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Beauty and the Beast

January 26, 2023

This article is about the fairy tale. For other uses, see Beauty and the Beast (disambiguation).

Beauty and the Beast (French: La Belle et la Bête) is a fairy tale written by French novelist Gabrielle-Suzanne Barbot de Villeneuve and published in 1740 in La Jeune Américaine et les contes marins (The Young American and Marine Tales).[1][2] Her lengthy version was abridged, rewritten, and published by French novelist Jeanne-Marie Leprince de Beaumont in 1756 in Magasin des enfants[3] (Children's Collection) to produce the version most commonly retold.[4] Later, Andrew Lang retold the story in Blue Fairy Book, a part of the Fairy Book series, in 1889.[5] The fairy tale was influenced by Ancient Greek stories such as "Cupid and Psyche" from The Golden Ass, written by Lucius Apuleius Madaurensis in the second century AD, and The Pig King, an Italian fairytale published by Giovanni Francesco Straparola in The Facetious Nights of Straparola around 1550.[6]

Beauty and the Beast
Beauty releases the prince from his beastly curse. Artwork from Europa's Fairy Book, by John Batten
Folk tale
NameBeauty and the Beast
Also known asDie Schöne und das Biest
Aarne–Thompson groupingATU 425C (Beauty and the Beast)
RegionFrance
Published inLa jeune américaine, et les contes marins (1740), by Gabrielle-Suzanne Barbot de Villeneuve; Magasin des enfants (1756), by Jeanne-Marie Leprince de Beaumont
RelatedCupid and Psyche (ATU 425B)
East of the Sun and West of the Moon (ATU 425A)

Variants of the tale are known across Europe.[7] In France, for example, Zémire and Azor is an operatic version of the story, written by Marmontel and composed by Grétry in 1771, which had enormous success into the 19th century.[8] Zémire and Azor is based on the second version of the tale. Amour pour amour (Love for love), by Pierre-Claude Nivelle de La Chaussée, is a 1742 play based on de Villeneuve's version. According to researchers at universities in Durham and Lisbon, the story originated about 4,000 years ago.[9][10][11]

Plot

Villeneuve's Version

 
Illustration for Beauty and the Beast drawn by Walter Crane.

A widower merchant lives in a mansion with his twelve children (six sons and six daughters). All his daughters are very beautiful, but the youngest daughter was named “little beauty,” for she was the most gorgeous among all of them. She continued to be named “Beauty” until she was a young adult. She was the most lovely, as well as kind, well-read, and pure of heart; while the elder sisters, in contrast, are cruel, selfish, vain, spoiled and were jealous of the little beauty. The merchant eventually loses all of his wealth in a tempest at sea, which sinks most of his merchant fleet. He and his children are consequently forced to live in a small cottage in a forest and work for a living. While Beauty makes a firm resolution to adjust to rural life with a cheerful disposition, her sisters do not and mistake her determination for stupidity.

Some years later, the merchant hears that one of the trade ships he had sent has arrived back in port, having escaped the destruction of its companions. Before leaving, he asks his children if they wish for him to bring any gifts back for them. His oldest daughters ask for clothing, jewels, and the finest dresses possible as they think that his wealth has returned. Beauty asks for nothing but her father to be safe, but when he insists on buying her a present, she is satisfied with the promise of a rose, as none grow in their part of the country. The merchant, to his dismay, finds that his ship's cargo has been seized to pay his debts, leaving him penniless and unable to buy his children's presents.

During his return, the merchant becomes lost during a vicious storm. Seeking shelter, he comes upon a castle. Seeing that no one is home, the merchant sneaks in and finds tables inside laden with food and drink, which seem to have been left for him by the castle's invisible owner. The merchant accepts this gift and spends the night there. The next morning, the merchant has come to view the palace as his own possession and is about to leave to fetch his children when he sees a rose garden and recalls that Beauty had desired a rose. The merchant quickly plucks the loveliest rose he can find, and is about to pluck more to create a bouquet, only to end up being confronted by a hideous "Beast" who tries to kill him for stealing of his most precious possession even after accepting his hospitality. The merchant begs to be set free, revealing that he had only picked the rose as a gift for his youngest daughter. The Beast agrees to let him give the rose to Beauty, but only if the merchant brings one of his daughters to take his place without deception; he makes it clear that she must agree to take his place while under no illusions about her predicament.

The merchant is upset, but accepts this condition for the sake of his own life, as he has no choice. The Beast sends him on his way with wealth, jewels, and fine clothes for his sons and daughters, and stresses that he must not lie to his daughters. The merchant, upon arriving home, hands Beauty the rose she requested and informs her that it had a terrible price, before relaying what had happened during his absence. Her brothers say that they will go to the castle and fight the Beast, while his older daughters refuse to leave and place blame on Beauty, urging her to right her own wrong. The merchant dissuades them, forbidding his children from ever going near the Beast. Beauty willingly decides to go to the Beast's castle and the following morning she and her father set out atop a magical horse that the Beast has provided them. Once they arrive, the Beast receives her with great ceremony and her arrival is greeted with fireworks entwining their initials. After that, the merchant is sent home with a reward the following morning. He gives her lavish clothing and food and carries on lengthy conversations with her and she notes that he is inclined to stupidity rather than savagery. Every night, the Beast asks Beauty to marry him, only to be refused each time. After each refusal, Beauty dreams of a handsome prince with whom she begins to fall in love. Despite the apparition of a fairy urging her not to be deceived by appearances, she does not make the connection between the prince and the Beast and becomes convinced that the Beast is holding him captive somewhere in the castle. She searches and discovers many enchanted rooms containing sources of entertainment ranging from libraries to aviaries to enchanted windows allowing her to attend the theatre. She also comes across many animals, including parrots and monkeys, which act as servants, but never the unknown prince from her dreams.

For several months, Beauty lives a life of luxury at the Beast's castle, having every whim catered to, with no end of riches to amuse her and an endless supply of exquisite finery to wear. Eventually, she becomes homesick and begs the Beast to allow her to go see her family again. He allows it on the condition that she returns exactly two months later. Beauty agrees to this and is presented with an enchanted ring, which allows her to wake up in her family's new home in an instant when turned three times around her finger. Her older sisters are surprised to find her well-fed and dressed in finery, and their old jealousy quickly flares when their suitors' gazes turn to Beauty, even though she bestows lavish gifts on them and informs the men that she is only there to witness her sisters' weddings. Her father hints that if Beauty is going to her sisters' wedding, he makes it clear that she must marry the Beast as well. However, Beauty rejects her father, and his brothers do all they can to prevent her from going back to his castle, and she reluctantly agrees to stay longer.

 
Illustration by Warwick Goble.

When the two months have passed, she envisions the Beast dying alone on the castle grounds and hastens to return despite her brothers' resolve to prevent her from doing so. Once she is back in the castle, Beauty's fears are confirmed, and she finds the Beast near death in a cave on the grounds. Seeing this, Beauty is distraught, realizing that she loves him. Despite this, she remains calm and fetches water from a nearby spring, which she uses to resuscitate him. That night, she agrees to marry him. and when she wakes up next to him, she finds that the Beast has transformed into the Prince from her dreams. This is followed by the arrival of the fairy who had previously advised her in her dreams, along with a woman she does not recognize, in a golden carriage pulled by white stags. The woman turns out to be the Prince's mother whose joy quickly falters when she finds out that Beauty is not of noble birth. The fairy chastises the mother and eventually reveals that Beauty is her niece with her actual father being the Queen's brother from Fortunate Island and her mother being the fairy's sister.

When the matter of Beauty's background is resolved, she requests that the Prince tell his tale, and so he does. The Prince informs her that his father died when he was young and his mother had to wage war to defend his kingdom. The queen left him in the care of an evil fairy, who tried to seduce him when he became an adult; when he refused, she transformed him into a beast. Only by finding true love, despite his ugliness, could the curse be broken. He and Beauty are married, and they live happily ever after together.

Beaumont's Version

Beaumont greatly pared down the cast of characters and pruned the tale to an almost archetypal simplicity.[12] The story begins in much the same way as Villeneuve's version, although now the merchant has only six children: three sons and three daughters of which Beauty is one. The circumstances leading to her arrival at the Beast's castle unfold in a similar manner, but on this arrival, Beauty is informed that she is a mistress and he will obey her. Beaumont strips most of the lavish descriptions present in Beauty's exploration of the palace and quickly jumps to her return home. She is given leave to remain there for a week, and when she arrives, her sisters feign fondness to entice her to remain another week in hopes that the Beast will devour her in anger. Again, she returns to him dying and restores his life. The two then marry and live happily ever after.

Lang's Version

 
Wikisource has original text related to this article:
The Blue Fairy Book

A variant of Villeneuve's version appears in Andrew Lang's Blue Fairy Book. Most of the story is the same, except at the beginning where the merchant himself is not at sea, but his ships are. His mansion is burned in a fire, along with his belongings, forcing him and his family to move to their country home in the forest. His ships are lost at sea, captured by pirates, etc., except one, which returns later. Unlike the other two versions, the sisters in Lang's story are not jealous of Beauty. Also, Lang maintained the lavish descriptions of the Beast's palace. This version in particular is one of the most commonly told, along with those of Villeneuve and Beaumont.

This version was written between 1889 and 1913, some time after the original version, and so should be considered as a later version of the story.

Analysis

The tale is classified in the Aarne-Thompson-Uther Index as type ATU 425C, "Beauty and the Beast". It is related to the general type ATU 425, "The Search for the Lost Husband" and subtypes.

In a study about the myth of Cupid and Psyche, Danish folklorist Inger Margrethe Boberg argued that "Beauty and the Beast" was "an older form" of the animal husband narrative, and that subtypes 425A, "Animal as Bridegroom", and 425B, "The Disenchanted Husband: The Witch's Tasks", were secondary developments, with motifs incorporated into the narrative.[13][14]

Variants

The tale is one of the most popular in oral tradition.

