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Hans christian andersen little mermaid analysis
Interpretation of the little mermaid
Interpretation of the little mermaid
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The ‘The Little Mermaid’ by Hans Christian Andersen written in 1836 tells the tale of a young girl who longs to have an immortal soul by becoming a human and to do so must marry the prince, eventually, costing her life. This story was adapted by Disney in 1989. It contains many changes to make it a touch more ‘family friendly’ to say the least, however it seems to take away some of the more interesting twists. As Jack Zipes writes that “Whereas Andersen’s tale is disturbing and ambivalent about the meaning of happiness, the Disney films about the Little Mermaid are sentimental, romantic, and one dimensional”. On the whole this statement is correct, the original is a lot darker and some parts do not fit the classic fairy tale we have all been shown by Disney. Of course the Disney version follows a similar plot to the majority of other fairy tales changed by Disney in order to cater to their audience.
The original aim for The Little Mermaid in the book is to gain an immortal soul. As she finds out from her Grandmother that mermaids only live around 300
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years and after this their soul disappears into the ocean. However humans have an immortal soul, even if they do live for a lot less. She is seemingly determined to obtain an immortal soul ‘I would gladly give all the hundreds of years that I have to live, to be a human being for only a day’. This contrasts to the film as her only real goal is love. This supports the statement by Zipes in that the movie is romantic but also in the fact that the book is ambivalent about the meaning of happiness. Although the two are intertwined, in order for her to gain her immortal soul she must fall in love. At the time this fairy tale was written love was not the most important thing in a marriage, people married for power and status which is possibly why Andersen starts with the idea of gaining an immortal soul. The portrayal of the witch in these stories is very different; Ursula in the film actively goes out of her way to interfere with Ariel and her pursuit of the prince. Ursula tells Ariel how she can make the prince fall in love with her knowing full well that it is very unlikely to happen, ‘King Tritons headstrong, lovesick girl would make a charming addition to my garden’ this garden being made of shrivelled mermaids and mermen that have previously failed to keep their contracts. The contract that Ariel makes with Ursula states that she will become hers, however in Andersen’s version The little Mermaid will turn to foam and not become immortal. In the original the witch is merely a facilitator for The Little Mermaid to gain her immortal soul, she does not actively go out of her way to hinder this task. Instead the Little Mermaid takes out the contract to turn her tail into legs of her own free will. In Andersen’s version she is the architect of her own downfall which may be disturbing for a fairytale but it brings in some morals that were relevant for the time, one notably that she is warned by her Grandmother that she will be happier in the sea. The way in which the changing of the Little Mermaid’s tail to legs is described in the original and lack of description in the movie is interesting. The original seems to show the cost of this transformation, being extremely painful for the Little Mermaid to walk compared to ‘treading on the points of needles, or sharp knives’. In order to get what she wants it will be painful, this agrees with Zipes’ argument that the meaning of happiness is ambivalent. The Disney version does not show any transformation and it certainly does feel like she is treading on knives, this again backs up Zipes in that the film is one dimensional. Andersen’s version has a very harsh ending for the Little Mermaid, not only does she not marry the prince but she also loses her life in order to save his.
This is rather disturbing as this does not give much of a happy ending like most fairytales generally do. It does however show some true love that is prevalent in the Disney version. The Little Mermaid has the option to kill the prince in order to save her own life and turn back into a mermaid but she is unable to. ‘She flung it (the knife) far away from her, into the waves’. The Disney version has a happy ending following the regular, one dimensional plot. Ursula transforms herself into a princess that the prince will marry but she is found out at a crucial moment. Ariel is rarely at fault throughout the film and the ending is no different the evil witch hypnotizes the prince, so she unlike the original cannot be blamed and is then saved eventually by the
prince. Zipes statement holds much truth. He excellently sums up the story and its variation, especially regarding the Disney film as ‘one dimensional’. A lot can be learned from Andersen’s original especially at the time it was written. The grandmothers’ warning that she will be happier in the sea is ignored by the Little Mermaid and she pays for it in the end. The warning by the grandmother is common in some fairytales however it is ignored in this one, the Little Mermaid would have been happier in the sea but she longs an immortal soul. So is essence she would be content living in the sea but in the end her true happiness lies with the prince.
...and the Pelican Child long after Alexander Afanasev wrote The Frog Princess, he innovatively incorporated certain parts of the classic version into his own, and the combination lead to elements of lessons and values evoked throughout the entire fairy tale. Ranging from the life lessons about taking action yourself to the lessons about keeping your happiness independent of the actions of others and basing them within the stories with the plot line and the lack of punishment amongst the villains seamlessly weaves the morals with the fiction. The similarities and differences combined together create a unique fairy tale that incorporates all the main aspects of the classic fairy tale while adding newer features simultaneously. These traits of the fairy tale are what has kept the fairy tale alive for such a long time and will keep them alive for many more years to come.
