#atu 510

[allgirlsareprincesses]

A Tale of Two Disguises: Fairy Tale Motifs in Bridgerton Season 3 (Part 1)

It’s Polin Season! In the midst of this Friends to Lovers renaissance and rewatching the Carriage Scene™ for the 847,000th time, I find that I MUST give the fairy tale meta treatment to our beloved Bridgertons. Not only did the show explicitly relate its central couple to the Eros and Psyche myth, but there are a number of other fairy and folk tale motifs scattered throughout the season.

While we only have the first four episodes so far (Shonda, you cruel, cruel tease!), it seems clear that the theme of the season is disguise. Our leading man and lady have both put on masks to protect them from society, but those are slowly being peeled away as they draw closer together. I would argue that aside from Cupid and Psyche (ATU 425), the story also relies heavily on Cinderella (ATU 510), both romances in which the true self is revealed.

To begin with, Colin arrives back in town with a flirtatious new swagger, but apparently no intent to actually court a mate. In this way, he is very similar to the mythical Cupid, who is described as:

“that winged lad, the naughty child who has been so spoilt that he despises all social restraint. Amed with flames and arrows he flits in the night from house to house. He severs the marriage-tie on all sides; and unchastised he perpetuates endless mischief.”

Now I hear you, you’re saying that sounds nothing like Colin! And yes, but the point is that he has no qualms about flirting with one lady after another (or bedding prostitutes), metaphorically slinging Cupid’s arrows everywhere he goes, because that is the role he believes he must perform. The point of his character in Apuleius’ narrative is that Cupid has power over gods and men, to make them fall in love with one another, but he himself is never prey to such feelings.

UNTIL. His mother, Venus, tells him to make the beautiful Psyche fall in love with a monster. In some versions, simply the sight of Psyche is enough to make Cupid fall in love. In others, he accidentally pricks himself with his own arrow when he sees her, thus becoming the victim of his own schemes.

Similarly, Colin agrees to help Penelope find a husband, but soon finds that he himself has fallen in love with her. There is even a subtle reference to this when he gifts Gregory the bow and arrows. In the shot, Gregory turns with the bow pointed directly at Colin. He is in the sights of Cupid’s bow, about to be hit with his own weapon!

Once Cupid has fallen for Psyche, she is borne upon the wind to his palace, where she is served by invisible servants and her new husband visits her only in darkness when she cannot see him. By these means, he keeps his true identity hidden, leading Psyche to eventually question whether she has indeed married a monster. In her fear, she brings an oil lamp to his bed, and when she sees that he is in truth the handsome god Cupid, she accidentally drops hot oil onto him. Thus injured, her husband awakes into the realization that she has betrayed his confidence and uncovered his identity.

Similarly, Colin is concealing his true self behind the mask of the rake, hiding his desire for emotional intimacy even from Penelope. Not easily fooled, she writes as Lady Whistledown questioning whether this is in fact his true self. Once their “lessons” begin, Colin rather scandalously invites her into his home (his palace), a place that only intimate family members should be allowed. He then asks her to imagine invisible guests and musicians, just like Cupid’s invisible retinue.

Then, Penelope discovers his diary, just beside the lamp as Psyche also discovered Cupid’s true self. The shadow husband thus revealed, Colin appears and is furious at Penelope’s apparent betrayal. He knocks over the lamp and is injured by the shards of glass, just as Cupid was injured by drops of oil. This wounding is a critical part of animal husband tales, where the heroine approaches him with “flame and steel,” painfully stripping away his mask or animal skin so that it is impossible for him to hide from her.

Typically, at this point in the tale, the husband would flee, but Colin stays. There is still another betrayal yet to come with the revelation of Penelope’s alter ego, however, so I would not be surprised if we yet saw Colin retreat from her in pain, even temporarily. Further, the betrayal typically happens as a result of the bride’s lack of faith in her husband, so Penelope will need to learn to fully trust Colin as well.

The Cupid and Psyche tale is of course explicitly referenced in the dance performed at the Queen’s ball. To the extent that the dance is a retelling, it seems to focus on the ending of the tale, when Cupid awakens Psyche from a deathlike sleep and then raises her to Olympus, where she becomes a goddess as well. This then is where we are headed: the revelation of Penelope’s secret may cause her to fall into a metaphorical death state (maybe the fainting scene in the trailer?), but Colin’s love will ultimately lift her up to her rightful place among the gods.