Europe

France

Emmanuel Cosquin collected a version with a tragic ending from Lorraine titled The White Wolf (Le Loup blanc), in which the youngest daughter asks her father to bring her a singing rose when he returns. The man cannot find a singing rose for his youngest daughter, and he refuses to return home until he finds one. When he finally finds singing roses, they are in the castle of the titular white wolf, who initially wants to kill him for daring to steal his roses, but, upon hearing about his daughters, changes his mind and agrees to spare him his life under the condition he must give him the first living being that greets him when he returns home. This turns out to be his youngest daughter. In the castle, the girl discovers that the white wolf is enchanted and can turn into a human at night, but she must not tell anyone about it. Unfortunately, the girl is later visited by her two elder sisters who pressure her to tell them what is happening. When she finally does, the castle crumbles and the wolf dies.[15]

Henri Pourrat collected a version from Auvergne in south-central France, titled Belle Rose (sometimes translated in English as Lovely Rose). In this version, the heroine and her sisters are the daughters of a poor peasant and are named after flowers, the protagonist being Rose and her sisters Marguerite (Daisy) and Julianne, respectively. The Beast is described as having a mastiff jaw, lizard legs and a salamander's body. The ending is closer to Villeneuve's and Beaumont's versions with Rose rushing back to the castle and finding the Beast lying dying beside a fountain. When the Beast asks if she knows that he can't live without her, Rose answers yes, and the Beast turns into a human. He explains to Rose that he was a prince cursed for mocking a beggar and could only be disenchanted by a poor but kind-hearted maiden. Unlike in Beaumont's version, it is not mentioned that the protagonist's sisters are punished at the end.[16]

Italy

The tale is popular in the Italian oral tradition. Christian Schneller collected a variant from Trentino titled The Singing, Dancing and Music-making Leaf (German: Vom singenden, tanzenden und musicirenden Blatte; Italian: La foglia, che canta, che balla e che suona) in which the Beast takes the form of a snake. Instead of going to visit her family alone, the heroine can only go to her sister's wedding if she agrees to let the snake go with her. During the wedding, they dance together, and when the girl kicks the snake's tail, he turns into a beautiful youth, who is the son of a count.[17]

Sicilian folklorist Giuseppe Pitrè collected a variant from Palermo titled Rusina 'Mperatrici (The Empress Rosina).[18] Domenico Comparetti included a variant from Montale titled Bellindia, in which Bellindia is the heroine's name, while her two eldest sisters are called Carolina and Assunta.[19] Vittorio Imbriani included a version titled Zelinda and the Monster (Zelinda e il Mostro), in which the heroine, called Zelinda, asks for a rose in January. Instead of going to visit her family, staying longer than she promised, and then returning to the Monster's castle to find him dying on the ground, here the Monster shows Zelinda her father dying on a magic mirror and says the only way she can save him is saying that she loves him. Zelinda does as asked, and the Monster turns into a human, who tells her he is the son of the King of the Oranges.[20] Both Comparetti's and Imbriani's versions were included in Sessanta novelle popolari montalesi by Gherardo Nerucci.

British folklorist Rachel Harriette Busk collected a version from Rome titled The Enchanted Rose-Tree where the heroine does not have any sisters.[21] Antonio De Nino collected a variant from Abruzzo, in eastern Italy, that he also titled Bellindia, in which instead of a rose, the heroine asks for a golden carnation. Instead of a seeing it on a magic mirror, or knowing about it because the Beast tells her, here Bellinda knows what happens in her father's house because in the garden there is a tree called the Tree of Weeping and Laughter, whose leaves turn upwards when there is joy in her family, and they drop when there is sorrow.[22]

Francesco Mango collected a Sardinian version titled The Bear and the Three Sisters (S'urzu i is tres sorris), in which the Beast has the form of a bear.[23]

Italo Calvino included a version on Italian Folktales titled Bellinda and the Monster, inspired mostly from Comparetti's version, but adding some elements from De Nino's, like the Tree of Weeping and Laughter.

Iberian Peninsula

Spain

Manuel Milá y Fontanals collected a version titled The King's Son, Disenchanted (El hijo del rey, desencantado). In this tale, when the father asks his three daughters what they want, the youngest asks for the hand of the king's son, and everybody thinks she is haughty for wanting such a thing. The father orders his servants to kill her, but they spare her and she hides in the woods. There, she meets a wolf that brings her to a castle and takes her in. The girl learns that in order to break his spell, she must kill the wolf and throw his body into the fire after opening it. From the body flies a pigeon, and from the pigeon an egg. When the girl breaks the egg, the king's son comes out.[24] Francisco Maspons y Labrós extended and translated the tale to Catalan, and included it in the second volume of Lo Rondallayre.[25]

Maspons y Labrós collected a variant from Catalonia titled Lo trist. In this version, instead of roses, the youngest daughter asks for a coral necklace. Whenever one of her family members is sick, the heroine is warned by the garden (a spring with muddy waters; a tree with withered leaves). When she visits her family, she is warned that she must return to the castle if she hears a bell ringing. After her third visit to her family, the heroine returns to the garden where she finds her favorite rosebush withered. When she plucks a rose, the beast appears and turns into a beautiful youth.[26]

A version from Extremadura, titled The Bear Prince (El príncipe oso), was collected by Sergio Hernández de Soto and shows a similar introduction as in Beaumont's and Villeneuve's versions: the heroine's father loses his fortune after a shipwreck. When the merchant has the chance to recover his wealth, he asks his daughters what gift they want from his travels. The heroine asks for a lily. When the merchant finds a lily, a bear appears, saying that his youngest daughter must come to the garden because only she can repair the damage the merchant has caused. His youngest daughter seeks the bear and finds him lying on the ground, wounded. The only way to heal him is by restoring the lily the father took, and when the girl restores it, the bear turns into a prince.[27] This tale was translated to English by Elsie Spicer Eells and retitled The Lily and the Bear.[28]

Aurelio Macedonio Espinosa Sr. collected a version from Almenar de Soria titled The Beast of the Rose Bush (La fiera del rosal), in which the heroine is the daughter of a king instead of a merchant.[29]

Aurelio Macedonio Espinosa Jr. published a version from Sepúlveda, Segovia titled The Beast of the Garden (La fiera del jardín). In this version, the heroine has a stepmother and two stepsisters and asks for an unspecified white flower.[30]

Portugal

In a Portuguese version collected by Zófimo Consiglieri Pedroso, the heroine asks for "a slice of roach off a green meadow". The father finally finds a slice of roach off a green meadow in a castle that appears to be uninhabited, but he hears a voice saying he must bring his youngest daughter to the palace. While the heroine is at the palace, the same unseen voice informs her of the goings-on at her father's house using birds as messengers. When the heroine visits her family, the master of the castle sends a horse to let her know it is time to return. The heroine must go after hearing him three times. The third time she goes to visit her family, her father dies. After the funeral, she's tired and oversleeps, missing the horse's neigh repeat three times before it leaves. When she finally returns to the castle, she finds the beast dying. With his last breath, he curses her and her entire family. The heroine dies a few days after, and her sisters spend the rest of their lives in poverty.[31]

Another Portuguese version from Ourilhe, collected by: Francisco Adolfo Coelho and titled A Bella-menina, is closer to Beaumont's tale in its happy ending – the beast is revived and disenchanted.[32]

Belgium and the Netherlands

In a Flemish version from Veurne titled Rose without Thorns (Roosken zonder Doornen), the prince is disenchanted differently than in Beaumont's and Villeneuve's versions. The heroine and the monster attend each of the weddings of the heroine's elder sisters, and to break the spell, the heroine has to give a toast for the beast. In the first wedding, the heroine forgets, but in the second she remembers, and the beast becomes human.[33] In a second Flemish variant collected by Amaat Joos, titled Van het Schoon Kind, the heroine's father is a king instead of a merchant, and when he asks his three daughters what they want him to bring them when he returns from a long journey, the king's youngest daughter asks for a bush of trembling roses while her two eldest sisters asks for robes with golden flowers and a silver skirt. During her stay at the monster's castle the princess has a nightmare where she sees the monster drowning in a pond, and after she wakes up and finds out the monster is not in the corner where he sleeps, she goes to the garden where she finds the monster in the same situation she saw him in her dream. The monster turns into a prince after the princess saves him.[34]

Another Flemish version from Wuustwezel, collected by Victor de Meyere, is closer to Beaumont's plot, the merchant's youngest daughter staying one day more at her family's home and soon returning to the Beast's palace. When she returns, she fears something bad has happened to him. This one is one of the few versions in which the merchant accompanies his daughter back to the Beast's castle.[35]

More similar Beaumont's plot is a Dutch version from Driebergen titled Rozina. In this version, it is Rozina's vow to marry the Beast that eventually breaks the spell.[36][37]

Germany and Central Europe

The Brothers Grimm originally collected a variant of the story, titled The Summer and Winter Garden (Von dem Sommer- und Wintergarten).[38] Here, the youngest daughter asks for a rose in the winter, so the father only finds one in a garden that is half eternal winter and half eternal summer. After making a deal with the beast, the father does not tell his daughters anything. Eight days later, the beast appears in the merchant's house and takes his youngest daughter away. When the heroine returns home, her father is ill. She cannot save him, and he dies. The heroine stays longer for her father's funeral, and when she finally returns, she finds the beast lying beneath a heap of cabbages. After the daughter revives the beast by pouring water over him, he turns into a handsome prince.[39] The tale appeared in Brothers Grimm's collection's first edition, in 1812, but because the tale was too similar to its French counterpart, they omitted it in the next editions.

