Fairy Tales Aren’t Always What They Seem
The fairy tales we know have been sweetened over time, transformed into stories of love and magic. But behind the softened version of Sleeping Beauty lies a much darker story, filled with violence, deception, and revenge. A tale that, over the centuries, has been censored to fit the values of society. Let’s uncover the true origin of this fairy tale.
From Ancient Roots to Basile’s Cruelty
The origins of the story trace back to very ancient oral traditions. The first written version dates back to Giambattista Basile’s Pentamerone (1634), where the fairy tale appears under the title Sole, Luna, e Talia (Sun, Moon, and Talia). Here, romance is completely absent: the protagonist is not awakened by a love kiss, but by something far more disturbing.
Sleeping Beauty - first of six engravings by Gustave Dore
The Original Version (Basile, 1634) summarized as follows
Princess Talia falls into a deep sleep not due to a spindle, but from a poisoned splinter lodged in her finger. A passing king, seeing her helpless and beautiful, doesn’t merely kiss her: he rapes her while she sleeps and leaves her pregnant. Without ever waking, Talia gives birth to twins. One of them, while sucking her finger, removes the splinter and brings her back to life.
Integral Original Archaic Version and the English Translation of Sleeping Beauty
| Arcaic Version | English Translation |
|---|---|
| Era na vota no gran signore, ch'essendole nata na figlia chiammata Talia fece venire li sacciente e 'nevine de lo regno suio a direle la ventura. Li quale, dapo' varie consiglie, concrusero ca passava gran pericolo pe na resta de lino: pe la quale cosa fece na proibizione che dintro la casa soia non ce trasesse né lino né cannavo o autra cosa semele, pe sfoire sto male scuntro. | Once upon a time, there was a great lord who, having had a daughter named Talia, summoned the wise men and soothsayers of his kingdom to predict her future. After various consultations, they concluded that she was in great danger because of a splinter of flax. For this reason, the lord forbade any flax, hemp, or similar substance from entering his house to avoid this dark fate. |
| Ma, essenno Talia grannecella e stanno a la fenestra, vedde passare na vecchia che filava; e, perché n'aveva visto mai conocchia né fuso e piacennole assai chello rocioliare che faceva, le venne tanta curiositate che la fece saglire 'ncoppa, e, pigliato la rocca 'mano, commenzaie a stennere lo filo, ma pe desgrazia, trasutole na resta de lino dintro l'ogna, cadette morta 'n terra. | But Talia, now grown, was standing at the window when she saw an old woman spinning. Having never seen a distaff or spindle before and being greatly intrigued by the spinning motion, she invited the old woman up. Taking the distaff in hand, she began to spin the thread, but unfortunately, a splinter of flax lodged under her fingernail, and she fell dead to the ground. |
| La quale cosa visto la vecchia ancora zompa pe le scale a bascio. E lo nigro patre, 'ntiso la desgrazia soccessa, dapo' avere pagate co varrile de lagreme sto cato d'asprinio, la pose, dintro a lo medesimo palazzo che steva 'n campagna, seduta a na seggia de velluto, sotta a no bardacchino de 'mbroccato, e, chiuso le porte, abbannonaie pe sempre chillo palazzo, causa de tanto danno suio, pe scordarese 'n tutto e pe tutto la memoria de sta desgrazia. | Seeing this, the old woman rushed down the stairs. And the grieving father, upon hearing of the misfortune, after shedding a river of tears, placed her in the same country palace, seated on a velvet chair under a brocade canopy. He then closed the doors and abandoned the palace forever, to forget entirely the memory of this tragedy. |
| Ma ienno fra certo tiempo no re a caccia e, scappatole, no farcone volaie dintro na fenestra de chella casa né tornanno a rechiammo, fece tozzolare la porta, credenno che 'nce abbitasse gente. Ma, dapo' tozzolato no buono piezzo, lo re, fatto venire na scala de vennegnatore, voze de perzona scaliare sta casa e vedere che cosa nce fosse dintro e, sagliuto 'ncoppa e trasuto pe tutto, restaie na mummia non trovannoce perzona vivente. All'utemo arrivaie a la cammara dove steva Talia comme 'ncantata, che vista da lo re, credennose che dormesse, la chiammaie; ma, non revenenno pe quanto facesse e gridasse e pigliato de caudo de chelle bellezze, portatola de pesole a no lietto ne couze li frutte d'ammore e, lassatola corcata, se ne tornaie a lo regno suio, dove non se allecordaie pe no piezzo de chesto che l'era socciesso. | Some time later, a king went hunting, and his falcon flew into a window of that house and did not return to his call. The king had the door forced open, thinking that someone lived there. But after breaking down a good portion of it, the king had a ladder brought in and sent someone to climb up and see what was inside. The person climbed up and, finding no one alive, was astonished. Finally, he entered the chamber where Talia lay as if enchanted. Seeing her, the king thought she was asleep and called to her, but she did not wake no matter how much he called or shook her. Overcome by her beauty, he carried her to a bed where he took his pleasure with her. Then, leaving her lying there, he returned to his kingdom and for a long time did not remember what had happened. |