Another interesting feature in Apuleius’ story is a moment when Cupid’s mother Venus offers a reward for the capture of Psyche, in punishment for wounding her son:

“Ho, if anyone can produce in person, or give information as to the place of concealment of a certain runagate princess, a slave-girl of Venus, Psyche by name, let him hie to Mercury the crier at the rear of the Murtian Sanctuary, and receive by way of reward seven times a Kiss of Bliss and once a Kiss honeyed-beyond-measure by the interjection of her alluring tongue.”

Basically, Venus places a bounty on Psyche. And WHO in the Bridgerton cast has explicitly associated herself with Venus? None other than Queen Charlotte, whom we know from the Part 2 trailer will be offering a reward for the identification or capture of Lady Whistledown. In the tale, Venus plays the role of an avenging goddess who is enraged both by insults to her family and by romances that occur without her approval and orchestration. Once again, this sounds exactly like Queen Charlotte, so expect her to play that destructive goddess role throughout much of the season.

While animal husband tales focus on the revelation of the true man behind the beastly disguise, Cinderella tales center around the exposure of the true bride. A typical Cinderella story includes the following:

Persecuted heroine, usually by family

Help or helper, usually magic

Meeting the prince, usually with true identity disguised

Identification or penetration of disguise, usually by means of an object

Marriage to the prince

Throughout all three seasons of Bridgerton so far, we can clearly see Penelope being persecuted by her family, with her wicked mother and two foolish sisters easily fulfilling their quintessential roles.

As for the helper, Penelope has had several, but her most notable is Madame Delacroix, who both assists her caper as Lady Whistledown and then also supplies her with her transformative new wardrobe. In this way, she fulfills the role of the Fairy Godmother to Penelope’s Cinderella.

Meeting the prince of course is somewhat different since Colin and Penelope have known one another for years. Still, it is true that Penelope’s full identity has been disguised, since she has hidden her role as Lady Whistledown from him and the rest of the Ton.

Identification or penetration of the disguise has not occurred yet, in my opinion, but it likely will in Part 2 of Season 3. In the book, Colin follows Penelope and discovers her secret, and it may be that something similar occurs in the show. It’s unclear yet as to whether there may be an object involved, although if there is, I suspect it may be an issue of Whistledown itself, or perhaps the pen she uses to write it. Further, Eloise is heard in the trailer giving Penelope a midnight deadline to tell Colin the truth, just like how Cinderella's magical disguise will fall away at midnight.

And of course, we know we’re headed toward the eventual marriage with the prince! But meantime, there are a number of other familiar features of the Cinderella tale, not least of which are Penelope’s three separate flights from three balls. She runs first from Lady Danbury’s Four Seasons Ball, then again when her arrangement with Colin is revealed, and a final time after Debling turns her down. In some versions of the fairy tale, Cinderella actually does attend three different balls, fleeing from each one before midnight and only losing her slipper on the last one.

Of course, while she leaves behind no shoe, Colin races after Penelope each time, and finally catches her carriage on the last one, kneeling before her and confessing his feelings. This, like the relation to the mythical Cupid, leans on Hunter/Huntress motifs common throughout folklore. Often, one lover will chase after the other, and then they will trade places and the hunter will become the hunted. And only very rarely do these lovers come together as equals in the end.

So I will end there for now! Cannot WAIT for Part 2, after which I will try to update this with any new observations!

[alexidoesart]

Many folktales throughout different cultures feature a heroine being given the impossible task of sorting through grains/seeds-- whether that be picking them from the ashes, from between each other, or from their rotting counterparts.

In this task, she often does as much as she can before submitting to a higher power, whether that power recognizes her virtue or she directly asks for help varies based on the culture and tale.

Featured are eight such tales, most of which can be categorized into “Snake Bride” (ATU 425) type tales or “Cinderella” (Both often ATU 510 in the folklore index-- Cinderellas are specifically ATU 510A)

The circle puts them in no particular order, as “origins”  and lineages are muddied, and many of the current incarnations have been influenced by each other, though Ye Xian is the oldest known “complete” version of Cinderella.