Despite the other folklorists collecting variants from German-speaking territories, Ludwig Bechstein published two versions of the story. In the first, Little Broomstick (Besenstielchen), the heroine, Nettchen, has a best friend called Little Broomstick because her father is a broommaker. Like in The Summer and Winter Garden, Nettchen asks for roses in the dead of winter, which her father only finds in the Beast's garden. When a carriage comes to bring Nettchen to the Beast's castle, Nettchen's father sends Little Broomstick, who pretends to be Nettchen. The Beast discovers the scheme, sends Little Broomstick back home, and Nettchen is sent to the Beast's castle. The prince is disenchanted before Nettchen's visit to her family to cure her father using the sap of a plant from the prince's garden. Jealous of her fortune, Nettchen's sisters drown her in the bath, but Nettchen is revived by the same sorceress who cursed the prince. Nettchen's eldest sisters are too dangerous, but Nettchen doesn't want them dead, so the sorceress turns them into stone statues.[40]

In Bechstein's second version, The Little Nut Twig (Das Nußzweiglein), the heroine asks for the titular twig. When the father finally finds it, he has to make a deal with a bear, promising him the first creature that he meets when he arrives at home. This turns out to be his youngest daughter. Like in Little Broomstick, the merchant tries to deceive the bear by sending another girl, but the bear discovers his scheme and the merchant's daughter is sent to the bear. After she and the bear cross twelve rooms of disgusting creatures, the bear turns into a prince.[41][42]

Carl and Theodor Colshorn collected two versions from Hannover. In the first one, The Clinking Clanking Lowesleaf (Vom klinkesklanken Löwesblatt), the heroine is the daughter of a king. She asks for the titular leaf, which the king only gets after making a deal with a black poodle, promising to give him the first person that greets the king when he arrives home. This turns out to be his youngest daughter. The merchant tries to trick the poodle, giving him other girls pretending to be the princess, but the poodle sees through this. Finally, the princess is sent to the poodle, who brings her to a cabin in the middle of the woods, where the princess feels so alone. She wishes for company, even if it is an old beggar woman. In an instant, an old beggar woman appears, and she tells the princess how to break the spell in exchange for inviting her to the princess' wedding. The princess keeps her promise, and her mother and sisters, who expressed disgust at the sight of the old beggar woman, become crooked and lame.[43]

In Carl and Theodor Colshorn's second version, The Cursed Frog (Der verwunschene Frosch), the heroine is a merchant's daughter. The enchanted prince is a frog, and the daughter asks for a three-colored rose.[44][45]

Ernst Meier collected a version from Swabia, in southwestern Germany, in which the heroine has only one sister instead of two.[46]

Ignaz and Josef Zingerle collected an Austrian variant from Tannheim titled The Bear (Der Bär) in which the heroine is the eldest of the merchant's three daughters. Like in The Summer and Winter Garden and Little Broomstick, the protagonist asks for a rose in the middle of winter.[47] Like in Zingerle's version, the Beast is a bear.

In the Swiss variant, The Bear Prince (Der Bärenprinz), collected by Otto Sutermeister, the youngest daughter asks for grapes.[48]

The Beast is also a bear in a Slovakian variant titled The Three Roses (Trojruža), collected by Pavol Dobšinský, in which the youngest daughter asks for three roses on the same stem.[49]

Scandinavia

Evald Tang Kristensen collected a Danish version that follows Beaumont's version almost exactly. The most significant difference is that the enchanted prince is a horse.[50]

In a version from the Faroe Islands, the youngest daughter asks for an apple instead of a rose.[51][52]

Russia and Eastern Europe

Alexander Afanasyev collected a Russian version, The Enchanted Tsarevich (Заклятый царевич), in which the youngest daughter draws the flower she wants her father to bring her. The beast is a three-headed winged snake. There is a more famous version, The Scarlet Flower, written by Sergey Aksakov and published in 1858.

In a Ukrainian version, both the heroine's parents are dead. The Beast, who has the form of a snake, gives her the ability to revive people.[53]

An apple also plays a relevant role when the heroine goes to visit her family in a Polish version from Mazovia, in this case to warn the heroine that she is staying longer than she promised.[54]

In another Polish version from Kraków, the heroine is called Basia and has a stepmother and two stepsisters.[55] In a Czech variant, the heroine's mother plucks the flower and makes the deal with the Beast, who is a basilisk, who the heroine later will behead to break the spell.[56][57]

In a Moravian version, the youngest daughter asks for three white roses, and the Beast is a dog;[58]

In another Moravian version, the heroine asks for a single red rose and the Beast is a bear.[59]

In a Slovenian version from Livek titled The Enchanted Bear and the Castle (Začaran grad in medved), the heroine breaks the spell reading about the fate of the enchanted castle in an old dusty book.[60]

In a Hungarian version titled The Speaking Grapes, the Smiling Apple and the Tinkling Apricot (Szóló szőlő, mosolygó alma, csengő barack), the princess asks her father for the titular fruits, and the Beast is a pig. The king agrees to give him his youngest daughter's hand in marriage if the pig is capable of moving the king's carriage, which is stuck in the mud.[61][a]

Greece and Cyprus

In a version from the island of Zakynthos in Western Greece, the prince is turned into a snake by a nereid whom he rejected.[63]

The prince is also turned into a snake in a version from Cyprus in which he is cursed by an orphan who was his lover. In the end, the heroine's elder sisters are turned into stone pillars.[64][65]

Asia

Eastern Asia

North American missionary Adele M. Fielde collected a version from China titled The Fairy Serpent, in which the heroine's family is visited by wasps until she follows the beast, who is a serpent. One day, the well she usually fetches water from is dry, so she walks to a spring. When the heroine returns, she finds the snake dying and revives him plunging him in the water. This turns him into a human.[66]

In a second Chinese variant, Pearl of the Sea, the youngest daughter of rich merchant Pekoe asks for a chip of The Great Wall of China because of a dream she had. Her father steals a chip and is threatened by an army of Tatars who work for their master. In reality, the Tatar master is her uncle Chang, who has been enchanted prior to the story, and could only be released from his curse until a woman consented to live with him in the Great Wall.[67]

Southeast Asia

See also: Lutung Kasarung

America

North America

United States

William Wells Newell published an Irish American variant simply titled Rose in the Journal of American Folklore. In this version, the Beast takes the form of a lion.[68]

Marie Campbell collected a version from the Appalachian Mountains, titled A Bunch of Laurela Blooms for a Present, in which the prince was turned into a frog.[69]

Joseph Médard Carrière collected a version in which the Beast is described having a lion's head, horse legs, a bull's body and a snake's tail. Like the end of Beaumont's version, Beauty's sisters are turned into stone statues.[70]

In a variant from Schoharie, New York, collected by Emelyn Elizabeth Gardner with the title The Rosy Story, the heroine is named Ellen. The character that demands the youngest daughter is a headless man, but the Beast-like figure is a large toad.[71]

Folklorist Fanny Dickerson Bergen published a fragmentary variant from Ohio, with the title The Golden Bird, which is the object the youngest daughter asks for.[72]

Mexico

Mexican linguist Pablo González Casanova collected a version from the Nahuatl titled La doncella y la fiera (Nahuatl: Cizuanton huan yolcatl), in which after returning to her family's home, the heroine finds the beast dead on the ground. The girl falls asleep by his side, and she dreams of the beast, who tells her to cut a specific flower and spray its water on his face. The heroine does so, and the beast turns into a beautiful young man.[73][74]

South and Central America

Lindolfo Gomes collected a Brazilian version titled A Bela e a Fera in which the deal consists of the father promising to give the Beast the first living creature that greets him at home. The heroine later visits her family because her eldest sister is getting married.[75]

Broader themes

Harries identifies the two most popular strands of fairy tale in the 18th century as the fantastical romance for adults and the didactic tale for children.[76] Beauty and the Beast is interesting as it bridges this gap, with Villeneuve's version being written as a salon tale for adults and Beaumont's being written as a didactic tale for children.

Commentary

 
Painting of Petrus Gonsalvus (c. 1580)

Tatar (2017) compares the tale to the theme of "animal brides and grooms" found in folklore throughout the world,[77] pointing out that the French tale was specifically intended for the preparation of young girls in 18th century France for arranged marriages.[78] The urban opening is unusual in fairy tales, as is the social class of the characters, neither royal nor peasants; it may reflect the social changes occurring at the time of its first writing.[79]

Hamburger (2015) points out that the design of the Beast in the 1946 film adaptation by Jean Cocteau was inspired by the portrait of Petrus Gonsalvus, a native of Tenerife who suffered from hypertrichosis, causing an abnormal growth of hair on his face and other parts, and who came under the protection of the French king and married a beautiful Parisian woman named Catherine.[80]

Modern uses and adaptations

The tale has been notably adapted for screen, stage, prose, and television over many years.

Literature

Film

Television

Theatre

Other

See also

References

  1. ^ Zipes, Jack (5 July 2002). Breaking the Magic Spell: Radical Theories of Folk & Fairy Tales (Revised and expanded ed.). Lexington, Kentucky: University Press of Kentucky. p. 10. ISBN 9780813190303. Retrieved 10 July 2021.
  2. ^ Windling, Terri (April 2010). "Introduction". In Datlow, Ellen; Windling, Terri (eds.). The Beastly Bride: Tales of the Animal People. Penguin Group. ISBN 9781101186176. Retrieved 13 July 2021.
  3. ^ Stouff, Jean. "La Belle et la Bête". Biblioweb.
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Footnotes

  1. ^ However, despite the proximity of the Hungarian tale with others of The Animal as Bridegroom cycle, Hungarian scholarship separates this tale under its own classification in the Hungarian Folktale Catalogue: MNK 425X*, "Gorgeous Grapes, Smiling Apple, Bloomy Peach".[62]

Further reading

  • Ralston, William. "Beauty and the Beast". In: The Nineteenth Century. Vol. 4. (July–December, 1878). London: Henry S. King & Co. pp. 990–1012.

External links

 
Wikimedia Commons has media related to Beauty and Beast.
 