| La quale, dapo' nove mise, scarricaie na cocchia de criature, uno mascolo e l'autra femmena, che vedive dui vranchiglie de gioie, li quale covernate da doi fate che comparzero a chillo palazzo, le posero a le zizze de la mamma. Li quale, na vota, volenno zucare né trovanno lo capetiello, l'afferraro lo dito e tanto zucaro che ne tiraro l'aresta, pe la quale cosa parze che se scetasse da no gran suonno e, vistose chelle gioie a canto, le dette zizza e le tenne care quanto la vita. | Nine months later, she gave birth to twins, a boy and a girl, who were two precious jewels. They were cared for by two fairies who appeared in the palace and put the babies to their mother's breast. One day, wanting to suckle but unable to find the nipple, they took her finger and sucked so hard that they drew out the splinter. Talia awoke as if from a long sleep and, seeing the beautiful children by her side, nursed them and loved them as her own life. |
| E mentre non sapeva che l'era accascato trovannose sola sola dintro a chillo palazzo, e co dui figlie a iato, e vedennose portare quarche refrisco de magnare senza vedere la perzona, lo re, allecordato de Talia, pigliato accasione de ire a caccia venne a vederela e, trovatola scetata e co dui cucchepinte de bellezza, appe no gusto da stordire. E, ditto a Talia chi era e comm'era passato lo fatto, fecero n'amecizia e na lega granne e se stette na mano de iuorne cod essa, e, lecenziatose co prommessa de tornare e portarenella, iette a lo regno suio, nomenanno a tutt'ore Talia e li figlie, tale che se manciava aveva Talia 'mocca e Sole e Luna, che cossì dette nomme a li figlie, si se corcava chiammava l'uno e l'autro. | Meanwhile, not knowing what had happened to her, she found herself alone in the palace with two children by her side and mysterious refreshments appearing without anyone in sight. The king, remembering Talia, took the opportunity to go hunting and visit her. Finding her awake with two beautiful children, he was overjoyed. He told Talia who he was and what had happened, and they became great friends and allies. He stayed with her for a few days and then, promising to return and take her with him, went back to his kingdom. There, he constantly spoke of Talia and the children, whom he had named Sun and Moon, calling their names even in his sleep. |
| La mogliere de lo re, che de la tardanza a la caccia de lo marito aveva pigliato quarche sospetto, co sso chiammare de Talia, Luna e Sole l'era pigliato autro caudo che de sole e perzò, chiammatose lo secretario le decette: «Siente cca, figlio mio: tu stai fra Sciglia e Scariglia, fra lo stantaro e la porta, tra la mazza agghionta e la grata. Si tu me dici di chi sta 'nammorato maritemo io te faccio ricco e si tu me nascunne sto fatto io non te faccio trovare né muorto né vivo». | The king's wife, suspicious of her husband's delayed return from hunting and hearing him constantly mention Talia, Sun, and Moon, grew jealous. She summoned the secretary and said, "Listen here, my dear. You are between a rock and a hard place. If you tell me who my husband is in love with, I will make you rich. But if you hide it from me, I will make sure you are never found, dead or alive." |
| Lo compare, da na parte scommuoppeto de la paura, dall'autra scannato da lo 'nteresse, ch'è na pezza all'uocchie de l'onore, n'appannatora de la iostizia, na sferracavallo de la fede, le disse de lo pane pane e de lo vino vino, pe la quale cosa la regina mannaie lo stisso secretario 'nome de lo re a Talia, ca voleva vedere li figlie. La quale co n'allegrezza granne mannatole, chillo core de Medea commannaie a lo cuoco che l'avesse scannate e fattone deverse menestrelle e saporielle, pe farele magnare a lo nigro marito. | The secretary, terrified on one hand and greedy on the other, betrayed his honor, justice, and loyalty. He told the queen everything she wanted to know. The queen then sent the same secretary to Talia, in the king's name, asking to see the children. Talia, overjoyed, sent them to her. But the queen, with a heart as cruel as Medea's, ordered the cook to slaughter the children and prepare them in various dishes to serve to her unsuspecting husband. |
| Lo cuoco, ch'era teneriello de permone, visto sti dui belle pumme d'oro n'avette compassione e, datole a la mogliere soia che li nasconnesse, apparecchiaie dui crapette 'n cento fogge. | The cook, however, was tender-hearted and, seeing the two golden apples (the children), took pity on them. He gave them to his wife to hide and prepared two young goats in a hundred different ways instead. |
