Abstract This paper will compare the original text of" Beauty and the Beast" by de Beaumont and the Disney version that was contrived off of this novel. We can see the similarities in character and plot by examining two scenes from each work.
Abstract This paper examines the Disney adaptation of Madame Leprince de Beaumont's "Beauty and the Beast" . The paper contends that an analysis of Belle's character reveals that Disney's treatment of the fairy tale entirely neuters the story, taking away its dramatic, harsh moral lessons, and diminishing its female role model to an idle idiot who should not have survived the first ten minutes. The paper continues to discusses how this is further exacerbated by the introduction of cute, irrelevant animated characters who only serve to trivialize the film further. The paper concludes that, while traditional fairy tales offered chicken soup for the soul, Disney offers canned soup for the soul.
From the Paper "Beaumont's Beauty has many other good qualities besides, and demonstrates them consistently throughout the story. For example, she is patient when her shrewish sisters berate her. She is considerate when her father offers her gifts, requesting almost nothing for fear it might be beyond his means. She does ask for a rose, not because she wants one, but because she does not want to show her sisters up. Thus, in somewhat Christian fashion, she turns the other cheek, meeting her sisters' insults with kindness and consideration. Disney's Belle gets no such opportunity to show Christian charity - this lucky young woman is an only child, unburdened with mean-spirited sisters! Again, the Disney character is denied the opportunity to model strength of character to viewers, and instead remains comparatively insipid. "
A comparison of censorship in "Beauty and the Beast" in one of the original versions by Jeanne Marie Le Prince de Beaumont and a modern re-telling by Angela Carter, entitled "The Tiger's Bride."
Abstract This paper discusses censorship within the fairy tale, "Beauty and the Beast." It compares two versions of "Beauty and the Beast" - one of the original versions by Jeanne Marie Le Prince de Beaumont and a modern re-telling by Angela Carter, entitled "The Tiger's Bride." The paper examines the function of sexual desire and how censorship is employed to either dilute or completely erase representations thereof.
From the Paper "It is also interesting to note the difference between the depictions of Beauty in the two stories. In de Beaumont's story, Beauty exudes all the quintessentially feminine "virtues" that would go unchallenged for several centuries. She is devoted to her father, submissive to the demands of the two men in her life - namely, her father and the Beast, and completely passive. In Carter's story, Beauty is anything but passive. Rather than "taming" the Beast by submitting to him, she allows herself to be transformed into a beast, and can thus become one with all the typically "masculine" qualities assigned to the creature.
"One important difference between the two stories, however, is that de Beaumont's was written for an audience of children, while Carter's clearly was not. This is also why sexual desire is largely absent from de Beaumont's text. It has not been censored necessarily in order to protect children, but for the simple reason that this form of desire is too complex for children to understand. It thus reduces the relationships among adults to caricature-like renderings, to a polite code that can nevertheless be unscrambled by more mature readers."
Abstract This paper examines the life of William Wordsworth, born in England in 1770 and considered to be one of the original romantic poets. It reviews some of most famous pieces of work with an emphasis on how he saw beauty in every form of nature. It looks at how the characters that appear in his poetry are solitary and how Wordsworth himself was a solitary person, happiest alone only with Nature. Wordsworth believed that nature was the most powerful thing that could teach people about life and how to fulfill one's life with happiness and wealth. It assesses his friendships with a new generation of writers like John Stuart Mill and the Brownings?Robert and Elizabeth Barrett and the influence on his life of good friends such as Beaumont, Scott, Coleridge, Charles Lamb and Robert Jones.
From the Paper "Though co-writing did not produce any mutually agreeable results, in 1798 the two poets published Lyrical Ballads as a collaborative effort. The work got mixed reviews. While publishing the second edition of the same work, the poets disagreed on who should get the major credit. Wordsworth was also simultaneously working on The Prelude (which was not published until after his death). The third edition of Lyrical Ballads (Wordsworth, 1798) was published in 1802. At the same time, Wordsworth and his siblings came into inheritance owed them by their father's employer. The war also ended; and, William could travel to meet his daughter Caroline, though this trip marked the end of his relationship with Annette. In October 4, 1802, Wordsworth married Mary Hutchinson. In 1803, Wordsworth's first child of five (with Mary) was born. He also began forming friendships with well-known men of the time: Sir Walter Scott, Sir George Beaumont, and Robert Southey. In 1804, he published Ode: Intimations of Immortality (Wordsworth, 1919), and some more work on The Prelude (Wordsworth, 1986)."
Abstract This paper examines how the fairy tale, "Beauty and the Beast", has a touch of realism and, how unlike other fairy tales, brings out the prevalent theme that the two characters live together for a period of time before falling in love. It discusses its various themes, such as family, friendship, love, and the famous rose, in contrast to other fairy tales dealing with love, provides a summary of the tale, and evaluates the Disney film in relation to the original tale.
From the Paper "Walt Disney transformed Belle into a heroine for a modern generation, leaving the intended moral of the original story unaltered. Jack Zipes argues that "it would be a great exaggeration to maintain that Disney... totally divested the classical fairy tales of their meaning and invested them with his own" (333). Although the Disney corporation has animated and reworked several classic fairy tales over many years, "chang[ing] our way of viewing fairy tales" (333), I give them great credit for preserving the original morals and themes, while adding new elements and slight twists to add appeal for a twentieth-century viewing audience. I admire Disney's effort in "Beauty and the Beast" especially, for it has always been my favorite fairy tale and Disney animation as I was growing up."
Tags:beaumont, castle, family, friendship, jean, leprince, rose
Abstract This paper explains that the leitmotif of the husban- beast in Madame Du Beaumont's classical version of the fairy tale "Beauty and the Beast" reoccurs in many stories. The paper points out that, in this version of the famous fairytale, the attraction between the sublimely beautiful and the monstrously ugly may hide a fetishist desire at the core of the culture. The paper stresses that the union between a beast and a human being, which forms the plot of the fairytale, obviously hints at the beast-like, sexual desires, which lurk in the human subconscious.
From the Paper "Another erotic element in the story is the dream Beauty has of the Beast after having delayed her return because of her sisters' wickedness. Thus, Beauty dreams of the dying Beast, longing for her presence and reproaching her for breaking her promise: The tenth night she spent at her father's, she dreamed she was in the palace garden, and that she saw Beast extended on the grass-plot, who seemed just expiring, and, in a dying voice, reproached her with her ingratitude. It is at this point that Beauty actually realizes she has strong feelings for the Beast."
