A CRITIQUE OF THE SNOW CHILD, TAKEN FROM ANGELA CARTER’S THE BLOODY CHAMBER.

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A CRITIQUE OF THE SNOW CHILD, TAKEN FROM ANGELA CARTER’S THE BLOODY CHAMBER.

Throughout ’The Bloody Chamber’, Angela Carter takes the highly successful conventions that belong to once innocent fairy tales, and rips them unremorsefully from their seemingly sound foundations to create a variety of dark, seductive, sensual stories, altering the landscapes beyond all recognition and rewarding the heroines with the freedom of speech thus giving them license to grab hold of the reigns of the story.

The Snow Child is one such story by Carter, where connotations seen in fairytales such as ‘Sleeping Beauty’ and ‘Little Red Riding Hood’ are in evidence and are fused together accompanied by the emergence of feminism to the foreground
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The first example can be seen in the title of this story - the aspect of snow suggests purity that audiences have come to associate with the colour white whilst the word ‘child’ suggests the innocence that can only be possessed by children so young.

The connotations carried by colour are used to give us an insight into the personalities of both the Count and the Countess. For we are told that the Count rides ‘on a grey mare’ and the Countess ‘on a black one’. Therefore, if the colour white is associated with purity and goodness as previously mentioned, the colour black is at the opposite end of the spectrum, seeming to suggest evil whilst the colour grey is in between - not totally good but not totally evil either. This begs the question, certainly in mind, as to whether or not we are supposed to feel some sort of ambivalence towards the Count, given his associated colours - however, his language and his later actions seem to deter this thought.

‘Oh how I long for a girl as white as snow’.

At face value, this certainly seems to suggest sexual desire yet the words ‘girl’, suggests innocence and the colour ‘white’ used in the simile suggests purity, possibly virginal purity which in today’s
context

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