Grimms The Robber Bridegroom

The Brothers Grimms’ Blue Beard type story, “The Robber Bridegroom” is the most fairytale-like of all the Blue Beard stories we have read. In class we discussed that Blue Beard stories are generally different from the other stories we have read because it is a horror story that takes fear into reality instead of displacing it with magic. What makes horror so terrifying is that it takes something that is real or within the realm of possibility of the real and turns it from something know-able and safe into something horrible and scary so that what is natural to us becomes unnatural and foreign and therefore disgusting and horrible. This version is a lot like the Mr. Fox Tatar version but still is more fairytale-like.

The miller’s daughter didn’t love him like she should, she shuttered when she saw the bridegroom. In this story we don’t get a blue beard or some outward indicator of evil or unnatural-ness, only a “shutter” to identify the bridegroom as bad. Interestingly we as an audience automatically side with her that since something is off he must be evil. Moreover, his house is in a dark forest which in fairytales is the typical place for evil and challenges. As in Little Red Riding Hood, the bridegroom lures her into the forest, and reminiscent of Hansel and Gretel he spreads ashes for her to follow. She follows the ashes but adds peas and lentils which is again like Hansel and Gretel. Unlike other stories nature comes to the maiden’s aid or tried to as the bird calls out to her that she should turn back. There is a magical response where nature helps heroine as in most fairytales, the peas and lentils grow up and guide her home . She also finds the typical fairytale old crone who warns her. Interestingly she gets out of the danger with evidence of her challenge, the finger with the ring which follows the fairytale motif of a heroine holding a body part of another girl which is excused because there is valuable jewelry attached to it.

Furthermore the maiden gets away without immediate confrontation. And of course as we expect with Grimms tales it reads that “she got safely through with the help of God” as is consistent with Christian morals and Protestant values of the times. She says she had a strange dream but retells fairytale, alike old oral tellers retelling tales to an audience. Key elements are repeated and by doing so at end everyone thinks they’ve heard a tale but the twist is she shows the evidence and proves the fairytale wasn’t a story after which of course the robber bridegroom gets punished and everyone lives happily ever after with order and justice in place.

Perrault's Bluebeard

Perrault's Bluebeard is a story framed around the transgressive desire of the female. Throughout the story there is this clear element of horror that results from the wife opening the forbidden door. It is clear throughout, and made even more clear at the end when he explicitly states the moral, that curiosity in women is a negative trait to have. In the moral, he states, "You can see a thousand examples of it every day. Women succumb, but it's fleeting pleasure." Not only is Perrault saying here that curiosity in women is dangerous and looked down upon, but he states it in a way that makes it seem that women make this "mistake" most frequently.

However, I also found his "Another Moral" that is placed after the moral to be equally interesting. It seems here that he is trying to explain or make right his statement about women curiosity in the first moral. He states that the story, "took place many years ago. No longer are husbands so terrible, demanding and impossible.... It's hard to tell which of the pair is the master." He seems to be making the point that times have changed and that men and women are more equal. Women are not as pushed around by their husbands. There is a completely different tone in this moral than the first one, as men and women are seen more equally, and less negatively.

Someday My Prince Will Come

I loved this documentary it was like watching a mini soap opera with children. It was also sad though to see how the concept of a "happily ever after" fairytale ending was both a source of hope and a curse for Laura-Anne. Starting off with "Once upon a time in a faraway land/ lived a beautiful princess named Laura-Anne" immediately the viewer is saddened by the realization that this princess' world is actually a poverty-stricken area comprised of two streets in Siddick, a cold and harsh coal-mining town. What struck me most was how young these children were yet how old they felt they needed to act, and of course failed immensely and were extremely immature and hurtful. The children seemed to feel the need to grow up fast when obviously they, especially Laura-Anne, weren't ready. As she says, "Too old for the children’s party/ too young to be a teen/ Laura-Anne was feeling stranded/ stuck somewhere inbetween" after Jamie stands her up for the school dance. Ben he acts old enough to go out with multiple girls and give Laura-Anne pearl earrings, but still he is just a boy who find his greatest happiness in digging up worms. Jamie seems even older and is able to beat up Ben, as Laura-Anne says, Jamie was “a man of action, a man who could not be beaten” but later we realize that Jamie is so strong and grown up because his father beat him. Meanwhile Laura-Anne writes "I heart ___" in the sand for her boys and writes love notes like the one to Boston.

Of course as these children try to act as adults the perception of beauty as nearly a virtue comes into play. For example Laura-Anne talks about waking up early to make herself ‘look good’ and there is the interview with Boston as he looks into the mirror analyzing his hair, facial structure, eye color and says that he thinks girls like him for his cheeks.

