Fashion, Incest, and Fur, in All-Kinds-of-Fur and Donkeyskin Donkeyskin, by Charles Perrault, and All-Kinds-of-Fur by Jacob and Wilhelm Grimm, are both stories about a princess who runs away from her kingdom because of the king’s desire to marry her, despite the fact that the marriage would be incestuous. In Donkeyskin, the king is overtly powerful and wealthy, and much of his wealth is obtained by his Master Donkey, who excretes gold. In both tales it is necessary for the princess to find some means of discouraging her father’s sinful proposal, of which she asks for three magnificent and impossible dresses to be made and for the skin of an animal or multiple animals. The princess’ requests in both tales, however, are futile, because the king will stop at nothing to make his daughter his bride. The stories differ in many ways though, specifically in characterization and plot. In Donkeyskin there is an actual donkey, which appears to be essential to the well-being of the kingdom, at least monetarily, but the donkey’s importance dims in the eyes of the king when he has to choose between his wealth and marrying his daughter. In All-Kinds-of-Fur, however, there is no actual significant animal figure within the plot, just the mantle of furs from a thousand animals, of which the princess wears to disguise herself. Donkeyskin also contains another character, the fairy godmother, who is not present in All-Kinds-of-Fur, yet is essential to the plot. The protagonist in both tales differs in her motivation and actions greatly. The princess in Donkeyskin is less direct in her actions and choices than in All-Kinds-of-Fur, being firstly influenced and advised by her fairy godmother, but in All-Kinds-of-Fur she makes the decisions herself, ... ... middle of paper ... ...es Perrault’s Donkeyskin and Jacob and Wilhelm Grimm’s All-Kinds-of-Fur may be very similar, both beginning with the death of the queen and mad-request of the father and king to marry the princess, his daughter, and ending with the marriage of the princess to the prince/king of another kingdom, the characters themselves differ markedly, in how they think and act. While the princess Donkeyskin is thought to be accomplished and wise, she relies on fate and other people to make her decisions, unlike All-Kinds-of-Fur who makes her choices, doing only what she feels is right. The love-interest of the princesses in each tale differs also, one being a weak prince and one being a strong king. The king and queen in both Donkeyskin and All-Kinds-of-Fur are highly similar, thinking and acting in the same manner, both causing distress in their daughter’s journey through life.
The stories may be derived from different periods and diverse countries however both characters of the stories showed similarity in character. The appearance of both characters, Tartuffe and the Monkey...
In one, a specimen-creating brute robs a pelican child’s life and her guardian trying to bring her back to life. In the other, a prince learns the value of his frog-turned-princess and sets out on a quest to find her. Joy Williams’s Baba Iaga and the Pelican Child and Alexander Afanasev’s The Frog Princess are both critical facets of the fairy tale genre. While initially it may seem that Williams preserved no elements from Afanasev’s tale, upon a closer glance, it is evident that the two tales’ similarities outnumber their differences. By incorporating a generous portion of the original story into his, Williams’s version brings forth an innovative arrangement of classic and new. As a result, William’s tale introduces features to the tale that mirror everyday life lessons while simultaneously maintaining qualities that are reflective of the definitional aspects of the fairy tale genre.
Briefly, the story I read was about a young prince being transformed into a donkey. It was one of the witchcraft stories where the young boy/girl had to retrieve a certain thing to be transformed back into his/her normal self. A role of magical realism was played as well as fantastical literature. "Bring out the apple," said Terror. "I would give my name, my rank, and my reputation, as a warrior to possess even a quarter of your magic"(32). Magical Realism and fantastical literature are brought together by the fantasy of a young boy being transformed and the magic that would make that transformation happen.
