Metaphors of Female Sexuality in Fairy Tales 

Fairy Tales have long been used to explore human experiences and societal values, often using symbolism to address complex ideas. One recurring theme is female sexuality, which is often depicted through metaphors that express cultural beliefs and anxieties. This paper will examine how stories like “Little Red Riding Hood” and “The Little Mermaid” highlight the limitations placed on female autonomy in patriarchal societies, using symbolism, such as their journeys through the woods and the ocean, to explore the concept of desire and its consequences. 

“Little Red Riding Hood,” originally told by Charles Perrault, is a story about a girl who on her way to visit her grandmother must go through the woods, there she meets a wolf who tricks her into telling him where she is going, just to get there first and eat her. This tale is widely recognized as a warning to young girls about the risks and consequences that come with disobedience, but if we look at it in a more critical way, we can draw the conclusion that it’s actually about the perils of sexual curiosity and loss of innocence.  

Her encounter with the wolf symbolizes the dangers of interacting with men who have harmful intentions. James Gracey, a writer and cultural critic recognized for his work on folklore, literature, and film, provides important insight into this idea. In his analysis, “50 Shades of Red: Sexuality and Loss of Innocence,” he explains that the tale reinforces the idea that women who deviate from societal expectations will face consequences (Gracey). Her departure from the path can be interpreted as a metaphor for sexual misbehavior, with the wolf’s devouring her as a punishment for her curiosity and disobedience.  

In fairy tales, the color red is often used as a metaphor to express danger. desire and sexual awakening. Some examples of this can be seen in the red apple in “Snow White,” which relays to Eve giving into temptation in the bible, the fall of the last rose petal in “Beauty and The Beast,” and the first drop of blood in “Sleeping Beauty” (McWilliams). In “Little Red Riding Hood” the red hood not only represents menstruation by marking her transition from childhood to womanhood, but it also symbolizes her vulnerability to the predatory wolf; a figure that represents male sexual aggression. 

Cristina Bacchilega supports this interpretation by emphasizing how the story reflects patriarchal values towards female sexuality. In her book “Postmodern Fairy Tales: Gender and Narrative Strategies,” she portrays Little Red Riding Hood as passive and naïve, reinforcing the idea that women must remain pure and chaste to avoid falling victim to male predators (58). Meanwhile, Jack Zipes in his essay “A Second Gaze at Little Red Riding Hood’s Trials and Tribulations” explores how the tales have been historically used to instill fear around sexual awakening by presenting Little Red’s downfall as a direct result of her disobedience. (84) 

In contrast with the violence portrayed in “Little Red Riding Hood,” “The Little Mermaid” by Hans Christian Andersen explores female sexuality through a different lens. The tale shows the mermaid’s desire to go to the human world to meet her one true love, however, this love requires sacrifice, leading her to lose her voice, and later, her life, in order to fulfill her desires. The voice is a symbol of autonomy, reinforcing the patriarchal expectations that a woman should give up her true self and her autonomy for love. 

Seungyeon Lee’s analysis of “The Little Mermaid” draws attention to the metaphors used in the tale as a symbol of the suffering women endure in their search for romantic and sexual fulfillment. The tale suggests that female sexuality and sexual desire are something painful and dangerous, and Anderssen’s writing in which the mermaid turns into sea-foam instead of winning her true love, reinforces this theme. The unachievable love the mermaid seeks reflects the cultural belief that women, particularly those who seek independence and sexual autonomy, are destined to miserable and unfulfilled lives 

The tale also highlights voicelessness in sexual relationships; the mermaid’s inability to speak after her transformation emphasizes the suppression of female voices and desires in patriarchal societies. In the article “Fairy Tales and the Fear of Female Sexuality,” Jesse McWilliam expands on this theme by arguing that fairy tales like “The Little Mermaid” make younger girls believe that love and sexual fulfillment require them to be submissive and self-sacrificing, reinforcing the belief that women’s desires are only valid when they adhere to these submissive expectations.  

Despite the differences in plot and tone, both “Little Red Riding Hood” and “The Little Mermaid” act as moral tales that reinforce patriarchal values and society views on female sexuality, using nature to explore desire and its consequences. In “Little Red Riding Hood,” the woods serve as a metaphor for the unknown, where innocence meets danger, reflecting the risks of sexual awakening. Similarly, in “The Little Mermaid,” the ocean becomes a symbol of deep desire, leading to sacrifice and loss.  

These narratives present sexuality as something that should be feared, controlled, and punished. In “Little Red Riding Hood” female desire is presented as an external threat, with Red’s disobedience and curiosity being directly linked to her downfall. The story portrays women as passive victims who must protect their innocence to avoid being consumed by the dangers of sexual temptation. This shows how Perrault’s patriarchal values are very much present throughout the whole tale, basically implying that whatever happens to a woman is her fault for showing signs of autonomy or sexual desires. 

In contrast, “The Little Mermaid” presents female desire as an internal struggle. The mermaid’s desire for the prince and her sacrifice, displays the complex emotions surrounding female sexuality. Unlike male characters in fairy tales who often end up victorious after their quests, the mermaid ends in tragedy, reinforcing the idea that women must be careful with what they wish for, using the mermaid’s death as a demonstration of the consequences of pursuing her desires.  

 These cultural messages portrayed in fairy tales continue to shape women’s understanding of their own bodies and their autonomy. The punishments faced by the main characters suggest that not following societal norms leads to negative consequences, reinforcing the idea that submission and silence are necessary for acceptance. Besides reflecting cultural concerns about female sexuality, these stories influence how young women perceive their own desires and roles within society. By analyzing these metaphors, we gain understanding on how fairy tales have historically used to reinforce societal expectations that control and suppress female desire. 

Works Cited

Andersen, H. C. (Hans Christian), and M. R. (Montague Rhodes) James. “The Little Mermaid.” Illustrated by Josef Paleček, Faber and Faber, 1981.

Bacchilega, Cristina. “Postmodern Fairy Tales: Gender and Narrative Strategies,” University of Pennsylvania Press, 1999, pp. 50-70. ProQuest Ebook Central, https://ebookcentral.proquest.com/lib/ccny-ebooks/detail.action?docID=3441398.

Gracey, James. “50 Shades of Red: Sexuality and Loss of Innocence in Little Red Riding Hood.” Folklore Thursday, 3 Aug. 2017, folklorethursday.com/folktales/50-shades-red-sexuality-loss-innocence-little-red-riding-hood.

Lee, Seungyeon. “The Lightness of the Sexual Being: A Short Reflection on Hans Christian Andersen’s ‘The Little Mermaid.’” Societies, vol. 8, no. 4, Nov. 2018, p. 116. https://doi.org/10.3390/soc8040116.

McWilliam, Jess. “Fairy tales and the Fear of Female Sexuality” Medium, 6 Jan. 2022, medium.com/@jess.mcwilliam91/fairy-tales-and-the-fear-of-female-sexuality-f995cfa04470.

Perrault, Charles, and Charles Perrault. Perrault’s Fairy Tales. Translated by A. E. (Alfred Edwin) Johnson, Illustrated by Gustave Doré, Dover Publications, 1969.Zipes, Jack. “A Second Gaze at Little Red Riding Hood’s Trials and Tribulations.” The Lion and the Unicorn, vol. 7, 1983, p. 78-109. Project MUSE, https://dx.doi.org/10.1353/uni.0.0105.