#french fairy tales

[adarkrainbow]

Aulnoy's famous fairytales: The White Doe (2)

Now that we made a recap for the overall story, let's look at little details here and there, shall we?

1 ) Despite this being one of the most famous and reprinted fairytales of d'Aulnoy, The White Doe/The Hind in the Woods is one of the more dated of these stories. Not just because of the problematic racist elements of "princess Black of Ethiopia", but also because this story was clearly written in honor and reference to the king of the tme, Louis 14. When the fairies create a palace for princess Desired to live into until her fifteenth birthday, and have inside of it the whole history of the world depicted by art pieces, d'Aulnoy breaks her narration to describe in a poem form the "greatest and most brilliant warrior king of History", who is not named but is very clearly Louis XIV. Earlier, when the queen visited the six fairies' palace, the fairies told her that to build it they hired "the architect of the Sun", who basically recreated "the Sun's palace" but in smaller proportions. This is an obvious reference to Versailles, the wonderful castle of the "Sun-King", Louis 14. And if this wasn't enough, there are also several explicit comparisons to an actual historical event contemporary to the story: a royal wedding. Several times throughout the narration, d'Aulnoy says that the beautiful clothes or gorgeous outfits of Desired are identical with or "right behind in term of beauty" to the outfits and jewels worn at a "certain princess" wedding. These are all comparisons made to a certain woman named Marie-Adélaïde de Savoie, who had just married the duke of Bourgogne, aka... Louis XIV's grandchild.

All of this makes the story feel very NOT "intemporal" since, if you don't have the historical context, all those moments seem a bit weird and mysterious. And yet, this fairytale stayed one of d'Aulnoy's most popular ones... My guess is that what seduced people in this story was the imagery it brought rather than the story or writing itself. People's mind and imagination were struck by the supernatural white doe a prince cannot capture, by the visual of this monstrous crayfish terrorizing a queen and fairies by cursing a baby, by the idea of a beautiful girl doomed to live in the dark until her fifteenth birthday...

In fact, the way madame d'Aulnoy writes this tale to celebrate the royal wedding might explain why the main protagonist here, Desired, has such a young age - barely fifteen. Because Marie-Adélaïde de Savoie, upon being wed to Louis XIV's grandchild, was only twelve... [Note however that madame d'Aulnoy did not condone or enjoyed at all child-weddings of this sort - she herself had suffered from an atrocious arranged wedding in her very early life, and this ended up in a complicated business of manipulations, false accusations, exiles and murders - but when you live in 17th century France, you better be a propagandist of the king, especially if you are a woman who tries to write fiction.]

2 ) The beginning of the fairytale is obviously to put in parallel with Perrault's Sleeping Beauty. Same "gift-giving christening by the fairies" scene, the same way the older and more powerful of the fairies arrives to curse the babe only to have her curse "eased" by the others, the list of gifts offered by the fairies being quite similar to the one of the Sleeping Beauty fairies - more explicitely, in the beginning of Sleeping Beauty it was explicitely said the queen visited/tried several miraculous/healing waters to try to have a baby - which is what the queen does in the beginning of this tale, except here it becomes the start of the plot.

3 ) While there is still the manichean divide typical of French literary fairytales of "good fairy and wicked fairy", here d'Aulnoy plays deliberately on the fairies ambiguity, to show that despite acting by a binary pattern, fairies stay a "gray" set of beings. For example, the Fairy of the Fountain or Crayfish Fairy, despite being one of the main antagonists, starts out in the story as a helper and a benevolent force - and in a twist, still does fulfill her role of "good fairy godmother"... but she does so to the princess Black, who is an unwilling/accidental antagonist to the hero of the tale. (A similar process, where the antagonistic fairy is just the fairy godmother of someone other than the hero, was already used by d'Aulnoy in several of her previous fairytales, including The Blue Bird). As for the six benevolent fairies, while they are all good and nice throughout the story, the narration still highlights that they have two sets of chariots, and that when angered they drive the dragons, snakes and panther-driven chariots, hinting that while they are here helpers they can become antagonists in other stories.

