White and red have historically been poetic standards of beauty, with both men and women described as having skin as white as snow, marble or cheese; cheeks as red as blood or roses; and hair as black as a raven’s wing.
In many fairytales and myths, these colors are used to describe a desired wife, husband or child. They can represent physical health and beauty. Red and white are also associated with the Otherworld in Celtic myth.
The image is most famously seen in “Snow White and the Seven Dwarves,” but only appears in that tale type in Germany and Scandinavia. Otherwise, it is most common in variants of “The Love of Three Oranges.”
For stories related to Snow White and the Seven Dwarves, see Type 709.
Quest for the Red-and-White Bride
According to Christine Goldberg, there are two types of the blood motif.
Blood on snow
In one, the hero is a hunter, looking at the blood of his prey on the snow. This indicates “qualities of aloofness, cruelty and dominance that are typical of German Marchen as described by Max Luthi.” It implies that he wants a wife to “subjugate.”
Blood on cheese
The other type is where the hero cuts himself accidentally, and the blood lands on something white, such as snow, cheese, or an orange peel. It makes him pitiable (and has similarities to Snow White’s mother pricking her finger). Here the implication is that he wants a wife like himself, the color of his blood specifically. (Goldberg 122)
Perhaps the cheese, as a milk product, is a feminine symbol? Goldberg cites Jones, "The New Comparative Method: Structural and Symbolic Analysis of the Allomotifs of "Snow White" (1990: 39-42).
AFRICA
The Story of King Sulayman ibn ‘Abd al-Malik. North Africa. The king sees two ravens fighting in his courtyard. This causes him to wonder, “Did God ever create a girl with skin as white as this marble, with hair as black as those ravens and with cheeks as red as their blood on the marble floor?”
ALBANIA
La Princesse de la Chine. “Ce sang est rouge comme le sang des joues de la fille du roi de Chine.” A bird's blood on snow is compared to the cheek of a beautiful princess.
ASIA
Uldsheitu Chung Goa Beidshi. A Khan is out hunting and kills some hares, and dreams of a wife "with a face as white as this snow and cheeks as crimson as this blood." Someone tells him "the beauty of Uldsheitu Chung Goa Beidshi, the wife of thy brother, surpasses this by far."
BOHEMIA
Die Seejungfrau.
BRITAIN
“The Story of Conall Gulban.”
BRITTANY
"La princesse aux trois couleurs" (The princess of three colors)
FRANCE
Incarnat, Blanc et Noir – 18th century French tale
This scene recurs in other versions of the story.
The same thing happens in "Parzival" by Wolfram von Eschenbach (German, 13th century).
In "Peredur the Son of Efrawg" in the Mabinogion (12th or 13th century), Peredur is inspired by a raven perched on a bird's bloody carcass in the snow.
GREECE
Anthousa, Xanthousa, Chrisomalousa (Anthousa the Fair with Golden Hair). The blood-on-snow motif does not occur, but the story is part of the same family. The main character's three names mean "blossoming," "fair-haired," and "golden-haired."
INDIA
La Princesse Sang-de-Gazelle-sur-la-Neige.
IRELAND
"The Snow, the Crow and the Blood."
ITALY
The Three Citrons (Le tre cetra). A prince cuts his hand slicing ricotta cheese and decides he wants a wife “exactly as white and red as that cheese tinged with blood.” When trying to capture a fairy, he finds a girl as white as milk and red as a strawberry, and then a girl "as tender and white as curds and whey, with a streak of red on her face that made her look like an Abruzzo ham or a Nola salami."
NORWAY
The Companion. Features a quest for a princess as red as blood and white as milk.
PALESTINE
Šoqak Boqak. "One snowy day he took his servant and went hunting. A doe sprang in front of them, and he aimed and shot her. The servant slaughtered her, and as her blood flowed to the ground, he said, "O master! May you find a bride who's like this blood on the snow."[3]
Soqak Boqak is a nonsense phrase.
SCOTLAND
The Giant and the Fair Man-servant: Scottish. A variant of ATU 505, "The Grateful Dead,” featuring the hunt for a bride as white as snow and red as blood.