My favorite lines were when Ben sent Laura-Anne a note saying he wanted to "take some space" (which is hysterical in itself for an 11-year-old) and Laura-Anne shows her dad. Laura-Anne then says, "There may be other fish in the sea/ that’s what her daddy taught/ which is all very well if she wanted/ to go out with a fish, she thought." She shows herself to be so wise and rational and yet is so willing to throw her heart after these three boys (Ben, Boston, Jamie). However of course reality confronts her in the end when she says, "I’ve no boyfriend, im so cold and glum, but ive heard things end happily in fairytales and I hope someday my prince will come" and there is a shot of her trailing behind Jamie and other peers. The fairy tale that gives her hope and the Disney - dream of unconditional easy love is the same fairytale that keeps her expectations so high at such a young age and sets her up for disappointment, as when she says, "All boys wanted, she realized/ wasn’t love, but to be fishermen".

the parents of beauty and the beast

There are two main instances in which I was shocked by the behaviors of the parents (specifically, fathers) in the versions of the Beauty and the Beast tale.

First, I was very surprised by the way Disney portrayed Belle's father. In de Beaumont's version of Beauty and the Beast, Beauty's father is a simple merchant who had an unfortunate loss of his wealth. The main theme drawn upon this father figure is that he cares for his family above all else. This father is I think represented very well in Cocteau's version. The father cares for each of his children, even the terrible sisters, and hates to ever see them upset or bickering. In contrast, however, Disney completely changes this. Yes, Belle's father obviously still cares for her above all else, but there are no other siblings, the father is not at all rich, and he is in fact portrayed as being slightly looney (even Belle is considered to be "odd" by the village). This seems like a very bizarre thing for two reasons: 1) why would you include the threat of an asylum into a children's film? For the adult watchers? and 2) what was the real purpose of this? I don't see how it functioned to improve the film. 

Second, I was completely appalled by the behavior of the father in Tiger's Bride. The fact that any father would care more about his gambling than about his daughter shocks me greatly. I don't care how comfortable you are with your poker hand; that is a seriously risky bet. It also surprises me how well the daughter takes it. Obviously she's not too pleased, but she seems to give her father a lot more credit than he deserves, and the tiger not enough credit. After all, although the tiger's request was perhaps a little strange, he did not try to touch her, and once they revealed their naked selves to each other, he let her go. The daughter must have recognized some kindness in the tiger as she now willingly goes to him naked, but she still holds on to this belief that her father truly loved her more than gambling. In this case, I can't tell which character appears to be more weak/stupid: the gambling, poor father or the naive/ignorant daughter. 

The Purpose of Parents in Beauty & The Beast

In each of the stories the father figure is doting and kind but also somewhat meek, he serves as yet another foil for the Beast’s brutality and vulgar appearance. The father figure, though poor in many cases, represents the bourgeois that is supposed to retain the manners the Beast usually presents with. As per our discussion in class today, in Madame de Beaumont’s version, when confronted by the Beast after picking a rose for Belle, the father tries to apologize and calls the Beast “my liege” and tries to flatter the Beast as was and still is occasionally customary when faced with a more powerful foe. The Beast however is the one who calls realistic expectations to the situation and becomes angry and tells the father not to give him “an honorific” because he recognizes that he is an animal though the father feels it is more prudent in the scenario to act as though he can relate to the beast on a human, proper level. He assumes that Beast would want to be treated as human. This interplay between the father and Beast and the permanent fixture of fathers in the Beauty and the Beast stories of course draws up the question of the Oedipus complex.

As described in the Oedipus complex in which a child wishes to find a mate similar to their parent and dismiss the parent of their same sex. Girls look for traits reflective of their fathers when seeking a spouse. Accordingly, in many of these stories a mother is absent or evil as many older women are in fairytales, but the father is supposed to represent what Belle wants. As she says in Cocteau’s film to Avenant, she cannot leave her father in order to marry. The Beast seems to be the complete opposite of her father but when Belle talks to those around her about the Beast she always says he is “kind and gentle” just like her father in the stories and the Beast gets deathly ill just as her father usually does in the stories so that Belle has to return to them both after journeys away. Perhaps the father figure is there to give the audience context for the type of male figure Belle is supposed to want to be with.

The father figure in the varied beauty and the beast tales is the parent that always sets the story in motion. The father typically has multiple daughters, with one naturally being the favorite. This love for the favorite daughter is what brings the story to a conflict. The father must gather items for his daughters and it never fails that his favorite daughter's is the hardest to get. Whether it is a rose in the middle of winter or a singing springing lark. When the father finally locates these treasured goods, he always gets caught by some form of beast. This beast stakes claim to whatever object is in question. In exchange for his life, the father promises whatever greets him first when he gets home. This inevitably ends up being the daughter he loves so much. This selfish sacrifice the father makes is always overshadowed by his daughter's good will and devotion to the father. Even if the father wishes to break the deal, the daughter is so pure of heart that she insists the promise must be kept. If the father shows up later in the story, it is generally due to an illness or a sister being married. Regardless the circumstances the daughter who is with the beast wishes to return home and see her father whom she still loves.

What do the Parents Want?