Snake Brides:

Psyche, Eros and Psyche (Greco-Roman)

Sukkia, The Snake’s Bride (India)

Donan Sampakang Tale about Gansaļangi and Donan Sampakang (Indonesian)

Cinderellas:

Aschenputtel (German)

Tam, Tấm and Cám (Vietnam)

Unnamed Heroine The Wonderful Birch (Finish & Slavic)

Ye Xian (Chinese)

Neither (ATU 480B-- Stepmother and Stepdaughter)

Vasilisa, Vasilisa the Wise (or Beautiful) (Slavic)

[snowwhite-andtheknight]

Announcing: Obiyuki Week 2022

Welcome back one and all to our seventh annual Obiyuki Week! This year we decided to pay homage to the very first Obiyuki Week’s theme:

Fairy Tales

Each day will have a fairy tale as its theme, but we will also list the ATU Tale Type, plus a few other related tales. But we are not expecting just AUs for this ship week! Each prompt will also have themes listed from the story (Disguise, True Love, etc) that can be used to inspire works or continue existing ones! All prompts are considered guidelines, so don’t feel constrained by the themes or fairy tales that we give-- this ship week is open to all Obiyuki works!

Day 1: Beauty and the Beast

ATU Tale Type 425: Cupid & Psyche; East of the Sun, West of the Moon; Tam Lin

Themes: Kindness, Night, Curse; Purple

Day 2: The Mermaid/Selkie Wife

ATU Tale Type 4080: Sealskin, The Swan Maiden, Jorinde and Joringel

Themes: Shapeshifter, Silence, Home; Green

Day 3: Rumpelstiltskin

ATU Tale Type 500: Duffy and the Devil, King Olaf and the Giant, A Witch as Werewolf

Themes: True Name, Bargains, Betrayal; Gold

Day 4: Snow White (Free Day)

ATU Tale Type 709: Gold-Tree and Silver-Tree; Sleeping Beauty; Maria, the Wicked Stepmother, and the Seven Robbers

Themes: Innocence, True Love’s Kiss, Found Family; Red

Day 5: Koschei the Deathless

ATU Tale Type 302: Crystal Mountain, Jack and the Beanstalk, Bluebeard

Themes: Secrets, Forbidden, Rescue; Black

Day 6: Puss in Boots

ATU Tale Type 545: Squire Peter, Andres the Trapper, The Weaver

Themes: Adventure, Disguise, Promotion; Orange

Day 7: Cinderella

ATU Tale Type 510: The Baba Yaga; The Poor Turkey Girl; Fair, Brown and Trembling

Themes: Hard Work, Magic, Transformation; Blue

Dates: September 18th-24th Tag: #obiyukiweek22

[Guidelines beneath cut]

Guidelines:

All work must be your own (eg. no plagiarizing other sources, tracing, pose stealing, etc)

The main pairing is Obi x Shirayuki

Must follow the day’s prompt, however loosely

Must be tagged #obiyukiweek22 within the first five tags

With Tumblr’s tagging system on the fritz, please also @ snowwhite-andtheknight in your entry

Please label with the day’s number!

All NSFW content must be tagged and under a Read More!

You may submit multiple entries for each day!

Be nice

Play hard

[thehierophage]

March 22, 2022 æ.v., Dies Martis

An Vviii e.l.

The Day of Resh, The Greater Feast of St. +Wolfgang von Goethe

Do what thou wilt shall be the whole of the Law.

Hebrew Letter: Resh

Numerical Value as Letter: 200

Numerical Value as Word: 510 (Resh + Yod + Shin)

Meaning: Head.

Thoth Card: The Sun (Atu XIX)

Alternate Title: The Lord of the Fire of the World.

Image:

Correspondences:

Astrological Sign: The Sun

Element: N/A

Egyptian Godform: Ra-Horakhty, Harmachis, Horus, Aten

Qabalistic Pathway: Path 30- Hod to Yesod (from Sephira 8-9)

Geomantic Figure: Hexagram

Gemstones: Carbuncle, Chrysolite, Pyrite, Aventurine, Sunstone

Perfumes: Olibanum, Frankincense, Cinnamon, Golden Copal, Sandrac, Amber, Elemi, and all brilliant odors

Plants: Sunflower, Heliotrope, Knotgrass, Marigold

Animals: Lion; Sea Calf

Colors:

For Key 30:

King Scale – Orange

Queen Scale – Gold-yellow

Prince Scale – Rich Amber

Princess Scale – Amber, Rayed Red

The Secret Instruction of the Master:

Give forth thy light to all without doubt: the clouds and shadows are no matter for thee.

Make Speech and Silence, Energy and Stillness, twin forms of thy play!

Mnemonic:

The Sun, our Father! Soul of Life and Light,

Love and play freely, sacred in Thy sight!

