nineteenth century fairytale analysis

8/9/2019 Nineteenth Century Fairytale Analysis

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t o deep needs c r e a t e d by t h e demands o f modern

s o c i e t y . The n a r r a t i v e c on v en t i on s of f a n t a s y o f f e r

b o th a n es c ap e from and a r e e n t r y i n t o l i f e , h e l p i ng

u s r e c o n c i l e t h e c o n f l i c t i n g d r i v e s w i t h i n u s . T hi s

r e c o n c i l i a t i o n of c o n f l i c t i n g d r i v e s makes p o s s i b l e

t h e f u l l developm ent of t h e i n d i v i d u a l , which

B et te lh ei m i n p a r t i c u l a r s e e s a s a p o s i t i v e v a l u e of

f a i r y t a l e s .

F o l k t a l e s come i n many v a r i e t i e s , from l e g e n d a r y

e x p l o i t s t o a ni ma l t a l e s t o f a i r y t a l e s i n v ol v in g

i n c r e d i b l e m a r ve l s , b u t t h o s e of a c e r t a i n t y p e seem

t h e most p o p u la r . I n t h e i r C l a s s i c F a i r y T a l e s , I on a

p

nd P e t e r O pie s u g ge s t a r e a so n f o r t h i s :

I n t h e s t o r i e s t h a t a r e c e n t r a l t o t h e f a i r y

t a l e t r a d i t i o n , t h e t a l e s of r o y a l romance

an d m a g i c al t r a n s f o r m a t i o n - - t a l e s w hi ch a r e

m os tl y o f g r e a t a ge , and a l l o f which a r e i n

o ne way o r a n o t h e r r e l a t e d t o e a ch o t h e r- -

we f i n d o u r s e l v e s c l o s e l y i d e n t i f y i n g w i t h

t h e p r i n c i p a l c h a r a c t e r s .

They c i t e C i n d e r e l l a , B ea ut y, a nd t h e p r i n c e s s i n The

F rog P r ince as e xam ple s of s u c h s y m p a t h e t i c c h a r a c t e r s

B e t te l h ei m a g r e e s w i t h t h i s c on ce pt i n he

~

ses f

Enchantment b u t s t a t e s t h e c a s e e v en more s t r o n g l y :

c h i l d r e n need t o i d e n t i f y w i t h c h a r a c t e r s of f a n t a sy

i n o r d e r t o work o u t t h e i r e m o ti o na l and p s y c h o l o g i c a l

c o n f l i c t s on a l e v e l removed from t h e i r r e a l

e x i s t e n c e , a nd t h u s a c h i e v e m a t u r i t y .

T h i s t y p e of m o t i f - - i . e . , t r a n s f o r m a t i o n a nd

romance--and t h e s e s p e c i f i c t a l e s p r ov i d e a d d i t i o n a l

l e v e l s o f meaning t o t h e n ov e ls i n q u e st i o n.

f

c o u r s e , a s t h e O pi es p o i n t o u t , The magic i n t h e

t a l e s ( i f m agic i s what i t i s ) l i e s i n p e o p l e a nd

c r e a t u r e s b e i ng shown t o b e w ha t t h e y r e a l l y a r e . l t 6

The Beast i s r e a l l y a k in g , t h e f r o g

a

handsome

p r i n c e , a nd C i n d e r e l l a good a n d b e a u t i f u l . An

i mp o rt an t r e l a t e d c on ce pt d e a l t w i t h i n t h e n o v e ls a nd

t h e t a l e s ,

i s

t h e n a t u r e of l o v e , and a l l seem t o

s ug ge s t t h a t r e a l l o v e i s t h e a c c ep t a nc e o f t h e

be loved as h e o r s h e r e a l l y i s n o t as h e o r s h e s e e m s

t o b e . M atu re l o v e i s t h e a b i l i t y t o s e e beyond t h e


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a pF ea ra nc e t o t h e r e a l i t y , and t h e ac c ep t an c e

of t h a t r e a l i t y i n a l l of

t s

a s p e c t s .