4 ) While there is all the racism I talked about before, it is quite interesting to see here that we have two "anti-portraits" of ugly women, meant to oppose Desired's supreme beauty, two anti-portraits that actually help us understand the beauty criteria at work in this end of the 17th century of France. For Princess Black, we see that her ugliness comes from a "dark skin", "big lips" and a "crushed, large nose" - which are, beyond traits typically "African connoted", the opposite of the French ideal of women with very pale skin, very small noses, very thin lips. But in contrast, we also have Long-Thorn who presents another set of flaws. Just like princess Black there is the nose - here too red and too hooked - but beyond that we also have added poor teeth hygiene (Long-Thorn has black and unaligned teeth), and more interestingly a body too tall and too skinny. In general, when it comes to ugliness d'Aulnoy typically invokes smallness/dwarfism or fatness/obesity, but from time to time she also insists that when a character is too tall or too skinny, they also are ugly. Because in this time era, while they wanted women tall, they still didn't want them as tall as men, and there was still a certain "interest in the curve" as without being very large or big, women needed to be plump and fleshy enough to have a body to appreciate (a bony and skinny body was not a beautiful one at the time). Of course, no need to remind you that this was a set of aristocratic ideals - because only the noble and the rich could afford to be chalk-white and "pleasantly plump".

5 ) People have noted that, funnily, the way prince Warrior falls asleep in the woods after eating apples he found there looks like a "male Snow-White". It is quite interesting because, while there probably wasn't a Snow-White reference (since it is not a typically French tale), madame d'Aulnoy had the very Christian background and culture of the apple as the "forbidden fruit" with the whole Garden of Eden story. Which leads to an interesting point...

6 ) This fairytale is a sexy tale. It is not an overtly erotic fairytale, no, but there is an obvious VERY romantic if not sexy if not erotic connotation. This however only appears in the second half of the story, when Desired becomes the White Doe. Desired, turned into a prey, and Warrior, improvising himself a hunter, those two lovers, find themselves reunited deep into the woods (the uncivilized, savage, wild world) after purposefully leaving or fleeing their respective courts (the forest is noted to be filled with dangerous predatory animals, such as bears or lions). Warrior hunts down the White Doe, not knowing that she is the girl he is in love with and obsessed over - though he also grows a fondness, familiarity and love for this white doe. And all the while, the White Doe recognizes her hunter as the one she is in love with, and having to flee from him for her life is said to be just as painful as if she was actually hit by his arrows... Madame d'Aulnoy clearly plays here on metaphors and allegories to weave a whole "game of love" or "love as the hunt", "hunt as the love" section. Warrior hunting for the White Doe, the White Doe making sure she can be hunted while never letting herself be caught, it all evokes a bizarre game of seduction. Warrior clearly treats the Doe as more than a simple pet, claiming he "loves" it and wants it to follow him everywhere and to live with him. When the Doe tricks Warrior to escape him, and Warrior complains to his friend, Becafigue jokes about the situation being like an unfaithful woman cheating on her lover - but the prince answers his joke absolutely seriously. And of course, it is after the prince and the princess spend the night together, sharing their love, in human form, that the spell is broken... [Note: In my previous recap I might have written things backward, saying the spell is broken when "night comes and nothing happens". It is the reverse - they talk all ight long together, and as the morning comes she doesn't transform. Sorry about that.]

Beyond the general image, if things weren't clear eough d'Aulnoy keeps addng little details that make the story even more erotic - almost scandalous. The apple section I mentionned - prince Warrior eating apples in the woods before falling deeply asleep reminds of the first human consuming the "forbidden fruit", and it is when the White Doe dares sleep near him for the first time. When the prince catches the Doe or tries to "woo" it with gifts, it is said he keeps petting it, hugging it, caressing it, kissing it - as a pet, as an animal of course, but we reader know that there is a human woman underneath this doe skin, and so the erotic content cannot be escaped. ESPECIALLY when it is said that, after running from each other all day long, both return to their respective bedrooms "sweating and panting, exhausted by the time they spent together". And don't even get me started on how the prince ends up, to conquer and tie up the doe, hitting her with a single arrow in the leg, making her bleed... This is not a fairytale safe for kids.

7 ) Speaking of love, I did not mention it in my recap, but this fairytale is one of the rare ones of d'Aulnoy to have a moral in the end. To summarize it, d'Aulnoy explains that "With the story of this princess that wanted to leave too soon the dark place a wise fairy placed her in to hide her from the sun's light - and the metamorphosis and misfortunes that resulted from it - you will find an illustration of the dangers to which a young beauty exposes herself when she enters too young, too unprepared in the world. If you were gifted with all the traits and qualities that attract love to you, you better know how to hide them, because beauty can be deadly. If you think that by making others fall in love with you, you will shield yourself from love, well know that by giving too much, you always end up taking." So yes, long story short, this is meant to be more than just a fairy love story, but a warning for girls that too young, too beautiful, too unprepared, throw themselves in the world of love, adult and serious romance, and have to be confronted with the many dangers in it.