Recommended Text: Liber VII, Cap. 4 (Liber Liberi vel Lapdis Lazuli Adumbratio Kabbalae Ægyptiorum)

Liber Liberi vel Lapidis Lazuli Adumbratio Kabbalæ Ægyptiorum sub figurâ VII

1. I am like a maiden bathing in a clear pool of fresh water.

2. O my God! I see Thee dark and desirable, rising through the water as a golden smoke.

3. Thou art altogether golden, the hair and the eyebrows and the brilliant face; even into the finger-tips and toe-tips Thou art one rosy dream of gold.

4. Deep into Thine eyes that are golden my soul leaps, like an archangel menacing the sun.

5. My sword passes through and through Thee; crystalline moons ooze out of Thy beautiful body that is hidden behind the ovals of Thine eyes.

6. Deeper, ever deeper. I fall, even as the whole Universe falls down the abyss of Years.

7. For Eternity calls; the Overworld calls; the world of the Word is awaiting us.

8. Be done with speech, O God! Fasten the fangs of the hound Eternity in this my throat!

9. I am like a wounded bird flapping in circles.

10. Who knows where I shall fall?

11. O blesséd One! O God! O my devourer!

12. Let me fall, fall down, fall away, afar, alone!

13. Let me fall!

14. Nor is there any rest, Sweet Heart, save in the cradle of royal Bacchus, the thigh of the most Holy One.

15. There rest, under the canopy of night.

16. Uranus chid Eros; Marsyas chid Olympas; I chid my beautiful lover with his sunray mane; shall I not sing?

17. Shall not mine incantations bring around me the wonderful company of the wood-gods, their bodies glistening with the ointment of moonlight and honey and myrrh?

18. Worshipful are ye, O my lovers; let us forward to the dimmest hollow!

19. There we will feast upon mandrake and upon moly!

20. There the lovely One shall spread us His holy banquet. In the brown cakes of corn we shall taste the food of the world, and be strong.

21. In the ruddy and awful cup of death we shall drink the blood of the world, and be drunken!

22. Ohé! the song to Iao, the song to Iao!

23. Come, let us sing to thee, Iacchus invisible, Iacchus triumphant, Iacchus indicible!

24. Iacchus, O Iacchus, O Iacchus, be near us!

25. Then was the countenance of all time darkened, and the true light shone forth.

26. There was also a certain cry in an unknown tongue, whose stridency troubled the still waters of my soul, so that my mind and my body were healed of their disease, self-knowledge.

27. Yea, an angel troubled the waters.

28. This was the cry of Him: IIIOOShBTh-IO-IIIIAMAMThIBI-II.

29. Nor did I sing this for a thousand times a night for a thousand nights before Thou camest, O my flaming God, and pierced me with Thy spear. Thy scarlet robe unfolded the whole heavens, so that the Gods said: All is burning: it is the end.

30. Also Thou didst set Thy lips to the wound and suck out a million eggs. And Thy mother sat upon them, and lo! stars and stars and ultimate Things whereof stars are the atoms.

31. Then I perceived Thee, O my God, sitting like a white cat upon the trellis-work of the arbour; and the hum of the spinning worlds was but Thy pleasure.

32. O white cat, the sparks fly from Thy fur! Thou dost crackle with splitting the worlds.

33. I have seen more of Thee in the white cat than I saw in the Vision of Æons.

34. In the boat of Ra did I travel, but I never found upon the visible Universe any being like unto Thee!

35. Thou wast like a winged white horse, and I raced Thee through eternity against the Lord of the Gods.

36. So still we race!

37. Thou wast like a flake of snow falling in the pine-clad woods.

38. In a moment Thou wast lost in a wilderness of the like and the unlike.

39. But I beheld the beautiful God at the back of the blizzard— and Thou wast He!

40. Also I read in a great Book.

41. On ancient skin was written in letters of gold: Verbum fit Verbum.

42. Also Vitriol and the hierophant’s name

V.V.V.V.V.

43. All this wheeled in fire, in star-fire, rare and far and utterly lonely— even as Thou and I, O desolate soul my God!

44. Yea, and the writing

It is well. This is the voice which shook the earth.

45. Eight times he cried aloud, and by eight and by eight shall I count Thy favours, Oh Thou Elevenfold God 418!

46. Yea, and by many more; by the ten in the twenty-two directions; even as the perpendicular of the Pyramid— so shall Thy favours be.

