- Why Can’t The Princess Be Ugly? Fairy Tale Symbolism and Why It Matters – Princess State of Mind
- 'Sexist' Sleeping Beauty and all the other fairy tales that may need updating for a new generation
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However, I have included below some of the older poems which are out of copyright for your pleasure or study. Disenchantments is out of print, except for expensive library editions, so I recommend that you look for it at your favorite library or for used copies at Amazon.
New York: W. Norton, Angelou, Maya. Baker, George Augustus. Baker, Jr. New York: R.
Why Can’t The Princess Be Ugly? Fairy Tale Symbolism and Why It Matters – Princess State of Mind
Worthington, Read the poem on this site at Sleeping Beauty. Blind, Mathilde. Arthur Symons, editor. London: Unwin, Read the poem on this site at The Sleeping Beauty. Broumas, Olga. Brownell, Henry Howard. New York: Ticknor and Fields, Read the poem on this site at Anacreontic. Carlson, Claudia. Jeanne Marie Beaumont and Claudia Carlson, editors. Carruth, Hayden. The Sleeping Beauty. Also available in: Carruth, Hayden.
This book contains a poetry sequence which uses the Sleeping Beauty tale. Carryl, Guy Wetmore. Cash, Deborah.
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Available at "Briar Rose. Caskey, Noelle. Wolfgang Mieder, ed. Clewell, Johnny. Available at "Sleeping Beauty. Clifton, Lucille. Cohen, Leonard. De Ford, Sara. New York: Henry Holt, Ditsky, John. Duhamel, Denise. Ficke, Arthur Davison.
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New York: Mitchell Kennerley , Finkel, Donald. Freeman, Arthur. Greger, Debora. Hadas, Rachel. Hay, Sara Henderson. Also available in: Hay, Sara Henderson. Hillyer, Robert Silliman. Hope, Alec Derwent. Les A. Murray, ed. Oxford: Oxford University Press, Hutton, Mary. Jarrell, Randall. Also available in: Jarrell, Randall. Johnson, Charles. Knight, Douglas. Kumin, Maxine W. Also available in: Kumin, Maxine W.
Landon, Letitia [or Laetitia] Elizabeth. Sypher, editor. A 19th century poem. Lewis, Bill. Lochhead, Liz. London: Polygon Books, The Grimm Sisters. Lowell, Amy. Mayo, Edward Leslie. Monahan, Jean. Mueller, Lisel. Nemerov, Howard. Owen, Wilfred.
Rabinowitz, Anna. Riley, James Whitcomb. New York: Harper, Read the poem on this site at A Sleeping Beauty. Sansom, Clive. London: Leslie Frewin, Sexton, Anne. Houghton Mifflin Co. This poem is available online through Plagiarist. Shapiro, Farida S. Sheck, Laurie. Sheldon, Anne. Sherman, Delia. Available at "Carabosse. Shore, Jane. Sitwell, Dame Edith. New York: The Vanguard Press, Stanford, Ann. Strauss, Gwen. New York: Alfred A. Knopf, Sweeney, Matthew. Swift, Joan. Tabb, John Banister.
Tennyson, Alfred Lord. Read the poem on this site at The Day-Dream.
'Sexist' Sleeping Beauty and all the other fairy tales that may need updating for a new generation
Viorst, Judith. From Her Slumber. New York: Atheneum, Voigt, Ellen Bryant. Watson, Evelyn M.
Whitman, Sarah Helen. New York: Hougton, Osgood and Company, Wylie, Elinor. I have listed primarily classical compositions of music using the themes of this fairy tale in either ballet, opera or some other musical style. I have also provided links to popular recordings of the music when available at Amazon. The advantage to these links is that you can listen to samples of the music at no charge.
Peter Ilyich Tchaikovsky. Sleeping Beauty is considered by many music scholars to be the perfect romantic ballet. Disney liked Tchaikovsky's music enough to include it in its animated film. I do not presume to endorse a particular recording since I am not a music scholar. Listen to or buy the Compact Disc Recording at Amazon. In , Into the Woods hit Broadway and enjoyed great success. The musical incorporates many fairy tale characters and plots including Sleeping Beauty.
I have included the Broadway and London casts' recordings below. An excellent site about this musical is at Into the Woods. Download the CD. Download the song or the CD. Download the song. To learn more about these films, please visit the Internet Movie Database. Sleeping Beauty Lotte Reiniger, director.
Lotte Reiniger is historically important as an early animator, specializing in shadow puppet animation, also known as silhouette animation. She was arguably the best talent in this particular craft. She started in silent films while living in Germany and continued producing shorts for over 40 years, primarily in the UK. La Bella addormentata Luigi Chiarini, director. Cast: Luisa Ferida Carmela Oswaldo Valenti Don Vincenzo Caramandola Amedeo Nazzari Salvatore aka 'Il Nero della solfara'.