Wikisource has original text related to this article:
Beauty and the Beast
  • "The Story of the Beauty and the Beast", James Planché's translation of Gabrielle-Suzanne de Villeneuve's original version of the fairytale, on Project Gutenberg.
  • The story of beauty & the beast; the complete fairy story translated from the French by Ernest Dowson on Internet Archive. Ernest Dowson's translation of de Villeneuve's original fairytale.
  • "Beauty and the Beast", the revised and abridged version by Jeanne-Marie Leprince de Beaumont, at the website of the University of Pittsburgh.
  • "Beauty and the Beast: folktales of Aarne-Thompson type 425C
  • Cinderella Bibliography – includes an exhaustive list of B&tB productions in books, TV and recordings
  • (Archive on Wayback Machine)
  • (in French) La Belle et la Bête, audio version  

January 26, 2023
beauty, beast, this, article, about, fairy, tale, other, uses, disambiguation, french, belle, bête, fairy, tale, written, french, novelist, gabrielle, suzanne, barbot, villeneuve, published, 1740, jeune, américaine, contes, marins, young, american, marine, tal. This article is about the fairy tale For other uses see Beauty and the Beast disambiguation Beauty and the Beast French La Belle et la Bete is a fairy tale written by French novelist Gabrielle Suzanne Barbot de Villeneuve and published in 1740 in La Jeune Americaine et les contes marins The Young American and Marine Tales 1 2 Her lengthy version was abridged rewritten and published by French novelist Jeanne Marie Leprince de Beaumont in 1756 in Magasin des enfants 3 Children s Collection to produce the version most commonly retold 4 Later Andrew Lang retold the story in Blue Fairy Book a part of the Fairy Book series in 1889 5 The fairy tale was influenced by Ancient Greek stories such as Cupid and Psyche from The Golden Ass written by Lucius Apuleius Madaurensis in the second century AD and The Pig King an Italian fairytale published by Giovanni Francesco Straparola in The Facetious Nights of Straparola around 1550 6 Beauty and the BeastBeauty releases the prince from his beastly curse Artwork from Europa s Fairy Book by John BattenFolk taleNameBeauty and the BeastAlso known asDie Schone und das BiestAarne Thompson groupingATU 425C Beauty and the Beast RegionFrancePublished inLa jeune americaine et les contes marins 1740 by Gabrielle Suzanne Barbot de Villeneuve Magasin des enfants 1756 by Jeanne Marie Leprince de BeaumontRelatedCupid and Psyche ATU 425B East of the Sun and West of the Moon ATU 425A Variants of the tale are known across Europe 7 In France for example Zemire and Azor is an operatic version of the story written by Marmontel and composed by Gretry in 1771 which had enormous success into the 19th century 8 Zemire and Azor is based on the second version of the tale Amour pour amour Love for love by Pierre Claude Nivelle de La Chaussee is a 1742 play based on de Villeneuve s version According to researchers at universities in Durham and Lisbon the story originated about 4 000 years ago 9 10 11 Contents 1 Plot 1 1 Villeneuve s Version 1 2 Beaumont s Version 1 3 Lang s Version 2 Analysis 3 Variants 3 1 Europe 3 1 1 France 3 1 2 Italy 3 1 3 Iberian Peninsula 3 1 3 1 Spain 3 1 3 2 Portugal 3 1 4 Belgium and the Netherlands 3 1 5 Germany and Central Europe 3 1 6 Scandinavia 3 1 7 Russia and Eastern Europe 3 1 8 Greece and Cyprus 3 2 Asia 3 2 1 Eastern Asia 3 2 2 Southeast Asia 3 3 America 3 3 1 North America 3 3 1 1 United States 3 3 1 2 Mexico 3 3 2 South and Central America 4 Broader themes 5 Commentary 6 Modern uses and adaptations 6 1 Literature 6 2 Film 6 3 Television 6 4 Theatre 6 5 Other 7 See also 8 References 9 Footnotes 10 Further reading 11 External linksPlot EditVilleneuve s Version Edit Illustration for Beauty and the Beast drawn by Walter Crane A widower merchant lives in a mansion with his twelve children six sons and six daughters All his daughters are very beautiful but the youngest daughter was named little beauty for she was the most gorgeous among all of them She continued to be named Beauty until she was a young adult She was the most lovely as well as kind well read and pure of heart while the elder sisters in contrast are cruel selfish vain spoiled and were jealous of the little beauty The merchant eventually loses all of his wealth in a tempest at sea which sinks most of his merchant fleet He and his children are consequently forced to live in a small cottage in a forest and work for a living While Beauty makes a firm resolution to adjust to rural life with a cheerful disposition her sisters do not and mistake her determination for stupidity Some years later the merchant hears that one of the trade ships he had sent has arrived back in port having escaped the destruction of its companions Before leaving he asks his children if they wish for him to bring any gifts back for them His oldest daughters ask for clothing jewels and the finest dresses possible as they think that his wealth has returned Beauty asks for nothing but her father to be safe but when he insists on buying her a present she is satisfied with the promise of a rose as none grow in their part of the country The merchant to his dismay finds that his ship s cargo has been seized to pay his debts leaving him penniless and unable to buy his children s presents During his return the merchant becomes lost during a vicious storm Seeking shelter he comes upon a castle Seeing that no one is home the merchant sneaks in and finds tables inside laden with food and drink which seem to have been left for him by the castle s invisible owner The merchant accepts this gift and spends the night there The next morning the merchant has come to view the palace as his own possession and is about to leave to fetch his children when he sees a rose garden and recalls that Beauty had desired a rose The merchant quickly plucks the loveliest rose he can find and is about to pluck more to create a bouquet only to end up being confronted by a hideous Beast who tries to kill him for stealing of his most precious possession even after accepting his hospitality The merchant begs to be set free revealing that he had only picked the rose as a gift for his youngest daughter The Beast agrees to let him give the rose to Beauty but only if the merchant brings one of his daughters to take his place without deception he makes it clear that she must agree to take his place while under no illusions about her predicament The merchant is upset but accepts this condition for the sake of his own life as he has no choice The Beast sends him on his way with wealth jewels and fine clothes for his sons and daughters and stresses that he must not lie to his daughters The merchant upon arriving home hands Beauty the rose she requested and informs her that it had a terrible price before relaying what had happened during his absence Her brothers say that they will go to the castle and fight the Beast while his older daughters refuse to leave and place blame on Beauty urging her to right her own wrong The merchant dissuades them forbidding his children from ever going near the Beast Beauty willingly decides to go to the Beast s castle and the following morning she and her father set out atop a magical horse that the Beast has provided them Once they arrive the Beast receives her with great ceremony and her arrival is greeted with fireworks entwining their initials After that the merchant is sent home with a reward the following morning He gives her lavish clothing and food and carries on lengthy conversations with her and she notes that he is inclined to stupidity rather than savagery Every night the Beast asks Beauty to marry him only to be refused each time After each refusal Beauty dreams of a handsome prince with whom she begins to fall in love Despite the apparition of a fairy urging her not to be deceived by appearances she does not make the connection between the prince and the Beast and becomes convinced that the Beast is holding him captive somewhere in the castle She searches and discovers many enchanted rooms containing sources of entertainment ranging from libraries to aviaries to enchanted windows allowing her to attend the theatre She also comes across many animals including parrots and monkeys which act as servants but never the unknown prince from her dreams For several months Beauty lives a life of luxury at the Beast s castle having every whim catered to with no end of riches to amuse her and an endless supply of exquisite finery to wear Eventually she becomes homesick and begs the Beast to allow her to go see her family again He allows it on the condition that she returns exactly two months later Beauty agrees to this and is presented with an enchanted ring which allows her to wake up in her family s new home in an instant when turned three times around her finger Her older sisters are surprised to find her well fed and dressed in finery and their old jealousy quickly flares when their suitors gazes turn to Beauty even though she bestows lavish gifts on them and informs the men that she is only there to witness her sisters weddings Her father hints that if Beauty is going to her sisters wedding he makes it clear that she must marry the Beast as well However Beauty rejects her father and his brothers do all they can to prevent her from going back to his castle and she reluctantly agrees to stay longer Illustration by Warwick Goble When the two months have passed she envisions the Beast dying alone on the castle grounds and hastens to return despite her brothers resolve to prevent her from doing so Once she is back in the castle Beauty s fears are confirmed and she finds the Beast near death in a cave on the grounds Seeing this Beauty is distraught realizing that she loves him Despite this she remains calm and fetches water from a nearby spring which she uses to resuscitate him That night she agrees to marry him and when she wakes up next to him she finds that the Beast has transformed into the Prince from her dreams This is followed by the arrival of the fairy who had previously advised her in her dreams along with a woman she does not recognize in a golden carriage pulled by white stags The woman turns out to be the Prince s mother whose joy quickly falters when she finds out that Beauty is not of noble birth The fairy chastises the mother and eventually reveals that Beauty is her niece with her actual father being the Queen s brother from Fortunate Island and her mother being the fairy s sister When the matter of Beauty s background is resolved she requests that the Prince tell his tale and so he does The Prince informs her that his father died when he was young and his mother had to wage war to defend his kingdom The queen left him in the care of an evil fairy who tried to seduce him when he became an adult when he refused she transformed