47. If I number them, they are One.

48. Excellent is Thy love, Oh Lord! Thou art revealed by the darkness, and he who gropeth in the horror of the groves shall haply catch Thee, even as a snake that seizeth on a little singing-bird.

49. I have caught Thee, O my soft thrush; I am like a hawk of mother-of-emerald; I catch Thee by instinct, though my eyes fail from Thy glory.

50. Yet they are but foolish folk yonder. I see them on the yellow sand, all clad in Tyrian purple.

51. They draw their shining God unto the land in nets; they build a fire to the Lord of Fire, and cry unhallowed words, even the dreadful curse Amri maratza, maratza, atman deona lastadza maratza maritza— marán!

52. Then do they cook the shining god, and gulp him whole.

53. These are evil folk, O beautiful boy! let us pass on to the Otherworld.

54. Let us make ourselves into a pleasant bait, into a seductive shape!

55. I will be like a splendid naked woman with ivory breasts and golden nipples; my whole body shall be like the milk of the stars. I will be lustrous and Greek, a courtesan of Delos, of the unstable Isle.

56. Thou shalt be like a little red worm on a hook.

57. But thou and I will catch our fish alike.

58. Then wilt thou be a shining fish with golden back and silver belly: I will be like a violent beautiful man, stronger than two score bulls, a man of the West bearing a great sack of precious jewels upon a staff that is greater than the axis of the all.

59. And the fish shall be sacrificed to Thee and the strong man crucified for Me, and Thou and I will kiss, and atone for the wrong of the Beginning; yea, for the wrong of the beginning.

Love is the law, love under will.

[soccerslife227]

If you really want to get into it, there’s an ATU index which identifies a story’s fundamental structure and compares it to other stories from around the world that have similar themes or elements. For example, Cinderella’s ATU type would be ATU 510

Nothings funnier to me then learning that most of the fairytales credited to brothers grimm dont even belong to them-and many of them actually came from different non eroupean cultures

Like repunzel being Persian or cinderella being from either China or Egypt im not quite sure

Not only does it make white disney adults whinning about race swapping more hypercritical but also make the brothers grimm being in charge of ever after high ironic

Tho ngl now i rlly wanna either redesign them myself or see someone else redesign poppy & holly as Persian & Ashlynn as Chinese ..

[writesailingdreams]

@ladyliliana replied to your post “Is it strange that I can see how Jasmine has a much stronger story?...”

Disney was smart changing the story in their adaptation. I feel the original Aladdin story kinda glorifies greed and he gets things without really working for them        

Sorry this got so long. I wanted to make sure it all made sense. Because I’m me, I delve into the structure of the original tale.

First, while I don’t think Disney made bad changes (though I can see different ways to develop Aladdin’s character), I do see it as a Disneyfied American change. I was percolating on why Aladdin as a character may be hard for a Western American POV to adapt due to the expectation that hardwork or self-discovery make good fortune worth it because the good fortune has been properly earned through one or the other.

Second, I was commenting more on the tale type than the story’s morality. Both The Tinderbox and Cendrillion follow a similar tale type: poor person through magical aid improves their social standing and marries royalty. That said, The Tinderbox (ATU 562) and Aladdin (ATU 561) are both more similar to each other than to Cinderella (ATU 510).

I often see the original tale critiqued because Aladdin doesn’t earn his good fortune and/or it just promotes wish-fulfillment. If I saw people criticizing the solider in The Tinderbox for the same reason, then the former would probably ruffle my feathers less. Because, yeah, that’s fair. Both tales feature wish-fulfillment without any reason. 

(I personally find the soldier more despicable than Aladdin since the former kills the old woman who leads him to the tinderbox and forces the princess to marry him through force. Aladdin doesn’t kill the magician until after the princess is kidnapped and the lamp stolen; Aladdin only forces the Emperor to keep his promise that Aladdin can marry the princess and does so less with direct supernatural threat and more with covert supernatural intervention.)

Third, as regards the morality of the original, I’m not sure I completely agree. 

Though I can see where the argument comes from, I’ve never been able to see the original tale as being about greed. Incomparable luck, sure. Or maybe, story-wise, a lazy boy who’s experiences give him good fortune and lead him to at least learn certain things, such as becoming more knowledgeable about gems and not relying on the lamp to do everything for him. 