One o f t h e most p o pu l a r t y p e s o f f a i r y t a l e

s

t h a t i n which a young g i r l

s

r e scued f rom

u n p le a sa n t c i r c u m s ta n c e s by a handsome p r i n c e

and

s

t ra ns fo rm ed i n t o a p r i n c e s s . T h i s u s u a l l y

i n v o lv e s a r e c o g n i t i o n of t h e h e r o i n e ' s t r u e w or th

r a t h e r t ha n a n a c t u a l t r a n s f or m a t i o n , a s s h e s e i t h e r

r e s t o r e d t o h e r r i g h t f u l s t a t u s a nd / or e l e v a t e d t h ro ug h

m a r r i a g e . I n cl u d ed i n t h i s c a t e g o r y a r e Snow W h i te ,

i n which t h e p r i n c e s s

s d r i v e n away f rom home by h e r

wicked s t ep moth e r ; S leep ing Beau ty, who i s b e w i t c h e d

by a veng efu l f a i r y ; The Goose G i r l , whose p lace

s

u s u rp e d by h e r e v i l s e r v a n t ; a nd C i n d e r e l l a , who

s

m i s t r e a t e d by h e r s te p mo th e r and s t e p s i s t e r s . Of t h e s e ,

C i n d e r e l l a s p er ha p s t h e b e s t known, b o t h a s a f a i r y

t a l e and a s a moti f c a r r i e d o v e r i n t o o t h e r

l i t e r a t u r e .

T h e r e a r e t + ~ omain v e r s i o n s of c i n d e r e l l a t h a t

would h av e b ee n a v a i l a b l e t o n i n e t e e n t h - c e n t u r y

r e a de r s : t h a t o f C h ar le s P e r r a u l t ,

which s t h e b e s t -

known v e r s io n t o d a y , a nd t h a t o f t h e B r o th e r s G r i m m ,

i n w hich C i n d e r e l l a s r ep re s en te d q u i t e d i f f e r e n t l y .

P e r ha p s due t o d i s t a s t e f o r some of t h e more g r o t e s q u e

d e t a i l s of t h e o t h e r v e rs i on s of t h e t a l e , P e r r a u l t

made ch an ges which s i g n i f i c a n t l y a l t e r t h e w a n i n g o f

t h e s t o r y .

H i s

h e r o i n e

s

e s s e n t i a l l y p a ss iv e ,

e x h i b i t i n g a s t e r e o t y p e d l o n g - su f f e ri n g f e mi ni n e n a t u r e ,

A s B e tt e lh e im s a y s , P e r r a u l t ' s C i n d e r e l l a

s

s u g a r

s w ee t a nd i n s i p i d l y good, a nd s h e co m p le t el y l a c k s

i n i t i a t i v e . .Most o t h e r C i n d e r e l l a s a r e much more

of a person. 7 I n t h i s t y pe of t a l e ,

t

seems t o be

t h e n a t u r e o f h e r o i ne s t o a w ai t t h e i r f a t e pa s s iv e l y

a t t h e h an ds of s omeone e l s e . The more a c t i v e h e r o i n e

o f t h e

G r i m m

v e r s i o n

s

of i n t e r e s t b ec au se s h e a p p e a rs

more r e p r e s e n t a t i v e of t h e t r u e meaning of e a r l i e r

v e r s i o n s o f t h e s t o r y , unchanged by l a t e r c on c e p ts o f

s e n s i b i l i t y . I n c o n t r a s t t o P e r r a u l t ' s c o n t r iv e d

f a i r y - g o d m o t h e r s o l u t i o n , G r i m m s '

C i n d e re l l a a s k s t o

go t o t h e b a l l , p e r s i s t s i n h e r r e q u e s t ( a l th ou gh s h e

s

t u r n e d down), a nd p e rf o rm s t h e i m p o s s i b l e t a s k s

demanded of h e r so t h a t s he may go. When t h e p r i n c e

b r i n g s t h e s l i p p e r , s h e a pp ea rs i n h e r r a g s , t a k e s t h e


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s l i p p e r f ro m him , a nd p l a c e s i t o n h e r f o o t . T h i s

s c e n e i s d ou bly i m p o r t a n t t o t h e meaning o f t h e s t o r y :

t h e p r i n c e

sees

C i n d e r e l la a s s h e i s and r e c o g n i z e s h e r

i n h e r e n t q u a l i t i e s i n s p i t e o f h e r outward a pp ea ra nc e ,

and t h e s e x u a l symbolism o f s l i p p i n g h e r f o o t i n t o t h e

s l i p p e r i m p l i e s a n a c ce p ta n ce

of

h e r f e m i n i n i t y and

s ug g e s t s a n a c t i v e r o l e f o r h e r i n t h e i r s ex u a l r e l a -

t i ~ n s h i ~ . ~hese meanings a r e l o s t i n t h e P e r r a u l t

v e r s i o n , i n w hic h a g entlem an o f t h e c o u r t b r i n g s t h e

s l i p p e r , and C i n d e r e l l a a p pe a rs b e f o r e t h e p r i n c e o n l y

i n e l a b o r a t e a t t i r e .