SERBIA
Das höllische Blendwerk und die göttliche Macht. “Eines Morgens ging ein kaiserlicher Prinz zur Jagd, und wie er über den Schnee ging, fing er aus der Nase zu bluten an, und sah, wie das rothe Blut auf dem weißen Schnee so schön sich ausnahm, da dachte er bei sich selbst: »Ach wenn mir doch ein Mädchen zur Frau beschieden wäre, so weiß wie Schnee und so roth wie Blut.”
Der rollende Rinsmagen.
SPAIN
Sanch-y-neu
WALES
Culhwch ac Olwen: from the Mabinogion (Wales, 14th-century). Culhwch's stepmother curses him so that he can marry no one but the beautifiul Olwen, daughter of giant Ysbaddaden. Olwen, the heroine, is associated with flowers and especially with the colors red and white:
“More yellow was her head than the flower of the broom, and her skin was whiter than the foam of the wave, and fairer were her hands and her fingers than the blossoms of the wood anemone amidst the spray of the meadow fountain . . . Her bosom was more snowy than the breast of the white swan, her cheek was redder than the reddest roses . . . Four white trefoils sprung up wherever she trod.”
This is how she gets her name, Olwen, meaning “white footprint.” To enhance the color symbolism, when she first appears, she is dressed in “flame-colored silk” and precious gems including rubies.
WALLACHIA
Der verstossene sohn. Bleeding raven on snow. "O batt' ich ein weib mit einem leib so weiss wie schnee, mit wangen so roth wie blut, und mit haaren so schwarz wie rabenfedern!"
Snow White
Snow White and the Seven Dwarves (Schneewittchen): German.
THE POMEGRANATE GIRL
In many stories, particularly those in Africa and the Middle East, rather than snow and blood, the colors are compared to the red and white of a pomegranate. This is often reflected in the heroine's name. Ravit Raufman suggests that the heroine named Pomegranate creates more sensual, fertile images than the frozen Snow White.
Cristina Mazzoni pointed out the use of different kinds of fruit in variants of "The Three Citrons." Citrons are yellow, sour, and grammatically male. Basile contrasted these with the maiden trapped inside, who was red, white and sweet, more like the grammatically feminine pomegranate. This discrepancy may have influenced Italo Calvino to name his version "The Love of the Three Pomegranates."
Nouri Hadige (The Pomegranate Seed): Armenia. Here, the beautiful girl is born after her mother eats a pomegranate seed. The evil stepmother consults with the moon rather than a mirror. The girl takes care of a sleeping prince for seven years; after he awakens, he in turn has to awaken her from a cursed sleep caused by her stepmother.
In the version given in Miriam's Tambourine, Romana has an evil stepsister named Laymuna, or lemon. This suggest a color contrast similar to that of Snow White and Rose Red or other sibling pairs on this page.
CINDERELLA
Cinderella variant from Germany, mentioned by the Grimms. “A beautiful Countess had a rose in one hand and a snowball in the other, and wished for a child as red as the rose, and as white as the snow. God grants her wish.”
It was collected in Nishiyatsushiro District, Yamanashi Prefecture.
OTHER TALE TYPES
Bawang Merah Bawang Putih (literally "Red Onion, White Garlic"). Indonesian. Here, their names are more related to taste and smell, such as the garlic being more pungent. How Molo Stole the Lovely Rose-Red: Chinese. Molo, a swordsman, helps a young man rescue his lover Rose-Red who is a slave girl in a prince's house.
Snow White and Rose Red (Schneeweißchen und Rosenrot) - two sisters, named after the rose bushes by their house. This is a literary fairytale, not a folktale.
The villain of the story is named Rauður, or Red.
MALE VERSIONS
The Cattle Raid of Froech: Irish, from the 12th-century Book of Leinster, but might date back to the 8th century. Oldest recorded European variant of the red/black/white theme. The princess Finnabair sees her love Froech swimming across a black pool with a branch of red berries, and is struck by the contrast to his white skin.
The Juniper Tree, German. A mother wishes, “ah, if I had but a child as red as blood and as white as snow.” She then gives birth to a son.
I haven't been able to find a copy of this tale, only a couple of mentions.
SOURCES
In many fairytales and myths, these colors are used to describe a desired wife, husband or child. They can represent physical health and beauty. Red and white are also associated with the Otherworld in Celtic myth.
The image is most famously seen in “Snow White and the Seven Dwarves,” but only appears in that tale type in Germany and Scandinavia. Otherwise, it is most common in variants of “The Love of Three Oranges.”
For stories related to Snow White and the Seven Dwarves, see Type 709.