8 ) On a more "traditional love story" side, this fairytale accumulates ALL the story devices typical of romances of the type to avoid having the two lovers meet each other. In fact, this is the entire point of this story, the apex and climax and culmination: when princess Desired and prince Warrior can finally see each other in person, and talk to each other. At first you had the exchange of portraits and the sending of ambassadors, then you had the fake princess Long-Thorn hijacking the planned meeting, then the two lovers finally got under the same roof, but not only ignored each other's existence, even when meeting each other they didn't recognize themselves thanks t the doe curse... So when they finally see themselves as humans and touch each other as humans and talk a full dialogue, the story is complete and the curse is broken

9 ) Note however that despite the seemingly virtuous and chaste moral added at the end, madame d'Aulnoy does write the character of a more proactive and manipulative princess that "plays" her male lover. It is she that is happy with his caresses and petting and allows herself to be "touched" of the sort, and it is she that sneaks up by her lover's asleep body, and again the terms of the curse are clear - by day she is forced to become a beast, and to do as beasts do, aka to wander in the woods, aka to return to the world of savagery, primal desire and bestial behavior. On the other side, something that might escape a reader at first glance is that prince Warrior is not supposed to be a "prince Charmng" of the traditional genre. As I said, we are inside d'Aulnoy's second book of fairy tales, and so she reached a point where she plays with the conventions of the genre. In the whole hunt story, we have a brutal lover who tries to kill, seriously wounds though he heals it afterward) and ties up with knots his lover, treating her like a prey and a beast (well, because she IS, but you know) - and there is also the use of the peep-hole by Becafigue that solves the whole problem indeed, but by the undignified way of spying into women's bedrooms (Becafigue had already a not so good behavior when he acted as Warrior's ambassador, encouraging Desired's parents to ignore the "powerless" and "silly fairies" and disobey Tulip's warnings - and in the world of fairy tales one should NEVER underestimate the power of fairies)

But that's just for the second part of the story. In the first part, prince Warrior's behavior is also to be criticized. In fact, it is quite ironic that he is called "Warrior" and introduced as the winner of "three battles", because the first part of his character act has him acting as un-warrior, if not un-manly as possible. He becomes a love-stricken mess, he locks himself in his room talking to a portrait, he despairs of not being able to be with his love, he spends his day dreaming, and doing nothing, and wasting away, with no appetite for anything, making himself sick over lethargy and depression - and so fragile that he can't even wait three months for his loved one to come without fearing he would die. And even worse, when his hopes and dreams of love are crushed, he acts as a selfish coward by simply abandoning his parents, his throne, his court and duties, leaving secretly at night with just one letter behind to explain everything to his parents, and isolating himself from the world in desire to just cry on his own fate forever in some isolated place... We've got some emo teen in love vbes here.

10 ) This fairytale is very "medieval" like in tone. Beyond the "fairy christening" scene that is reused everywhere ever since Perrault and inherits from similar medieval scenes, a la Perceforest, the entire topic of the hunter going after a supernatural, white animal he cannot capture is an iconic topos of medieval literature. Typically this doubles or is tied to the hunter meeting some mysterious woman in the woods, preferably near a fountain, who might take him to a wonderful palace - but this happens rather to Desired's mother, who meets a fairy at a fountain, and is then taken to the six fairies' magical castle.

11 ) In terms of folkloric inspiration, if we use the Catalogue Delarue-Tenèze (a local form of the ATU Index but exclusively covering French fairytales), this story is clearly a literary take on the story type 403, "The substituted fiancee", "The fake fiancee". More specifically, it is a literary take on the 403-B (characterized by the metamorphosis of the real fiancee replaced by a fake one), though there is one element typical of the 403-A (the fact that the prince falls in love with a portrait). While inspired by it, madame d'Aulnoy clearly adds several purely literary elements that make this story very unique. For example the scene of the "fairy-gifts" and the "fairy-curse" at Desired's birth, or the presence of a first fiancee for the prince in the person of the princess Black, two elements united by the character of the Crayfish Fairy or Fairy of the Fountain - this all comes from d'Aulnoy's mind, and is traditonnaly not found in French folktales. And this was clearly placed here only to complicate the originally straightforward story into something much more focused on a "twist-and-turn romance".

[themousefromfantasyland]

Bluebeard

by Bruno de La Salle

If you love fairy tales, you need a French friend. I read this version of Bluebeard when I was a child. It stuck with me, because in this version, there’s a dark, melancholic, and dream-like romance between the protagonist and the titular Bluebeard, here reimagined as a prince cursed into being a giant.

But I could never find this book again.