him into a beast Only by finding true love despite his ugliness could the curse be broken He and Beauty are married and they live happily ever after together Beaumont s Version Edit Beaumont greatly pared down the cast of characters and pruned the tale to an almost archetypal simplicity 12 The story begins in much the same way as Villeneuve s version although now the merchant has only six children three sons and three daughters of which Beauty is one The circumstances leading to her arrival at the Beast s castle unfold in a similar manner but on this arrival Beauty is informed that she is a mistress and he will obey her Beaumont strips most of the lavish descriptions present in Beauty s exploration of the palace and quickly jumps to her return home She is given leave to remain there for a week and when she arrives her sisters feign fondness to entice her to remain another week in hopes that the Beast will devour her in anger Again she returns to him dying and restores his life The two then marry and live happily ever after Lang s Version Edit Wikisource has original text related to this article The Blue Fairy Book A variant of Villeneuve s version appears in Andrew Lang s Blue Fairy Book Most of the story is the same except at the beginning where the merchant himself is not at sea but his ships are His mansion is burned in a fire along with his belongings forcing him and his family to move to their country home in the forest His ships are lost at sea captured by pirates etc except one which returns later Unlike the other two versions the sisters in Lang s story are not jealous of Beauty Also Lang maintained the lavish descriptions of the Beast s palace This version in particular is one of the most commonly told along with those of Villeneuve and Beaumont This version was written between 1889 and 1913 some time after the original version and so should be considered as a later version of the story Analysis EditThe tale is classified in the Aarne Thompson Uther Index as type ATU 425C Beauty and the Beast It is related to the general type ATU 425 The Search for the Lost Husband and subtypes In a study about the myth of Cupid and Psyche Danish folklorist Inger Margrethe Boberg argued that Beauty and the Beast was an older form of the animal husband narrative and that subtypes 425A Animal as Bridegroom and 425B The Disenchanted Husband The Witch s Tasks were secondary developments with motifs incorporated into the narrative 13 14 Variants EditThe tale is one of the most popular in oral tradition Europe Edit France Edit Emmanuel Cosquin collected a version with a tragic ending from Lorraine titled The White Wolf Le Loup blanc in which the youngest daughter asks her father to bring her a singing rose when he returns The man cannot find a singing rose for his youngest daughter and he refuses to return home until he finds one When he finally finds singing roses they are in the castle of the titular white wolf who initially wants to kill him for daring to steal his roses but upon hearing about his daughters changes his mind and agrees to spare him his life under the condition he must give him the first living being that greets him when he returns home This turns out to be his youngest daughter In the castle the girl discovers that the white wolf is enchanted and can turn into a human at night but she must not tell anyone about it Unfortunately the girl is later visited by her two elder sisters who pressure her to tell them what is happening When she finally does the castle crumbles and the wolf dies 15 Henri Pourrat collected a version from Auvergne in south central France titled Belle Rose sometimes translated in English as Lovely Rose In this version the heroine and her sisters are the daughters of a poor peasant and are named after flowers the protagonist being Rose and her sisters Marguerite Daisy and Julianne respectively The Beast is described as having a mastiff jaw lizard legs and a salamander s body The ending is closer to Villeneuve s and Beaumont s versions with Rose rushing back to the castle and finding the Beast lying dying beside a fountain When the Beast asks if she knows that he can t live without her Rose answers yes and the Beast turns into a human He explains to Rose that he was a prince cursed for mocking a beggar and could only be disenchanted by a poor but kind hearted maiden Unlike in Beaumont s version it is not mentioned that the protagonist s sisters are punished at the end 16 Italy Edit The tale is popular in the Italian oral tradition Christian Schneller collected a variant from Trentino titled The Singing Dancing and Music making Leaf German Vom singenden tanzenden und musicirenden Blatte Italian La foglia che canta che balla e che suona in which the Beast takes the form of a snake Instead of going to visit her family alone the heroine can only go to her sister s wedding if she agrees to let the snake go with her During the wedding they dance together and when the girl kicks the snake s tail he turns into a beautiful youth who is the son of a count 17 Sicilian folklorist Giuseppe Pitre collected a variant from Palermo titled Rusina Mperatrici The Empress Rosina 18 Domenico Comparetti included a variant from Montale titled Bellindia in which Bellindia is the heroine s name while her two eldest sisters are called Carolina and Assunta 19 Vittorio Imbriani included a version titled Zelinda and the Monster Zelinda e il Mostro in which the heroine called Zelinda asks for a rose in January Instead of going to visit her family staying longer than she promised and then returning to the Monster s castle to find him dying on the ground here the Monster shows Zelinda her father dying on a magic mirror and says the only way she can save him is saying that she loves him Zelinda does as asked and the Monster turns into a human who tells her he is the son of the King of the Oranges 20 Both Comparetti s and Imbriani s versions were included in Sessanta novelle popolari montalesi by Gherardo Nerucci British folklorist Rachel Harriette Busk collected a version from Rome titled The Enchanted Rose Tree where the heroine does not have any sisters 21 Antonio De Nino collected a variant from Abruzzo in eastern Italy that he also titled Bellindia in which instead of a rose the heroine asks for a golden carnation Instead of a seeing it on a magic mirror or knowing about it because the Beast tells her here Bellinda knows what happens in her father s house because in the garden there is a tree called the Tree of Weeping and Laughter whose leaves turn upwards when there is joy in her family and they drop when there is sorrow 22 Francesco Mango collected a Sardinian version titled The Bear and the Three Sisters S urzu i is tres sorris in which the Beast has the form of a bear 23 Italo Calvino included a version on Italian Folktales titled Bellinda and the Monster inspired mostly from Comparetti s version but adding some elements from De Nino s like the Tree of Weeping and Laughter Iberian Peninsula Edit Spain Edit Manuel Mila y Fontanals collected a version titled The King s Son Disenchanted El hijo del rey desencantado In this tale when the father asks his three daughters what they want the youngest asks for the hand of the king s son and everybody thinks she is haughty for wanting such a thing The father orders his servants to kill her but they spare her and she hides in the woods There she meets a wolf that brings her to a castle and takes her in The girl learns that in order to break his spell she must kill the wolf and throw his body into the fire after opening it From the body flies a pigeon and from the pigeon an egg When the girl breaks the egg the king s son comes out 24 Francisco Maspons y Labros extended and translated the tale to Catalan and included it in the second volume of Lo Rondallayre 25 Maspons y Labros collected a variant from Catalonia titled Lo trist In this version instead of roses the youngest daughter asks for a coral necklace Whenever one of her family members is sick the heroine is warned by the garden a spring with muddy waters a tree with withered leaves When she visits her family she is warned that she must return to the castle if she hears a bell ringing After her third visit to her family the heroine returns to the garden where she finds her favorite rosebush withered When she plucks a rose the beast appears and turns into a beautiful youth 26 A version from Extremadura titled The Bear Prince El principe oso was collected by Sergio Hernandez de Soto and shows a similar introduction as in Beaumont s and Villeneuve s versions the heroine s father loses his fortune after a shipwreck When the merchant has the chance to recover his wealth he asks his daughters what gift they want from his travels The heroine asks for a lily When the merchant finds a lily a bear appears saying that his youngest daughter must come to the garden because only she can repair the damage the merchant has caused His youngest daughter seeks the bear and finds him lying on the ground wounded The only way to heal him is by restoring the lily the father took and when the girl restores it the bear turns into a prince 27 This tale was translated to English by Elsie Spicer Eells and retitled The Lily and the Bear 28 Aurelio Macedonio Espinosa Sr collected a version from Almenar de Soria titled The Beast of the Rose Bush La fiera del rosal in which the heroine is the daughter of a king instead of a merchant 29 Aurelio Macedonio Espinosa Jr published a version from Sepulveda Segovia titled The Beast of the Garden La fiera del jardin In this version the heroine has a stepmother and two stepsisters and asks for an unspecified white flower 30 Portugal Edit In a Portuguese version collected by Zofimo Consiglieri Pedroso the heroine asks for a slice of roach off a green meadow The father finally finds a slice of roach off a green meadow in a castle that appears to be uninhabited but he hears a voice saying he must bring his youngest daughter to the palace While the heroine is at the palace the same unseen voice informs her of the goings on at her father s house using birds as messengers When the heroine visits her family the master of the castle sends a horse to let her know it is time to return The heroine must go after hearing him three times The third time she goes to visit her family her father dies After the funeral she s tired and oversleeps missing the horse s neigh repeat three times before it leaves When she finally returns to the castle she finds the beast dying With his last breath he curses her and her entire family The heroine dies a few days after and her sisters spend the rest of their lives in poverty 31 Another Portuguese version from Ourilhe collected by Francisco Adolfo Coelho and titled A Bella menina is closer to Beaumont s tale in its happy ending the beast is revived and disenchanted 32 Belgium