girl and wolf meeting on the path survive. Perhaps she set it aside during the production of The Tale of Mr. Tod (1912) with its disagreeable characters the badger Tommy Brock and the fox, barely recognizable as Jemima’s gentleman.  After Potter decided against inserting this story into The Fairy Caravan (1929), the manuscript lay unpublished until Leslie Linder transcribed it in A History of the Writings of Beatrix Potter (1971).  In 2019 Warne issued it with splendid illustrations by Helen Oxenbury that are perfectly in tune with Potter’s words.

Oxenbury, like Potter, doesn’t shy away from frightening elements in the story, believing that “Children like a little darkness.”  Drawing the wolf she found a very attractive assignment, feeling like an actor landing a juicy part of nasty customer after playing a series of ordinary characters.  The first picture of him shows the belt of his plus-fours pulled so tight after a three-days’ fast that there are pleats all the waist. He is watching behind a fence the movements of woodmen, whose presence prevent him from going home when Red Riding Hood unexpectedly pulls the gate open.  Not daring to attack her, he strikes up a conversation.  No wiser than Jemima, she answers his questions without realizing she has just shown him how easily she might be caught.  He proposes they take different ways to granny’s and see who gets there first. He runs all the way there, sneaks through the garden to the door,  gains entrance under false pretenses and gets right down to what he came for.  Decisive, energetic, and thorough, that’s a starving carnivore.

Far quieter are the pictures where the main figure is Red Riding Hood. Oxenbury is alive to humous elements in Potter’s text, but keeps her illustrations a little sharp underneath the prettiness, as in the one where Red Riding Hood’s mother and gran fuss over the little girl: “Her mother was fair silly about her and her granny was sillier still.” Red Riding Hood’s walk through the fields and forest to her grandmother’s capture the beauties of an English summer day, the light, the leafy trees, the long grasses, and nodding flowers. When the little girl dawdles along the way, gathering a posy for her granny, picking nuts and strawberries, time seems to stop.  The next opening, where the sun is so low that she looks behind her nervously as it someone might be following her, even though she has seen no one since she left her mother’s house except for the wolf, is a reminder that the story will play out as it must. Even when Red Riding Hood sees her “granny” sit up in bed, inspecting her as coldly as the fox did Jemima, she can’t put two and two together.  So she continues to sit beside him in her grandmother’s clothes, asking questions about the surprising change in her appearance–arms and ears, which have sprouted coarse, bristly hairs, eyes, which look jaundiced, and big, strong, sharp white teeth.  Well, that is the end of her.

Oxenbury had the last laugh when she sets up a plausible final confrontation between the woodmen and the wolf, now so bloated from gorging that his unbuttoned trousers are pulled up to his arm pits.  He has just heard the woodmen’s shouts in the distance as they pursue him.  Beating them to his door seems a long shot when his ankles are so swollen above his two-tone Oxfords.  And that’s there the illustrator leaves it, offering comfort for the sensitive and rough justice for bloody-minded.  Even though she didn’t write it, Potter would have appreciated this marvelous ending.

Neither version of Little Red Riding Hood would be so satisfying if Potter had changed the natural dynamics between the predators and the prey  because the implicit violence might be too much for her readers.   But even city kids know that real foxes and dogs will and do eat other animals, so why not ducks and their eggs?  Kep rescued Jemima because it was his job as the farm dog, but some children may grasp that the chance to destroy his enemy the fox was probably just as strong motive.  Many children see that the wolf was not looking for a little girl to eat, but when one crossed his path and talked to him, she became fair game.  Of course, there will always be extremely sensitive children who are better shielded from stories like this until they can handle them, if and when the time comes. In the best twice-told tales, the story teller keeps alive in the reader a scrap of hope that somehow this time the victim will escape. The predators here would have to change their natures and stop hunting for that to happen.  Potter and Oxenbury quietly demonstrate why that this cannot be, but suggest that stranger things do occasionally happen.

Watch A Magic Lantern Show Here!

A few weeks ago our friends Isabella Palowitch and her daughter Alessia Arregui came to visit for a special demonstration. Isabella is the graphic designer behind Artisa LLC here in Princeton and she has done beautiful designs for Cotsen events and our virtual exhibits. Alessia is a senior at Rhode Island School of Design working on sculpture with glass materials.

The pair expressed interest in seeing optical material for some out-of-the-box inspiration. Since Cotsen has a large collection of magic lanterns and accompanying slides, we gathered some of this material for a little show and tell.

Magic lanterns are precursors to modern projectors. Invented as early as the 17th Century (and popular into the early 20th Century), magic lanterns magnify and project hand painted images on glass slides. With a light source behind the slide and a lens in front, the slides are loading in upside down and backwards, since the lens flips the image.

 

Cotsen 19169

Iron and brass magic lantern (London : WB & Sons, [circa 1880’s]) (Cotsen 19169).

opendoor

Retrofitted for a modern light bulb, we were able to plug in this projector for a demonstration.

slide

Serie 91, no.5. (Germany : Projection für Alle, before 1900) (Cotsen 32949)

The above slide was able to fit into the magic lantern’s duel loading wooden frame (this kind of slide frame allows for simple animation by quickly moving between 2 slides). From a collection of German fairy tale slides called Im Reiche der Märchen  (In the Realm of Fairy tales), this particular slide is a scene from the end of Rotkäppchen (Little Red Riding Hood) with the defeated wolf in the foreground. The caption at the bottom reads: “Die Grossmutter stärckt sich mit Kuchen und Wein” (The grandmother is strengthened with cake and wine).

projecting

Though it’s not the clearest projection, considering that the equipment is nearly 150 years old I think it comes out pretty well.

Closer and clearer shot of the projected image

A closer (and a little clearer) shot of the projected image.

Thanks again to Isabella and Alessia for stopping by. I think we all enjoyed the rare chance of projecting a little piece of the past.

If you want to know more about magic lanterns (including related material and book illustrations) check out our virtual exhibition on the main Cotsen website: Magic Lantern.