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But just as she settled down into the chair to rest, it broke into pieces! Goldilocks was very tired by this time, so she went upstairs to the bedroom.
She lay down in the first bed, but it was too hard. Then she lay in the second bed, but it was too soft.
Then she lay down in the third bed and it was just right. As she was sleeping, the three bears came home. They decided to look around some more and when they got upstairs to the bedroom, Papa bear growled, "Someone's been sleeping in my bed,".
Just then, Goldilocks woke up and saw the three bears. Goldilocks ran down the stairs, opened the door, and ran away into the forest.
And she never returned to the home of the three bears. So, she tasted the porridge from the second bowl. Prowling about, she finds the bears' beds and falls asleep in Wee Bear's bed.
The dark end of the tale is reached when the bears return. Wee Bear finds his empty bowl, his broken chair, and the old woman in his bed and cries, "Somebody has been lying in my bed, and here she is!
The story was first recorded in narrative form by British writer and poet Robert Southey , and first published anonymously as "The Story of the Three Bears" in in a volume of his writings called The Doctor.
The story of the three bears was in circulation before the publication of Southey's tale. Southey's bears have porridge, but Mure's have milk;  Southey's old woman has no motive for entering the house, but Mure's old woman is piqued when her courtesy visit is rebuffed;  Southey's old woman runs away when discovered, but Mure's old woman is impaled on the steeple of St Paul's Cathedral.
In a manner similar to the three bears, the dwarfs cry, "Someone's been sitting in my chair! She eats their food and hides under a bed.
In , Charles Dickens referenced a similar tale in Our Mutual Friend , but in that story the house belongs to hobgoblins rather than bears.
Dickens' reference however suggests a yet-to-be-discovered analogue or source. In , "Scrapefoot", a tale with a fox as antagonist that bears striking similarities to Southey's story, was uncovered by the folklorist Joseph Jacobs and may predate Southey's version in the oral tradition.
Some sources state that it was illustrator John D. Batten who in reported a variant of the tale at least 40 years old.
In this version, the three bears live in a castle in the woods and are visited by a fox called Scrapefoot who drinks their milk, sits in their chairs, and rests in their beds.
Some maintain however that the story as well as the old woman originated with Southey. Southey most likely learned the tale as a child from his uncle William Tyler.
Uncle Tyler may have told a version with a vixen female fox as the intruder, and then Southey may have later confused "vixen" with another common meaning of "a crafty old woman".
Zall writes in "The Gothic Voice of Father Bear" that "it was no trick for Southey, a consummate technician, to recreate the improvisational tone of an Uncle William through rhythmical reiteration, artful alliteration 'they walked into the woods, while' , even bardic interpolation 'She could not have been a good, honest Old Woman' ".
Twelve years after the publication of Southey's tale, Joseph Cundall transformed the antagonist from an ugly old woman to a pretty little girl in his Treasury of Pleasure Books for Young Children.
He explained his reasons for doing so in a dedicatory letter to his children, dated November , which was inserted at the beginning of the book:.
The "Story of the Three Bears" is a very old Nursery Tale, but it was never so well told as by the great poet Southey, whose version I have with permission given you, only I have made the intruder a little girl instead of an old woman.
This I did because I found that the tale is better known with Silver-Hair , and because there are so many other stories of old women.
Once the little girl entered the tale, she remained — suggesting children prefer an attractive child in the story rather than an ugly old woman.
Goldilocks's fate varies in the many retellings: Whatever her fate, Goldilocks fares better than Southey's vagrant old woman who, in his opinion, deserved a stint in the House of Correction, and far better than Miss Mure's old woman who is impaled upon a steeple in St Paul's church-yard.
Southey's all-male ursine trio has not been left untouched over the years. The group was re-cast as Papa, Mama, and Baby Bear, but the date of this change is disputed.
Tatar indicates it occurred by ,  while Katherine Briggs suggests the event occurred in with Mother Goose's Fairy Tales published by Routledge.
In Dulcken's version of , the two larger bears are brother and sister, and friends to the little bear. This arrangement represents the evolution of the ursine trio from the traditional three male bears to a family of father, mother, and child.
Inexplicably, the illustrations depict the three as male bears. In publications subsequent to Aunt Fanny's of , Victorian nicety required editors to routinely and silently alter Southey's "[T]here she sate till the bottom of the chair came out, and down came her's, plump upon the ground" to read "and down she came", omitting any reference to the human bottom.
The cumulative effect of the several changes to the tale since its original publication was to transform a fearsome oral tale into a cozy family story with an unrealised hint of menace.
Maria Tatar , in The Annotated Classic Fairy Tales , notes that Southey's tale is sometimes viewed as a cautionary tale that imparts a lesson about the hazards of wandering off and exploring unknown territory.
Like " The Tale of the Three Little Pigs ", the story uses repetitive formulas to engage the child's attention and to reinforce the point about safety and shelter.
In The Uses of Enchantment , the child psychologist Bruno Bettelheim describes Goldilocks as "poor, beautiful, and charming", and notes that the story does not describe her positively except for her hair.
In Bettelheim's view, the tale fails to encourage children "to pursue the hard labor of solving, one at a time, the problems which growing up presents", and does not end as fairy tales should with the "promise of future happiness awaiting those who have mastered their Oedipal situation as a child".
He believes the tale is an escapist one that thwarts the child reading it from gaining emotional maturity. Tatar criticises Bettelheim's views: While the story may not solve oedipal issues or sibling rivalry as Bettelheim believes " Cinderella " does, it suggests the importance of respecting property and the consequences of just 'trying out' things that do not belong to you.
Elms suggests Bettelheim may have missed the anal aspect of the tale that would make it helpful to the child's personality development.
His own experience and his observation of others lead him to believe children align themselves with the tidy, organised ursine protagonists rather than the unruly, delinquent human antagonist.
In Elms's view, the anality of "The Story of the Three Bears" can be traced directly to Robert Southey's fastidious, dirt-obsessed aunt who raised him and passed her obsession to him in a milder form.
The story makes extensive use of the literary rule of three , featuring three chairs, three bowls of porridge, three beds, and the three title characters who live in the house.
There are also three sequences of the bears discovering in turn that someone has been eating from their porridge, sitting in their chairs, and finally, lying in their beds, at which point is the climax of Goldilocks being discovered.
This follows three earlier sequences of Goldilocks trying the bowls of porridge, chairs, and beds successively, each time finding the third "just right".
Author Christopher Booker characterises this as the "dialectical three", where "the first is wrong in one way, the second in another or opposite way, and only the third, in the middle, is just right".
In planetary astronomy, a planet orbiting its sun at just the right distance for liquid water to exist on its surface, neither too hot nor too cold, is referred to as being in the 'Goldilocks Zone'.
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