| E venuto lo re, la regina co no gusto granne fece venire le vivanne e, mentre lo re mangiava co no gusto granne dicenno «Oh comme è buono chesto, pre vita de Lanfusa! oh comm'è bravo chest'autro, pe l'arma de vavomo!», essa sempre deceva: «Magna, ca de lo tuo mange!». Lo re doi o tre vote non mese arecchie a sto taluorno, all'utemo, sentuto ca continuava la museca, respose: «Saccio ca magno lo mio, perché non ce hai portato niente a sta casa!» e, auzatose co collera, se ne iette a na villa poco lontano a sfocare la collera. | When the king arrived, the queen had the dishes served with great relish. As the king ate, he exclaimed, "Oh, how delicious this is! By the life of Lanfusa! And this one is even better!" The queen kept saying, "Eat up, for you are eating what is yours!" The king paid no attention at first, but finally, growing tired of her refrain, he replied, "I know I am eating what is mine, for you brought nothing to this house!" And in anger, he left for a nearby villa to cool his temper. |
| Ma fra sto miezo, non sazia la regina de quanto aveva fatto, chiammato de nuovo lo secretario mannaie a chiammare Italia co scusa ca lo re l'aspettava, la quale a la stessa pedata se ne venne desiderosa de trovare la luce soia, non sapenno ca l'aspettava lo fuoco. Ma, arrivata 'nanze la regina, essa, co na facce de Nerone tutta 'nviperata, le disse: «Singhe la benvenuta, madamma Troccola! tu sì chella fina pezza, chella mal'erva che te gaude maritemo? tu sì chella cana perra che me fave stare co tanta sbotamiente de chiocca? và ca sì benuta a lo purgaturo, dove te scontarraggio lo danno che m'haie fatto!». | But the queen was not yet satisfied. She summoned the secretary again and sent him to fetch Talia, claiming that the king was waiting for her. Talia, eager to see the light of her eyes, came at once, unaware that fire awaited her. When she stood before the queen, the queen, with a face as venomous as Nero's, said, "Welcome, Madam Trash! You are the fine piece of work, the wicked weed that enjoys my husband! You are the mangy cur that made me burn with jealousy! Welcome to purgatory, where you will pay for the harm you have done me!" |
| Talia, sentenno chesto, commenzaie a scusarese ca non era corpa soia e ca lo marito aveva pigliato possessione de lo terretorio suio quanno essa era addobbiata. Ma la regina, non volenno 'ntennere scuse, fece allommare dintro a lo stisso cortiglio de lo palazzo no gran focarone e commannaie che 'nce l'avessero schiaffata 'miezo. Talia, che vedde le cose male arrivate, 'ngenocchiatase 'nante ad essa la pregaie c'a lo manco le desse tanto tiempo che se spogliasse li vestite c'aveva 'n cuollo. La regina, non tanto pe meserecordia de la negra giovane quanto pe avanzare chille abete racamate d'oro e de perne, disse: «Spogliate, ca me contento». | Talia, hearing this, began to plead her innocence, saying it was not her fault and that her husband had taken possession of her while she was asleep. But the queen would hear no excuses. She ordered a great fire to be lit in the palace courtyard and commanded that Talia be thrown into it. Seeing her fate, Talia knelt before the queen and begged for at least enough time to remove the clothes she wore. The queen, more interested in the golden embroidery than in mercy, agreed, saying, "Undress, and I will be content." |
| E Talia commenzata a spogliarese, ogne piezzo de vestito che se levava iettava no strillo: tanto che, avennose levato la robba, la gonnella e lo ieppone, comme fu a lo levarese de lo sottaniello, iettato l'utemo strillo, tanno la strascinavano a fare cennerale pe lo scaudatiello de le brache de Caronte, quanno corze lo re e, trovato sto spettacolo, voze sapere tutto lo fatto, e, demannato de li figlie, sentette da la stessa mogliere, che le renfacciava lo tredemiento recevuto, comme 'nce l'aveva fatto cannariare. | Talia began to undress, crying out with each garment she removed. When she was down to her last undergarment, she let out a final scream as they dragged her towards the fire. Just then, the king arrived and, seeing the scene, demanded to know what had happened. When he asked about the children, his own wife, in her bitterness, told him that she had had them cooked and served to him. |
| La quale cosa sentuto lo nigro re, datose 'm preda de la desperazione, commenzaie a dicere: «Adonca so' stato io medesemo lupo menaro de le pecorelle meie! ohimè, e pecché le vene meie non canoscettero le fontane de lo stisso sango? ah, torca renegata e che canetudene cosa è stata la toia? và ca tu ne iarraie pe le torza e non mannarraggio ssa facce de tiranno a lo Culiseo pe penetenzia!». | Hearing this, the king was overcome with despair and cried, "So, I have been the wolf that preyed on my own lambs! Oh, why did my veins not recognize the blood of my own blood? Oh, treacherous queen, what a monstrous thing you have done! You shall not escape punishment. I will not send you to the Colosseum for penance!" |