The r e v e r s e of t h i s f em a le t r a n sf o r m a t i o n o r

e l e v a t i o n m ot if

i s

one i n which t h e h e r o i n e o f t h e

t a l e b r i n g s a b ou t t h e t r a n s f o r m a t i o n o f a b e wi tc h ed

a ni ma l t o i t s t r u e s t a t e a s

a

human b e i n g . Among t h e

b e s t known o f t h e s e s t o r i e s a r e The F ro g P r i n c e and

B eauty an d t h e B e a s t , i n b o t h of w hi ch a r e p u l s i v e

an im a l i s made human by t h e l o v e and acc ep ta nc e of

t h e h e r o i n e . The se s t o r i e s seem t o t a k e up w he re t h e

p r ev i ou s t y p e l e a v e s o f f : t h e r e

i s

more invo lved i n

l o v i n g t h a n p a s s i v e l y b e i n g c h os en by some p r i n c e .

B e t t e l h e i m s t a t e s t h a t The m essa ge of t h e s e f a i r y

s t o r i e s

i s

t h a t we must g i v e up c h i l d i s h a t t i t u d e s

and a c h i e v e ma t ur e on es i f

w e

w ish t o e s t a b l i s h t h a t

i n t i m a t e bond w i t h t h e o t h e r w hi ch p r om is es

permanent hap p in ess f o r both. '

The r o l e o f t h e f a t h e r f i g u r e i n t h es e t a l e s

seems t o b e i m po r t a nt . I n P e r r a u l t ' s v e r s i o n of

C i n de r e l l a , t h e f a t h e r i s a n i n e f f e c t u a l f i g u r e ,

f o r h i s w i f e g ov er ne d h im i n t i r e l y . 10 However,

i n t h e G r im m b ro t he r s ' v e r s i o n and i n t h e b e s t -

known v e r s i o n s of The Frog P r in c e and Beauty and

t h e B ea s t , t h e f a t h e r ' s r o l e i n r e l a t i o n t o h i s

d a u g h t e r i s s i g n i f i c a n t . I n t h e r i m m s C i n d e r e l l a ,

t h e f a t h e r h e l p s t h e p r i n c e t o f i n d h e r a f t e r s he

h a s r un away. B ea ut y' s f a t h e r c r e a t e s t h e s i t u a t i o n

which makes

i t

n ec es sa ry f o r h e r t o l i v e w i t h t h e

Beas t when he b r i n g s

a

r o s e a s g i f t t o h e r . And

t h e k i ng i n The Frog P ri nc e i n s i s t s t h a t t h e

p r i n c e s s k ee p h e r p ro m is e t o t h e f r o g a nd a l l o w him

t o s h a r e h e r p l a t e and bed. I n

a l l

of t h e s e s t o r i e s ,

i t i s l o ve o r ob ed ie nc e t o t h e f a t h e r t h a t e v e n t u a l ly

u n i t e s t h e h e r o i n e w i t h h e r husband-to-be. B e t t e l -


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h ei m i n t e r p r e t s t h e p s y c h o l og i c a l meaning a s f o l l o w s :

Only i f t h e f a t h e r f i r s t i n d i c a t e s h i s r e a d i n e s s

t o r e l e a s e h i s d au gh te r from h e r t i e s t o him

c an s h e f e e l good a b ou t t r a n s f e r r i n g h e r h e t e r o -

s e x u a l l o v e from i t s immature o b j e c t ( t h e

f a t h e r ) t o i t s m a tu re o b j e ct - - h er f u t u r e

husband. l

How do t h e s e m o t i f s r e l a t e t o t h e n o v e l s u n de r

c o n s id e r a t i o n ? There a r e ob vio us p a r a l l e l s t o t h e

f a i r y - t a l e e le me nt s i n b o t h B ro nt s n o v el s and l e s s

o v e r t b u t

s t i l l

d i s c e r n i b l e s i m i l a r i t i e s i n he

i l l

o n t h e F l o s s . J a c q u e l i n e Simpson p o i n t s o u t t h a t f o l k -

