...Perrault's original rendering continues with a little poem setting forth the moral to be drawn from the story: that nice girls ought not to listen to all sorts of people. If they do, it is not surprising that the wolf will get them and eat them up. As for wolves, these come in all variations; and among them the gentle wolves are the most dangerous of all, particularly those who follow young girls into the streets, even into their homes. Perrault wanted not only to entertain his audience, but to teach a specific moral lesson with each of his tales. So it is understandable that he changed them accordingly. Unfortunately, in doing so, he robbed his fairy stories of much of their meaning. As he tells the story, nobody warned Little Red Riding Hood not to dally on the way to Grandmother's house, or not to stray off the proper road. Also, in Perrault's version it does not make sense that the grandmother, who has done nothing wrong at all, should end up destroyed.
Perrault's Little Red Riding Hood loses much of its appeal because it is so obvious that his wolf is not a rapacious beast but a metaphor, which leaves little to the imagination of the hearer. Such simplifications and a directly stated moral turn this potential fairy tale into a cautionary tale which spells everything out completely. Thus the hearer's imagination cannot become active in giving the story a personal meaning. Captive to a rationalistic interpretation of the story's purpose, Perrault makes everything as explicit as possible. For example, when the girl undresses and joins the wolf in bed and the wolf tells her that his strong arms are for embracing her better, nothing is left to the imagination. Since in response to such direct and obvious seduction Little Red Riding Hood makes no move to escape or fight back, either she is stupid or she wants to be seduced. In neither case is she a suitable figure to identify with. With these details Little Red Riding Hood is changed from a naive, attractive young girl, who is induced to neglect mother's warnings and enjoy herself in what she consciously believes to be innocent ways, into nothing but a fallen woman.
It destroys the value of a fairy tale for the child if someone details its meaning for him; Perrault does worse - he belabors it. All good fairy tales have meaning on many levels; only the child can know which meanings are of significance to him at the moment. As he grows up, the child discovers new aspects of these well-known tales, and this gives him the conviction that he has indeed matured in understanding, since the same story now reveals so much more to him. This can happen only if the child has not been told didactically what the story is supposed to be about. Only when discovery of the previously hidden meanings of a fairy tale is the child's spontaneous and intuitive achievement does it attain full significance for him. This discovery changes from something a child is being given to something he partially creates for himself.
The Uses of Enchantment: The Meaning and Importance of Fairy Tales, Bruno Bettelheim