The Girl And The Beast She And The Beast The Lady And The Beast – Share All Share Options For: Is Beauty and the Beast “as much a story as Stockholm Syndrome”? Depends on your studies.
If you ever want to hear a fairy tale naysayer, ask them if “Beauty and the Beast” is a feminist story.
The Girl And The Beast She And The Beast The Lady And The Beast
Disney has stayed firmly on the positive side of the debate ever since it made its first version of Beauty and the Beast.
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Screenwriter Linda Woolverton — the first woman to write one of Disney’s animated features — says that in Belle, she wanted to create a princess “who’s not cute and takes a beating but laughs all the way through.”
“Belle is a hero of mine,” says Emma Watson, who plays Belle in the new live-action remake. “He was so fearless, honest and had this independence of mind that I admired so much.”
But not everyone is ready to interpret Belle as a feminist hero. In fact, some people believe it’s the opposite. Get a parody of the recent honest trailers, which include
“A story about as much as Stockholm syndrome,” and Mrs. Potts says, “cuts her off from friends / and her family / puts her in a cage / flies into a rage / out of sight.”
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Including this year’s remake. Depending on your reading, the story is either deeply empowering and uplifting or deeply oppressive and sad—and the roots of the debate go back to the first canonical version of the story.
In the fairy tales most Americans know today, the heroines tend not to. Rapunzel is waiting to see the prince in her tower; Cinderella needs the intervention of the fairies just to get to the party; Snow White sleeps in a corpse like her own.
Mostly, because most of those tales come to us through the Grimm brothers, and as fairy tale scholar Ruth Bottigheimer has argued, the Grimms don’t like active women. The Grimms wanted to make the stories they collected suitable for children, and so they adapted, edited, and cleverly adapted all of their folktales to reflect the values of the 19th century German bourgeois family. Bad parents became bad mothers and then bad mothers; Good women lose their speech (Cinderella goes six out of 14 lines of dialogue during the Grimms’ edits); And smart girls and active-but-not-evil women completely disappeared.
But “Beauty and the Beast” does not come to us through the Grimms. The version of “Beauty and the Beast” that became canonical, and the primary source for the Disney version, was written by 18th-century Frenchwoman Jeanne-Marie Leprince de Beaumont. Beaumont based his story on a folk tale, but gave it the form we know today. And she was writing her story specifically for teenage girls, which meant her protagonist became an action-driven, story-driven hero.
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So Beauty enters the monster’s castle to save her father. He breaks the prince’s curse and saves the day. The Beast is almost as passive as Rapunzel, sitting in mourning alone in his cursed castle, waiting for someone to break his spell, while Beauty is active, savior and hero.
This agency makes Beauty almost unique among the classic fairy tale heroines most Americans are familiar with, and it underlies the argument that Beauty/Belle is a powerful feminist heroine. We are taught that fairy tale heroes are saved by handsome princes, but beauty doesn’t need a man to save her. Beauty saves everyone from themselves.
“Beauty and the Beast” is designed to make regular couples look good. Today, it looks like Stockholm syndrome.
But Beaumont wasn’t writing “Beauty and the Beast” to empower girls as we understand the term today. Her story has a clear moral lesson, especially for 18th century France.
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Beaumont tells “Beauty and the Beast” as a story that a governess tells her young charges, girls between the ages of 5 and 13, and the lesson is that arranged marriages are not as scary as you think. It teaches a young girl that her new husband may seem monstrous—and, in Beaumont’s story if not in other versions, very foolish—but underneath it all, he is surely good at heart. And when a young woman learns to see the goodness in her husband’s heart and love him, he will look beautiful and bright to her.
Beaumont’s beauty is forced to leave her home to live with a monster to save her father’s life, a move that resonated in 18th-century France and the shock and horror of a young aristocrat’s daughter being forced to leave her parents’ home. adds Marry a great stranger.
But modern readers don’t read like this. In America today, we generally don’t approve of arranged marriages, and we tend to look down on romantic relationships where one party is significantly older than the other. The power dynamics that Beaumont’s “Beauty and the Beast” serves to make today’s readers seem both harmless and interesting, such as setting up a situation filled with poverty and abuse.
To modern eyes, Beauty’s decision to stay with the Beast to save her father looks like a hostage exchange. The Beast is a predator who holds all power, and Beauty is his victim. And that power differential is magnified in the two Disney versions, with each beast holding Belle captive and raging violently at her. (The violent rage is not in the original; Beaumont’s Beast offers Beauty every luxury from the start, and gracefully welcomes her with the rhyme: “Welcome, Beauty, / Fear not, / You are queen and prince here.”)
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Under this reading, when Beauty finally tells the Beast that she loves him, it doesn’t seem like a genuine romantic decision made by an incredibly powerful woman of her own free will. It feels like the end of the whole story of emotional abuse and cleansing.
The question of whether “Beauty and the Beast” is feminist will probably never be settled one way or the other: it is woven into the structure and history of the story. Clengi
One of the few truly active and responsible comic book heroes we know so well. Also, the power dynamics of his romantic relationships become uncomfortable in some modern contexts like Stockholm syndrome.
“Beauty and the Beast” allows us to talk about these questions. Like all great and enduring fairy tales, it serves a social function: it gives us a metaphor to use when we talk about love and marriage and what the power dynamics in it should be. For Beaumont, the story was a way to talk about arranged marriages. For the Greeks, the precursors of “Beauty and the Beast” “Eros and Psyche” were a way to talk about the relationship between the soul and erotic love, and its other predecessor, “Hades and Persephone” was a way to talk about the relationship. . between life and death.
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Today, “Beauty and the Beast” is a way to talk about what inner strength, satisfaction, and beauty is and who gets it. It’s about what we think love is, who deserves it, and when we believe it.
Now is not the time to pay attention. Now is the time to show what’s hidden in plain sight (for example, the hundreds of voter rejections at the polls across the country), clearly explain the answers to voters’ questions, and give people the tools they need to actively participate in America. Gifts to Democratic Readers help keep our well-received, research-based investigative journalism free for everyone. By the end of September, we aim to add 5,000 new financial partners to our community of supporters. Will you help us reach our goal by making a gift today? La jeune Americane, et les contes marins (1740) by Gabriel-Suzanne Barbot de Villeve; Magazine des Fans (1756), by Jeanne-Marie Leprince de Beaumont
Beauty and the Beast (French: La Belle et la Bête) is a fairy tale written by French novelist Gabriel-Suzanne Barbot de Villeau in 1740 in La jeune Americaine et les contes marines (Young American Tales and the Marines). ) has been published.
An abridged version of it was abridged, rewritten in 1756 by the French novelist Jeanne-Marie Leprince de Beaumont in the Magazine des Fants.
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Later, Andrew Lang told the story in 1889 in The Blue Fairy Book, part of the Fairy Book Series.
The story is inspired by ancient Greek stories such as “Cupid and Psyche” from The Golden Ace, written by Lucius Apuleius Medarsis in the 2nd century, and The Pig King, an Italian story, from Giovanni Francesco Straparola’s Dark Nights. published, effective. was done Straparola around 1550.
In France, for example, there is an operatic version of the story Xemire et Azor, written by Marmontel and performed by Gretry in 1771, which was an unprecedented success in the 19th century.
Zemire and Azor are based on another version of the story. Amar pour amor (Love for Love), a 1742 play by Pierre-Claude Nivelle de la Chaussee.
Is Beauty And The Beast “a Tale As Old As Stockholm Syndrome”? Depends How You Read It.
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