A young girl is forced to live with her step-mother and step-sisters after her father and mother die. She becomes the maid of the family, tending to their every need. Eventually there is a ball; she acquires a fairy Godmother, goes to the ball, falls in love with the prince, blah blah blah. All you really need to know is that she has a happy ending. A happy ending. No matter how much suffering she went through in her early years, at the end, it all came together and she had no more worries. And this is the problem. Cinderella is not realistic. It never was and never will be. Watching this movie when I was young made me believe there was a prince waiting for me somewhere. I grew up thinking that life was simple and uncomplicated, that I did not need to worry about the future because there was a man that would provide everything I wanted and needed. But as I got older, I realized this was not the case. I saw many of my friend’s parents divorce, people die, and the world fight with each other. My fantasy died off, and I realized I had to work hard for myself, and not others. The poem Cinderella by Anne Sexton made fun of the ending of Cinderella. She states, “Cinderella and the prince / lived … happily ever after … / their darling smiles pasted on for eternity. / Regular Bobbsey Twins. / That story.” (Sexton 11). Notice who she referenced and how she has a sarcastic tone. Cinderella and the prince smiled for others, trying to convince
Walt Disney’s Cinderella is adapted from the original fairy tale written in 1697 by Charles Perrault. There are some key differences between Walt Disney’s Cinderella and Charles Perrault’s Cinderella. In Charles Perrault’s tale, Cinderella’s father is not dead, but the father is controlled by the stepmother. Cinderella’s younger stepsister is much more polite than the older stepsister, who calls Cinderella Cinderwench. The king in Perrault’s tale hosts a two day Ball, which Cinderella attends with the help of the fairy godmother. During Cinderella’s preparation for the first night of the Ball, Cinderella helps the fairy godmother find a coachman when the fairy godmother could not find one. Cinderella’s glass slipper comes off on the second night of the ball. Similar to Walt Disney’s Cinderella, the prince in Perrault’s story announces to marry a woman whose foot will fit in the glass slipper. Unlike the Walt Disney’s tale, Cinderella is not locked up in the attic and the stepmother does not physically attempt to stop Cinderella from trying the slipper. Instead, the step sisters ridicule Cinderella when Cinderella suggests trying on the glass slipper. Cinderella wears the slipper and takes out the other slipper from a pocket which Cinderella puts on the other foot. Suddenly, the fairy godmother appears and transforms Cinderella’s ragged outfit to a magnificent gown. After the transformation, the step sisters recognize Cinderella as the unknown beautiful princess who attended the Ball and beg for forgiveness. Cinderella forgives the step sisters and marries the step sisters to the great lords of the castle. The prince marries Cinderella, however, Perrault does not mention about the prince and Cinderella living happily ever after.
Presently, many books and fairytales are converted movies and often, producers alters the original tales to grasp the attention of a large audience. However, some of these interpretations hide the primary interpretation. The original interpretations of the Disney classics Snow White and Sleeping Beauty are greatly reinvented from the original fairytales Sun, Moon, and Talia and Snow White and the Seven Dwarfs because of the brutal nature of the treatment women in these original forms. Although there are differences in certain aspects from the original tales to the movies, there are many issues that are influential to the young girls who are still watching the Disney version. I realize this when my youngest niece, Anella asks me, “Why can’t I be beautiful and fall asleep and suddenly wake up to finally find my prince?” This is true in all cases of the four different translations of the fairytales. Every single girl in these stories are in a “beautiful” state of half-death who wake to find a prince who if eager to carry them off. This can lead to negative psychological effects on young girls as they are growing up, creating a large amount of pressure and low self-esteem due to the beauty that these stories portray and maintaining restrictions that these women experience in the stories. While it is true that Sleeping Beauty and Snow White and the Seven Dwarves are considered Disney classics that entertain children and provide meaningful role models, it is evident that the true, vulgar nature of these tales are hidden; these stories are about women who are thrown away.
The Little Mermaid is well known to everyone, but which version is known best? Hans Christian Andersen or Walt Disney, both are very similar mostly because Hans Christian Andersen’s Little Mermaid was the most popular version of the story before Walt Disney.
Fairytales, the short stories that most children heard as they went to bed, are actually folktales from previous decades. The fairytales today are primarily adaptations of older versions recreated by Disney— the pioneers of this generation. With that said, the modern versions consistently display good triumphing over evil, a prince charming that constantly came to the rescue, and a happily ever after ending. However, the original folktale version didn’t always come with fortunate events, but often were more violent and gruesome. With the fairytale Cinderella, Disney maintains a similar theme as its Grimm version; however, the conflicts, events, and characters that support this idea are rather different.