l o r e i s prom inen t i n J a ne E yre and Wuther ing H e igh t s ,

t h a t t he Bron tz s he r e make t a n e s s e n t i a l p a r t of

t h e minds of t h e i r h e r o e s and h e r o i n e s , u s e i t a t

c l i m a c t i c moments, and l i n k

i t

t o t h e i r c e n t r a l

themes. 12 She s e e s i t s most s i g n i f i c a n t u se i n t h e

i n t e n s e i n n e r l i f e which s e t s t h e i r h e ro e s and h e r o in e s

a p a r t from o r d i n a r y hu m an it y, and b i n d s them i r r e v o c a b -

l y t o o ne a n o th e r . 1 3 One c an o n l y s p e c u l a t e t o w ha t

e x t e n t t h e i n n e r l i v e s o f t h e a u th o rs a r e a l s o

r e f l e c t e d .

C h a r l o t t e B r o n t g ' s J a n e Ey re h a s e l e m e n t s of b o t h

t h e C i nd e re l la and Beauty and t h e ~ e a s t o t i f s .

Th ere a r e many s p e c i f i c r e f e r e n c e s t o J a n e a s a f a i r y ,

p a r t i c u l a r l y i n t h e s c en e i n which s h e f i r s t meets

R o c h e s t e r . Each s u s p e c t s t h e o t h e r o f b e i n g a s u p e r -

n a t u r a l c r e a t u r e , s h e p i c t u r i n g t h e Gytrash of c h i l d -

hood s t o r i e s a s s h e h e a r s a h o r s e a pp r oa c hi n g and s e e s

a g r e a t b lack-and-whi te dog. When the y have t h e i r

f i r s t i n t e r v ie w on t h e f o l lo w in g d ay , he r e v e a l s t h a t

a t h i s f i r s t s i g h t o f h e r I t hough t unaccoun tab ly o f

f a i r y

t a l e s , 1 4 and i m p l i e s t h a t h e r l a c k of f a mi l y

connec t ions makes her a p a r t of t h e f a i r y w o rl d. Such

o bvio us r e f e r en c e s su gg e st f u r t h e r , d ee pe r s i m i l a r i t i e s

I n many ways, J a n e i s a C i n d e r e l l a f i g u r e . L ik e

P e r r a u l t ' s C i nd e re l la , s he l a c k s p a r e n t a l r e l a t i o n -

s h i p o r gu idance , b u t i n a l l o t h e r a s pe c t s s he

r e se m bl es t h e more a c t i v e h e r o i n e o f t h e r i m m v e r s i o n .

A l though s he ha s many adm i rab le q u a l i t i e s , s he comes

from

a

humble backg round and r e a d i l y adm i t s t o

a


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p l a i n a pp e ar an ce . I n t h e Reeds ( t h e a u n t a nd c o u s i n s

wi th whom Jane l i v e s

as

a c h i l d ) , we ca n s e e t h e

u n f e e l in g s t ep m ot he r and c r u e l s t e p s i b l i n g s .

When

J a n e comes t o T h o r n f i e l d H a l l a s a g o v e rn e s s , a s

when C i n d e r e l l a a t t e n d s t h e b a l l

a t

t h e p a l a c e ,

i t s

appearance makes

i t

seem t o h e r a f a i r y p l a c e

( p. 1 0 7) . Ro c h es t e r ' s p r o p o s a l o f m ar r i ag e seems

u n re a l t o h e r :

t o i ma gi ne s uc h a l o t b e f a l l i n g me

i s

a f a i r y ta l e- - a daydream (p . 261) . She reminds

him t h a t s h e

i s

h i s p l a i n , Q ua ke ri sh g ov e rn e ss , t o

w hich h e r e p l i e s , You a r e a b ea ut y i n my e ye s

p .

2 61 ). L i k e C i n d e r e l l a ' s p r i n c e , h e s e e s beyond

h e r u n a t t r a c t i v e e x t e r i o r and a p p r e c i a t e s h e r t r u e

n a t u r e .

