one station behind and puffing on to the next. In reality, the case is stronger and more complicated than this. I think my growth is just as apparent when I now read the fairy tales as when I read the novelists, for I now enjoy the fairy tales better than I did in childhood: being now able to put more in, of course I get more out. But I do not here stress that point. Even if it were merely a taste for grown-up literature added to an unchanged taste for children’s literature, addition would still be entitled to the name ‘growth’, and the process of merely dropping one parcel when you pick up another would not. It is, of course, true that the process of growing does, incidentally and unfortunately, involve some more losses. But that is not the essence of growth, certainly not what makes growth admirable or desirable. If it were, if to drop parcels and to leave stations behind were the essence and virtue of growth, why should we stop at the adult? Why should not senile be equally a term of approval? Why are we not to be congratulated on losing our teeth and hair? Some critics seem to confuse growth with the cost of growth and also to wish to make that cost far higher than, in nature, it need be.
(3) The whole association of fairy tale and fantasy with childhood is local and accidental. I hope everyone has read Tolkien’s essay on fairy tales, which is perhaps the most important contribution to the subject that anyone has yet made. If so, you will know already that, in most places and times, the fairy tale has not been specially made for, nor exclusively enjoyed by, children. It has gravitated to the nursery when it became unfashionable in literary circles, just as unfashionable furniture gravitated to the nursery in Victorian houses. In fact, many children do not like this kind of book, just as many children do not like horsehair sofas: and many adults do like it, just as many adults like rocking chairs. And those who do like it, whether young or old, probably like it for the same reason. And none of us can say with any certainty what that reason is. The two theories which are most often in my mind are those of Tolkien and of Jung.
According to Tolkien[1] the appeal of the fairy story lies in the fact that man most fully exercises his function as a ‘subcreator’; not, as they love to say now, making a ‘comment upon life’ but making, so far as possible, a subordinate world of his own. Since, in Tolkien’s view, this is one of man’s proper functions, delight naturally arises whenever it is successfully performed. For Jung, fairy tale liberates Archetypes which dwell in the collective unconscious, and when we read a good fairy tale we are obeying the old precept ‘Know thyself’. I would venture to add to this my own theory, not indeed of the Kind as a whole, but of one feature in it: I mean, the presence of beings other than human which yet behave, in varying degrees, humanly: the giants and dwarfs and talking beasts. I believe these to be at least (for they may have many other sources of power and beauty) an admirable hieroglyphic which conveys psychology, types of character, more briefly than novelistic presentation and to readers whom novelistic presentation could not yet reach. Consider Mr Badger in The Wind in the Willows—that extraordinary amalgam of high rank, coarse manners, gruffness, shyness, and goodness. The child who has once met Mr Badger has ever afterwards, in its bones, a knowledge of humanity and of English social history which it could not get in any other way.
When I was ten, I read fairy tales in secret and would have been ashamed if I had been found doing so. Now that I am fifty I read them openly. When I became a man I put away childish things, including the fear of childishness and the desire to be very grown up.
Of course as all children’s literature is not fantastic, so all fantastic books need not be children’s books. It is still possible, even in an age so ferociously anti-romantic as our own, to write fantastic stories for adults: though you will usually need to have made a name in some more fashionable kind of literature before anyone will publish them. But there may be an author who at a particular moment finds not only fantasy but fantasy-for-children the exactly right form for what he wants to say. The distinction is a fine one. His fantasies for children and his fantasies for adults will have very much more in common with one another than either has with the ordinary novel or with what is sometimes called ‘the novel of child life’. Indeed the same readers will probably read both his fantastic ‘juveniles’ and his fantastic stories for adults. For I need not remind such an audience as this that the neat sorting-out of books into age-groups, so dear to publishers, has only a very sketchy relation with the habits of any real readers. Those of us who are blamed when old for reading childish books were blamed when children for reading books too old for us. No reader worth his salt trots along in obedience to a time-table.
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