A Fairy Tale : The Tale Of A Tale

There are numerous genre’s in literature, but the level of importance and influence on an individual will differ. Exposure to books and stories is especially important for children because it their chance to acclimate themselves to written language and in turn create their own visuals for the toneless words. “Why Fairy Tales Matter: The Performative and the Transformative”, by Maria Tatar contains an ample amount of textual evidence from author’s research into fairytales, as well as writer’s personal experiences with fairytales. Although Tatar supports her claims with evidence, her resources are not concrete, and seems excessive at times. Also, her assertions are weakened by her failure to defend her conclusion against competing beliefs.

Peering into the treasure chest, a small gasp slipped out of Belle’s mouth as she began to see the truth about her friends. Laying on a crimson cloth was a book titled “Cinderella”. Delighted to find one of her favorite fairy tales, Belle sat under a tree and began to read. Her delight soon turned to disgust as she realized it was not the fairy tale she loved. Overcome at the gruesome, gory details of this version, Belle quickly slammed the

Triumphant reward in spite of unjust punishment is a universal sentiment that transcends languages and cultures. There are thousands of folktales and fairy tales that are firmly rooted in individual cultures, yet the tale of Cinderella has been told through many centuries and throughout the far corners of the world. With thousands of versions of this classic tale in print worldwide, the tale is believed to have originated with the story of Rhodopis, a Greek slave girl who is married to an Egyptian King. The story of Rhodopis, which means rosy-cheeks, dates back to 7 BC and is attributed to a Greek geographer named Strabo. The Chinese variation of this fairy tale is named Yeh-hsien. The Chinese version is traceable to the year 860 and appears in Miscellaneous Morsels from Youyang by Duan Chengshi. Yeh-hsien is a young girl, motherless and in the control of her stepmother, who befriends a treasured fish. The jealous step-mother kills the fish, but it’s bones provide Yeh-hsien with magical powers, eventually enabling Yeh-hsien to escape the control of her step-mother for a royal life. The Story of the Black Cow which is found within the pages of Folk Tales from the Himalayas by John Murray, published in 1906, the child who is mistreated by a stepmother is a male and the role of savior is portrayed by a snake, with a cow serving as the moral of the story, faithfulness. These two versions of Cinderella carry many common threads that are

Beauty and the Beast is a “Tale as old as time” or at least as old as 1740 which is when the first publication appeared (De Villeneuve). The original author, Gabrielle-Suzanne Barbot de Villeneuve, wrote 362 pages which Jeanne- Marie Leprince de Beaumont later abridged (De Villeneuve). Countless people know the general story of Beauty and the Beast: A beautiful girl saves her father by becoming a prisoner in an enchanted castle. She and the master, a hideous beast, become acquainted. The beast wants the girl to be content, even when her request is to leave, so he lets her go. When the girl returns, the beast is in grave danger. Tearfully the girl confesses her love for the beast, and he transforms into a handsome prince.

“Hello Prince Charles, how are you at this lovely afternoon?” said the ghost servant of the prince, Adam. “It is quite hot in this town also very loud with all the spirits running around” replied Charles, “so I guess pretty normal.”

She tells him that she only wishes to see Maurice again, just for a moment. The Beast takes her to the West Wing, where earlier in the show she discovered the withering rose, and gives her a magic mirror, explaining that it will allow her to see anything she might desire to see. Belle asks if she can see her father and the magic mirror reveals that Maurice is lost and sick in the forest. The Beast, having fallen in love with Belle, releases her to rescue her father and also gives her the mirror so that she may look back and remember him. Belle hurries off, finds Maurice and takes him back to the village, where a mob gathers to take him to an asylum, a plan arranged by Gaston in a very enthusiastic musical number. Gaston offers to have Maurice spared if Belle agrees to marry him but she still refuses. Belle uses the magic mirror to show the Beast to the villagers, who become frightened at his hideous visage. Belle assures them that the Beast is kind and gentle, and that he's her friend. Out of jealousy and anger, Gaston tells the mob that Belle is as crazy as her father. Belle disagrees and calls him the real beast for wanting to kill him. She tells him off that she sees him as nothing more than a sexist, narcissistic, rude, obnoxious and selfish jerk. Insulted, Gaston rallies the villagers to storm the castle and "kill the beast," convincing them that he is dangerous to the entire

Beauty’s role in beauty and the beast glorifies her as a sweet girl who can find light in any darkness. She prefers to move forward in life rather than sulk in misery. Being such a positive female character allows her to fall in love with a man who is not of the society standards of handsome, name Beast. She was more intent on focusing on what he had to offer as a person. Karen Rowe states in “Feminism and Fairy Tales” “such alluring fantasies gloss the heroine's inability to act self-assertively, total reliance on external rescues, willing bondage to father and prince, and her restriction to hearth and nursery” (Rowe). The heroine being beauty in this case, doesn't have opinions or rights because her character wasn't created to. Rowe believes that fairytales have paved the way for our expectations towards what women and men should be doing and what romance is. Rowe argues that “These "domestic fictions" reduce fairy tales to sentimental clichés, while they continue to glamorize a heroine's traditional yearning for romantic love which culminates in marriage” (Rowe). Beauty’s character found herself in these “sentimental cliches” with her

A deep, loud sound echoing across my home. It can only mean one thing: Run for the manor. I clutch my basket full of nuts as I race through the trees back to the main grounds. The horn would only be sounded if the absolute worst happened - we were being attacked. As I near the main grounds, I can hear the shrieks of the others as they drop what they are doing and being to run. It may be my imagination, but I think I hear horses pounding against the earth. Just a little further. I hear something crash into the fields behind me. Before I can see what it was, the lord of the manor streaks past me with full armor on and his sword at his side. It seems his battles were not successful...