I mean, the basic story is: 1) Aladdin gets lamp from cave. 2) Marries the princess. 3) Lamp is stolen. 4) Gets lamp back (with help from the princess and poison). 5) Someone comes to kill Aladdin. 6) He tricks this person and lives. With various details interspersed between, such as: increased knowledge of gems after almost dying in the cave, an anti-Semitic bit with a Jewish merchant swindling Aladdin that can happily be cut out, and Aladdin as a war hero

Though, based on my extensive analysis, the story and its many conflicts and resolutions—with time-skips between each—makes better sense like this:

Conflict 1: Getting the lamp

Conflict 2: Getting swindled

Conflict 3: Marrying the Princess

mini-Time-skip: Aladdin becomes a war hero*

Conflict 4: Losing the lamp and regaining it

Conflict 5: Escaping a revenge murder

The whole final conflict is usually ignored and to me it’s one of the most important parts. It’s the only time the genie refuses Aladdin’s request and therefore he has to deal with a threat to his life on his own.

Because of this, maybe I read it more as a boy who gets lucky and grows from the experience, due to lost and the threat of death than greed and getting good fortune for nothing. 

Or at the very least, if asked to create my own version I would have to include:

gem fruit in an underground orchard

a war

poison

someone comes to kill Aladdin for revenge and he has to escape it without the genie’s help

maybe Aladdin almost gets killed by the princess’ father?

Meaning, the important aspects of the tale for me are its visual wonder, its characters using ruses to defeat antagonists, and its potential for undercurrent character growth. Of the three, Disney only used the second aspect.

For me, Aladdin doesn’t have to earn the lamp by hard work or showing good character; he doesn’t have to earn it all because it’s just luck. The interesting parts of the story are him dealing with the consequences, whether almost being executed or having someone come to murder him.

*I make note of this because it’s the only time-skip that is summarized; the others just say “several years” “a few years” etc.

[rasmajesty]

💥💥TONIGHT TONIGHT💥💥 The 4th Annual 420 Brooklyn Elevation Celebration <<--- Culture, Art, Food, Music & Vibes --->> ----------------- This year were goin ALL out and inviting some of the best parts of the Brooklyn massive to come together as a unified entity to spread forward movementz and build further community. Featuring: Live performances, Top Selectahs, Caribbean Food, Craft Brew, Special Edibles, Culture Yard Village where you can grab Hats, Jewelry, TShirts, Incensce, Oils and much more... Come vibe in this Indoor/Outdoor space complete with Bar, dancefloor, Culture Village and Art Gallery! And Bring a Friend! --------------------- Live Performances from: - Ras Atiba & Sarabita World Band - Ras Majesty & the New Vibration Band - FyaWorks - NachyBless - IKonfidence - PrinceLionSound - ILahMedz Selections by: - King David (Orthodox Sounds) - Kolaiah Bey (Icebox International) - Uncle Randy (Sarabita) --------------------- Caribbean Food and Treats from: - Nafis Hot Pepper Condiments and Patties - Nugs Of Love Vegan Artisanal Deserts Culture Art Gallery: - Tripel Arts - Azone Media - Ashley Simone Culture Yard Village Vendors: - Rasta Bob's Knitwear - Blu Jewelry - Kamaal Atu Roots Variety - Lada Vekker DOORS AT 8PM - SHOW AT 10PM RSVP TODAY FOR ADDRESS: ----->>> GRANDLIONPRO@GMAIL.COM <<<------ or text 510-575-4039 **Door Donations Accepted @fyaworks @ikonfidence @rasmajestymusic @iceboxintl @nachyblessyes #princelionsound #rasatiba @bineyes (at Bedford–Stuyvesant, Brooklyn)

[snowwhite-andtheknight]

Announcing: Obiyuki Week 2022

Welcome back one and all to our seventh annual Obiyuki Week! This year we decided to pay homage to the very first Obiyuki Week’s theme:

Fairy Tales

Each day will have a fairy tale as its theme, but we will also list the ATU Tale Type, plus a few other related tales. But we are not expecting just AUs for this ship week! Each prompt will also have themes listed from the story (Disguise, True Love, etc) that can be used to inspire works or continue existing ones! All prompts are considered guidelines, so don’t feel constrained by the themes or fairy tales that we give-- this ship week is open to all Obiyuki works!