The father in Beaumont's Beauty and the Beast and the mother in Straparola's The Pig King have very different roles when it comes to the finding of mates for their offspring. Beauty's father in the Beaumont is an unwilling match maker. When he returns home, it is simply for the opportunity to see his children one last time before he is too be killed, but Beauty reverses his fate by demanding to go in his stead. Beauty does not go seeking a mate. In fact, it is her own death which she is led to predict. The mother in the Pig King brings princesses to her son to try and satiate his sexual desire. She seems beleaguered, frustrated, with their gruesome deaths at her son's hands, though not viewing the incidents as terrible tragic, for she immediately finds another princess as soon as one has expired. The parents of the princesses are not shown, even though their fathers would presumably have to give over their hands in marriage in order for anything official to go through. The Queen loses agency in deciding her child's mate as well, so in that regard, she shares a feature with Beauty's father. The both have lost control of the fate of their children to a large extent, something a suppose is a common anxiety among those with children. Neither Beauty nor the Pig seem to have any ability to view life from the parent's perspective. The father would have willingly died for her daughters, but Beauty sees the moment as an opportunity to show her sincere love of him, It would seem, however, that the truly loving thing would have been to allow the father the opportunity to sacrifice himself for his daughters. Even if he could not provide financially after the collapse of his merchant business, he could give them the gift of life.

In this way, Beauty's martyrdom was disobedient, yet eventually benefited her. In a similar fashion, it is not until she disobeys Beast and stays at her house for more than seven days that he finally transforms back into a man. For such a conventionally self-sacrificing girl, it's interesting that the two things which must lead to her happiness are in fact, when fully dissected, selfish. Both the Pig King and Beauty are rewarded for acting against the desires of their parents.

a beast in sheep's clothing

One of the most fascinating components of Angela Carter’s already interesting “Tiger’s Bride” was the story’s revisionist take on the father figure of the traditional Beauty and Beast story. Sure, some of the other “in-laws” have their time in the spotlight in this tale type (I particularly like the long-suffering and emotionally complex mother in The Pig King), but Beauty’s father has always been the important one. His character in early versions shows a confusing blend of sympathetic and condemning traits—he seems loving and lovable, but Beauty’s capture is ultimately his fault. Different adaptations try to obscure that fact a bit by focusing on Beauty’s virtuous insistence on replacing him (she escapes in Cocteau’s and is apparently quite persuasive in Beaumont’s), but the fact remains that a loving father probably shouldn’t have told his daughters about the “substitution” option in the first place (“ah yes, I will die—although, just so you know, one of you could save me *wink*”). The only acceptable way I see of dealing with this character flaw is to do what Disney did: have Beauty find out about her father’s state herself, and have the Beast make the offer to her.

Anyway, getting back to my first statement, I was pleasantly surprised to find the father’s negligence aggrandized and thoroughly villainized in “The Tiger’s Bride”—quite honestly, Carter’s overwritten style made me worry for her relationship with her own father! From the opening line, all trace of “lovable” has been taken out of Beaumont’s/Disney’s lovably pathetic dad, to an extent that fundamentally transforms the story. The girl’s interactions with the beast, generally the focus of and driving force behind these stories, are cast in a weirdly reactionary light. I say “weirdly” because all the elements are there for this to be a straightforward and powerful allegory of sexual awakening (or identity-finding, or what have you), but instead the reader can’t shake the sense that the girl’s actions are born out of resentment rather than any internal vitality of character. Thus, in a roundabout way, the very act of “correcting for” the original father’s overlooked flaws turns him into a far more important character than he ever was in the early stories, and one has to wonder if that’s really what Carter was shooting for.

Beauty and The Beast Parents

The father figure in many of the Beauty and the Beast stories is the character with whom the story starts to unfold. It is because of his actions that he is led to the beast in the first place. I found the way that the father figure was depicted in Beaumont's version to be particularly interesting. The author makes a conscious effort to portray Beauty's father as a good and virtuous man and in no way responsible for the sequence of events that happen to Beauty. From the beginning the father is considered a "good man" and not only this but " a man of intelligence and good sense." It is because of him that his daughters are educated, and thus Beauty possesses the same wit of her father, characteristics that were well respected in that day. What I also found interesting, was although he is portrayed as intelligent and virtuous he is also portrayed as weak in comparison with his daughter. First, he looses his fortune and has very little as they live in seclusion. Secondly, although he says that he doesn't want Beauty to risk her life to save him, he still makes little effort to keep her from going. Beaumont writes, " There was no use arguing with Beauty. She was determined to go to the palace." In many of the Beauty and the Beast stories the father is described as old or may become sick of heart-brokenness. In the case of this story, Beauty is the one who steps up and makes the sacrifice, while her old and weak father makes very little effort to stop her or take her place instead. Though her father is portrayed throughout as a virtuous and good man, it doesn't really seem like he has the qualities that one would associate with a gentleman such as bravery and self sacrifice to family. I think that this is true of many of the Beauty and the Beast stories that we have read. I have found myself automatically liking the father and thinking of him as good, but at the same time thinking how could he have possibly let her go. In Cocteau's version as well as others, she escapes on the horse and I think that this allows the issue of her father's virtuousness to fade away.