“One
of the most popular tales of magic, “Beauty and the Beast” is known as sub-type
C of “the search for the lost husband” (AT425) to folklorists, who have counted
approximately fifteen hundred versions. This tale’s history and diffusion
exemplify the vital interaction of folk and literary text.1 The most widely
known “Beauty and the Beast,” By Madame Jeanne-Marie Le Prince de Beaumont,
appeared … in 1756. In it, Belle remains with Bête to save her father, who
angered the powerful beast by stealing a rose, the gift his favorite daughter
Belle had requested. Bête treats her like a queen, she grows fond of him, but
she refuses his nightly marriage proposal. Bête allows Belle to visit her sick
father only after she promises to stay no longer than a week. Her envious
sisters conspire to keep her longer, however, and she returns to find Bête on
the verge of death begging him not to die, she promises to marry him. Bête
turns into a prince, and the fairy who advised Belle in the dream rewards her
virtue, reunites her with her father, and punishes her sisters.2 (Bacchilega
72)”
“Beauty
and the Beast,” unlike most fairy tales, accommodates two developmental
trajectories. It not only charts the challenges facing Beauty and also
registers the transformation sustained by Beast, showing how these two
antithetical allegorical figures resolve their differences to be joined in
wedlock. What makes this story especially attractive is the way in which it is
deeply entrenched in the myth of romantic love even as its representational
energy is channeled into the tense moral, economic, and emotional negotiations
that complicate courtship rituals. Virtually every culture knows the story in
at least one of the variant forms of the tale type designated by folklorists as
“The Search for the Lost Husband” or “The Man on a Quest for His Lost Wife.”1
While we may be burdened with the version of “Beauty and the Beast” that
reflects the social mores of centuries ago, we also have an array of adept
rescriptings that address the rich complexities and troubling anxiety of
contemporary romantic entanglement (Tatar 25).”
However,
many of these elements I wanted to change in the creation of my own reversion
of “Beauty and the Beast.”
In
creating my revision, “Beauty or Beast,” I took inspiration from Madame
Jeanne-Marie Le Prince de Beaumont’s classic “Beauty and the Beast” and from
Disney’s “Beauty and the Beast.” In my tale, Beauty is essentially the beast
locked away in the enchanted castle; however, the castle is not Beauty’s for
she comes from a neighboring kingdom. She has, in fact, been kidnapped and
trapped in this castle by a sorcerer who was once the good king of that castle.
After years of being entrapped in this castle against her will, Princess
Isabel, as I have named Beauty, has become cold and unkind. While the sorcerer
still lived, she spent her days alone locked away ever longing to be rescued,
but that rescue never seems to come even after the sorcerer is long dead; and
she is still entrapped in the boundary of the castle grounds. The good king’s
son, whose name is Prince Alastair, was kidnapped by an evil sorcerer of the
neighboring kingdom. This initiates the conflict between the two kingdoms. The
good king kidnaps Isabel and demands the return of his son. Isabel’s parents
the king and queen of the neighboring kingdom search high and low for Alastair
but to no avail. They do find and kill the sorcerer responsible but learn nothing
of the boy’s whereabouts. With the great desire to find his only son, the good
king turns to the forbidden arts in attempt to locate his son. The good king
falls into despair and evil as he delves deeper in to this evil magic. In his
attempts to locate his son, he tries to create an animal that will locate his
son for him; however, he also wants this animal to be able to speak and take
exact orders, so he starts mixing animals and people to create his perfect
locator creature. Many of his servants and subjects became the victims of his
experiments, and they lost all respect and trust in their king. The king does
not succeed, but he does find a locating spell in the meantime. This spell,
however, is far too strong for the king to control. Unconcerned for his own
life, the king invokes the spell. It, of course, goes terribly wrong, he dies,
and the king ends up placing a boundary around his castle trapping all who
reside within forever. The boundary does allow people to enter but none can
leave, and only one of the king’s blood can release the spell, and the only one
who fits that bill is the king’s missing son. Now we have a beauty and a prince
but what about beast? Beast appears in the story as a wretched vagabond who is
cursed to wear a hideous mask which cannot be removed. The curse has also taken
all his memories since before he had the mask. All of society rejects him, but
he maintains a kind demeanor in his search for acceptance and salvation from
his affliction. So as you can see, I have made Beauty the “beast” and Beast the
“beauty.”
“The fairytale,
in more than one sense an art form of juxtaposition, prefers to assign good and
evil, beauty and ugliness, to two different figures rather than … to unite them
in one (Luthi 29).”