and the Netherlands Edit In a Flemish version from Veurne titled Rose without Thorns Roosken zonder Doornen the prince is disenchanted differently than in Beaumont s and Villeneuve s versions The heroine and the monster attend each of the weddings of the heroine s elder sisters and to break the spell the heroine has to give a toast for the beast In the first wedding the heroine forgets but in the second she remembers and the beast becomes human 33 In a second Flemish variant collected by Amaat Joos titled Van het Schoon Kind the heroine s father is a king instead of a merchant and when he asks his three daughters what they want him to bring them when he returns from a long journey the king s youngest daughter asks for a bush of trembling roses while her two eldest sisters asks for robes with golden flowers and a silver skirt During her stay at the monster s castle the princess has a nightmare where she sees the monster drowning in a pond and after she wakes up and finds out the monster is not in the corner where he sleeps she goes to the garden where she finds the monster in the same situation she saw him in her dream The monster turns into a prince after the princess saves him 34 Another Flemish version from Wuustwezel collected by Victor de Meyere is closer to Beaumont s plot the merchant s youngest daughter staying one day more at her family s home and soon returning to the Beast s palace When she returns she fears something bad has happened to him This one is one of the few versions in which the merchant accompanies his daughter back to the Beast s castle 35 More similar Beaumont s plot is a Dutch version from Driebergen titled Rozina In this version it is Rozina s vow to marry the Beast that eventually breaks the spell 36 37 Germany and Central Europe Edit The Brothers Grimm originally collected a variant of the story titled The Summer and Winter Garden Von dem Sommer und Wintergarten 38 Here the youngest daughter asks for a rose in the winter so the father only finds one in a garden that is half eternal winter and half eternal summer After making a deal with the beast the father does not tell his daughters anything Eight days later the beast appears in the merchant s house and takes his youngest daughter away When the heroine returns home her father is ill She cannot save him and he dies The heroine stays longer for her father s funeral and when she finally returns she finds the beast lying beneath a heap of cabbages After the daughter revives the beast by pouring water over him he turns into a handsome prince 39 The tale appeared in Brothers Grimm s collection s first edition in 1812 but because the tale was too similar to its French counterpart they omitted it in the next editions Despite the other folklorists collecting variants from German speaking territories Ludwig Bechstein published two versions of the story In the first Little Broomstick Besenstielchen the heroine Nettchen has a best friend called Little Broomstick because her father is a broommaker Like in The Summer and Winter Garden Nettchen asks for roses in the dead of winter which her father only finds in the Beast s garden When a carriage comes to bring Nettchen to the Beast s castle Nettchen s father sends Little Broomstick who pretends to be Nettchen The Beast discovers the scheme sends Little Broomstick back home and Nettchen is sent to the Beast s castle The prince is disenchanted before Nettchen s visit to her family to cure her father using the sap of a plant from the prince s garden Jealous of her fortune Nettchen s sisters drown her in the bath but Nettchen is revived by the same sorceress who cursed the prince Nettchen s eldest sisters are too dangerous but Nettchen doesn t want them dead so the sorceress turns them into stone statues 40 In Bechstein s second version The Little Nut Twig Das Nusszweiglein the heroine asks for the titular twig When the father finally finds it he has to make a deal with a bear promising him the first creature that he meets when he arrives at home This turns out to be his youngest daughter Like in Little Broomstick the merchant tries to deceive the bear by sending another girl but the bear discovers his scheme and the merchant s daughter is sent to the bear After she and the bear cross twelve rooms of disgusting creatures the bear turns into a prince 41 42 Carl and Theodor Colshorn collected two versions from Hannover In the first one The Clinking Clanking Lowesleaf Vom klinkesklanken Lowesblatt the heroine is the daughter of a king She asks for the titular leaf which the king only gets after making a deal with a black poodle promising to give him the first person that greets the king when he arrives home This turns out to be his youngest daughter The merchant tries to trick the poodle giving him other girls pretending to be the princess but the poodle sees through this Finally the princess is sent to the poodle who brings her to a cabin in the middle of the woods where the princess feels so alone She wishes for company even if it is an old beggar woman In an instant an old beggar woman appears and she tells the princess how to break the spell in exchange for inviting her to the princess wedding The princess keeps her promise and her mother and sisters who expressed disgust at the sight of the old beggar woman become crooked and lame 43 In Carl and Theodor Colshorn s second version The Cursed Frog Der verwunschene Frosch the heroine is a merchant s daughter The enchanted prince is a frog and the daughter asks for a three colored rose 44 45 Ernst Meier collected a version from Swabia in southwestern Germany in which the heroine has only one sister instead of two 46 Ignaz and Josef Zingerle collected an Austrian variant from Tannheim titled The Bear Der Bar in which the heroine is the eldest of the merchant s three daughters Like in The Summer and Winter Garden and Little Broomstick the protagonist asks for a rose in the middle of winter 47 Like in Zingerle s version the Beast is a bear In the Swiss variant The Bear Prince Der Barenprinz collected by Otto Sutermeister the youngest daughter asks for grapes 48 The Beast is also a bear in a Slovakian variant titled The Three Roses Trojruza collected by Pavol Dobsinsky in which the youngest daughter asks for three roses on the same stem 49 Scandinavia Edit Evald Tang Kristensen collected a Danish version that follows Beaumont s version almost exactly The most significant difference is that the enchanted prince is a horse 50 In a version from the Faroe Islands the youngest daughter asks for an apple instead of a rose 51 52 Russia and Eastern Europe Edit Alexander Afanasyev collected a Russian version The Enchanted Tsarevich Zaklyatyj carevich in which the youngest daughter draws the flower she wants her father to bring her The beast is a three headed winged snake There is a more famous version The Scarlet Flower written by Sergey Aksakov and published in 1858 In a Ukrainian version both the heroine s parents are dead The Beast who has the form of a snake gives her the ability to revive people 53 An apple also plays a relevant role when the heroine goes to visit her family in a Polish version from Mazovia in this case to warn the heroine that she is staying longer than she promised 54 In another Polish version from Krakow the heroine is called Basia and has a stepmother and two stepsisters 55 In a Czech variant the heroine s mother plucks the flower and makes the deal with the Beast who is a basilisk who the heroine later will behead to break the spell 56 57 In a Moravian version the youngest daughter asks for three white roses and the Beast is a dog 58 In another Moravian version the heroine asks for a single red rose and the Beast is a bear 59 In a Slovenian version from Livek titled The Enchanted Bear and the Castle Zacaran grad in medved the heroine breaks the spell reading about the fate of the enchanted castle in an old dusty book 60 In a Hungarian version titled The Speaking Grapes the Smiling Apple and the Tinkling Apricot Szolo szolo mosolygo alma csengo barack the princess asks her father for the titular fruits and the Beast is a pig The king agrees to give him his youngest daughter s hand in marriage if the pig is capable of moving the king s carriage which is stuck in the mud 61 a Greece and Cyprus Edit In a version from the island of Zakynthos in Western Greece the prince is turned into a snake by a nereid whom he rejected 63 The prince is also turned into a snake in a version from Cyprus in which he is cursed by an orphan who was his lover In the end the heroine s elder sisters are turned into stone pillars 64 65 Asia Edit Eastern Asia Edit North American missionary Adele M Fielde collected a version from China titled The Fairy Serpent in which the heroine s family is visited by wasps until she follows the beast who is a serpent One day the well she usually fetches water from is dry so she walks to a spring When the heroine returns she finds the snake dying and revives him plunging him in the water This turns him into a human 66 In a second Chinese variant Pearl of the Sea the youngest daughter of rich merchant Pekoe asks for a chip of The Great Wall of China because of a dream she had Her father steals a chip and is threatened by an army of Tatars who work for their master In reality the Tatar master is her uncle Chang who has been enchanted prior to the story and could only be released from his curse until a woman consented to live with him in the Great Wall 67 Southeast Asia Edit See also Lutung Kasarung America Edit North America Edit United States Edit William Wells Newell published an Irish American variant simply titled Rose in the Journal of American Folklore In this version the Beast takes the form of a lion 68 Marie Campbell collected a version from the Appalachian Mountains titled A Bunch of Laurela Blooms for a Present in which the prince was turned into a frog 69 Joseph Medard Carriere collected a version in which the Beast is described having a lion s head horse legs a bull s body and a snake s tail Like the end of Beaumont s version Beauty s sisters are turned into stone statues 70 In a variant from Schoharie New York collected by Emelyn Elizabeth Gardner with the title The Rosy Story the heroine is named Ellen The character that demands the youngest daughter is a headless man but the Beast like figure is a large toad 71 Folklorist Fanny Dickerson Bergen published a fragmentary variant from Ohio with the title The Golden Bird which is the object the youngest daughter asks for 72 Mexico Edit Mexican linguist Pablo Gonzalez Casanova collected a version from the Nahuatl titled La doncella y la fiera Nahuatl Cizuanton huan yolcatl in which after returning to her family s home the heroine finds the beast dead on the ground The girl falls asleep by his side and she dreams of the beast who tells her to cut a specific