critique about the whole story of The Tiger`s Bride.
Answers
This is illustrated in the relationship between the Beauty (representing women) and the Beast (representing men) and less so between Beauty and her father. In Madame de Beaumont’s story, Beauty chooses to go in her father’s place to the palace of the Beast and die (De Beaumont 35), while Angela Carter’s Beauty is handed over by her father as part of a game of cards that he had lost to the Beast (Carter 51). Thus, it is clear from the beginning that to be a woman involves a degree of passivity and dependency on a man (in this case the father). And although it could be argued that this dependency is almost natural, considering that the man they depend on is their parent, and any child depends on their parents until he/she is able to sustain himself/herself, the way the two women react to the new masculine figure (the Beast) does speak about the author’s professed understanding of the relationship between genders.
De Beaumont’s Beauty chooses to take her father’s place in the claws of the Beast, more out of kindness and concern for the father (De Beaumont 35) than out of pure courage and indifference towards life. This can be seen in the fact that she is frightened at the sight of the Beast: “The monster asked her if she had come of her own free will and, trembling, she replied that she had” (De Beaumont 37). Eventually she becomes gradually relaxed in front of the treatment of the Beast: when she finds out she can check on her family by looking in the mirror, she “could not help thinking that the beast was most obliging and that she had nothing to fear from him” (De Beaumont 38). Beauty’s kindness, acknowledged by the Beast (De Beaumont 37), determines the Beast’s kindness. He gives Beauty the mirror and acts most gallantly towards her: “You are very kind. […] I swear to you that I am completely pleased with your good heart” (De Beaumont 37-38). On the other hand, Carter’s Beauty is not afraid, only slightly sarcastic and analytical: “my senses were increasingly troubled of the fuddling perfume of Milord […] there was a crude clumsiness about his outlines […]; and he has an odd air of self-imposed restraint […] he wears a mask with a man’s face painted most beautifully on it” (Carter 53). Beauty’s sarcasm and cynicism responds to her father’s cynicism and folly at gambling his own daughter.
In Madame de Beaumont’s story, Beauty’s kindness and gentleness are answered with the same measure of kindness and gentleness. When Beauty is bored, the Beast provides her with books, a hapsicord and a splendid castle (De Beaumont 37), which only emphasizes his wealth and independence, compared to Beauty’s lack of wealth and dependence. When she wishes to see her father, she finds the mirror that shows her the safe arrival of her father (De Beaumont 37). Also, when she first dines and trembles at hearing the Beast approaching, she does muster her gentleness again and contends that he is her master and can watch her dine, in response to his request (De Beaumont 38). It is interesting to observe that to this the Beast mirrors her answer, by saying that “No, you are the only mistress here,” taking on her gentleness and manners (De Beaumont 38). Moreover, when Beauty asserts that the Beast is a monster but he is kind and this can hardly be said by other men who have beautiful appearances but hard hearts, the Beast wants to repay her with a compliment-and what better compliment than to say “I would pay you a great compliment to thank you. But I am so stupid that all I can say is that I am very much obliged” (De Beaumont 38). Finally, even if the Beast’s request of marrying him scares her at first and she refuses him (De Beaumont 38), Beauty finds a gentle and kind way of explaining him that she would like him to accept only the friendship between them (De Beaumont 39). Again, the Beast mirrors her behavior, his insistence subsides, and he even allows her to leave and see her father, who is sick: “I would rather die myself than cause you pain […] I will send you back to your father” (De Beaumont 39). Beauty’s self-sacrifice is thus mirrored in the Beast’s behavior.
Answer:
mark me brainliest pls and follow me on brainly
Explanation:
Marina Warner writes of stories in The Bloody Chamber, published during the post-war feminist movement which largely denounced fairytales and everything they stood for:
[Carter] refused to join in rejecting or denouncing fairy tales, but instead embraced the whole stigmatised genre, its stock characters and well-known plots, and with wonderful verve and invention, perverse grace and wicked fun, soaked them in a new fiery liquor that brought them leaping back to life.
PLOT OF THE TIGER’S BRIDE
In this inversion of Beauty and the Beast, Beauty ends up transformed into a fabulous Beast. Carter’s story is quite different from the original literary tale by French novelist Gabrielle-Suzanne Barbot de Villeneuve, but readers will recognise it quickly because we still have Beauty, The Beast, the rose, the father who gives her away (gambles her away at cards) and the castle.
SETTING OF THE TIGER’S BRIDE
Having just moved from Petersburgh, Russia to a small, unnamed town in Italy, everyone who arrives must play a hand of cards with the grand seigneur (a great lord or nobleman — here, the Beast), though Beauty and her father’s Italian is not good enough to fully understand the repercussions of doing so.
PLACE – CLIMATE
Much is established early, in a single sentence:
There’s a special madness strikes travellers from the North when they reach the lovely land where the lemon trees grow.
There’s something about a story that opens in a bright, sunlit environment with bountiful food. We just know something bad is going to happen there. Happy family road trips which start with everyone singing along to the radio are a sure sign in horror films that all is not well.
PLACE – THE VILLAGE AND ABODE
This is a melancholy, introspective region; a sunless, featureless landscape, the sullen river sweating fog, the shorn, hunkering willows. And a cruel city; the sombre piazza, a place uniquely suited to public executions, under the heeding shadow of that malign barn of a church.
This story, along with the others in this collection, is set in traditional fairytale territory, in castles sans electricity, with forests and tundras and attics and dark basements:
The candles dropped hot, acrid gouts of wax on my bare shoulders.
The chill damp of this place creeps into the stones, into your bones, into the spongy pith of the lungs (milord’s castle is an oasis of chill even though the Italian climate is sunny – The treacherous South, where you think there is no winter but forget you take it with you.)
MAGICAL WORLD
This is an ancient world in which transmogrification is a thing. In our world, there are no magic mirrors, but when Beauty looks into a mirror she sees not her own face but the face of her father. When the Beast cries his tears turn into teardrop earrings.
HOPE IT HELPS