Through the three revisions of Beauty and The Beast, the fairy tales retold share many similarities as well as many differences according to their time period. In all three versions femininity and masculinity are presented in many ways. Femininity is shown through all three main female characters, Belle from the famous Disney film “The Beauty and The Beast”, the narrator in “Tiger’s Bride”, and Psyche in “Cupid and Psyche”. In all three versions, the female characters breaks society’s expectations of a typical woman. In CP Psyche stands up to Cupid’s mother Venus and accomplishes these activities usually performed by males. She shows society that women can overcome male activities and have strength to complete the same tasks. She breaks tradition of the male character fighting for her because in this version she takes on the hero role and fights for Cupid. This was not something ordinarily done by woman characters during this time. In TB the narrator breaks the tradition of the innocent stereotypical woman figure. The narrator exposes and does things most woman would never have the nerve to do. She shows society that women can fault their beauty in other ways. Even if society does not make it acceptable to have sex before marriage, she shows that women can expose their body and beauty in many ways. In DB version Belle is a great example that women should not be looked at as dolls and let males have control over them. She shows society that woman can be independent and educated. She does not get married to the most handsome male in town however she goes after someone who deeply cares about her. She displays a great example of how woman have their own mind and can think for themselves. Woman are allowed to make decisions and have ...
works of literature have tremendous amounts of similarity especially in the characters. Each character is usually unique and symbolizes the quality of a person in the real world. But in both stories, each character was alike, they represented honor, loyalty, chivalry, strength and wisdom. Each character is faced with a difficult decision as well as a journey in which they have to determine how to save their own lives. Both these pieces of literatures are exquisite and extremely interesting in their own ways.
The main things that changes the way a story is written is the audience, the author must be careful not say anything to offend the people he is writing for. Charles Perrault is a French man who used to write for the nobility and the middle class, so it is expected of him to write with a lighter tone to satisfy his dignified audience. He describes the pampered lifestyle of the two step sisters who put on their “gold-flowered cloak[s]” and their “diamond stomacher[s], which are far from being ordinary” (Perrault). He emphasizes the materialistic things that the step sisters posses and describes their wonderful, carefree world. The only concern of the step sisters is the prince’s ball, the girls were “wonderfully busy in selecting the gowns, petticoats, and hair dressing” (Perrault) that was the only thing they worried about throughout th...
Jeanne-Marie LePrince de Beaumont’s fairytale Beauty and the Beast and Shakespeare’s novel Othello both feature a beautiful heroine that both develop in their own way. Beauty, from Beauty and the Beast, the youngest and most beautiful daughter of a merchant, remains extremely loyal to her father, and depends on her family greatly. While Desdemona, from Othello, is a young, wild, and independent woman who doesn’t depend on anyone other than Othello. In how they reflect the change in the heroine characters relationships, both Beauty and Desdemona conform to the concept of the Beauty character, or the main beautiful heroine of the story. Beauty and Desdemona are both these amazing beauties, and yet each of the characters find themselves in different developments throughout the stories. Although, Beauty and Desdemona have similarities, especially in their astonishing beauty, nevertheless, they differ in their advancing relationships with the beast character, their readiness for marriage, and the overall independence of both character.
The poem “Hazel Tells Laverne” written by Katharyn Howd Machan portrays the originally fairy tale story of the princess and the frog in a drastically different light. The fairy tale itself is very intriguing because there have been many different versions written over the years and the stories have slight differences between them (Heiner). The version that will be used for this analysis of Machan’s poem version will be “The Frog Prince” by Brothers Grimm. Machan’s version of the story is unique in many ways and, the time period she lived in and her gender played a great influence into how she displayed the classic fairy tale to the audience. She brought up new issues into the context of the original story. Machan uses many literary elements
Many fairy tales have been written in history among all the cultures of this world. Charles Perrault's Puss in Boots, or Master Cat, is one of the most famous fairy tales with an animal in the title. Besides Cinderella and Wizard of Oz, this is one of the most well-known fairy tales written by Charles Perrault (Puss in Boots). Puss in Boots achieves everything in this fairy tale by cheating, threatening, and lying. He is far from being the perfect role model. And what about his master? He does nothing. The only plan he ever had was to destroy his only property — his cat. For hundreds of years, this book has been republished time and time again. But why is it called “Puss in Boots”? There is a common belief that what one wears represents status in a society, we will take a closer examination proving that many fairy tales, such as “Puss in Boots”, focuses on material items bring you higher in society.