L i k e C i n d e r e l l a , J a n e r u n s away, a l t ho u g h h e r

m o t i v a t i o n

i s

t h e f a c t t h a t R o ch es te r a l r e a d y h a s

a w i f e , r a t h e r t h an a n o b l i g a t i o n t o ob se rv e a

m ag i ca l t i m e

l i m i t .

However , there

i s

a n u n d e r l y i n g

i m p l i c a t i o n t h a t b o t h a r e u nre ad y t o a c c e p t ma tu re

s e x u a l l o v e . A f t e r some t i m e h a s p a s se d and t h e

p r i nc e h a s undergone h i s t r i a l s , J a n e , l i k e t h e

G r i m m s C i n d e re l l a , t ak e s a n a c t i v e p a r t i n b r i n g i ng

a b ou t t h e i r u ni on .

Even more p ro no un ced i n t h e l o v e s t o r y of J an e

and R o c h es t e r a r e t h e p a r a l l e l s w i t h Beauty and

t h e B e a s t .

I

A lth ou gh J a n e ' s o n l y c l a i m t o b e a ut y

i s

h e r image a s s e e n th ro ug h R o c h e s t e r ' s e y e s ,

R o c h e s t e r

i s

c l e a r l y d e s c r i b e d i n te rm s which

s u g g e s t a b e s t i a l a p pe ar an c e. When t h e y f i r s t

meet on t h e moor, J an e ob se rv es , He had a dar k

f a c e , w i t h s t e r n f e a t u r e s and a heavy brow; h i s

ey e s an d g a t h e r ed eyebro ws l o ok ed t h w ar t ed j u s t

now'' (p . 116) . Th is im pr es si on

i s

r e in fo rced when

t h e y meet a t T h o r n f i e l d :

knew my t r a v e l l e r w i t h h i s b ro ad a nd

j e t t y e ye br ow s; h i s s q u a r e f o r e h e a d , made

s q u a r e r by t h e h o r i z o n t a l sweep o f h i s

b l a c k h a i r . r ec og ni ze d h i s d e c i s i v e n o se ,

more r e ma r ka b le f o r c h a r a c t e r t h a n b e a u t y ;

h i s f u l l n o s t r i l s , d en ot in g, t ho ug ht ,

ch o l e r ; h i s g r im m outh, ch i n , and j aw .

(p . 123).


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Some d a ys l a t e r ,

as t h ey c o n v er s e i n t h e e v en i ng ( a l s o

t h e u s u a l m ee ti ng t i m e f o r B eauty a nd t h e B e a s t ) ,

Ro ch es te r s a y s , You examine me,

Miss

Eyr e , do you

t h i n k me handsome? The answer s l i p s f rom h e r w i th ou t

thought-- No, s i r (p . 1 3 4 . T h is ec ho es t h e f a i r y

t a l e : when B e as t j o i n s B ea ut y f o r t h e i r e v e n i n g con-

v e r s a t i o n , h e a s k s ,

but t e l l m e

do yo u n o t t h i n k

m e

v e r y u g l y ? T h at i s t r u e , s a i d Beauty , f o r I c a n n o t

t e l l

a l i e / s ic l . 1 5

Y et a s t h e y become b e t t e r

a c q u a i n t e d , J a n e

i s

no l o n g e r b o t h e r e d by R o c h e s t e r ' s

ap pe a ra n ce : And was M r . Ro ch es te r now u gl y i n my

e y e s ? No, r e a d e r : g r a t i t u d e an d many a s s o c i a t i o n s ,

a l l p l e a s u r a b l e and g e n i a l , made h i s f a c e t h e o b j e c t I

b e s t l i k e d t o s e eU ( p .

1 4 9 .

When t h e y a r e r e u n i t e d a t

t h e end of t h e n o v e l , J a n e ' s f i r s t view o f him s u g g e s t s

some w ronged a nd f e t t e r e d w i l d b e a s t ( p .

4 3 4 . A s

sh

a t t e m p t s t o comb h i s h a i r , s h e s a y s , you t a l k o f

my b e i ng a f a i r y ; b u t I am s u r e , y ou a r e more l i k e a

b ro wn ie . R o c he s te r , l i k e t h e B e a s t , a s k s , Am I

h i d e o u s , J a n e ? and s h e r e p l i e s , Very, s i r ; you

alw ay s were you know (p .

4 4 1 .