Quest for the Red-and-White Bride
According to Christine Goldberg, there are two types of the blood motif.
Blood on snow
In one, the hero is a hunter, looking at the blood of his prey on the snow. This indicates “qualities of aloofness, cruelty and dominance that are typical of German Marchen as described by Max Luthi.” It implies that he wants a wife to “subjugate.”
Blood on cheese
The other type is where the hero cuts himself accidentally, and the blood lands on something white, such as snow, cheese, or an orange peel. It makes him pitiable (and has similarities to Snow White’s mother pricking her finger). Here the implication is that he wants a wife like himself, the color of his blood specifically. (Goldberg 122)
Perhaps the cheese, as a milk product, is a feminine symbol? Goldberg cites Jones, "The New Comparative Method: Structural and Symbolic Analysis of the Allomotifs of "Snow White" (1990: 39-42).
AFRICA
The Story of King Sulayman ibn ‘Abd al-Malik. North Africa. The king sees two ravens fighting in his courtyard. This causes him to wonder, “Did God ever create a girl with skin as white as this marble, with hair as black as those ravens and with cheeks as red as their blood on the marble floor?”
- A Hundred and One Nights.
- Maspero, F. Le Grain magique: contes, poèmes et proverbes berbères de Kabylie. 1971. "Loundja, fille de Tseriel."
ALBANIA
La Princesse de la Chine. “Ce sang est rouge comme le sang des joues de la fille du roi de Chine.” A bird's blood on snow is compared to the cheek of a beautiful princess.
- Dozon, Auguste. Contes albanais. p. 179.
ASIA
Uldsheitu Chung Goa Beidshi. A Khan is out hunting and kills some hares, and dreams of a wife "with a face as white as this snow and cheeks as crimson as this blood." Someone tells him "the beauty of Uldsheitu Chung Goa Beidshi, the wife of thy brother, surpasses this by far."
- Saanang Setzen, Geschichte der Ost-Mongolen. Trans. Isaac Jacob Schmidt, 1829, p. 139
- Henry Hoyle Howorth , Ernest George Ravenstein. History of the Mongols: From the 9th to the 19th Century.
BOHEMIA
Die Seejungfrau.
- Waldau. Böhmisches Märchenbuch p. 559
BRITAIN
“The Story of Conall Gulban.”
- John Francis Campbell. Popular Tales of the West Highlands, Volume 3. page 200.
- MacInnes, Folk and Hero Tales from Argyllshire (1890), n° 1.
BRITTANY
"La princesse aux trois couleurs" (The princess of three colors)
- Francois Luzel. Les contes de Luzel: Contes inedits. vol. 1.131-137.
FRANCE
Incarnat, Blanc et Noir – 18th century French tale
- Nouveau Recueil de Contes de Fees (1718) 1731, 158-169. Link.
- Cabinet des Fees vol. 31, pp. 233-238
- Busk, R. H. Roman Legends: A Collection of the Fables and Folk-lore of Rome. 2015. Contains an English summary.
This scene recurs in other versions of the story.
The same thing happens in "Parzival" by Wolfram von Eschenbach (German, 13th century).
In "Peredur the Son of Efrawg" in the Mabinogion (12th or 13th century), Peredur is inspired by a raven perched on a bird's bloody carcass in the snow.
GREECE
Anthousa, Xanthousa, Chrisomalousa (Anthousa the Fair with Golden Hair). The blood-on-snow motif does not occur, but the story is part of the same family. The main character's three names mean "blossoming," "fair-haired," and "golden-haired."
- Megas, Georgios A. Folktales of Greece (1970). p 42.
- Soula Mitakidou and Anthony L. Manna. Folktales from Greece: A Treasury of Delights (2002). p. 17.
INDIA
La Princesse Sang-de-Gazelle-sur-la-Neige.
- Emanuel Cosquin: Les contes indiens et l'occident, pp. 218-246. See also Monographie C in the index of that book.
IRELAND
"The Snow, the Crow and the Blood."
- MacManus, Seumas. Donegal Fairy Stories. 1900. pp. 153-174.
- Curtin, Hero tales of Ireland, p. 374.
- Hyde 1890 p. 19. Beside the fire : a collection of Irish Gaelic folk stories.
- Larminie. West Irish folk-tales and romances p. 156.