Similar to the above conversation, one must take these tales with a grain of salt, and keep in mind the time period in which they were written. For the purpose of this paper, the focus will only be on what the tale is striving to teach those who read it. Similar to Lurie’s opinion on “The Light Princess,” readers of “Sleeping Beauty” may come away from the story thinking the best was to grow up or be helped is to fall in love; let the man (prince) solve the problem (Lurie 360). This thought is further echoed by Martin Hallett and Barbara Karasek, the authors of “Folk and Fairy Tales,” as they describe the story “as a metaphor for growing up: the heroine falls asleep as a naïve girl and awakens as a mature young woman on the threshold of marriage”
The common elements in the two stories are the wolf, Little Red (Riding Hood/Cap), her grandmother, and her mother. The beginnings of the stories are also similar: Little Red?s mother sends her to grandmother?s house because the grandmother is ill. Both stories mention that Little Red is personable, cute, and sweet. This is something that, on initial inspection, seems irrelevant but holds a deeper meaning for the symbolism behind the story. In both stories, the wolf, wandering through the woods, comes on Little Red and asks where she is going. When Little Red responds that she is going to visit her sick grandmother, the wolf distracts her with the suggestion that she should pick some flowers so that he can get to her grandmother?s house first. The wolf arrives at Little Red?s grandmother?s house before Little Red and disguises his voice in order to be let in. When he is let into the house, he promptly devours the grandmother and disguises himself in her clothes in order to eat Little Red as well. At this point, the two narratives diverge.
Jeanne-Marie LePrince de Beaumont and Charles Perrault use the method of characterization by the use of narrative voice in the form of third person omniscient to articulate intended meaning. Jeanne-Marie LePrince de Beaumont’s “Beauty and the Beast” is a narrative told in third person granting authorial subjectivity over the internal and external knowledge of characters, themes and events. Throughout the fairy tale, characterization is expressed through narrative voice and implicit integration through telling of the scene rather than development. The virtues of the characters within the story are given through the voice of the narrator presenting the juxtaposition of characters within, “Beauty and the Beast”. The moral of the fairy tale presents the importance of inner beauty verses material class or physical
The magic of Puck changes the head of Bottom into that of a donkey. Puck’s own use magic adds more humor to the already comical and over-confident character of Bottom. Puck’s magic also creates a great deal of humor in the dealings of Bottom and Titania. The contrasted humor is clearly shown as Titania weaves flowers into the hair of Bottom’s donkey like head. Titania is a beautiful and delicate creature, while Bottom is completely grotesque. Magic creates an unreal image of Bottom, which in turn creates a comical contrast between Bottom and Titania. As part of the already comical sub-plot, Bottom’s altering through magic adds even more humor to the overall play.
To conclude, in the story by Briffault, despite the fact that women were not viewed upon lowly as in the other version, men were more merciless and cruel. On the other hand, in the folk tale by the Grimm brothers, although men were still manipulative, they were more forgiving and humane also women got more experienced and knew how to prevent men’s desire after the sequence of events that occurred.
The Brothers Grimm, Jacob and Wilhelm, were German romantic historians in the 19th century, and their work with fairy tales has influenced many of the modern stories we enjoy today. “The Brave Little Tailor” by: Jacob and Wilhelm Grimm is the story of a poor, working-class tailor that kills seven flies in one blow, which leads to a misunderstanding in the kingdom. The tailor stiches on his belt, “Seven at one blow”, and he tricks a group of giants and citizens of the kingdom into spreading the word that he is a brave man (Hallet & Karasek 207). The King hears of the tailor’s deeds, and enlists him in his army. The King promises the tailor his own daughter and half his kingdom in return for completing several dangerous tasks. Later on the King and the Princess find out that the tailor is a not a nobleman. The King tries to strip the tailor of the power he was given and threatens to kill him, but the tailor tricks his challenger into keeping his half of the kingdom and lives “happily ever after”. This essay is an in depth analysis of “The Brave Little Tailor” by: Jacob and Wilhelm Grimm; the application of the Marxist theories, character analysis of the id and ego, and the lack of superego in the story will be investigated.