![]() Disney’s enchanted rose is inside a plastic display case measuring 20cm. You can still see the rest of the petals that have fallen before true love triumphed after all. This Beauty and the Beast rose lamp is, of course, red, and appears to flourish as a sign of love. Only then can the rose return to its original beauty. The witch leaves the young man a rose in a jar, that withers gradually until Belle falls in love with the Beast. To return to his original form, the young man must find true love. The romantic story tells the take of a witch who turns a handsome man into a beast. Reading is now integral to the fairy story – reflecting, perhaps, how stories themselves give us new versions of ourselves.Īmanda Craig’s The Other Side of You is published for 2017 Quick Reads by Little, Brown and costs £1.The rose in Beauty and the Beast owes it's fame to the story of Gabrielle-Suzanne Barbot de Villeneuve, who wrote Beauty and the Beast in 1740. I am currently writing yet another version of the fairytale. He believes he is outcast as a beast what changes him is love (and reading). The Other Side of You has a deprived teenager hiding from a murder. When I was asked for a novella this year by Quick Reads, the annual initiative run by the Reading Agency, whose mission is to inspire more people to read, Beauty and the Beast seemed the obvious story to use. ![]() He steals the show even as the feminist, bookish (and rather prim) Belle reforms and loves him. Disney’s Beast begins as the incarnation of the spoilt rich kid but love turns him into a brave, generous and self-sacrificing hero. The Disney cartoon, perhaps surprisingly, is the best version yet. Disney’s Beast begins as the incarnation of the spoilt rich kid but love turns him into a brave and generous heroĪngela Carter argued that the story of Beauty and the Beast must be seen “as a literary fairytale”, and her subversive The Tiger’s Bride acknowledged that Beauty needs the Beast quite as much as vice versa. Even Cocteau’s delicate, dreamlike 1946 film La Belle et la Bête focuses on Belle’s awakening to the Beast’s virtue rather than the Beast experiencing a change. It’s a pattern echoed by Samuel Richardson’s Pamela, and even by Pride and Prejudice, in which the proud, rich Mr Darcy must reveal his true goodness to win the witty, bookish Elizabeth Bennet.Īnthony Trollope’s Ayala’s Angel has its impoverished, idealistic heroine reject the honourable Colonel Stubbs because of his bristly red hair and ugly surname, until she is persuaded by events that he is “the real Angel of Light” she has been seeking all along. Her Beast must learn to express his heart and mind to become worth loving. Yet Madame de Villeneuve’s version, on which numerous novels and films are based, argues – as Marina Warner says in From the Beast to the Blonde – “for marriages of true minds”. ![]() From depictions in antiquity to Canova’s sculptures, artists have tended to present a swooning Psyche in Cupid’s embrace rather than showing her as an active protagonist winning love and divine status in her own right.īeauty and the Beast: trailer for live-action adaptation starring Emma Watson Guardian The original interpretations of it are distasteful. Originally one of what the psychoanalyst Bruno Bettelheim called “animal groom” stories, intended to reassure virginal brides about sex, Beauty and the Beast has itself been repeatedly transformed. United, the body and soul produce a child, Pleasure.Įffectively, this is the plot of Beauty and the Beast, written by Gabrielle-Suzanne Barbot de Villeneuve in 1740, and retold countless times under other names, from the Norwegian fairytale “East of the Sun, West of the Moon” to Sarah J Maas’s bestselling 2015 fantasy novel A Court of Thorns and Roses. ![]() She wins through, and Cupid begs, successfully, for her to be made immortal. The unhappy Psyche must win him back by going on a quest to placate the jealous Venus. When she is persuaded to kill him, the candle she smuggles in to the room reveals her lover to be Cupid, who flees, angered by Psyche’s betrayal. ![]()
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