flower and spray its water on his face The heroine does so and the beast turns into a beautiful young man 73 74 South and Central America Edit Lindolfo Gomes collected a Brazilian version titled A Bela e a Fera in which the deal consists of the father promising to give the Beast the first living creature that greets him at home The heroine later visits her family because her eldest sister is getting married 75 Broader themes EditHarries identifies the two most popular strands of fairy tale in the 18th century as the fantastical romance for adults and the didactic tale for children 76 Beauty and the Beast is interesting as it bridges this gap with Villeneuve s version being written as a salon tale for adults and Beaumont s being written as a didactic tale for children Commentary Edit Painting of Petrus Gonsalvus c 1580 Tatar 2017 compares the tale to the theme of animal brides and grooms found in folklore throughout the world 77 pointing out that the French tale was specifically intended for the preparation of young girls in 18th century France for arranged marriages 78 The urban opening is unusual in fairy tales as is the social class of the characters neither royal nor peasants it may reflect the social changes occurring at the time of its first writing 79 Hamburger 2015 points out that the design of the Beast in the 1946 film adaptation by Jean Cocteau was inspired by the portrait of Petrus Gonsalvus a native of Tenerife who suffered from hypertrichosis causing an abnormal growth of hair on his face and other parts and who came under the protection of the French king and married a beautiful Parisian woman named Catherine 80 Modern uses and adaptations EditThe tale has been notably adapted for screen stage prose and television over many years Literature Edit The Scarlet Flower 1858 a Russian fairy tale by Sergey Aksakov Beauty and the Beast The Story Retold 1886 by Laura E Richards Beauty A Retelling of the Story of Beauty and the Beast 1978 by Robin McKinley Rose Daughter 1997 by Robin McKinley The Courtship of Mr Lyon 1979 from Angela Carter s The Bloody Chamber based on Madame Le Prince de Beaumont s version 81 The Tiger s Bride in the same book is a variant of the tale Beauty 1983 a short story by Tanith Lee a science fiction retelling of Beauty and the Beast Fashion Beast a 1985 screenplay by Alan Moore adapted into a graphic novel in 2012 A Grain of Truth 1993 a short story by Andrzej Sapkowski in The Last Wish Lord of Scoundrels 1995 by Loretta Chase a Regency romance and retelling of Beauty and the Beast 82 The Fire Rose 1995 by Mercedes Lackey Beauty 1997 modern retelling by Susan Wilson The Quantum Rose by Catherine Asaro a science fiction retelling of Beauty and the Beast Beastly 2007 by Alex Flinn a version that sets the story in modern day Manhattan Bryony and Roses 2015 by T Kingfisher pen name of Ursula Vernon Belle An Amish Retelling of Beauty and the Beast 2017 by Sarah Price A Court of Thorns and Roses 2015 by Sarah J Maas A Curse So Dark and Lonely 2019 by Brigid KemmererFilm Edit La Belle et la Bete 1946 directed by Jean Cocteau starring Jean Marais as the Beast and Josette Day as Beauty 83 The Scarlet Flower 1952 an animated feature film directed by Lev Atamanov and produced at the Soyuzmultfilm Beauty and the Beast 1962 directed by Edward L Cahn starring Joyce Taylor and Mark Damon 84 Panna a netvor 1978 a Czech film directed by Juraj Herz Beauty and the Beast a planned animated film that was to be directed by Don Bluth and distributed by Columbia Pictures It was announced in 1984 and subsequently canceled in 1989 85 86 Beauty and the Beast 1987 a musical live action version directed by Eugene Marner starring John Savage as Beast and Rebecca De Mornay as Beauty 87 Beauty and the Beast 1991 an animated film produced by Walt Disney Feature Animation and directed by Kirk Wise and Gary Trousdale with a screenplay by Linda Woolverton and songs by Alan Menken and Howard Ashman 88 Beauty and the Beast 1992 a direct to video animated feature film unrelated to the preceding year s Disney release but containing similar packaging featuring Irene Cara as the voice of Beauty Blood of Beasts 2005 a Viking period film directed by David Lister alternately known as Beauty and the Beast 89 Spike 2008 directed by Robert Beaucage a dark version of the fairy tale updated to modern times 90 Beauty and the Beast 2009 an Australian fantasy reimagining of the tale starring Estella Warren 91 Beastly 2011 directed by Daniel Barnz and starring Alex Pettyfer as the beast named Kyle and Vanessa Hudgens as the love interest 92 Beauty and the Beast 2014 a French German film 93 Beauty and the Beast 2017 a Disney live action adaptation of the 1991 animated film starring Emma Watson and Dan Stevens 94 Belle 2021 a Japanese animated science fantasy film written and directed by Mamoru Hosoda and produced by Studio Chizu Television Edit Shirley Temple s Storybook episode Beauty and the Beast 1958 broadcast live and in color starring Claire Bloom and Charlton Heston Beauty and the Beast 1976 a made for television movie starring George C Scott and Trish Van Devere Manga Sekai Mukashi Banashi 1976 79 anime anthology series animated by Dax International features a 10 minute adaptation Beauty and the Beast 1984 an episode of Shelley Duvall s Faerie Tale Theatre starring Klaus Kinski and Susan Sarandon Beauty and the Beast 1987 a television series which centers around the relationship between Catherine played by Linda Hamilton an attorney who lives in New York City and Vincent played by Ron Perlman a gentle but lion faced beast who dwells in the tunnels beneath the city Hello Kitty s Furry Tale Theater 1987 episode Kitty and the Beast created by Sanrio produced by DIC Enterprises and animated by Toei Animation Grimm s Fairy Tale Classics episode Beauty and the Beast The Story of the Summer Garden and the Winter Garden 1988 in which the Beast has an ogre like appearance Britannica s Tales Around the World 1990 91 features three variations of the story World Fairy Tale Series Anime sekai no dōwa 1995 anime television anthology produced by Toei Animation has half hour adaptation Happily Ever After Fairy Tales for Every Child 1995 episode Beauty and the Beast featuring the voices of Vanessa L Williams and Gregory Hines The Beast is depicted as having a rhinoceros head a lion like mane and tail a humanoid body and a camel like hump Wolves Witches and Giants 1995 99 episode Beauty and the Beast season 2 episode 12 Stories from My Childhood episode Beauty and the Beast A Tale of the Crimson Flower 1998 featuring the voices of Amy Irving as the Beauty Tim Curry as the Beast and Robert Loggia as Beauty s father Beauty 1998 a made for television movie starring Janine Turner and Jamey Sheridan The Triplets Les tres bessones Las tres mellizas 1997 2003 catalan animated series has a spoof of the fairy tale in episode 22 from the third season Simsala Grimm 1999 2010 episode 12 of season 3 Beauty amp the Beast 2012 a reworking of the 1987 TV series starring Jay Ryan and Kristin Kreuk Once Upon a Time episode Skin Deep 2012 starring Emilie de Ravin and Robert Carlyle Beauty and the Beast it 2014 an Italian Spanish two part miniseries starring Blanca Suarez and Alessandro Preziosi Sofia the First episode Beauty is the Beast 2016 in which Princess Charlotte of Isleworth voiced by Megan Hilty is turned into a beast a cross between a human and a wild boar with a wolf like tail by a powerful enchantress Theatre Edit La Belle et la Bete 1994 an opera by Philip Glass based on Cocteau s film Glass s composition follows the film scene by scene effectively providing a new original soundtrack for the movie 95 Beauty and the Beast 1994 a musical adaptation of the Disney film by Linda Woolverton and Alan Menken with additional lyrics by Tim Rice 96 Beauty and the Beast 2011 a ballet choreographed by David Nixon for Northern Ballet including compositions by Bizet and Poulenc 97 Other Edit A hidden object game Mystery Legends Beauty and the Beast was released in 2012 98 The hidden object game series Dark Parables based the main story of ninth game The Queen of Sands on the tale The narrative of the Sierra Entertainment adventure game King s Quest VI follows several fairy tales and Beauty and the Beast is the focus of one multiple part quest 99 Stevie Nicks recorded Beauty and the Beast for her 1983 solo album The Wild Heart Real Life based the video for their signature hit Send Me an Angel on the fairy story Disco producer Alec R Costandinos released a twelve inch by his side project Love amp Kisses with the theme of the fairy tale set to a disco melody in 1978 The interactive fiction work Bronze by Emily Short is a puzzle oriented adaptation of Beauty and the Beast 100 See also EditEros and Psyche East of the Sun and West of the Moon The King of the Snakes Chinese folktale Noble savage ShapeshiftingReferences Edit Zipes Jack 5 July 2002 Breaking the Magic Spell Radical Theories of Folk amp Fairy Tales Revised and expanded ed Lexington Kentucky University Press of Kentucky p 10 ISBN 9780813190303 Retrieved 10 July 2021 Windling Terri April 2010 Introduction In Datlow Ellen Windling Terri eds The Beastly Bride Tales of the Animal People Penguin Group ISBN 9781101186176 Retrieved 13 July 2021 Stouff Jean La Belle et la Bete Biblioweb Ziolkowski Jan M 2009 Fairy Tales from Before Fairy Tales The Medieval Latin Past of Wonderful Lies University of Michigan Press p 209 ISBN 9780472025220 Retrieved 10 July 2021 Bacchilega Cristina 1997 Postmodern Fairy Tales Gender and Narrative Strategies Philadelphia University of Pennsylvania Press p 169 ISBN 9780812200638 Retrieved 10 July 2021 Harrison Cupid and Psyche Oxford Encyclopedia of Ancient Greece and Rome p 339 Heidi Anne Heiner Tales Similar to Beauty and the Beast Thomas Downing Aesthetics of Opera in the Ancien Regime 1647 1785 Cambridge Cambridge UP 2002 Sedgwick Marcus 5 February 2020 Wolves and lies a writer s perspective In Bill Hughes Bill George Sam eds In the Company of Wolves Werewolves Wolves and Wild Children Manchester University Press ISBN 9781526129055 Retrieved 12 July 2020 da Silva Sara Graca Tehrani Jamshid J 1 January 2016 Comparative phylogenetic analyses uncover the ancient roots of Indo European folktales Royal Society Open Science 3 1 150645 Bibcode 2016RSOS 350645D doi 10 1098 rsos 150645 PMC 4736946 PMID 26909191 BBC 20 January 2016 Fairy tale origins thousands of years old researchers say BBC News Retrieved 20 January 2016 Betsy Hearne Beauty and the Beast Visions and Revisions of An Old Tale p 25 ISBN 0 226 32239 4 Swahn Jan Ojvind The Tale of Cupid and Psyche Lund C W K Gleerup 1955 p 405 Boberg I M The Tale of Cupid and Psyche In Classica et Medievalia 1 1938 181 Cosquin Emmanuel Contes populaires de Lorraine Tome II Deuxieme Tirage Paris Vieweg 1887 pp 215 217 Pourrat Henri