They knew her for what she was, as evil they called her. I lived next door to her, I would watch her upon nights and day in my window, brushing her silk hair as if it needed brushing, she seemed so lost, she seemed indelicate, but I never knew her, It was impossible to say she is a witch, with long hair and indifferent eyes, they seemed brown, but they had mystery in them, her face pale enough to call them dry snow as if she wasn’t even living, trapped . she lived in the north side and her house was painted in a very curious dark blue, there seemed to be no plain living thing, her land contained not a strand of green grass growing, usually I wondered when I reached my door and seem rather odd to me, but was I curious enough, not at all I had heard stories about her, she seduced men and they never came out of the house every again. I felt it was a mere story, no one understood it may be a rather a myth, never real. I made up my mind, my weak heart won so I decided to refine the women, the Grievous witch a regarding chance.

1. What is the genre of this story? Are there any other possible genres this story could fall into?

As we grow up, we hear fairy tales and we read them into our lives. Every word and every image is imprinted into our minds. The fairy tales we read are never abandoned. They grow with us and our dreams become molds of the many morals and happily ever afters fairy tales display. We tell children fairy tales when they go to sleep and they read them in school and we even have them watch Disney adaptions that reinforce them further. Generally, they were everywhere while we grew up and they continue to be present while children are growing up now. But what influence do these stories have? We casually expose our children to these tales, but in some cases they can have particularly, harmful personal effects on them, although there is nothing completely or visibly “bad” about them or about the characters in them. Before we divulge our youth to these stories, we should assess their substance and see what sort of effect they may be having on them. They have received so much scrutiny and have been studied by many. Recognizing fairy tales effects on the minds of children is vital in their development. This paper will focus on the underlying messages that the average person wouldn’t recognize in these everyday stories. There’s a modern distort with fairy tales because while they still are widely popular with the youth, they influence children’s self images, outlooks on reality and expectations for their futures, especially for young women.

A cold shiver ran down my spine. I didn’t doubt for a moment that Daniels did exactly what he reported doing. The illusionist, whatever her name actually was, had used his face to plan her escape. Now she was loose in the castle, looking like whoever she pleased, and could easily get to the royal family. What if that was her plan all along? I probably should say something.

Madame Le Prince De Beaumont wrote one of the first versions of Beauty and the Beast in 1745. She was a teacher and her intent was to teach her students moral lessons. She felt so strongly in these lessons that she turned them into a fairy tale to help her students grasp them. The story starts off with a merchant who had three daughters and three sons. The two older girls were very arrogant because they were rich. The sisters would not marry because they wanted to be wed to someone who was very rich. Beauty was the youngest and she had many suitors, but she refused to marry because she felt she was too young and she wanted to stay with her father longer. The merchant loses his wealth and is forced to move to the country. The two older sisters were devastated and lost all of their suitors. Beauty on the other hand was so nice that her suitors still wanted to marry her. A while after their move to the country, the merchant got a note that said his stuff had arrived. This would make them rich again. ?When the sisters got word of this they begged

The paper comprehensively analyzes the fairy tale of the Beauty and the Beast (2017 film) directed by Bill Condon and produced by David Hoberman and Todd Lieberman (Hoberman et al., 2017). The analysis of the fairy tale illustrates the orchestrated play that presents Belle as a young and beautiful woman who succumb in love with a Beast. The Beast has been in existence since it was cursed by the enchantress woman who later is revealed as Agathe later in the play when she appears to lift the curse. The fairy tale shows the struggles between the Beast and Gaston developing into the enmity and fighting for the beautiful Belle. In her efforts to save her father, Maurice, Belle encounters various instances that transform her love life and emerge as a strong woman who appears to save the Beast and the servants back into human forms.

The version of Beauty and the Beast by Jeanne- Marie LePrince De Beaumont tells a compelling story of a young women making sacrifices for her family, and finding love through these sacrifices. Beauty and the Beast is a fairytale meant to educate young children on the importance of family, and that life is full of making sacrifices; while also teaching children to appreciate what is on the inside, and not just on the outside. The protagonist of the tale is Beauty. Beauty is a caring, family- oriented, strong, loyal girl whom everyone in the town adores. She kept to herself, but would do anything for anyone, especially her father. With many opportunities to get married, Beauty stayed loyal to her father, until she realized she was in love with Beast. When the family lot their fortune men still proposed to Beauty, even though she did not have money. Beauty politely turned them down; “She told them that she could not bring herself to abandon her poor father in his distress and that she would go with him to the country in order to comfort him and help him with his work.” (32)