T hro ugh out t h e s t o r y t h e r e h av e b een i n d i c a t i o n s

t h a t J a n e ' s i n f l u e n c e

i s

c i v i l i z i n g ~ o c h e s t e r ' s e s t i a l

n a t u r e . A f t e r t h e r e v e l a t i o n t h a t he i s m a r r i e d

preve1:ts t h e i r w ed din g, R o c h e s t e r r e c a l l s t h e i r

d ev el op in g r e l a t i o n s h i p i n a n e f f o r t t o con vince J a n e

n o t t o l e a v e him:

Very soon you seemed t o g e t used t o me:

I

b e l i e v e you f e l t t h e e x i s t e n c e o f sympathy

between you and your g r im and c r o s s mas t e r ,

J a n e s n a r l a s

I

would, you showed no

s u r p r i s e , f e a r , a nnoyance , o r d i s p l e a s u r e a t

my

moroseness . (p .

316).

H i s d e c e i t f u l a t te m p t t o m arry h e r b ec a us e of h e r

r e f or m i n g i n f l u e n c e on him e c h oe s t h e B e a s t ' s p r e d i c -

ament o f h a v i ng t o r em ain i n t h a t s h a pe u n t i l a

b e a u t i f u l v i r g i n would c o n s en t t o mar ry him.

L ik e Beauty r e t u r n i n g t o v i s i t h e r f a t h e r , J a n e

l e a v e s R o c h e s t e r e v en t h ou gh s h e l o v e s h im , w h ic h

l e a d s u s t o o ne f i n a l co mp ar iso n: Beauty h a s a v i s i o n


9/16

t h a t t h e Be as t i s d y i n g b e ca u se o f h e r d e s e r t i o n , a nd

s he r e t u r n s i n t i m e t o p r e v en t h i s d e a th . Her a g re e-

ment t o ma rr y him t r a n s f o r m s him i n t o h i s t r u e fo rm

of a handsome p r i n c e a n d t h e y a r e m a r r i e d . J a n e t o o

h a s a n i n e x p l i c a b l e e x p e r i e n c e i n which s h e h e a r s a

v o i c e , " t h a t o f Edward F a i r f a x R o c h e s t e r ; a nd i t

sp ok e i n p a i n and woe w i l d l y , e e r i l y , u r g e n t l y .

' I

a m coming

I

c r i e d . 'W ait f o r me'" ( p . 4 2 2 . J a n e

s e t s o u t t h e n ex t d ay , a r r i v i n g a t T ho rn f i e l d t o f i n d

R o c h e s t e r ' s w i f e d ead an d h e h i m s e l f b l i n d e d a n d

c r ip p le d . To J a ne , howe ver , he i s h e r p r i n c e

be cau se now s h e may lo v e him co mp le te ly . Each h a s

b ee n a b l e t o s e e t h e r e a l i t y of t h e o t h e r behind t h e

a p p e a r a n ce , an d t h u s t h ey a r e t ra n sf o rm e d i n on e

a n o t h e r ' s e y e s .

I n Wuther ing He ig ht s , Emily BrontZ employs t h e

"Beauty an d t h e B ea st " m o t if t w i c e . I n t h e f i r s t

g e n er a ti o n -- C at h er i ne a nd H e a t h c l i f f - - t h e r e c o n c i l i -

a t i o n i s n o t c o mp le te d, b u t t h e a t t e m p t p r o v i d e s a

b ack gro un d f o r t h e f u l f i l l m e n t o f t h e s eco nd -

g e n e r a t i o n r e l a t i o n s h i p b e tw ee n Cathy and H a r et o n .

N e ll y Dea n's s t o r y a b o u t C a t h e r i n e and H e a t h c l i f f

b e g i n s i n much t h e same way a s d o es t h e f a i r y t a l e :

t h e f a t h e r i s g o in g on a t r i p a nd p ro mi se s t o b r i n g

t h e c h i l d r e n a g i f t . L ike t h e f a t h e r i n t h e t a l e ,

M r

E ar ns kw b r i n g s hime t r o u b l e i n s t e a d - - t h e

B ea s t i t s e l f . I n h i s i n t r o d u c t i o n t o t h e f am i l y ,

H e a t h c l i f f

i s

r e f e r r e d t o a s

i t :

'

you must e ' e n

t a k e

i t as

a g i f t of God; t hough

i t ' s

a d a r k

a l m o s t

as

i f i t came f rom t h e De vi l .

