The Contes de fées, defined here as tales that contain fées, i.e.: “fays” (as opposed to “fairies,” which in British literary history referred to imaginary entities often different from the French fées), were invented by aristocratic women of the 17th century, such as Madame d’Aulnoy, the Comtesse de Murat, Madame Leprince de Beaumont, etc.In making visible the operations of the human heart, they also did so with their torments, fears and resentments: the tightly-laced corset of social convention, the catastrophe of arranged marriages; the tyranny and frequent brutality of those in legal control of their lives and fortunes.Such aspects of everyday life were exaggerated by the conventions of the genre: the princesses were the most beautiful in the world, or the ugliest; the prisons in which they were contained were inaccessibly tall towers or lightless subterrains, often guarded by dragons; their captors were ogres, hags or giants, often addicted to setting them impossible tasks to complete, under the threat of dire punishment. And the fantasies of their salvation were exaggerated in consequence, beyond all reasonable expectation: the magic wand of a good fay, and, perhaps even more implausibly, the trustworthy love of a good man.Since the 1970s, there has been a spectacular increase in the popularity of a kind of fantasy that has revivified many of the imaginative materials previously developed in the contes de fées, and they can now be seen as a key link in a strand of imagi...