#gabrielle-suzanne de villeneuve

[cmonbartender]

Beauty and the Beast (1921) - William Heath Robinson

[ashitakaxsan]

Sacrificial Princess and the King of Beasts

   It’s real Good news that the manga  Sacrificial Princess and the King of Beasts (贄姫と獣の王, Niehime to Kemono no Ō) by  Yū Tomofuji gets anime adaptation:)

So let’s see what’s its synopsis:

The King of the Beasts and Demons regularly receives female human sacrifices to eat in order to assert the dominance of his people over the human race. However, for the 99th sacrifice, the human girl brought to the capital, Sariphi, intrigues the Beast King. In fact she isn't afraid of him or any other beast and even accepts her death without begging or crying as she has neither home nor family to return to if she were released. The King finds her intriguing and let her stay at his side as his consort despite being human. This is the story of how Sariphi will become the queen of the demons and beasts.

  The anime is produced by  J.C.Staff,under director Chiaki Kon is set to premiere on April 20, 2023, on Tokyo MX and BS11

"we'll dream of our tomorrows as we live through our todays"

-Sariphi

Below: Second Key Visual of Sacrificial Princess and the King of Beasts.

[janestvalentine]

it has to be said

[ladywatereton]

10 years of La Belle et La Bête🥀✨

🎥 La Belle et La Bête (2014).

🎶 Salvatore, Lana Del Rey.

[thefugitivesaint]

“Hope, resistance, flirtation: these are common threads among the first versions of the Grimms’ fairy tales published in 1812, before they were heavily edited by the brothers ahead of Edgar Taylor’s English translations, first published in 1823. At this point, the names of Dortchen Wild, Marie Hassenpflug and other young female contributors such as Jenny von Droste-Hülshoff had already disappeared from the record, their husbands, sons and brothers ensuring their contributions would not be recognised.” .... “... it was aristocratic women in the Parisian salons of the 1690s who invented not only our modern word ‘fairy tale’ (contes de fée in French), but also one of its most enduring examples: La Belle et la Bête or Beauty and the Beast, whose author was the aristocratic widow Gabrielle-Suzanne Barbot de Villeneuve, whom Voltaire referred to as ‘that old shrew���. Jubber estimates that roughly two-thirds of the 90 tales surviving from this period were written by women, even if this is no longer widely known today. The same fate has been suffered by storytellers of colour, such as Hanna Diyab from Syria, who brought Aladdin and Ali Baba to Europe in the 18th century. How many other collections of tales and fables originated with women, not men? What about Aesop’s fables? Homer’s Iliad? The Bible? If we go back far enough, it may be that we owe most of our classic tales to the oral storytelling tradition women have kept alive for thousands of years. Note that the oldest named author in history may well be a woman: the Sumerian priestess Enheduanna is believed to be the author of the Exaltation of Inanna and the Sumerian Temple Hymns, dating from the 23rd century BCE. “

[leer-reading-lire]

JOMP Book Photo Challenge || June || 29 || Freebie

Beauty and the Beast

[umi-no-onnanoko]

[libertyreads]

Book Review #55 of 2023--

The Beauty and the Beast by Gabrielle-Suzanne Barbot de Villeneuve. Rating: 2 stars.

Read from May 8th to 9th.

I’ll keep this one short since everyone knows the basic premise of Beauty and the Beast (at least the Disney version). I was surprised by just how different this was than the well known version of today. I didn’t completely hate the differences, but the writing style drove me up a wall. Especially in the last half of the book. We follow a similar enough plot throughout the first 130ish pages, but then we get a fairy who spends the next 75ish pages just explaining how everything came to be and how she managed to work it all out in the end. It felt unnecessary--or if not unnecessary it felt like this should have been seen before the beginning of the novel. As is usual for the classics I read, there were a lot of things that just worked out from nowhere. Contrivances that make everything tie off with a bow nicely. But I guess in the 18th century that’s something you were looking for in fiction. Overall, not my favorite classic I’ve read, but also not a least favorite. And I’m definitely keeping this gorgeous Minalima edition on my shelves.

