NORHANIEMA S.

AMEN

BEAUTY AND THE BEAST

Aside from the conventional damsels in distress of fairy tales, Belle, or "the Beauty,"

from the fairytale "Beauty and the Beast," stands out. The story of "Beauty and the Beast,"

according to critics, follows the conventional captivity narrative of a female character submitting

to a stronger male figure, However, I believe that Belle's decision to sacrifice herself in place of

her father and remain with "the Beast" demonstrates strong feminist principles and personal

strength, which are bolstered by the story's gothic roots and presentation. In fact, two female

authors created the contemporary figure of Belle in the 1700s, Jeanne-Marie Leprince de

Beaumont and Gabrielle-Suzanne Barbot de Villeneuve Both women advocated for feminist

principles that were ahead of their time. Over the last three centuries, Belle has evolved into a

sophisticated and self-aware fairy tale heroine. This may be observed in Jean Cocteau's 1946

picture La Belle et la Bête, which was released during the passive princess Disney era of Snow

White (1937), Cinderella (1950), and Sleeping Beauty (1956). (1959). In contrast to these Disney

pictures, La Belle et la Bête depicts a strong female protagonist with complete autonomy. Now,

some forty-five years later, In 1991's Beauty and the Beast, Disney swooped in and built on

Cocteau's version to create an educated and proactive Belle. Another Disney remake starring

gender equality activist Emma Watson as Belle has been released. Watson's portrayal of a 2017

Belle depicts a forward-thinking heroine who isn't wearing a corset.

When you consider Belle's origins in the mid-eighteenth century, you may appreciate her

progressive attitude even more. The literature of the eighteenth century generally depicts a story

of increasing female passivity and tightening household encirclement, with themes of obligation,

resignation, and elegance. The feminine gothic genre began to emerge in the 18th century. Dark
castles, perilous forests, and feminine societal and sexual demands characterize this world. M. H.

Abrams defines the female gothic as a way for female writers to identify “features of the mode

[of Gothicism] as a result of the suppression of female sexuality, or else as a challenge to the

gender hierarchy and ideals of a male-dominated culture,” according to M. H. Abrams. Both

Gabrielle-Suzanne Barbot de Villeneuve and Jeanne-Marie Leprince de Beaumont composed

their renditions of "Beauty and the Beast" with this female gothic style. Through their stories,

they used their real-life experiences to draw attention to societal and gender injustice.

Villeneuve married Jean-Baptiste Gaalon de Villeneuve, a wealthy aristocratic family

member, in 1706. She requested a property split from her husband after only six months of

marriage, after he had spent the majority of their inheritance during their first months together.

Her spouse died five years later, at the age of 26, leaving her a widow. She then lost her riches,

relocated to Paris, established acquainted with great dramatist Prosper Jolyot de Crébillon, and

started writing to support herself. In 1740, she published La Jeune Américaine et les contes

marins, a rendition of "Beauty and the Beast" that depicted a royal Belle with magical abilities.

In Villeneuve's adaptation, Belle, the female protagonist, is the only one who has the power to

save the Beast and his realm.

Beaumont is also ahead of her time in terms of both her writing and her achievements. As a

young woman, she was forced into an arranged marriage and fled her "dissolute libertine"

husband in 1746. Beauty is no longer a creation of magic and nobility in Beaumont's rendition,

but the daughter of a recently destitute merchant. She is neither a peasant nor a princess, which is

rare in fairy tales, as is the setting of her city residence. Beaumont was referring to and

advocating the social shifts that were taking place between classes in the mid-eighteenth century.

“For unique societal reasons, ‘Beauty and the Beast' became the story everyone needed to tell
throughout the 18th century,” argues critic Christine McDermott. It addressed unhappiness with

gender stereotypes, and Beauty's quest to find her prince through the Beast became a metaphor

for a feminine search for self-expression in a repressive world.”

Director Jean Cocteau presented a gothic interpretation of Beaumont's "Beauty and the

Beast" some 200 years later. The following clip depicts the Beast's castle, which had previously

remained gloomy and scary to the male characters in the film, come to life for Belle. The film's

score welcomes Belle as the savior of the cursed castle with a chorus of celestial angels. This

might also be interpreted as Belle being a champion for women's rights and gender equality.

Cocteau's picture was a near-direct influence for Disney's 1991 remake of Beauty and the

Beast, which was released 45 years later. The conventional Disney princess figure saw a

significant transformation in the 1990s. In 1996, critic Keisha Hoerner released a research

comparing eleven Disney animated feature films and studying the various types of female

character behavior. “More current heroines, such as Belle, show more vocalization in opposing

unfair treatment they face, as opposed to older characters like Cinderella and Snow White, who

bear injustices without uttering a complaint,” she discovered. With an opening musical song

about her being an outsider in her French provincial community, Belle establishes herself as a

feminist heroine from the outset of the film. The other women in the community are tending to

wailing babies, baking, and flinging themselves at Gaston. In the initial scene, three blonde

women stand out as strong contrasts to Belle. They're triplets who dress alike, expose their

shoulders and skin, and exist solely to drool for Gaston. Belle, on the other hand, is dressed

conservatively, spends her time at the bookshop reading, and rejects Gaston's advances. She

fantasizes of "adventure in the vast wide yonder" and wishes for "someone to understand, [she]

wants so much more than they've planned."

 Belle, as portrayed by feminist Emma Watson in Disney's most current interpretation of

the story, is even more progressive. When handed a gown to wear, she proclaims emphatically,

"I'm not a princess." She is self-sufficient, an inventor, and a voracious reader. Both Belles have

a special ability for kindness that their people lack. They demonstrate altruistic pity for the Beast

and compassion for their aged fathers. Despite the fact that both Belles are physically attractive,

Disney emphasizes their lovely and caring hearts. This decision empowers women because the

character Belle isn't defined solely by her physical appearance.

Since the 1700s, the character of Beauty or Belle has inspired women all over the world

with her courageous choices, selflessness, inner beauty, love of education, and nonconformity.

The story's value is demonstrated by the numerous versions, which encourage women and girls

to believe in themselves. Happily ever after can be reached in a variety of ways and is not limited

to a traditional "fairy tale" conclusion.