I reject this statement and have
made them one. My characters are both good and evil, beautiful and ugly. Isabel
is beautiful in appearance and ugly within. Beast is ugly in appearance but
beautiful within. Neither is exactly evil, I will leave that to the magic.
After being
driven away by a nearby village, Beast, who is at this time nameless, stumbles
upon the enchanted castle in a rain storm while searching for shelter for the
night. He enters the castle with no difficulty and stays the night only to be
awoken by a very strange woman, who is part hen. He discovers he is trapped and
he meets a few more odd animal-people including a little dog-boy named Ralph,
who oddly enough adores him instantly. The masked man is then introduced to
Princess Isabel who coldly tells him to get lost and never to come near her or the
castle for his is repugnant. Isabel also names him Beast and time passes.
Through his kindness, Beast is finally able to convince the princess to come down
from her balcony and join them all. Isabel softens and begins to enjoy the
company of these misfits.
“A virtuous,
insightful, determined woman can change a beast into a person – such is
Beauty’s power.19 (Bacchilega 78)”
But
instead of a woman here, I have reversed this portion in the story and made
Beast the changer of the beast.
However, tragedy
strikes. What Isabel had always waited for had finally comes, a rescue party
led by an old playmate and now the champion of her kingdom, Sir Gauthier, but they
have not come to rescue her but to kill all who were in contact or afflicted by
the evil sorcerer kings magic including Princess Isabel. Beast suspecting this
to occur, leaps into action to keep the army of soldiers outside of the cursed
castle boundary; for if they enter, they will all be killed, and the soldiers
will then be trapped as they are.
“The hero may
have to be brought back from his supernatural adventure by assistant from
without. That is to say, the world may have to come and get him. For the bliss
of the deep abode is not lightly abandoned in favor of the self-scattering of
awakened state…. Society is jealous of those who remain away from it, and will
come knocking at the door (Campbell 207).”
This statement is quite interesting
and says a lot about this tale but perhaps not entirely the way I intend it to.
Our hero is trapped in the ‘supernatural’ place, and he begins to think he
could be happy this way. He has found a place where he feels he can belong. He
now needs motivation to fulfill his duty, but what is this duty that I mention?
Though society is not perhaps jealous of these outsiders, they do indeed come
knocking intending to destroy their brief glimpse of counterfeit bliss in order
to bring them back to reality.
With only his
strength to aid him, Beast holds back the gate against the oncoming hoard. In
his desperation as the soldiers stab at him with their swords and spear, Beast
declares that no one will enter. Responding to his desperate cry the magic
boundary complies; and a great light emanates from the gate thrusting the army
several feet into the wood behind. Beast too is sent flying from the gate. The
power to maintain this variation in the spell of the boundary saps Beast’s life
force, and he is beginning to die. All are confused, and Beast lies bleeding
profusely from the wounds inflicted by the soldiers. Isabel runs to his side
and commands the servants to bring him inside as now the soldiers are no longer
able to enter. They dress his wounds, but he is fading fast. The servants leave
to try and find anything that might help, and Isabel stays at his side praying
for a miracle. Beast’s life fades before her eyes, and, in attempt to keep him
conscious, she declares her love for him. Into Isabel’s hands falls the cursed
mask and she looks upon his face for the first time hoping that he will be
alright.
“The
transformation is magical, and the prince incarnates the ideal combination of
virtue, wit, and looks – but, for the moment at least, Beauty’s own wonder when
she realizes it is Beast she loves seems to have a stronger fascination.23
Where, indeed, is Beast? Is transformation “real” or does it result from
Beauty’s new perception of him? Does the change answer or betray Beauty’s
desire? And what kind of transformation has she undergone herself? Who has
tamed whom, and how have social dynamics shaped this apparently magical moment
(Bacchilega 79)?”
I’ve
not always been fond of Beast’s transformation into a prince in Madame
Jeanne-Marie Le Prince de Beaumont’s classic “Beauty and the Beast,” and I have
asked myself some of these same questions; therefore, I have created different
transformations between Beauty and the Beast. Beast’s kindness changes Isabel’s
heart and Isabel’s love for Beast ends his curse to forever wear the mask.
Beast does not
move however, and his life is fading rapidly. In desperation, she calls out to
the servants for help, but no reply is forthcoming. Isabel falls to the ground
and weeps. Her worst nightmare has come true; she is trapped alone in this
wretched castle till the day she dies. Just as she loses all hope, up the
stairs comes bounding all the servants now fully human again. Isabel is greatly
relieved and all seems to be well except that Beast is not moving. She fears
him dead. All question how this could be; that they are freed of their curses,
and yet Beast still lies as if dead. Isabel sends a servant to check the
boundary for she suspects it too to be gone. The servant returns to report that
the boundary and the soldiers are both gone. Isabel drops to the floor and
weeps for Beast is indeed dead even though she is free.