[noplaceforsanity]

“Who gave you permission to gather my roses? Is it not enough that I kindly allowed you to remain in my palace? Instead of feeling grateful, rash man, I find you stealing my flowers! Your insolence shall not remain unpunished.” Madame de Villeneuve's Original Beauty and the Beast, translated by J. R. Planché

[90smovies]

[prosebushpatch]

have a new character who plays the harp so I looked up just “harp cover” because idk I just want to start thinking about how it would look/sound, but anyway now I’ve come to the conclusion that Fireflies should never be played on anything but the harp.

[studiotriggerfan397]

La Belle et la Bête: journal d'un film (Beauty and the Beast: Diary of a Film) by Jean Cocteau.

A superb book about the making of a masterpiece.

[whisperinglines]

I pianti sono la consolazione dell’infelicità.

- Gabrielle-Suzanne Barbot de Villeneuve, La Bella e la Bestia

[violetasteracademic]

The Glass Coffin: HOFAS x Elriel

Many HOFAS spoilers ahead!! This is an INTENSIVE post on all the Elriel coding in HOFAS, so strap in! This is largely a theory post and my personal interpretations, so take it or leave it! It's all in good fun.

Let's start with The Glass Coffin. When it comes to the analysis of the songs Bryce played for Azriel and Nesta in the much beloved and much dissected bonus chapter, I have seen a lot of conversation around Stone Mother and significantly less (if any?) around The Glass Coffin!

The Glass Coffin is played next after the Stone Mother. And it is a ballet.

What is the The Glass Coffin?

My friends, it is Sleeping Beauty.

Now we all know that many suspect Elriel to be a Sleeping Beauty retelling. And I'll be honest, I take a lot of the mythology or "retellings" with a grain of salt when it comes to SJM, because she doesn't do incredibly loyal retellings but takes bits and pieces of inspiration. I suppose it's up to you where you draw the line of a retelling, or free IP inspiration. But one thing to understand about IP is that Sarah J. Maas would have to get Disney's permission to call her work a retelling of Disney's Sleeping Beauty. Much like Beauty and The Beast, she did not "retell" the Disney princess movie, but the original La Belle et la Bête by Gabrielle-Suzanne Barbot de Villeneuve published in 1740. So with that little lesson in intellectual property, lets look at the story of The Glass Coffin, because it is actually quite interesting:

A magician forces a proposal on a Maiden using his magic. The Maiden is repulsed by the use of magic in the proposal and rejects him. The Magician turns her brother into a stag, traps her in the glass coffin, and enchants the land around them.

There is a LOT to unpack here. I do not think Lucien is "The Magician" in this story. Instead, I think the Cauldron is, and I do think that the use of magic to force a proposal is a very close parallel to what Azriel discovered in HOFAS: That the Cauldron had been corrupted by the Asteri to serve their will. If you have read all of the books in the multiverse, you know that there is no other SJM universe where mating bond rejections happen. There is no other universe in which there are unhappily mated pairs forced together because the function of the mating bond, at a base level, is simply to produce the most powerful offspring. Mates in other worlds are true soulmates, and they fall in love before discovering they are mates.

In HOFAS, Azriel listened to a song from The Glass Coffin. He also listened to the story of Silene, and learned that the Cauldron was corrupted by the Asteri. It is not a theory or interpretation that the Asteri curate powerful bloodlines to ensure they have the strongest food from the souls that they eat. It is a fact. So it is not a jump to interpret that the Cauldron's corruption by the Asteri, and mates that are not a good fit on a soul level but forced together to produce powerful offspring, are one and the same. At this time, both Azriel and Elain have discussed feelings of repulsion or discomfort regarding E/ucien's bond. There are also negative consequences to a female rejecting the bond, as there were for the Maiden in The Glass Coffin. Rejecting a bond can lead to madness on the males end in Prythian because he believes he is entitled to her, just as the Maiden rejecting the Magician's proposal led to him trapping her in glass and enchanting the lands so no one else could have her.