Day 1: Beauty and the Beast

ATU Tale Type 425: Cupid & Psyche; East of the Sun, West of the Moon; Tam Lin Themes: Kindness, Night, Curse; Purple

Day 2: The Mermaid/Selkie Wife

ATU Tale Type 4080: Sealskin, The Swan Maiden, Jorinde and Joringel Themes: Shapeshifter, Silence, Home; Green

Day 3: Rumpelstiltskin

ATU Tale Type 500: Duffy and the Devil, King Olaf and the Giant, A Witch as Werewolf Themes: True Name, Bargains, Betrayal; Gold

Day 4: Snow White (Free Day)

ATU Tale Type 709: Gold-Tree and Silver-Tree; Sleeping Beauty; Maria, the Wicked Stepmother, and the Seven Robbers Themes: Innocence, True Love’s Kiss, Found Family; Red

Day 5: Koschei the Deathless

ATU Tale Type 302: Crystal Mountain, Jack and the Beanstalk, Bluebeard Themes: Secrets, Forbidden, Rescue; Black

Day 6: Puss in Boots

ATU Tale Type 545: Squire Peter, Andres the Trapper, The Weaver Themes: Adventure, Disguise, Promotion; Orange

Day 7: Cinderella

ATU Tale Type 510: The Baba Yaga; The Poor Turkey Girl; Fair, Brown and Trembling Themes: Hard Work, Magic, Transformation; Blue

Dates: September 18th-24th Tag: #obiyukiweek22

[Guidelines beneath cut]

Guidelines:

All work must be your own (eg. no plagiarizing other sources, tracing, pose stealing, etc)

The main pairing is Obi x Shirayuki

Must follow the day’s prompt, however loosely

Must be tagged #obiyukiweek22 within the first five tags

With Tumblr’s tagging system on the fritz, please also @ snowwhite-andtheknight in your entry

Please label with the day’s number!

All NSFW content must be tagged and under a Read More!

You may submit multiple entries for each day!

Be nice

Play hard

[allgirlsareprincesses]

Choosing the Beast: Modern Folklore Heroines Embrace the Animal Husband

ATU 425A

Word Count: ~3200

Folktale Types in Star Wars - Meta Masterpost

So I wrote a few things about how the Skywalker Saga fits into the Aarne-Thompson-Uther Classification of Folk Tales, and I thought I’d link them all in one place. I’ve included the ATU class number for reference and approximate word count so you know how long it might take to read each one!

The Search for the Lost Husband: Reylo as Eros and Psyche ATU 425 Word Count: ~7000

More Search for the Lost Husband: The Burning of the Beast’s Skin in Star Wars ATU 425A-449 (Animal Bridegroom) Word Count: ~1400

The Quest for the Lost Bride: Anidala (and Reylo) as Orpheus and Eurydice ATU 400 Word Count: ~4000

More Quest for the Lost Bride: Sleeping Beauty in Star Wars ATU 410 Word Count: ~1700

There are some other topics I’d like to explore with relation to ATU Folktale Types, so hopefully I’ll have more to add to this in time!

[rasmajesty]

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[faith-trustpixiedust]

Hi, I'm adding onto how the problem isn't necessarily that Disney makes stories based on folk tales.

(And I think you sufficiently explained why the branding and the pretty much monopoly they have over fairy tales is bad, so I won't get into that.)

I took fairy tales literature class a few semesters ago, and learned that the majority of the stories Disney adapted already had multiple versions. (With a few exceptions of course, like how Peter Pan is basically just the book.)

They're called tale types, which is basically a general category that these different tales fall into. For example, the story of Cinderella falls into ATU 510 A, "the persecuted heroine". They don't all have glass slippers, but all revolve over a woman who had been neglected, and then she gets great fortune, usually from marrying into royalty. The earliest known variant is a Greek one from 7 BC/23 AD (it's hard to date things from back then, so people aren't really sure). The version most people claim as Disney's inspiration wasn't until Charles Perrault's in 1697. It's probably the most similar to the 1950 film Cinderella, with the name Cendrillion appearing in the title, the stepmother, two step sisters, royal ball, fairy godmother, pumpkin carriage, and glass slippers.

But this story with different details had still been around for centuries, so it's not so much Disney stealing Perrault's original work, but making an adaptation of his work, which was adapted from generations of people before him. Basically, what I'm saying is that I've seen a ton of people go "oh Disney is just ripping off folk tales!!" when really, they're adapting them like people have been doing for hundreds of years. They just happen to be monopolizing the genre in a way Perrault or the Grimms never fully did. And even then, you can probably argue that the Grimm brothers had most of the control over the fairy tale market in the 1800s but that's another conversation lol.