“collective
disenchantments … demonstrate the significance of the phenomenon of
disenchantment in the fairytale, and the fact that it affects not only the
individual but the group, as well. The reason for the enchantment is not always
revealed. The emphasis lies clearly not on the enchantment but on the
disenchantment; the source of the enchantment, where the responsibilities lie,
is of less interest to the fairytale than the actual need for disenchantment.
That man is a creature in need of deliverance is one of the pronouncements of
the fairytale recognizable in many forms (Luthi 143).”
The enchantments on the servants,
Beast, and the castle have all been dispelled or have they?
Isabel takes the
mask in her hands and vehemently throws it into the fire cursing the existence
of magic. The mask goes up in wild colorful flames and a piercing cry emanates
from it as it disappears forever. Isabel backs away from this terrifying
display and walks over to Beast, but he still lies unmoving. She and the
servants, though glad for their salvation, burst out in tears at the loss of
their dear friend. Isabel drapes herself over Beast and cries begging him to
return for she loves him and doesn’t know what to do without him for she no
longer has a home to return to. Isabel feels a tender hand descend onto her
back, and a soothing familiar voice telling her not to cry for he had only just
seen her smile for the first time, and he wanted always to see her smile. In
shock and realization, Isabel looks up to see Beast alive and smiling at her.
It was him, all of him, no longer concealed by a mask. The servants asked him
if he knew what had happened. He does. He introduces himself as Prince Alastair
the son of the good king or as they had known him, the evil sorcerer king. His
identity was concealed by the mask so much so that not even his father’s
enchantments had fully recognized his lineage and for that the enchantment
would have killed him for trying to change it. At the removal of the mask,
however, he became Prince Alastair again, and his presence destroyed the magic
in the castle. The mask although separated from him still had hold over him and
in his weakened condition would have kept him in a state of death. Upon the
destruction of the mask, he was freed completely.
“He departs from home. While the individuals
in the local legend have their encounters mainly in their own village or city
or in the environs, the fairytale hero generally leaves home, for one reason or
another – often because of a family conflict, 352* at other times in order to
fulfill a task, to bring about a disenchantment, or simply “to see the world.”
It may also happen that the hero returns home, but that is something relatively
unimportant, failing to occur in many instances. The fairytale hero is not one
who returns to his point of origin, like the title figures of epics, epic
songs, ballads, and war-end narratives …, and one who by nature leaves home to
wonder out into the world, in a sense out into the void. He does not know the
world which he goes out into; at first also does not know what means exist to
enable him to accomplish the task he has been set – sometimes he does not even
know what his goals are (Luthi 136).”
Beast
or as we now know Prince Alastair, our hero, was actually forcibly taken from
his home instead of leaving by choose, and his journey, even though he does not
know it, is to return home. This return home is very important in this case.
This story is of rediscovery of one’s origin; instead of, ones need to discover
one’s self in the world. Beast does not know where he is going or where his
path will lead him or of the great task that many wait for him to accomplish.
Beast is already in the ‘void,’ a void of lost identity and the ‘void’ of a
cruel world. Beast’s journey takes him to his identity and his destiny.
All were
joyously happy and soon after Prince Alastair and Princess Isabel are married.
They all continued to live in the castle now free of all enchantments or of any
sign of them, and slowly they convinced the surrounding villages and kingdoms
that there was no longer anything to fear; and they all lived happily ever
after.
Fairy
tales are wondrous and strange and anything can happen if you can only imagine
it. This fairy tale of mine is defiantly different and even goes against many
of the conventions that I found on the “Beauty and the Beast” and other fairy
tales. But isn’t that what a fairytale is for, for us to instill our own ideas
and creativity into a basic story and create something new and possibly better,
at least to the creator, and to possibly entertain others along the way. I hope
you enjoyed.
The End.
*******************************************************************
Works Cited
Bacchilega, Cristian. Postmodern Fairy Tales: Gender and Narrative
Strategies. Philadelphia: University of Pennsylvania Press, 1997. Print.
Campbell, Joseph. The Hero with Thousand Faces. New York: Pantheon Books Inc.,
1949. Print.
De Beaumont, Jeanne-Marie Leprince.
Beauty and the Beast. Ed. Maria Tatar. New York: W. W. Norton and Company,
Inc., 1999. Print.
Luthi, Max. The Fairytale as Art Form and Portrait of Man. Bloomington: Indiana
University Press, 1984. Print.
Tatar, Maria. Introduction: Beauty and
the Beast. New York: W. W. Norton and Company, Inc., 1999. Print.
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