My good friend @adarkrainbow helped me find it and I will forever be thankful to him.

@ariel-seagull-wings , this is the Bluebeard I talked about. A Bluebeard tale that is also a mix between Beauty and the Beast and Prince Lindworm.

"Curse, curses, Spells, imprecations: Words of blood, words of lead."

There had been a curse and no one knew why, for whom or in what way. But what remained certain was that misfortune was there. There was, in this kingdom where neither king nor laws existed, a poor old man who had just lost his wife. And this poor man had lost, with his wife, his courage, his good humor and the last grain of brain that remained to him.

He had had three beautiful sons, they had been away at war for six years and would not return at the earliest after seven.

He had only his daughters left: four girls to marry, but who were not yet married and who every day asked what there would be to eat, knowing that there would be nothing.

He spent his days looking for what he could bring them back and did not find much.

One day, a winter day without bread, he suddenly saw in front of him a field covered with blue cabbages. Those cabbages that are put in soup and that are tender and crunchy. They seemed so numerous to him that it was like an ocean. But what surprised him most was that he had never seen such a field, in that place, before.

Without trying to find out more, he threw himself at this godsend. He wanted to pull out these cabbages to take them away as quickly as possible.

He could not pull out a single one. These cabbages were as if attached to the earth of this strange field. As if connected by threads. The poor man was overcome by a desperate anger. He began to hit the cabbages, kicking and punching.

He heard a rumbling, and suddenly saw a rock rise up above him and the field, an enormous stone. It was neither field nor stone! It was the head of a giant and the field was his chest on which his blue beard feel like cabbages.

The poor man wanted to run away but the giant had seized him with two of his enormous fingers. He brought him close to his face and asked him gently: What was he doing in that beard? Why had he disturbed him?

The poor man told everything: his misfortune, his misery, his four daughters to marry, feed and clothe.

“Give me one and you will never be hungry again. Otherwise, since you are disturbing me, I will crush you like a fly!”

The man did not hesitate much. Fear, misery, stupidity, the urgency of his decision did not help him to think. He accepted.

When the appointment was made, he quickly returned home, reassured and almost happy to have gotten rid of the danger, and also of his eldest daughter.

Without being heard by the others, he came to tell his daughter that a prince was in love with her, that she had to go see him near his castle as soon as possible, to come to an understanding and to marry him.

The girl did not argue. The opportunity was too good to miss, to leave such a poor father to find a powerful husband. She urged him to leave.

On their way, crossing a river, they came across washerwomen who were washing fine shirts that they were putting in baskets. The oldest of the washerwomen spoke to the girl:

“Help me carry this linen!”

The other did not look at her. She was not going to compromise such an attractive marriage to help such poor people!

When they arrived at the field, they found a drawbridge, in front of the bridge, a purse full of money and behind it, a large door that opened a crack.

The poor man pushed his daughter inside despite the terror she had, he pushed it and the door closed.

He waited but he did not hear a noise. That seemed enough to him to think that everything was fine. He took the purse and then returned home, very pleased with his good deal.

So his elder daughter disappeared and no one knew how, except him and the giant. He did not try to find out what had become of her. He worried about it the day he found his purse empty.

So he returned to the field. His blue beard waved under the winter sky. Very, very respectfully, he pulled on one of the curls that was shaped like a cabbage.

And, like the first time, the blue giant straightened up. The old man was terrified. He hesitated to ask for news of his elder daughter but what he wanted most was to ask for money.

He did not need to do so. It was the giant who asked:

“Give me your second daughter if you want to earn money and if you want to save your life!”

The old man asked for nothing else. He did not ask any questions. He did what he had done again.

And like her elder sister, the second was too happy to believe she had escaped misfortune.

She left with her father, did not listen to the washerwoman, ducked behind the door and was the father able to take the salary from this affair.

Ill-gotten money evaporates without one knowing how to do without it.

A third time, the father headed for the blue field. And as the previous times, things went well.

It was the last one's turn. The youngest, the innocent one, the one who wanted to stay home to watch over her father who was left alone since the others had left.

Everything had to be explained to her: the story of the older sisters and the giant, the choice he had left her: a daughter or to be killed.

She agreed to give herself up, but took a raven and a dove on her shoulder to send news: white and joyful news, black and dangerous news.

They met the washerwomen on the way.

The oldest asked her to help her carry the laundry. She came to help her immediately.

Then the old woman gave her three small colored handkerchiefs, the first white, the second red, the other blue:

-Take them for your wedding day, they are a shirt, a dress and a coat. And you will not take them off until your husband also takes off similar clothes.