ITALY
The Three Citrons (Le tre cetra). A prince cuts his hand slicing ricotta cheese and decides he wants a wife “exactly as white and red as that cheese tinged with blood.” When trying to capture a fairy, he finds a girl as white as milk and red as a strawberry, and then a girl "as tender and white as curds and whey, with a streak of red on her face that made her look like an Abruzzo ham or a Nola salami."
- Basile. Il Pentamerone. 1634. Day 5, tale 9.
- Basile. Il Pentamerone. 1634. Day 4, tale 9.
- Italo Calvino. Italian Folktales. 1980 no. 107, p389
- Calvino, Italo. Italian Folktales. 1980. No. 158, p568
- Crane, Thomas Frederick. Italian Popular Tales. 1885.
- Pitre, Giuseppe. Fiabe novelle e racconti popolari siciliani. 1870. no. 13.
- Gonzenbach, Laura. Sicilianische Marchen 1: pp. 73-84, no. 13
- Busk, The Folk-Lore of Rome, 1874, pp. 15-21.
- Laboulaye, Fairy Tales, 234-252
NORWAY
The Companion. Features a quest for a princess as red as blood and white as milk.
- Read online.
- Stroebe, Clara. The Norwegian Fairy Book. 1922. “The Comrade.” p. 30.
PALESTINE
Šoqak Boqak. "One snowy day he took his servant and went hunting. A doe sprang in front of them, and he aimed and shot her. The servant slaughtered her, and as her blood flowed to the ground, he said, "O master! May you find a bride who's like this blood on the snow."[3]
Soqak Boqak is a nonsense phrase.
SCOTLAND
The Giant and the Fair Man-servant: Scottish. A variant of ATU 505, "The Grateful Dead,” featuring the hunt for a bride as white as snow and red as blood.
- The Celtic Magazine, vol. 13. 1888. pp. 20-28.
SERBIA
Das höllische Blendwerk und die göttliche Macht. “Eines Morgens ging ein kaiserlicher Prinz zur Jagd, und wie er über den Schnee ging, fing er aus der Nase zu bluten an, und sah, wie das rothe Blut auf dem weißen Schnee so schön sich ausnahm, da dachte er bei sich selbst: »Ach wenn mir doch ein Mädchen zur Frau beschieden wäre, so weiß wie Schnee und so roth wie Blut.”
- Wuk p. 139. Volksmarchen du Serben. No. 19.
Der rollende Rinsmagen.
- Adeline Rittershaus. Die neuisländischen Volksmärchen. no. 11.
SPAIN
Sanch-y-neu
- Maspons, Cuentos populares Catalans. p. 18
WALES
Culhwch ac Olwen: from the Mabinogion (Wales, 14th-century). Culhwch's stepmother curses him so that he can marry no one but the beautifiul Olwen, daughter of giant Ysbaddaden. Olwen, the heroine, is associated with flowers and especially with the colors red and white:
“More yellow was her head than the flower of the broom, and her skin was whiter than the foam of the wave, and fairer were her hands and her fingers than the blossoms of the wood anemone amidst the spray of the meadow fountain . . . Her bosom was more snowy than the breast of the white swan, her cheek was redder than the reddest roses . . . Four white trefoils sprung up wherever she trod.”
This is how she gets her name, Olwen, meaning “white footprint.” To enhance the color symbolism, when she first appears, she is dressed in “flame-colored silk” and precious gems including rubies.
WALLACHIA
Der verstossene sohn. Bleeding raven on snow. "O batt' ich ein weib mit einem leib so weiss wie schnee, mit wangen so roth wie blut, und mit haaren so schwarz wie rabenfedern!"
- Schott, Walachische Marchen, 1845. p. 200
Snow White
Snow White and the Seven Dwarves (Schneewittchen): German.
- Grimm, Jacob and Wilhelm. Household Tales.
- Johann Mailáth. Magyarische Sagen, Mährchen und Erzählungen, Volumes 1-2. p. 172
- Archivio per lo studio delle tradizioni popolari, Volume 10, no. XV, p. 322. On Archive.
- Joan Amades. Folklore de Catalunya, rondallistica: rondalles, traditions, llegendes. 1950.
- Claudel, Calvin and Joseph M. Carriere. Southern Folklore Quarterly, VI (1942), pp. 153-162. "Snow Bella: A Tale from the French Folklore of Louisiana."