And you can read more about different Cinderella tale types here, it's really interesting to see how different variants looks all over the world. There's also examples of this for Sleeping Beauty, Beauty and the Beast, etc.

okay, there are many legitimate reasons to dislike disney, but can we please stop using “disney tells stories based on folktales!!11!!!” as one of them? pretty please, with cherries?

[kichimiangra]

Opinion based on the topic at hand:

1.) I would gladly watch an indian version of Cinderella. It sounds like it could have some cool cultural additions that would make it stand out new version while being a classic ATU 510-A story!

2.) Why I am SEVERELY UNINTERESTED in going to see Disney's live action Little Mermaid with a black heroine:

Based on Disney's recent track record with its last 3 live action films the movie is probably going to be a mostly 1 to 1 recreation of the original animated feature film but with a few new songs and a black protagonist. I have already watched the Little Mermaid. I grew up on the Disney films of the past. I have grown up with MORE than just the Disney versions of these stories. I've read the original Fairytales and ones that match it's ATU number, I've seen Kids Klassics, Good times Golden Films, Encyclopedia Brittanica, Saban's Favorite Fairytales collections, ANIME VERSIONS, foreign films, etc. I love fairytales. I love seeing how different people adapt them. Disney is just doing the equivalent of copying the old films homework and changing a few things. There was a show on HBO when I was a kid that told Fairytales but with a twist of the characters being from other parts of the world. I remember a version of the Little Mermaid who was Chinese, though my favorite was a version of Thumbelina that I think took place in either Africa or maybe a rain forest? I dunno I only saw it once as a kid. I remember really liking these changes of settings and wanting to see films like that!

I have no personal issue with Halle Bailey being a black little mermaid. I don't want her to be Ariel though. I don't want to watch the same movie again with Ariel in live action. I would feel the same even if they found a pale skinned redhead that sounded just like Jodi Benson. If this was a brand new adaptation from the ground up though, my butt would want to see it.

I see no point to the live action films. They don't do enough new to stand on their own merit/hold my attention. I've had people literally argue with me that the new versions add improvements necessary to understand the originals and, no, they don't. They were 100% comprehensible in the 90s. The only legit improvement I've seen on this live action adventure is Cinderella being less about the mice (thank god) and explaining how an entire town can forget their monarch has been missing for 10 years in Beauty and the Beast. If these live action versions are supposed to be improvements on the original that just tells me three things:

1.) Disney thinks cartoons are lesser.

2.) Not enough People of Color in protagonist roles.

3.) Expressive lions?????!!!! Nobody wants expressive characters!!!!

As far as the second thing there goes I can agree, why not have more Poc characters. But hey, guess what? Why not have more fairytales? Can we have King Lindorm? What about the many different styles of ATU-510 stories? Donkey skin could be fun! I know Don Bluth did it but Thumbelina? East of the Sun, West of the Moon? Muhammed and his Magic Finger? THERE ARE SO MANY FAIRYTALES DISNEY!!!! YOU DIDN'T DO THEM ALL AND NOW HAVE TO START OVER AGAIN!!!

But that's just how I feel about it. I'm sorry Halle Bailey, unless I'm given good reason I won't be seeing your Little Mermaid.

I wish Disney would make some new stories.

So answer is yes we do want an Indian Cinderella next

[allgirlsareprincesses]

Ask: Is the Sequel Trilogy a Cinderella Story? ATU 510 Word Count: ~600

Folktale Types in Star Wars - Meta Masterpost

So I wrote a few things about how the Skywalker Saga fits into the Aarne-Thompson-Uther Classification of Folk Tales, and I thought I’d link them all in one place. I’ve included the ATU class number for reference and approximate word count so you know how long it might take to read each one!

The Search for the Lost Husband: Reylo as Eros and Psyche ATU 425 Word Count: ~7000

More Search for the Lost Husband: The Burning of the Beast’s Skin in Star Wars ATU 425A-449 (Animal Bridegroom) Word Count: ~1400

The Quest for the Lost Bride: Anidala (and Reylo) as Orpheus and Eurydice ATU 400 Word Count: ~4000

More Quest for the Lost Bride: Sleeping Beauty in Star Wars ATU 410 Word Count: ~1700

There are some other topics I’d like to explore with relation to ATU Folktale Types, so hopefully I’ll have more to add to this in time!