'

l g From the

b e g i n n i n g , C a t h e r i n e i s a c i v i l i z i n g i n f l ue n c e on

H e a t h c l i f f ; b u t a f t e r h e r f a t h e r ' s d e a th , h e r

b r o t h e r Hi nd ly b r u t a l i z e s him , e n co u r ag i n g ro ugh

b e h av i o r . E l i o t Gose b e l i e v e s t h a t " T h e r e a f t e r h e

c a n de ve lop

.

o n ly l i k e t h e B eas t .

dependent on t h e p i t y and lo v e of Beauty . When

C a t h e r i n e f a i l s him by c h o os i ng E dgar L i n t o n ,

H e a t h c l i f f r em a in s u n t r a ns f o r m ed . " l 7

Seem ing ly a g a i n s t h e r b e t t e r j ud gm en t,

C a t h e r i n e ch oo se s t h e more p a s s i v e r o l e of a

C inde re l l a who i s t ra ns fo rm ed i n t o a p r i n c e s s i n

p r e f e re n c e t o e f f e c t i n g H e a t h c l i f f ' s t ra ns fo rm a-

t i o n . A lthough sh e knows sh e shou ld n o t ma rry


10/16

Edgar ,

s h e b e l i e v e s i t would "degrade" h e r t o marry

H e a t h c l i f f b e c au s e h e h a s b e e n b r o u g h t s o low by

Hind ly (p .

95). A s

i n many f a i r y t a l e s , p r i d e a nd

u n w il l in g n es s t o s t o o p f o r a n o t h e r ' s s a k e a r e ev en tu -

a l l y p u ni sh e d. Cose s a y s , A m ajor c o n f l i c t d e v e lo p s

between t h e p a in of h e r a c t i v e s t o o p i n g t o r a i s e

a n o th e r and t h e p a s s i v e b l i s s of h e r b e i ng r a i s e d

h e r s e l f . "I 8

T h i s i n a b i l i t y t o f u l f i l l h e r t r u e r o l e

u l t i m a t e l y d e s t r o y s h e r .

A lth oug h C a t h e r i n e c an n ot a c c e p t H e a t h c l i f f a s

h e

i s

a nd de v el o p a m at ur e r e l a t i o n s h i p w i t h him, h e r

d au gh te r Cathy f u l f i l l s t h e r o l e o f Beauty t o H a r e t o n 's

B e a st . Our f i r s t view o f t h e s e c h a r a c t e r s

i s

th rough

~ o c k w o o d ' se ye s: Cathy h as " th e most e x q u i s i t e l i t t l e

f a c e t h a t

I

h av e e v e r h ad t h e p l e a s u r e o f b e h o l d i n g ;

s m al l f e a t u r e s , ve r y f a i r ; f l a x e n r i n g l e t s , o r r a t h e r

golden" (p . 1 2 ) . The t er ms h e u s e s a r e s i g n i f i c a n t ;

t r a d i t i o n a l l y , f l a x and t h e a c t i v i t i e s r e l a t e d t o

i t

s ym bo li ze t h e e s s e n c e o f f em in in e l i f e w i t h

i t s

f e r t i l i t y and s e x u a l i m p l i c a t i o n s ,

l

w h i l e g o l d

r e p r e s e n t s p e r f e c t i o n , a s i n t h e golden b a l l which

b e g i n s t h e a c t i o n o f "The F ro g P r i n c e . " H a r e t o n ' s

rough a pp ea ra nc e p r e s e n t s a g r e a t c o n t r a s t :

" h i s t h i c k ,

brown c u r l s w er e rou gh a nd u n c u l t i v a t e d , h i s w h i s k e r s

e n cr o ac h ed b e a r i s h l y o v e r h i s c h e e k s , and h i s h an ds

were embrowned l i k e th os e of a common la b ou re r" (p . 1 3) .