The Sky Princess George Pal, director. Also known as: Madcap Models No. U The Sky Princess. Foney Fables Friz Freleng, director. Cast: Sara Berner Mother uncredited voice Mel Blanc Narrator uncredited. Wotta Knight Izzy Sparber, director. Of course, Bluto plays dirty, squirting grease on the field in front of Popeye's horse, and using an extra-long lance.
But Popeye wins anyhow, and climbs SB's tower with Bluto right behind him. They fight over her, playing tug-of-war with her pigtails. Fritz Genschow, director. West Germany. Cast: Angela von Leitner Sleeping Beauty Gert Reinholm Prince Charming. Disney's Sleeping Beauty Walt Disney, producer. Buy the movie on DVD. Disney's animated effort was the studio's most ambitious to date, a widescreen spectacle boasting a gorgeous waltz-filled score adapting Tchaikovsky. In the 14th century, the malevolent Maleficent not dissimilar to the wicked Queen in Disney's Snow White and the Seven Dwarfs taunts a king that his infant Aurora will fatally prick her finger on a spinning wheel before sundown on her 16th birthday.
This, of course, would deny her a happily-ever-after with her true love. Things almost but not quite turn out that way, thanks to the assistance of some bubbly, bumbling fairies named Flora, Fauna, and Merryweather. It's not really all that much about the title character--how interesting can someone in the middle of a long nap be, anyway? Instead, those fairies carry the day, as well as, of course, good Prince Phillip, whose battle with the malevolent Maleficent in the guise of a dragon has been co-opted by any number of animated films since. See it in its original glory here. And Malificent's castle, filled with warthogs and demonic imps in a macabre dance celebrating their evil ways, manages a certain creepy grandeur.
In Rocky and Bullwinkle. Jay Ward Productions. Buy the collection on DVD. They have remained in syndication ever since. Sleeping Beauty originally aired in Episode 24 of Season 1. Walter Beck, director. East Germany. Some Call It Loving James B. Harris, director. Cast: Zalman King Robert Troy Carol White Scarlett Tisa Farrow Jennifer Richard Pryor Jeff Veronica Anderson In this version of the "Sleeping Beauty" tale, a woman who has been asleep for eight years is purchased from a carnival by a lonely man.
A bizarre, mediocre film. Jeremy Kagan, director. Cast: Bernadette Peters Sleeping Beauty Christopher Reeve The Prince Beverly D'Angelo Bad Fairy. This television series originally aired on Showtime for six seasons and a total of 27 episodes. Cannon Movie Tales: Sleeping Beauty David Irving, director.
Buy the movie on VHS. Cast: Morgan Fairchild The Queen David Holliday The King Tahnee Welch Rosebud Nicholas Clay Prince Sylvia Miles The Red Fairy Kenny Baker Elf Jane Wiedlin The White Fairy. The Red Fairy's curse will send Princess Rosebud to her death. The White Fairy softens the curse by turning the death into a hundred years sleep. Into the Woods TV. James Lapine, director.
The Witch Chip Zien Baker Joanna Gleason Baker's wife Tom Aldredge Cinderella Danielle Ferland Jack Barbara Bryne Jack's mother Merle Louise Rapunzel's Prince Pamela Winslow Tony Award winners Bernadette Peters, Joanna Gleason and the rest of the original Broadway cast weave their magic spell over you in Stephen Sondheim's masterpiece, directed by James Lapine, a seamless fusion of fairy tale characters and what happens after "happily ever after.
Teen Sorcery Victoria Muspratt, director. Cast: A. Dawn Craig Olejnik Michael Charming Lexa Doig Franny Nadia Litz A "teen flick, with cheesy lines and predictable plots. Cook plays "Dawn", a new girl in Pilgrimtown, who in the end fights the evil head cheerleader, "Mercedes", played by Lexa Doig, and saves the day. The twist, Mercedes casts a spell on Dawn, putting her into a deep sleep. The spell can only be broken with a kiss from a brave and gallant prince.
In the end, good triumphs over evil as Maleficent and her army win, getting to keep the land. We see the castle being a place of safety in which holds the Princess, this tale's damsel in distress. There are tales of this castle being a "ruinous old castle, haunted by spirits", for she has been asleep for years. The castle is symbolic of enclosure, as within it lays a princess who's been enchanted yet bewitched with a curse.
The castle symbolically reveals it's enclosure of a hidden treasure. Within the castle walls is a hidden treasure that Maleficent seeks to desire - her stolen wings. The castle is a timeless fairy tale element that is very much archetypal. It is symbolic of enclosure - it's a strong safe place in which holds different things. In Maleficent, the castle holds her treasured item, that being her wings - an item that made her who she was.
