幫幫忙?求求你們?

Maria Tatar calls this “possibly the most famous cautionary tale of all times” but notes that there is no clear cause-and-effect relation between violating the mother’s injunction and being eaten by the wolf. In the Perrault version, there is no prohibition at all (but Perrault also eliminates the resurrection of the wolf’s victims); this was added by the brothers Grimm, and Tatar suggests this was in relation to the conversion of fairy tales to instruction of children (a la Struwwelpeter). The original folk versions of the story are more often bawdy in nature, dwelling on a kind of strip-tease by the girl (as in "The Story of a Grandmother"). These earlier versions were told to entertain adults working together on boringly repetitive chores. She suggests that the story may have had its origins, then, in a kind of bawdy burlesque, and was only later converted to social instruction.
It has been argued that in the original (folk) version of the story, the wolf was a werewolf (consider in re Angela Carter's version). We can see this also in the French tale "The Story of a Grandmother," in which the villain is a bzou - explicitly, a kind of werewolf.
There is also a social-class element in the later stories. Zipes suggests that the red cap (chaperon) signified the village girl's nonconformity, in that such caps were worn by the aristocracy and middle classes, not the peasantry. Thus, she is a more rebellious and individualistic girl - the kind that could easily be drawn into trouble by her natural inclinations. In 17th-century ideology, she is a potential witch, and her nature is confirmed by her pact with the diabolical wolf. Numerous subsequent versions connect this to the seduction of bourgeois women by aristocratic men. As tales are retold by men (i.e., Perrault), of course the woman is the one who has sinned and must be punished, so she is eaten (obvious sexual imagery) by the wolf; insofar as her individualism has led her into trouble, she must be safely eliminated by death. With the Grimms, the idea of justice has changed and she can be resurrected as a reformed, more obedient girl, the woodcutter/policeman having destroyed the seducing wolf.
An interesting but highly conjectural interpretation of the story comes from the French folklorist P. Saintyves (1923), who related it to the May Queen ritual - the red hood being a close shift from a hood of red roses which was used to crown the May Queen in England and France. He differentiates this from a more "surface" reading of an admonitory tale not to stray from the path or to talk to strangers, and an interpretation of the wolf as seducer. In his reading, leaving the path to go into the woods is wrong because young women were subject to attack by evil spirits (goblins) in early spring; also, boys and girls were to remain separate during part of the May celebration. The food she takes to Grandmother (butter and flat round cake) is similar to the traditional May festival food (butter and oatmeal cakes in France) one would take as May gifts. Little Red becomes a symbol of May flowers, the wolf of the devouring winter who must be overcome each year.

2007-12-02 15:21:03 補充：
感興趣但高度故事的推測的解釋來自法國民俗學者P. Saintyves (1923), 與5月女王/王后儀式- 紅色敞篷關係它是一個接近的轉移從紅色玫瑰敞篷被使用加冠5月女王/王后在英國和法國。他區分這從一更多"surface" 一個警告傳說的讀書不是對迷路者從道路或對談話對陌生人, 和狼的解釋作為seducer 。在他的讀書, 留下道路進入樹林是錯誤的因為年輕婦女是依於攻擊由邪惡的精神(惡鬼) 在早期春天; 還, 男孩和女孩將保留分開在一部分的5月慶祝期間。