French Folktales New York Pantheon Books 1989 pp 447 456 Schneller Christian Marchen und Sagen aus Walschtirol Innsbruck Wagner 1867 pp 63 65 Pitre Giuseppe Fiabe novelle e racconti popolari siciliane Volume Primo Palermo Luigi Pedone Lauriel 1875 pp 350 356 Comparetti Domenico Novelline popolari italiane Roma Ermanno Loescher 1875 pp 274 280 Imbriani Vittorio La Novellaja Fiorentina Livorno Coi tipi di F Vigo 1877 pp 319 327 Busk Rachel Harriette The Folk lore of Rome collected by Worth of Mouth from People London Longmans Green amp Co 1874 pp 115 118 De Nino Antonio Usi e costumi abruzzesi Volume Terzo Firenze Tipografia di G Barbera 1883 pp 161 166 Mango Francesco Novelline popolari sarde Palermo Carlo Clausen 1885 pp 39 41 Mila y Fontanals Observaciones sobre la poesia popular Barcelona Imprenta de Narciso Ramirez 1853 pp 185 186 Maspons y Labros Francisco Lo Rondallayre Quentos Populars Catalans Vol II Barcelona Llibreria de Alvar Verdaguer 1871 pp 104 110 Maspons y Labros Francisco Lo Rondallayre Quentos Populars Catalans Vol I Barcelona Llibreria de Alvar Verdaguer 1871 pp 103 106 Hernandez de Soto Sergio Biblioteca de las Tradiciones Populares Espanolas Madrid Libreria de Fernando Fe 1886 pp 118 121 Eells Elsie Spicer Tales of Enchantment from Spain New York Harcourt Brace and Company 1920 p 109 Espinosa Aurelio Macedonio Cuentos Populares Espanoles Standford University Press 1924 pp 271 273 Espinosa Aurelio Macedonio Cuentos populares de Castilla y Leon Volumen 1 Madrid CSIC 1987 pp 240 243 Pedroso Consiglieri Portuguese Folk Tales New York Folklore Society Publications 1882 pp 41 45 Coelho Adolfo Contos Populares Portuguezes Lisboa P Plantier 1879 pp 69 71 Wolf Johann Wilhelm Grootmoederken Archiven voor Nederduitsche Sagen Sprookjes Volksliederen Volksfeesten en Volksgebruiken Gent Boek en Steendrukkery van C Annoot Braeckman 1842 pp 61 66 Joos Amaat Vertelsels van her Vlaamsche Volk Deel 3 Gent Drukkerij A Siffer 1891 nº 54 pp 169 176 De Meyere Victor De Vlaamsche vertelselschat Deel 2 Antwerpen De Sikkel 1927 pp 139 147 Meder Theo De magische Vlucht Amsterdan Bert Bakker 2000 pp 54 65 Meder Theo The Flying Dutchman and Other Folktales from the Netherlands Westport and London Libraries Unlimited 2008 pp 29 37 Grimm Jacob Grimm Wilhelm 2016 The Summer and the Winter Garden The Original Folk and Fairy Tales of the Brothers Grimm The Complete First Edition Princeton University Press pp 225 227 ISBN 978 0 691 17322 1 Grimm Jacob and Wilhelm Kinder und Hausmarchen Berlin Realschulbuchhandlung 1812 pp 323 328 Bechstein Ludwig Deutsches Marchenbuch Leipzig Verlag von Georg Wigand 1847 pp 228 232 Bechstein Ludwig Deutsches Marchenbuch Leipzig Verlag von Georg Wigand 1847 pp 81 85 Bechstein Ludwig The Old Story teller Popular German Tales London Addey amp Co 1854 pp 17 22 Colshorn Carl and Theodor Marchen und Sagen aus Hannover Hannover Verlag von Carl Ruempler 1854 pp 64 69 Colshorn Carl and Theodor Marchen und Sagen aus Hannover Hannover Verlag von Carl Ruempler 1854 pp 139 141 Zipes Jack The Golden Age of Folk and Fairy Tales From the Brothers Grimm to Andrew Lang Indianapolis Hackett Publishing Company 2013 pp 215 217 Meier Ernst Deutsche Volksmarchen aus Schwaben Stuttgart C P Scheitlin 1852 pp 202 204 Zingerle Ignaz und Josef Kinder und Hausmarchen aus Suddeutschland Regensburg 1854 pp 310 313 Sutermeister Otto Kinder und Hausmarchen aus der Schweiz Aarau H R Sauerlander 1869 pp 75 78 Dobsinsky Pavol Prostonarodnie slovenske povesti Sosit 5 1881 pp 12 18 Tang Kristensen Evald AEventyr fra Jylland Vol I Kjobehavn Trykt hos Konrad Jorgensen i Kolding 1884 pp 335 340 Jakobsen Jakob Faeroske folkesagn og aeventyr Kobenhavn S L Mollers Bogtrykkeri 1898 pp 430 438 Bolte Johannes Polivka Jiri Anmerkungen zu den Kinder u hausmarchen der bruder Grimm Zweiter Band Leipzig Dieterich sche Verlagsbuchhandlung 1913 p 242 Chubynsky Pavlo Trudy etnografichesko statisticheskoj ekspedicii v Zapadno Russkij Kraj TOM 2 St Petersburg 1878 pp 444 445 Zmorski Roman Podania i basni ludu w Mazowszu Wroclaw Zygmunta Schlettera 1852 pp 58 74 Kolberg Oskar Lud Jego zwyczaje sposob zycia mowa podania przyslowia obrzedy gusla zabawy piesni muzyka i tance Serya VIII Krakow Ludwika Gumplowicza 1875 pp 47 48 Kubin Josef Stefan Povidky kladske Prague Spolecnost Narodopisneho musea ceskoslovanskeho 1908 pp 130 135 Baudis Josef The Key of Gold 23 Czech Folk Tales London George Allen amp Unwind Ltd 1917 pp 123 128 Kulda Benes Metod Moravske narodni pohadky a povesti z okoli roznovskeho Svazek prvni Prague I L Kober 1874 pp 148 151 Miksicek Matej Narodni bachorky moravske a slezske Prague I L Kober 1888 pp 214 220 Gabrscek Andrej Narodne pripovedke v Soskih planinah Vol II 1894 pp 33 38 Jones W Henry amp Kropf Lewis L The Folk Tales of the Magyars London Elliot Stock 1889 pp 131 136 Magyar nepmesekatalogus Volume 2 MTA Neprajzi Kutato Csoport 1953 p 459 Schmidt Bernhard Griechische Marchen Sagen und Volkslieder Leipzig Teubner 1877 pp 88 91 Liebrecht Felix Jahrbuch fur romanische und englische Literatur Elfter Band Leipzig F A Brockhaus 1870 pp 374 379 Garnett Lucy M J Greek Folk Poesy vol II Guildford Billing and Sons 1896 pp 152 157 Fielde Adele M Chinese Night Entertainments New York and London G P Putnam s Sons 1893 pp 45 41 Goddard Julia Fairy tales in other lands London Paris Melbourne Cassell amp Company 1892 pp 9 33 1 Newell William Wells Journal of American Folklore vol 2 American Folklore Society 1889 pp 213 214 Campbell Marie Tales from the Cloud Walking Country Indiana University Press 1958 pp 228 230 Carriere Joseph Medard Contes du Detroit Sudbury Prise de parole 2005 pp 68 981 Garner Emelyn Elizabeth Folklore From the Schoharie Hills New York Ann Arbor University of Michigan press 1937 pp 118 121 Bergen Fanny D July 1900 The Golden Bird The Journal of American Folklore 13 50 231 232 doi 10 2307 533895 JSTOR 533895 Gonzalez Casanova Pablo Cuentos indigenas Universidad Nacional Autonoma de Mexico 2001 pp 95 99 Baudot Georges 1976 La Belle et la Bete dans le folklore nahuatl du Mexique central Cahiers du monde hispanique et luso bresilien 27 1 53 61 doi 10 3406 carav 1976 2049 Gomes Lindolfo Contos Populaires Brasileiros Sao Paulo Melhoramentos 1931 pp 185 188 Harries Elizabeth 2003 Twice upon a time Women Writers and the History of the Fairy Tale Princeton University Press p 80 Tatar Maria 7 March 2017 Beauty and the Beast Classic Tales of Animal Brides and Grooms from Around the World Random House Penguin ISBN 9780143111696 Gilbert Sophie 31 March 2017 The Dark Morality of Fairy Tale Animal Brides The Atlantic Retrieved 31 March 2017 Maria Tatar points the story of Beauty and the Beast was meant for girls who would likely have their marriages arranged Maria Tatar p 45 The Annotated Classic Fairy Tales ISBN 0 393 05163 3 Andreas Hamburger in Andreas Hamburger ed Women and Images of Men in Cinema Gender Construction in La Belle et La Bete by Jean Cocteauchapter 3 2015 see also La Bella y la Bestia Una historia real inspirada por un hombre de carne y hueso difundir org 2016 Crunelle Vanrigh Anny The Logic of the Same and Differance The Courtship of Mr Lyon In Roemer Danielle Marie and Bacchilega Cristina eds 2001 Angela Carter and the Fairy Tale p 128 Wayne State University Press Wherry Maryan 2015 More than a Love Story The Complexities of the Popular Romance In Berberich Christine ed The Bloomsbury Introduction to Popular Fiction Bloomsbury p 55 ISBN 978 1441172013 David J Hogan 1986 Dark Romance Sexuality in the Horror Film Jefferson North Carolina McFarland amp Company p 90 ISBN 0 7864 0474 4 50s and 60s Horror Movies B The Missing Link Archived from the original on 31 December 2009 Retrieved 21 April 2010 Bluth Don 1984 Exposure sheet Official newsletter of the Don Bluth Animation Fan Club Vol 5 Tarzana Los Angeles Don Bluth Studios Don Bluth Beyond www cataroo com Retrieved 8 July 2022 Russell A Peck Cinderella Bibliography Beauty and the Beast The Camelot Project at the University of Rochester Archived from the original on 6 April 2010 Retrieved 21 April 2010 Janet Maslin 13 November 1991 Disney s Beauty and the Beast Updated in Form and Content The New York Times Retrieved 21 April 2010 Maslin Janet 2012 Beauty and the Beast Overview Movies amp TV Dept The New York Times Archived from the original on 2 November 2012 Retrieved 21 April 2010 Calum Waddell Spike Total Sci Fi Archived from the original on 28 July 2011 Retrieved 21 April 2010 Beauty and the Beast 2009 Retrieved 13 September 2021 Larry Carroll 30 March 2010 Vanessa Hudgens And Alex Pettyfer Get Intense In Beastly MTV Archived from the original on 5 April 2010 Retrieved 21 April 2010 Christophe Gans decrypte sa version de la Belle et la Bete 9 December 2016 Beauty and the Beast 2017 Retrieved 6 March 2017 Alternate Versions for La Belle et la Bete IMDb Archived from the original on 11 April 2010 Retrieved 21 April 2010 Tale as Old as Time The Making of Beauty and the Beast VCD Walt Disney Home Entertainment 2002 Thompson Laura 19 December 2011 Beauty and the Beast Northern Ballet Grand Theatre Leeds review The Daily Telegraph Retrieved 8 June 2016 Mystery Legends Beauty and the Beast Collector s Edition PC DVD KQ6 Game Play video Bronze homepage including background information and download linksFootnotes Edit However despite the proximity of the Hungarian tale with others of The Animal as Bridegroom cycle Hungarian scholarship separates this tale under its own classification in the Hungarian Folktale Catalogue MNK 425X Gorgeous Grapes Smiling Apple Bloomy Peach 62 Further reading EditRalston William Beauty and the Beast In The Nineteenth Century Vol 4 July December 1878 London Henry S King amp Co pp 990 1012 External links Edit Wikimedia Commons has media related to Beauty and Beast Wikisource has original text related to this article Beauty and the Beast The Story of the Beauty and the Beast James Planche s translation of Gabrielle Suzanne de Villeneuve s original version of the fairytale on Project Gutenberg The story of beauty amp the beast the complete fairy story translated from the French by Ernest Dowson on Internet Archive Ernest Dowson s translation of de Villeneuve s original fairytale Beauty and the Beast the revised and abridged version by Jeanne Marie Leprince de Beaumont at the website of the University of Pittsburgh Beauty and the Beast folktales of Aarne Thompson type 425C Cinderella Bibliography includes an exhaustive list of B amp tB productions in books TV and recordings Original version and psychological analysis of Beauty and the Beast Archive on Wayback Machine in French La Belle et la Bete audio version Portal Children s literature Retrieved from https en wikipedia org w index php title Beauty and the Beast amp oldid 1135073908, wikipedia, wiki, book, books, library,

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