Over centuries of children have been enjoying the classic fairy tales of the Grimm Brothers and Charles Perrault. The fanciful plots and the vivid details allow children to be entranced by characters and adventures that can only be found in these stories. One of the most beloved fairy tales, which both the Perrault and the Grimms have their own separate versions of, is Cinderella. Cinderella is able to show how both versions are able to feed off the same plots while personifying the century and social economic situation in which they have lived.
Produced in 2009, The Frog Princess is a Disney animation inspired by the Grimm Brothers’ fairytale, The Frog Prince. Both The Frog Princess and The Frog Prince deal with a multiplicity of issues, all of which contribute to supporting positive messages and morals (Ceaser, 2009). However, though The Frog Princess is based on a classic fairytale, it is far from being the same. The writers at Disney have taken a classic fairytale and created a “Monster” (Prince, 2001). This essay will examine the evolution of the original Grimm Brothers’ fairytale, the messages both main characters represent, and how the adaptation to fit a modern child readership diminishes a classic fairytale. Through discussing these arguments, this paper will prove that Disney’s adaptation into The Princess and The Frog is counter-productive in representing the original story’s messages, morals, and values.
According to A. Waller Hastings Ariel didn’t have to face her consequences. The movie ends with Ariel’s father trading his life to the sea witch in order to save her. “Once again Disney’s heroine survives to find happiness thanks solely to the heroism and sacrifice of male characters” (O’Brien). Because of this, Ariel doesn’t grow or mature. Instead, everyone lives happily ever after thanks to the men in Ariel’s life (Hastings). Now, there’s nothing wrong with living happily ever after. However, this perpetuates an unrealistic expectation of life for impressionable viewers that abide by Mulvey’s theories on narcissism and how viewers may relate themselves to the object on the screen (Storey, 110). The image of a helpless damsel in distress being saved by men with no further consequences to her life is harmful because it may give viewers a distorted view of reality. The damsel in distress stereotype erases all of Ariel’s prior independence due to the fact that she has to be
of the Cinderella story are psychologically harmful to women.” (p648). The fact that Cinderella is a limited character may give the girl an impression that she should be happy with what she has and not have any or aspirations in her life. That is, until her Prince comes to rescue her. Since these comments were made, the Cinderella story has been modified and changed. In order to see how gender roles have changed in fairy tales from the old to the new, let’s compare the classic version of Cinderella by Charles Perrault to a recent version which is a movie that was released in 1998 called “Ever After”which was directed by Andy Tennant.
In both Hans Christian Andersons “The Little Mermaid,” and Disney’s version of the story, the main character— a young and beautiful mermaid— waits anxiously for her fifteenth birthday to venture from her father’s underwater castle to the world above the water. As the story carries on the mermaids priorities change; her modest and selfless nature is revealed towards the end in Andersen’s version. However, Disney’s version encompasses a rather shallow ending and plot throughout. The theme found in comparing the two versions reveal that Andersen’s substance trumps Disney’s entertainment factor in fairy tales.
Many pieces of literature give different perspectives and change over time. Some may incorporate the same characters along with the same concept, but some contain opposite perspectives of the stories. Cinderella has two different films that tell the same story but they contain different concepts throughout the films. While the 1950’s version of Cinderella does not reveal Cinderella’s mother, the 2015 film version reveals her mother and makes the step sisters more attractive
The purpose of this essay is to apply the feminist framework to the film The Little Mermaid (1989) in order to deconstruct Disney. First, I will provide a textual description of The Little Mermaid (1989), explaining the film's plot line. Then, I will describe my analytical framework, the feminist framework, using Ott and Mack (2010) and additional media related studies. Next, I will give an in depth analysis of The Little Mermaid (1989), using the feminist framework and several additional sources. Finally, I will give a brief conclusion, providing an...
Over the years, fairytales have been distorted in order to make them more family friendly. Once these changes occur, the moral and purpose of the stories begin to disappear. The tales featured in the many Disney movies - beloved by so many - have much more malignant and meaningful origins that often served to scare children into obeying their parents or learning valuable life lessons.
Even though the two versions are extremely similar, they contain slightly different morals. When the Grimm Brothers wrote their story, the world was a different place and children did not need to be babied. That is why they chose to write such a cruel ending to their version. In the modern-day Cinderella, there is a profusion of magic and there is no violence, which is a change from the original story. By changing this and the ending, children receive a different message from the story. However, both stories give kids hope that they will live happily ever after.