| E, cossì decenno, ordenaie che fosse iettata a lo stisso fuoco allommato pe Talia e 'nziemme cod essa lo secretario che fu maniglia de sto ammaro iuoco e tessetore de sta marvasa tramma; e, volenno fare lo medesemo de lo cuoco che se pensava c'avesse adacciariato li figli, isso iettatose a li piede de lo re le disse: «Veramente, segnore, non ce vorria autra chiazza morta pe lo servizio che t'aggio fatto che na carcara de vrase, non ce vorria autro aiuto de costa che no palo dereto, non 'nce vorria autro trattenimiento che stennerire e arronchiare dintro a lo fuoco, non 'nce vorria autro vantaggio ch'essere mescate le cennere de no cuoco co chelle de na regina! ma non è chesta la gran merzè che aspetto d'averete sarvato le figlie a despietto de chillo fele de cane, che le voleva accidere pe tornare a lo cuorpo tuio chello ch'era parte de lo stisso cuorpo». | And so saying, he ordered the queen and the secretary who had aided in this wicked plot to be thrown into the same fire prepared for Talia. He also intended to punish the cook, believing he had cooked the children. But the cook threw himself at the king's feet and said, "Truly, my lord, no greater reward could be given for the service I have done than to be burned at the stake. But is this the thanks I get for saving your children from that cruel beast who wanted to kill them to return to you what was part of your own flesh and blood?" |
| Lo re, che sentette ste parole, restaie fora de se stisso e le pareva de 'nzonnarese, né poteva credere chello che sentevano l'aurecchie soie; po', votatose a lo cuoco, le disse: «Si è lo vero che m'haie sarvate li figlie singhe puro securo ca te levarraggio da votare li spite e te mettarraggio a la cocina de sto pietto a votare comme te piace le voglie meie, dannote premmio tale che te chiammarraie felice a lo munno!». | The king, hearing these words, was astonished and could hardly believe his ears. Turning to the cook, he said, "If it is true that you have saved my children, then I promise you shall never want for anything. I will take you from the kitchen and make you the steward of my heart, to turn it as you please. I will reward you so greatly that you will be the happiest man in the world!" |
| Fra tanto che lo re deceva ste parole, la mogliere de lo cuoco, che vedde lo besuogno de lo marito, portai la Luna e lo Sole 'nanze lo patre, lo quale iocanno a lo tre co la mogliere e li figlie faceva moleniello de vase mo coll'uno e mo coll'autro; e, dato no gruosso veveraggio a lo cuoco e fattolo gentelommo de la cammara soia, se pigliaie Talia pe mogliere, la quale gaudette longa vita co lo marito e co li figlie, canoscenno a tutte botte ca a chi ventura tene quanno dorme perzì chiove lo bene. | While the king was speaking, the cook's wife, seeing her husband's distress, brought Sun and Moon before their father. The king, overjoyed, embraced Talia and the children, showering them with kisses. He gave the cook a generous reward and made him a gentleman of his chamber. Then he took Talia as his wife, and they lived happily ever after with their children, knowing that fortune rains down blessings even on those who sleep. |
The Queen’s Vengeful Wrath
The king, already married, continues to visit Talia secretly, but his wife finds out everything. Blinded by jealousy, she orders the cooks to prepare Talia’s children for dinner to serve to the king. The cook, feeling pity, substitutes the children with animal flesh. When the queen attempts to burn Talia alive, the king arrives just in time to stop her and sentences her to death. In the end, the man who had abused Talia marries her, and the fairy tale ends with the surreal line "and they lived happily ever after."
Why Was This Version Censored?
Folklore stories reflected the fears and social dynamics of their time: female passivity, male power, and justified violence. When Perrault (1697) and later the Grimm Brothers (1812) rewrote the tale, they softened the more disturbing details to make it more suitable for a bourgeois and moralist audience. With Disney, the story became a romantic dream, stripped of all darkness.
From Past to Present: How Much Has Really Changed?
The original version of Sleeping Beauty is a testament to a past where women were passive objects, victims of fate and male power. But even today, pop culture continues to sweeten certain themes. We like to believe in pure and selfless love, but perhaps it’s time to ask ourselves: how many modern fairy tales still hide uncomfortable truths?
Behind the veil of magic and the happy ending, there are stories that speak of injustice and a society that has normalized abuse for centuries. Maybe it’s time to stop believing in fairy tales and start telling the truth, even when it’s uncomfortable.
Sources:
"Sun, Moon, and Talia": en.wikipedia.org
"Sleeping Beauty": Pitt
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