This is already quite interesting, but it gets even more powerful as you continue to breakdown the Elain coding in HOFAS.

This line basically started a war:

"I can hear your heart beating through the stone." She angled her head, as if the city view held some answer, "Can you hear mine?" (ACOWAR, chpt. 24)

Now many people have used this to claim she is Lucien's mate, because she can hear his heartbeat. Though only a few pages earlier, we had this moment:

Elain can hear Feyre's heartbeat. She says if she listens carefully, she can hear hers too. At the time, we all assumed she was talking about Nesta. And yet we've discovered that Vesperus, an Asteri, (or Valg, depending on which theory you vibe with) was also a beating heart under the stone.

Inside a glass coffin.

More than that, we have this passage:

We now know that the Prison was once the Dusk Court, and just like UTM, The Hewn City, and Ramiel, it is encapsulated in stone beneath the mountain. Within the stone of the Prison lies the long buried heart of the Dusk Court. When you look back at Elain's line to Lucien, and see that she is staring out at the city, looking for answers at the heart she can hear beating beneath the stone, and not Lucien, this all starts to click together in a brilliant way. And the imagery, the island having a soul nurtured and blossoming under her care, has Elain written all over it.

Now, the reason I bring up the Hewn City here is because I believe there is a reason for Elain's lifelessness and distress in the Hewn City that has nothing to do with her wearing the color black.

In HOFAS, we discover a few important things about Earth Fae. Lidia discovers in her time on Team Archives what the Earth Fae did, and what their powers were used for:

Earth Fae were used on Midgard to discover ley lines of power to create powerful strongholds. One important thing I have noticed is that all Fae on Midgard are said to come from either Erilea or Prythian (at least that is all that is mentioned) and yet there is no indicator of where the Earth Fae come from. it is my personal belief the Earth Fae are from Prythian. Yet the entire Dusk Court disappeared, and their story continued on Midgard. It is my belief that Elain is not only a Seer, but that she has also been gifted with the Earth powers that have since been lost on Prythian, priming her to both restore Earth powers on Prythian as well as the Dusk Court.

What does this have to do with the Hewn City?

Earth Fae experience distress when they are in places where the magic is dead or warped, and they are the only ones that can feel it:

Bryce mentions she forgets the Earth Fae even have magic, because what they can do is often unseen.

If Elain is in possession of the lost Earth power, she would have been able to feel her power literally shriveling up and dying anywhere that has been warped by that magic.

And then of course we have the fact that the cave on Prythian is an exact match to the Cave of Princes on Avallen. We end HOFAS with all the weapons in the possession of the IC, the knowledge that there are cache's of magic hidden in the lands, and that there are places where the magic has been twisted and must be freed, one being the Prison/Dusk Court.

This was the imagery used once the magic was freed on Avallen, and it took its true, lush, blossoming form:

If what is true on Avallen will also be true once the Dusk Court is freed on Prythian, answer this question honestly: When you read this imagery- blooming vines and roses, beautiful and surreal, the land seeming to know her, small blooming flowers nestling around her body and in her hair- who do you think of? Who could this possibly be alluding to back in Prythian?

Elain's coding was all over HOFAS, and Azriel's "what if the Cauldron was wrong storyline" continued. These statements are true, even if none of my theories about her being an Earth Fae are right, though I know I'm not the only one who believes that is where we are headed!

The fact that The Glass Coffin is Sleeping Beauty, and that Azriel listened to it, may not be a powerful statement on its own (though I think it is). But the fact that the Cauldron corruption was revealed, and The Glass Coffin is a story of a woman who was entrapped due to her rejecting a proposal forced by magic, and Sarah used the Glass Coffin again with Vesperus, potentially tying her back to the heartbeat Elain can hear if she listens closely, it's all just too much to ignore.