The washerwoman returned to her shirts at the washhouse and the girl to her way.

They came to the gate. The father took his money. And the girl and her two birds went into the castle.

She enters the castle, the brave young girl and she is all amazed.

It is a magnificent palace, all lit up, all illuminated and so well made, so well arranged that it is as if she had always lived in this palace.

She crosses the lounges, the rooms, the apartments. She sees there, she recognizes there what she had guessed to see there, except that everything is blue.

The young girl arrives at the dining room, where the meal is prepared with everything she prefers.

The giant is there, suddenly, and invites her. They then sit down at the table. It is like her father told her during their journey: his skin, his beard, his hair are blue, pale blue like anger, like winter cabbages.

And yet, he seems less big, less big than a large stone and a field. But a terrible sadness can be read on his face, a heavy blue sadness.

When they have finished eating, he takes her to his room then withdraws without saying anything.

The next day, at dawn, he stands ready to lead her, to show her what he has.

He says:

“Everything belongs to you. Take whatever you want.”

But she looks and is silent, admires but does not dare say anything and it is he who must guess what she would like to ask.

The days pass thus, discovering themselves to each other, being silent and listening to each other, revealing themselves without saying anything.

She was no longer afraid of him, nor of his astonishing appearance. But as for him, the more time went by, the more he seemed worried. It was as if he had feared that a noise or a movement might shatter a hope she was unaware of.

She had asked him for news of her three sisters.

He had not invented any, he had said: They died because of their imprudence!

He had said nothing more.

In the evening, when they separated, all the lamps went out. And he had forbidden her to light a single candle before dawn the next day.

He joined her in the night and left her before daybreak. And if she had not known who he was and what he had probably done, she would have loved him very much.

Almost a year had passed. One morning, he came to find her, more serious and sadder than ever:

“I am going to go on a journey and you are going to be left alone. I leave you all my keys, the hundred keys to the house. Everything in it is for you. Go wherever you wish. Except to the lower room where I keep what belongs to me. I beg you not to go there, otherwise I am not responsible for anything.”

He tells her all this in a whisper and he leaves and she finds herself alone.

She does not hesitate for long. She knows that she must discover what this house hides.

She runs to the lower room and with the small key opens the unfortunate door.

A suffocating stench immediately takes hold of her by the throat.

She advances inside. She perceives, in the silence, the dull noise, the slow and brief noise of heavy drops that crash.

There is, in this darkness, a glowing light that escapes from a smoking fire. And this threatening glow reveals the brownish shadows that are suspended from the ceiling.

After a moment, she understands the giant's horrible secret: these shadows, these noises, this smell, are the blood, the flesh, the limbs and the remains of the wives who preceded her in this place and those of her elder sisters who were murdered and cut up.

She guesses almost everything that had happened: they had come here driven by curiosity. They had been betrayed by a secret, a magic. The giant thus warned had killed them immediately.

They had dropped this key which was magic. And this key had spoken to warn the murderer.

The young girl this time does not drop the key.

Among all the butchery, she recognizes her three sisters, their heads, their trunks, their limbs.

With tenderness, she gathers the pieces. And their bodies are reconstituted. And as if by magic breathe, but nevertheless remain asleep.

While she is at her work,She suddenly notices another door in the room. A very small door.

Curiosity takes hold of her. She wants to know what is behind this little door. She opens it and discovers a staircase. She goes down.

She arrives in a cave. A gigantic cavern, as big as the whole world, with a vault as vast as a starry night sky.

And under this sky unfolds a marvelous landscape, made of hills, rivers, mountains, fields and rocks.

But when the moon appears and illuminates the cavern, she understands what she sees: it was not a landscape, but the sleeping body of a man.

And under the moonlight, she recognizes the giant who sleeps almost peacefully.

In the middle of his chest, as vast as a valley, flows a white river.

And on the edges, washerwomen wash soiled linen, shirts stained with blood.

And each time a shirt is cleaned, the giant sighs and sobs.

And his complaints are so touching that the young girl forgets to hold the key, and lets it go.

As soon as it is no longer held, as soon as it is abandoned, the key swells, twists and screams, it screams and it warns:

“This woman has disobeyed! This woman has disobeyed!”

Then the washerwomen flee, the river stops flowing and the valley, on the giant's chest becomes a gaping wound again.

Then the giant wakes up, resumes his tormented form. His beard and his skin become pale blue like anger, like cabbages in winter.

He addresses the young girl:

“You did not know how to keep the key. This cursed fairy key that watches over me to keep me cursed. Because of you, I become again the one who only does evil, the one who separates and who kills, the one who cannot stop himself from killing so great is his fear and who will kill you too.”

