Evidence of birth and prenatal memories has been postulated as revealing
itself in myth, fairy tales, and works of art. This paper presents natalistic symbology as previously proposed by
Otto Rank (1929), Nandor Fodor (1949), T. W. Dowling (1988), and Michael Irving (1989) and proceeds from
there to the natalistic analysis of two fairy tales; “Mother Holle,” and “Pitcher’s Bird.” The analysis of “Mother
Holle” relies primarily on previously established symbols, whereas the analysis of “Pitcher’s Bird” moves into the
more esoteric realm of very early prenatal symbols and is an incomplete analysis. It is hoped that this
contribution to natalism in myth, fairy tales, and art will add to the growing body of literature in this area and help
to establish this as a vital part of understanding birth and prenatal experience. NATALISM IN FAIRY TALES
This discussion of natalism in fairy tales begins with a compilation of symbols identified as natalistic. Natal is
defined as “of, or related to birth.” This concept will include the prenatal period and the term natalistic is used to
refer to the symbolic expression of birth and prenatal consciousness. Table 1 is a re-ordering of information
gleaned from the analysis of the writings of Michael Irving (1989), Otto Rank (1929), Nandor Fodor (1949), and
T. W. Dowling (1988) categorizing the symbols associated with specific prenatal and birth experiences. In
addition to the categories in Table 1, Irving mentions the circle as related to the ovum, Rank mentions the
setting of the sun as being associated with a return to the womb, or the underworld. Fodor mentions descending
steps as symbolic of going into the past: transcendentally as referring to the Great Before as well as the Great
Hereafter; imaginally {fairyland} associated with the kingdom of the unborn; and as the Lorelei, symbolizing a
fascination with pre-natal return. He also suggests mountains as associated with pregnancy and the number
nine (the months of gestation) as having special significance.