I was personally overwhelmed by all of the Elain and Azriel nods in HOFAS. I think they get buried under all of the criticism in the book. I am so excited to see where everything goes, and I hope you had fun going down this rabbit hole with me!

[thebeautifulbook]

BEAUTY AND THE BEAST by Gabrielle Suzanne Berbot de Villeneuve (Cincinnatti: c.1890)

source

[plutodetective]

I have to work today, but there’s a lot I want to say about Jonathan and gender, and I won’t have the time to organize it in a proper essay, so here are some points:

1) Of fucking course men can have characteristics usually attributed to women and still be men. I’m working on a series of sci-fi adaptations of fairy tales, and in my Sleeping Beauty the protagonist is a (cisgender) boy, precisely because I want boys to see they can be vulnerable and need rescue too. And I completely understand if someone prefers to see Jonathan as a cis man because it’s so rare to see men in this role, surviving abuse, when it does happen in real life. I start my Gothic Heroine Support Group fic with Belle making precisely this point. Men can be prey, women can be predators. She knows this because that’s what happened to the original Beast, and kudos to Gabrielle Suzanne de Villeneuve, the author of the original Beauty and the Beast, for making this point centuries ago.

2) That being said, Jonathan seems to identify with women on a deeper level than being on a role in which women usually are. For me, what cements the headcanon is when he chooses the women’s quarters to sleep in, seeming to long for “a gentle life”, even if it involved sadly waiting for the menfolk to return from war. He seems to identify with the female identity, not only the female role. That’s only my personal interpretation, I fully acknowledge that. But seeing as it’s one that a lot of trans people in the fandom seem to share and, more importantly, to identify with, it’s one that is more than valid: it brings people joy. I’m cis. I’m also bisexual, and I know the joy of seeing myself in a character through subtext, and also how frustrating it is when people say it’s not true because it’s not 100% explicit in the text. If trans people are telling me they identify with Jonathan, I believe them and I take that as there being reasons I acknowledge I cannot fully understand why Jonathan is potentially a trans woman.

3) I assume everyone here has heard of Joseph Campbell’s The Hero’s Journey. But it’s less likely that everyone has heard of Gail Carriger’s The Heroine’s Journey. I fully recommend this book to everyone. But the point she makes is that whether someone is a “hero” or a “heroine” according to hers and Campbell’s analysis doesn’t depend on their gender. Women can follow Campbell’s Hero Journey, and men can follow Carriger’s Heroine Journey. And non-binary people can follow either. The names come from the gender of the characters who originated the archetypes, with Campbell’s being classic Greek heroes, and Carriger’s being ancient world goddesses. With that in mind, although no one has written a “Gothic Heroine’s Journey”, Jonathan Harker is a gothic heroine, regardless of whether you see him as cis man or trans woman, because he follows that story type step by step.

4) Does anyone here know of a transgender gothic heroine (in the gender neutral sense explained above)? Because I don’t. If anyone does, seriously, please point me their way, I’d love to increase my gothic knowledge. But it’s a type of representation I’ve never seen. As a member of a lot of minorities, I feel very happy whenever I see any of them represented in ways I’ve never seen before, and I can only imagine it’s the same for trans people. So what’s the harm in letting Jonathan be that? Seriously. All that is missing so far from Jonathan being a fully classical gothic heroine is him going around the castle in a flowing white dress. If I ever get to adapt my written version of modern day!Dracula, I’ll absolutely put Natália (my version of Jonathan) in a white nightgown, just to give a transgender actor the chance to play out this scene that I’ve seen so many cis women do over the years. Again, I understand if someone takes empowerment from Jonathan as a cis man surviving abuse, and I’d never want to take that away from them. Jonathan being a cis man is an absolutely valid reading too. But I think trans women deserve empowerment too, deserve to see a trans woman playing out a story so many of their cis counterparts have always had. The book is in public domain. We can each adapt them the way we choose. Cis man Jonathan and trans fem Jo, Natália, or whatever name you prefer for her, can coexist and be important to the groups of people each of them are important to.