He immediately seizes his ax and begins to sharpen it, while grinding between his teeth which excite his grindstone:

“Guise, guise, my grindstone! Guise my beautiful gray blade! Crips, criss for the betrothed! Guise, guise, I caught her disobeying me! Guise my beautiful gray blade! I'm going to cut her throat!”

She says to him:

“Listen to me! Since you are going to kill me, grant me a favor! I would like to become your wife before I die. I would like you to marry me before you kill me. And I want, for that moment, my bridal finery. Let me go and get dressed.”

The giant does not answer her, but while sharpening his ax, he signals her to go.

She runs out of the cave. Quickly climbs the stairs. Finds her sisters awake. Quickly tells them what to do:

Climb to the top of the tower. Open the raven's cage, so that it can fly away and warn their brothers who have returned from war. Watch, watch and watch, then warn when they arrive.

The three sisters climb the tower and make the raven fly away. The young girl is in her room. She unfolds the three handkerchiefs that the washerwoman had given her.

Then she undresses and takes the first white handkerchief. She puts it on her chest. It makes a shirt for her.

But down below the monster is busy:

“Guise, guise, my millstone! Guise my beautiful gray blade! Squeal, squeal for the betrothed! Guise, guise, I caught her disobeying me! Guise my beautiful gray blade! I'm going to cut her throat!”

And suddenly he gets impatient: “Is your finery on?”

And the young girl answers: “I can't find my chemise.”

Then she addresses her sisters:

“Don't you see anything coming?

And the three sisters answer her:

“We only see the paleness of the dawn that is about to arrive and nothing, and nothing on the way.”

But she, she looks for the handkerchief, the second little red handkerchief. She unfolds it on her body and it makes her a robe. And the giant shouts again:

“Guise, guise, my millstone! Guise my beautiful gray blade! Squeal, squeal for the betrothed! Guise, guise, I caught her disobeying me! Guise my beautiful gray blade! I'm going to cut her throat!”

And shouts even louder: “Is this chemise on?”

She answers: “It is on, but now I'm looking for my robe!”

Then she addresses her sisters:

“Don't you see anything coming?”

And the three sisters answered him:

“We see the sun coming, lighting up the horizon, but nothing, nothing on the path.”

She took the last handkerchief, the blue handkerchief, and placed it on her shoulders, and it made her a coat. A blue coat like the giant's beard.

The monster howled like a madman:

“Guise, guise, my millstone! Guise my beautiful gray blade! Squeal, squeal for the betrothed! Guise, guise, I caught her disobeying me! Guise my beautiful gray blade! I'm going to cut her throat! Is this dress finally on?”

“It's on properly. I can't find the coat!”

Then she addressed her sisters: “Don't you see anything coming?”

And the three sisters answered her:

“We only see the morning and the sad day that is coming. And then also three horsemen in the distance!”

But it is probably too late, because here is the giant coming up to look for her.

So she must resolve to go down to find him.

And he, when he sees her coming, dressed in her three handkerchiefs, he remains completely bewildered, so perfect is this finery.

He orders:

“Take off this coat!”

And she, without knowing why, answers:

“Take off a coat like this!!”

These words make him angry, even more than he was there, but he cannot refuse her what she has just asked.

With both hands, he takes his blue beard, pale blue like anger, like winter cabbages. He tears it off his face.

And all his giant skin, which was blue like his beard, he tears off his whole body. Then, she takes off his coat.

But under this skin of anger, which the giant had just lost, appears a red crust like the dried earth.

He asks:

“Take off your dress!”

She answers:

“Take off a dress like this!”

He tears off the two lips of his wound from his chest. And all the crust of earth that had covered him until then cracks and crumbles into dust. Then, she takes off her dress.

But under the layer of earth, which the giant had just lost, appears a skin of stone, like a white and pointed rock, a yoke of sharp stones.

He asks her in a breath:

“Take off your shirt now.”

She answers:

“Take off a shirt like this!”

The giant begins to tremble, to tremble from head to toe. Trembling so much that he makes the castle tremble. And suddenly, the rock breaks, the stones split, finally break.

Then the man emerges from his shell, old and young at the same time, full of strength, but exhausted, like a newborn in the hands of the one who gives birth to him. And she took off her shirt.

The three brothers had arrived. They had blown up the door and were running to the cavern. The three sisters accompanied them.

They arrived too late. The young girl had defeated the curse. She had freed the prince.

There was only a queen and a king left, happy to be free.

There were only sweet, tender and affectionate words.