While in Sleeping Beauty in the Wood, the Princess lays asleep. This tale's moral message teaches us to be loving and caring human beings. To compare, the modern adaptation of the tale "Maleficient" conveys a different perspective on what love truly is.
The original tale by the Grimm Brothers conveys the message of love conquering evil, when the evil spell that was bestowed upon the Princess is broken by a Prince who rescues her with a kiss. While in contrast, Maleficent is a film that evolves it's lesson, making it more valuable to this day and age. In the modern film, the Prince's kiss doesn't awake Aurora. In Maleficent, we understand a transformative lesson of what love really is. Love is not shallow. Through Maleficent sharing her motherly-love with Aurora, she depicts her love as an unbreakable bond and promises to protect her from all that is evil - only her kiss on the forehead is strong enough to awaken the princess from her deep slumber.
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The modern film evolved an important lesson that was poorly conveyed in the past so that it adapts to our day and age. The film's theme evolves to portray this tale's love in a more sensible light. In doing so, love is conveyed in a more realistic lens. Although the tale is one that captivates us with many fairy tale elements, it teaches us a realistic and moral lesson that love conquers evil.
We have discussed a comparison between many archetypes, which shows us the modification the tale has endured in the modern film, Maleficent. Through fairy tale elements, we can see how modified the tale has become. The incomplete fairy tale he hears drives him to join the narrative and complete it himself. It compares favorably with the words spoken by the fairies, who set the tale into motion with their powerful pre-dictions and thus evoke, in line with arguments made by Allison Stedman 11 , the authors of fairy tales themselves.
Speaking in the tongues of fairies and storytelling peasants trump royal edicts and proclamations of the male monarch. That Perrault included it — despite its absence in Basile — strengthens the possibility that he may indeed have known the tale of Troylus and Zellandine Its singularity, however, in no way diminishes the role of speech and storytelling as driving forces in the narrative. In fact, Perrault uses the single episode effectively to legitimize the fairy-tale genre in which it appears. The changes that the Grimms have made to this episode, however, reflect the different literary and cultural context in which the brothers were collecting and rewriting their tales.
If there is some ambivalence about folk traditions and superstition in Perrault, there is none here. And if the fairy tale and oral tradition are valued by Perrault and his contemporaries because they legitimize genres, subject matter, and a creative impulse that serves the modernist agenda, this is not precisely the case for the Grimms. Rather, it suggests the power of the popular memory as it is embodied in the folktale. For the Grimms orality precedes the visual. Hearing — and not principally seeing — is believing.
When Zellandine is aroused but not awakened by his endless kissing, he is encouraged by the voice of Venus and allows desire to overtake him completely. A particularly relevant intertext presents itself in the novel Heinrich von Ofterdingen by Novalis, a pioneering theorist and creator of influential literary fairy tales during early German Romanticism. Throughout his journey, Heinrich encounters people who engage him in conversations about poetry, history, and nature, and who, above all else, tell him stories — fairy tales — that stimulate his desire to become a poet and drive his quest.
At the very beginning of the novel, Heinrich is kept awake by the stories he has heard from a stranger — stories not exactly about a Brier Rose, but about a blue flower. While his parents sleep, Heinrich lies restlessly in his bed thinking of the stranger and the tales he has told. Falling finally into sleep, he dreams the first of several dreams — prophetic stories that he tells himself — and envisions the blue flower, the symbolic incarnation of Mathilde, love, and the spirit of poetry. Orality, poetry, and love are one, and the kiss embodies all three.
Mathilde schwieg. Mathilde sah ihn mit stiller Aufmerksamkeit an. Endlich stand alles auf. Heinrich war an Mathildens Seite geblieben. Gute Mathilde, lieber Heinrich, das war alles, was sie einander sagen konnten p. Fired by his lively speech and new-found eloquence, Heinrich is overcome by an irresistible impulse to kiss Mathilde, first on the hand and then, bending towards her, on the lips.
The fact is that the kiss between Heinrich and Mathilde shows the impossibility of separating the erotic from the poetic, which are inextricably linked in this pregnant moment of oral expression, where love gives birth to speech, and speech to love. This intimate coupling of love and poetry in the form of a kiss is repeated throughout Heinrich von Ofterdingen Eros [. The pivotal storytelling episodes that propelled the heroes in those tales virtually disappear in Disney. Most conspicuous is the absence of the pivotal storytelling episode, in which an old man tells the tale that inflames the prince and inspires him to begin his quest.
Disney replaces this episode with a scene in which the sadistic Maleficent actually tells the captive Prince Phillip the tale of Sleeping Beauty. Like the viewers of the film itself, in that moment Phillip is a spectator of the fairy tale, strengthened in his resolve to defeat Maleficent not simply by the words she has spoken, but by the images with which she has told her tale.