- Espinosa, Aurelio M. Cuentos Populares Expanoles, tomo II. 1924. no. 115.
- Dawkins, Richard M. 1916. Modern Greek in Asia Minor. P. 441.
- Andres Eivindson Vang. Gamla segner fraa Valdres. Nielsen, ed. 1871. p.62.
- Reprinted in Eventyrlige sagn i den ældre historie By Moltke Moe, p644.
THE POMEGRANATE GIRL
In many stories, particularly those in Africa and the Middle East, rather than snow and blood, the colors are compared to the red and white of a pomegranate. This is often reflected in the heroine's name. Ravit Raufman suggests that the heroine named Pomegranate creates more sensual, fertile images than the frozen Snow White.
Cristina Mazzoni pointed out the use of different kinds of fruit in variants of "The Three Citrons." Citrons are yellow, sour, and grammatically male. Basile contrasted these with the maiden trapped inside, who was red, white and sweet, more like the grammatically feminine pomegranate. This discrepancy may have influenced Italo Calvino to name his version "The Love of the Three Pomegranates."
Nouri Hadige (The Pomegranate Seed): Armenia. Here, the beautiful girl is born after her mother eats a pomegranate seed. The evil stepmother consults with the moon rather than a mirror. The girl takes care of a sleeping prince for seven years; after he awakens, he in turn has to awaken her from a cursed sleep caused by her stepmother.
- Villa, Susie Hoogasian. 100 Armenian Tales and Their Folkloristic Relevance. 1966. “Nuri Hadige.”
- Sherents, Gevorg. Vana Saz, Vol. 1. 1885. “Nar Khatyun” (Pomegranate Queen), pp. 106–112.
- Patai, Raphael. Arab Folktales from Palestine and Israel. 1998. pp. 217-22.
In the version given in Miriam's Tambourine, Romana has an evil stepsister named Laymuna, or lemon. This suggest a color contrast similar to that of Snow White and Rose Red or other sibling pairs on this page.
- Schwartz, Howard. Miriam's Tambourine: Jewish Folktales from Around the World. Oxford: Oxford University Press, 1988. pp. 67-78
- Rush, Barbra. The Book of Jewish Women's Tales. "The Pomegranate Girl."
- Frankel, Ellen. The Jewish Spirit. 1997.
- Kimmel, Eric A. Rimona of the Flashing Sword. 1995.
- Alcover, Antoni Maria. Aplech de rondayes mallorquines: Ab llegencia del ordinari. 1896. Pg. 95.
CINDERELLA
Cinderella variant from Germany, mentioned by the Grimms. “A beautiful Countess had a rose in one hand and a snowball in the other, and wished for a child as red as the rose, and as white as the snow. God grants her wish.”
- Grimm. Cinderella.
- Marianne Roalfe Cox. Cinderella, no. 27.
- Cox, Marian Roalfe. Cinderella #284. Rosenröd Snehvid.
- Grundtvig, S., Gamle danske Minder i Folkemunde. Copenhagen, 1857. II. 157.
- Schram, Penninah. Jewish Stories One Generation Tells Another.
- Landa, Gertrude. Jewish Fairy Tales and Legends. 1919.
It was collected in Nishiyatsushiro District, Yamanashi Prefecture.
- Zoku Kai mukashibanashi shu, Dobashi Riki. Kyodo Kenkyusha: 1936, p. 149.
OTHER TALE TYPES
Bawang Merah Bawang Putih (literally "Red Onion, White Garlic"). Indonesian. Here, their names are more related to taste and smell, such as the garlic being more pungent. How Molo Stole the Lovely Rose-Red: Chinese. Molo, a swordsman, helps a young man rescue his lover Rose-Red who is a slave girl in a prince's house.
- Wilhelm, R. The Chinese Fairy Book. 1921.
- Blecher, Lone Thygesen and George Blecher. Swedish folktales and legends. 1993. p. 208.
- Hylten-Cavallius, Gunnar Olof, and George Stephens. Svenska Folk-Sagor och Afventyr. Stockholm, 1844. p. 114.
- Griffis, William Elliot. Dutch Fairy Tales for Young Folks. 1918.
Snow White and Rose Red (Schneeweißchen und Rosenrot) - two sisters, named after the rose bushes by their house. This is a literary fairytale, not a folktale.
- Read on Surlalune.
- Stahl, Caroline. "The Ungrateful Dwarf." 1818.