Nothing more of the sinister past.

Nothing more of what had been feared, nothing more of what had been believed.

"Curse, curses, Spells, imprecations: Words of blood, words of lead."

It was all gone, like a dream.

Again, thanks for helping me find this gem again

@ariel-seagull-wings @the-blue-fairie @thealmightyemprex @tamisdava2 @princesssarisa @adarkrainbow @piterelizabethdevries @natache @theancientvaleofsoulmaking

[causereyna-artie]

ok what if i put out my black brothers-wolfstar-slow burn jegulus-french fairy tale retelling on valentines to be cliché?

[konglindorm]

The Original Beauty and the Beast

I talk a lot about this story, but it's pretty hard to actually find and read. I managed, after several months of searching, to find the original French text when I was 16. It took me another five years to find an English translation. That translation was from Beauties, Beasts, and Enchantment, a collection of French fairy tales translated by Jack Zipes. Zipes is amazing, one of the best fairy tale scholars around. I've met him twice. It's a great book, and I would absolutely recommend picking it up from the library, or buying it - it's about $30. However! If your library doesn't have it, and you don't want to spend money. After another five years I managed to find a second English translation, which is on Project Gutenberg. So. Link to free BATB text:

It's a collection of 24 French fairy tales by various authors. Villeneuve's BATB starts on page 179. There are several other great stories, too, including The Impossible Enchantment, which I've talked about here before.

[tomoleary]

Federico Santin “French fairy tales” (1960)

[witchqueenofthemoon]

via @curiousvolumes

[krsonmar]

For those asking for a full version translated to English, this one in an anthology of fairy tales translated from French might or might not be the exact, correct one (I haven't read the whole thing yet) but it is roughly 100 pages long and has de Villaneuve's name on it. Scroll down to the Table of Contents and then you can hop right to the story from there. It is 100% free because public domain and also because, as always, PROJECT GUTENBERG AND INTERNET ARCHIVE FTW!!!

What we really need is an adaptation of the original 1740 The Beauty and the Beast

So were you aware that the The Beauty and the Beast story we all know is a heavily abridged and rewritten version of a much longer novella by Gabrielle-Suzanne Barbot de Villeneuve?  And that a lot of the plot holes existing in the current versions exist because the 1756 rewrite cut out the second half of the novella, which consisted entirely of the elaborate backstory that explains all the weird shit that happened before?  And that the elaborate backstory is presented in a way that’s kind of boring because the novel had only just been invented in 1740 and no one knew how they worked yet, but contains a bazillion awesome ideas that beg for a modern retelling?  And that you are probably not aware that the modern world needs this story like air but the modern world absolutely needs this story like air?  Allow me to explain:

The totally awesome elaborate backstory that explains Beauty and the Beast

Once upon a time there was a king, a queen, and their only son

But while the prince was still in his infancy, in a neat reversal of how these fairy tales usually go, the king tragically died, leaving his wife to act as Regent until their son reaches maturity

Unfortunately, the rulers of all the lands surrounding them go, “Hmm, the kingdom is ruled by a woman now, it must be weak, time for an invasion!”

And the Queen goes, “Well, if I let some general fight all these battles for me, he’ll totally amass enough fame and power to make a bid for the throne; if I want to protect my son’s crown, I have no choice but to take up arms and lead the troops myself!”

(Btw, I want to stress that this woman is not Eowyn or Boudica and nothing in the way her story is presented suggests that she had any interest martial exploits before or in any way came to enjoy them during these battles.  This is a perfectly ordinary court lady who would much rather be embroidering altar covers for the royal chapel and playing with her child until necessity made her go, “Oh no, this sucks, I guess I have to become a Warrior Queen now” and she just happened to kick ass at it anyway.)

And the Queen totally kicked ass, but the whole “twice as good for half the credit” thing meant that no matter how many battles she won, potential enemies refused to take her and her army seriously until she had defeated them so no sooner would she fend off one invasion than another one would pop up on a different border.

So she spent the majority of her young son’s life away from the castle leading armies, but it was OK because she left him in the care of her two best friends, who just happen to be fairies!  This was an awesome idea because a) fairies have magic, and therefore are like the best people to protect the prince from any threats and b) fairies consider themselves to be so above humanity that the lowest fairy outranks the highest mortal, so they’d have no interest in taking a human throne.  Good thing they were both good fairies instead of one good and one evil one!

(Spoiler:  they were not both good fairies.)

So the two fairies basically take turns raising the prince until he’s old enough to rule.  And on the eve of his twenty-first birthday, the evil older one comes into the prince’s bedroom.

