Starting with snow white

Snow White 
tale (in terms of its episodic structure) and that 
this new structure moves attention away from the forgone conclusion that 
Princess
Snow 
White would find her 
Prince, 
maintaining a line of royalty, I question, based on the 
Shakespearean reference above whether “love at first sight” might be conceived of as 
singularly American. Further, while there is American precedent for the earlier, more 
romantic introduction of the Prince, it is not Disney’s, but Merington’s and later Ames’ 
versions of 
Snow White 
through which this alteration in episodic action is initially 
produced. Recognition of this lineage not only gives credit to the earlier 
author/playwright, but importantly displays an 
American 
folkloric patterning that 
undergirds Disney’s animated version. 
The development and display of romantic love is, however, only one segment of 
Merington’s reconstitution of 
Snow White’s 
royal subjects, marking a division from this 
European structure of power. Where earlier fairy tales may have mocked a ruler with a 
political purpose, undercutting specific traits or characteristics of that individual,
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the 
entirety of the court in Merington’s play is laughable. Perhaps most memorably, scenes 
which open with the Queen at court feature games of her making—“Beauty-Contest” or 
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In 
Fairy Tales and the Art of Subversion: The Classical Genre for Children and the Process of 
Civilization
, Jack Zipes argues that the “ideological perspectives and narrative strategies” of early Italian 
and French writers of the fairy tale “varied in light of the social and political problems depicted in their 
tales” (27). 

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“Similes” for the Queen’s beauty—anything to drive the courtiers to compete in flattery 
of her highness (Merington 1.1, 11; 4.2, 2). While these moments align with the 
Snow 
White 
tale, emphasizing her vice of vanity, they also display the lack of effectual work 
(ruling or serving) that happens at court. A queen and her adviser or courtiers are no 
more than empty figureheads.
The ridicule of this baseless governing structure is furthered through the 
representation of a Chancellor who walks around with a “Court Manual,” a “red-bound 
Manual [in his] pocket,” available at all times to solve any problem (Merington1.1, 8).
Through this figure, the impression is further instilled that those at court are mindless, 
nothing without a set of written rules. The trouble is that such rules do not resolve every 
issue. Thus, when the Prince (disguised as Pilgrim/Knight) leaves a tablet which 
proclaims Snow White “the fairest of ladies” and “beauty’s very self” and the Queen 
subsequently calls, “High treason,” the Chancellor flounders, “Good gracious! There’s 
nought of this in the Court Manual!” (Merington1.1, 12, 14). The tag before the 
Chancellor’s lines within Merington’s play is, appropriately, “CHANCE,” as his rulings 
and definitions of the law seem merely a matter of “chance,” available only if he has a 
book to guide him. In both cases, these powerful, royal roles are brought low by the 
humor with which Merington delivers them to her audience. American audiences are 
therefore able to laugh at royalty in favor of their own political structures of power.
The dwarfs are similarly transformed from the European model through the 
engagement of humor. While the quality of humor itself bespeaks American 
representation, their presentation is uniquely adapted to engage other American values, as 

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well. Even as American audiences laugh, then, they likewise develop an affinity with the 
little gentlemen. 
From the moment the dwarfs are introduced, their dialogue has a sing-song 
rhyming quality. Not only does each dwarf rhyme within his own dialogue, but in 
conversation with one another, the rhyming continues. While this device may have been 
inserted to speak to the child audience, it also serves to make the group on the whole 
quite humorous. The same is true with the use of repetition in their grief, once they have 
lost Snow White. As each brother returns home early from work to guard the body of 
Snow White, Blick (their leader) questions, “Why so early back from work?” (Merington 
4.1, 3). Each brother, in turn responds, “I have no heart to work.” (Merington 4.1, 3).
There is gravity in their loss, but the repetition of exact dialogue provides some comic 
relief in this somber moment, as well. In much the same way, Disney would later engage 
the self-same silly seven dwarfs and animals of his version.
Yet an audience does not always laugh at, but at times laughs 
with
the dwarfs, as 
the group indeed recognizes its shortcomings. In their imperfection, however, they align 
themselves quite nicely with Snow White. Their social status disappears in this 
affiliation, where dwarf and princess are brought to the same level. When they offer 
Snow White a home, Blick entreats the Princess to understand, “lest there be 
misconception; lest you fail to /notice—Our house—’t is not a palace! […] And we, 
ourselves, you may have remarked, we are not giants” (Merington 2, 12-13). Pick 
(another dwarf) adds, “We are not even strikingly tall” (Merington 2, 13). As the dwarfs 
point out the obvious to Snow White, and clarify further and further, the comedy in the 

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scene rises. Although, ultimately when they announce themselves “Dwarfs!” and “hang 
their heads,” the viewer sees the self-consciousness of the dwarfs for what it is—the 
feeling of being somehow less than ideal (Merington 2, 13). In this they find some 
common ground with Snow White, the less-than-ideal princess/daughter of a vain queen.
Here, we find another kind of American value emerging, the ideal of equity amongst 
all 
of a group’s members—not only amongst the men, but amongst men and women.
Again, when Snow White considers leaving the home of the dwarfs after thanking 
them for their hospitality, one finds this democratic value. Blick calls together the other 
dwarfs, whereupon they “(…gather in a group, confer briefly, nod emphatic YES)” 
before Blick asks, “In favor?” and the group replies, “Aye!” (Merington 2,10). Although 
Blick plays the role of a leader, and frequently speaks for the others, at this juncture it 
becomes clear that his voice is one in the name of all. Each dwarf has a vote and a voice 
to contribute, and each is heard before a decision is made. Their society is not based 
upon that of royal rule. Their governing principles are democratic, based on the equity of 
all.
Furthermore, once the decision regarding Snow White’s occupancy has been 
reached, Blick makes an offer to the young woman that further instantiates this ideal.
“Abide with us forever! […] We will work for you, protect you! We will be as so many