- Afanas'ev, Aleksandr. Russian Fairy Tales.
- Campbell, Marie. Tales from the Cloud Walking Country. 2000. Pg. 53.
The villain of the story is named Rauður, or Red.
- Bodker, Laurits, et al. European Folk Tales vol. 1. 1963. Iceland, translated by Anthony Faulkes.
- Árnason, Jón. Íslenzkar þjóðsögur go æfintýri. 1852. "Sagan af Hildi góðu stjupu."
- Rittershaus, Adeline. Die neuisländischen Volksmärchen. 1902. no. 34. "Die gute Stiefmutter."
- Asbjørnsen, Peter Christen and Moe, Jorgen. East o' the Sun and West o' the Moon. George Webbe Dasent, translator. Popular Tales from the Norse. Edinburgh: David Douglass, 1888.
- Yeats, W. B. Fairy and Folk Tales of the Irish Peasantry. 1888.
- Kennedy, Patrick. The fireside stories of Ireland. 1870.
MALE VERSIONS
The Cattle Raid of Froech: Irish, from the 12th-century Book of Leinster, but might date back to the 8th century. Oldest recorded European variant of the red/black/white theme. The princess Finnabair sees her love Froech swimming across a black pool with a branch of red berries, and is struck by the contrast to his white skin.
The Juniper Tree, German. A mother wishes, “ah, if I had but a child as red as blood and as white as snow.” She then gives birth to a son.
- Grimm. The Juniper Tree.
- Gregory, Augusta. Cuchulain of Muirthemne. 1902.
- Visentini, Isaia. Fiabe mantovane (Turin, 1879), no. 42, pg. 191. "Il re del sette veli."
- Lurie, Alison. Clever Gretchen and Other Forgotten Fairytales. "The Sleeping Prince."
- Delarue, Paul. "Incarnat, Blanc et Or." 1955.
- de Soto, Segio Hernandez. Cuentos populares recogidos en Estremadura. 1886. "El Rey durmiente en su lecho."
- Heiner, Heidi Anne, editor. Sleeping Beauties: Sleeping Beauty and Snow White Tales From Around the World. 2010.
- Chatelain, Héli. Folk-tales of Angola: Fifty Tales, with Ki-mbundu Text, Literal English Translation, Introduction, and Notes, Volume 1. 1894. (Includes two versions.)
- Zipes and Russo. The Collected Sicilian Folk and Fairy Tales of Giuseppe Pitré. 2013. pg. 818.
- Pitre, Giuseppe. Biblioteca delle tradizioni popolari siciliane. 1875. pg. 107.
I haven't been able to find a copy of this tale, only a couple of mentions.
- Zipes and Russo. The Collected Sicilian Folk and Fairy Tales of Giuseppe Pitré. 2013. pg. 821.
- Pitre, Giuseppe. Biblioteca delle tradizioni popolari siciliane. 1875. pg. 119.
- Calvino, Italo. Italian Folktales
SOURCES
- Jones, Steven Swann. "The New Comparative Method: Structural and Symbolic Analysis of the Allomotifs of "Snow White." 1990.
- Kawan, Christine Shojaei. Reflections on International Narrative Research on the Example of the Tale of the three Oranges.
- Hemming, Jessica. Folklore Vol. 123, no. 3 (Dec 2012). pp. 310-329. "Red, White, and Black in Symbolic Thought: The Tricolour Folk Motif, Colour Naming, and Trichromatic Vision."
- Goldberg, Christine. The Tale of the Three Oranges (1997)
- Mazzoni, Cristina. Marvels & Tales, vol. 29, no. 2 (2015). pp. 228-244. 'The Fruit of Love in Giambattista Basile's “The Three Citrons.”'
- Mellen, Philip. “Blood-on-the-Snow: The Development of a Motif.” Comparative Literature Studies Vol. 15, No. 4, Special Student Number (Dec., 1978), pp. 363-371.
- Raufman, Ravit. "Red as a Pomegranate. Jewish North African versions of Snow White." Fabula. Vol. 58, issue 3/4, Nov. 2017. pp. 294-318.
- Vaz da Silva, Francisco. Marvels & Tales Vol. 21, No. 2 (2007), pp. 240-252. "Red as Blood, White as Snow, Black as Crow: Chromatic Symbolism of Womanhood in Fairy Tales."