“So listen, kid.  You’re about to become king, your mother’s on her way home from the war to see you crowned, and I have a third piece of good news for you!  You see, I’ve actually been spending so much time here lately because Fairyland’s become a bit too hot to hold me for reasons totally not related to me being secretly evil.  And if I have to hang in the human world, I might as well reside in the upper echelons of it, so even though as a powerful fairy I completely eclipse your puny human status in a staggeringly unimaginable way, since you’re about to be king and since my premonition that I should stick this whole guardianship thing out because you would be hot one day has totally proved accurate (go me), I will graciously lower myself to allowing you to marry me.  Please feel free to grovel at my feet in gratitude.  (Btw, we can totally start the wedding night now, we’ll tell your mother about it when she arrives tomorrow.)”

Keep reading

[the-most-sublime-fool]

beauty and the beast (1946) is kinda lit

jean cocteau was so real for this

women have always wanted to fuck the beast

[the-evil-clergyman]

Illustrations from Stories from Hans Christian Andersen by Edmund Dulac (1911)

[eirene]

The Mermaid Pl 3, 1911 Edmund Dulac

Mermaid Mondays

[adarkrainbow]

Masterpost 15: A busy turn of the year

The missing Arthurian knight rediscovered in 2019 - About Snow White's age according to medieval weddings and in Dumas' version - Where does Cinderella's godmother live?

A discussion about passive and active women in fairytales (French ones mostly, with a few British) - About people's reception of Disney's Big Three - Violent unicorns

Religious fanatics and Disney's Wish - Scary Tales rediscovered - A bonus from another blog, about the first Pentamerone movie -

Looking for the Royal New Zealand Ballet's Hansel and Gretel show plus why it is so cool + the folkloric character I had forgotten the name of

A long talk about the "limits" of fairy tales - Plus a follow-up/second take on the question, with an infinity of possibilities and the question of non-European cultures

A talk about dragons - DC's Fables might be public domain - The parodic web-series "Fabled" - The most disturbing Hansel and Gretel book I have ever seen - A De Efteling booklet I found - I watched "The Last Bogatyr" - The Little Mermaid and soul-searching - Religion in Andersen's works - A creepy Snow Queen - The names of the princes of madame d'Aulnoy

Pinocchio's education: Part 1 - part 2 - part 3 - part 4

Let's go up the giant beanstalk: part 1 - part 2

[katerdaddy]

Are there things to be afraid of in the woods?

[life-imitates-art-far-more]

Gabriel Ferrier (1847-1914) "Little Red Hiding Hood"

[adarkrainbow]

Oohh I love this! I recognize not just Perrault tales, but also some of d’Aulnoy as well! 

FRENCH FAIRY TALES edited by Kara May. (Limpsfield, Surrey: Dragon’s World, 1992) Illustrated by Malcolm Ashman.

book

[lionofchaeronea]

She was astonished to see how her grandmother looked, illustration by Gustave Doré from Les Contes de Perrault, 1862

[uwmspeccoll]

French Fairy Treasures

Around the World Treasures: Famous French Fairy Tales by the father of the French fairy tale Charles Perrault (1628-1703) and collected and adapted from the original Perrault by David Stone, was published in New York by Frankin Watts Inc., a division of Grolier, in 1959. The book includes The Picture Story of Perrault's Famous French Fairy Tales, illustrated by British artist and teacher Charles Mozley (1914-1991), a book illustrator and designer of posters, book covers, and print. Along with these striking color drawings are black-and-white illustrations depicting key moments within each story. Noel Streatfeild (1895-1986), an English children's book author, provides an introduction to the book. In it, she details the essential moments in Perrault's life that led him to write these stories. According to Streatfeild, before Perrault's Contes, nobody had ever read a fairy tale! Before that, these stories were passed down and enjoyed through oral tradition.

Perrault played a significant role in the literary controversy called the "Quarrel of the Ancients and the Moderns." At 23, he became a lawyer, following in his father's footsteps, before embarking on a political career, which led him into the court of the Sun King, Louis XIV of France. Spending time in his court is where Perrault garnered inspiration to write his stories. His simple, unaffected style breathed new life into half-forgotten folk tales. Interestingly, some of his versions influenced the German tales collected by the Brothers Grimm more than a century later.

So, whether you find yourself wondering in the woods like Little Red Riding Hood or dreaming of glass slippers like Cinderella, Perrault's timeless tales remain a delightful part of our childhood imagination, capturing the magic and wonder of storytelling for generations to come!

-Melissa, Special Collections Graduate Intern

-View more posts from our Historical Curriculum Collection