L i ke B e au ty , C at hy h a s b ee n f o r c e d a g a i n s t h e r

w i l l t o l e a v e a f a t h e r s h e l o v e s and l i v e a t Wu the ring

H e i gh ts . She t oo s a c r i f i c e s h e r s e l f f o r h e r f a t h e r ' s

s a k e , m a r r y i n g

L in to n H ea th c l i f f s o s h e may b e a l l o wed

t o s e e h e r f a t h e r a g a i n b e fo r e h e d i e s . A f t e r L in t on ' s

d ea th , C a th y

i s

l i t e r a l l y a p r i s o n e r , d ep ri ve d by h e r

ma rr i ag e of h e r independence and h e r home. Because

h e was n o t t ra ns fo rm ed from h i s b e s t i a l s t a t e by t h e

f u l f i l l m e n t o f h i s l ov e f o r C a t h er i n e , H e a t h c l i f f h a s

b r u t a l i z e d H are ton i n revenge--a s i t u a t i o n s i m i l a r t o

t h e e v i l s p e l l i m pr is on in g t h e B ea st . C at hy 's i n f l u -

e n c e m a k e s H a re to n w ant t o im pro ve h i m s e l f , b u t h e r

e x p er i en c e s have s o e m b i t t e r e d h e r t h a t s h e r i d i c u l e s

h im , c a l l i n g him a " b r u t e " ( p . 3 57 ) . H a r e to n t h e n

r e j e c t s a ny t r a n s f o r m a t i o n b r o u g h t ab o ut by h e r

i n f l u e n c e : "'Nay i f

i t

made m e k i n g , I ' d n o t b e

s c o rn e d f o r s e e k i n g h e r good w i l l any more"' (p . 3 7 0 .


11/16

E v e n t u al l y C athy a p o l o g i z e s a nd h e l p s H ar et on l e a r n t o

r e a d , and a s t h e b e as t i s c i v i l i z e d , l o v e d ev el op s

between them. Ne lly Dean con clu de s:

Earnshaw was no t t o be c i v i l i z e d w i th a w i sh ,

and my young l a d y was no ph il o sop her , and no

paragon of pa t i e nc e ; bu t bo th t h e i r minds

t e n d i n g t o

t h e

same point--one lo v in g and

d e s i r i n g t o es te em , and t h e o t h e r l o v i n g and

d e s i r i n g t o b e esteem ed--they c o n t r i v e d i n

t h e end t o r e a c h i t

(p.

373).

A s

i n t h e f a i r y t a l e , t h e a b i l i t y t o d i s t i n g u i s h

a p e r s on ' s r e a l q u a l i t i e s r e g a r d l e s s of o utward

a p pe a ra n ce and t o a c h i e v e t h e r e l a t i o n s h i p of m at ur e

love symbol ized by t h i s p rocess t ak e

t i m e

t cannot

be acc om plis hed by a wish. Gose co nc lu de s, The

daugh te r

i s

a b l e t o l e a r n th ro ug h s u f f e r i n g t h e

p a t i e n c e a nd h u m i l i t y n eed ed t o l o v e a n o t h e r and t r a n s -

form him. More than t h i s sh e t ransf orms h e r

d ep en de nt ego ism i n t o a r e b e l l i o u s s e l f - r e l i a n c e which

i s

e q u a l l y ne c e ss a r y f o r s u r v i v a l . 20

Cathy and J a n e a r e a b l e t o c om ple te t h i s p r o c e s s ,

moving beyond dependent egoism i n t o a matur e

r e l a t i o n s h i p , b u t C a t h e r i n e

i s

unable t o a t t a i n t h i s

m a t u r i t y . Maggie T u l l i v e r i n E l i o t ' s he

i l l

o n t h e

F l os s a l s o i s unab le t o comple te t h e matu r ing

proc ess . L ike Beau ty , Ca th e r ine , and Ca thy , sh e l ove s

h e r f a t h e r and h a s a c l o s e r e l a t i o n s h i p w i t h him; b u t

a f t e r h i s d ea th s h e t r a n s f e r s t h i s l o ve t o h e r

br o t h e r Tom in s te a d of t o an ap pr op r i a t e husband .

Gose p o i n t s o u t t h a t f o r a g i r l

a

b r o t h e r i s o f t e n

an e a r l y c h oi ce i n t h e p r oc e ss of f i n d in g a f a t h e r

s u b s t i t u t e . U sin g a s a n example a t a l e c a l l e d The

G la ss C o f f in , h e d e s c r i b e s a s i t u a t i o n i n which t h e

b r o t h e r a c t s f i r s t a s f a t h e r s u b s t i t u t e and t h en a s

s u b li m a te d husband f o r t h e g l r l . 2 1 This mot i f

p rov ides a p a t t e r n f o r Maggie' s development , p r even t i ng

h e r m a t u r a t i o n .

The p a r a l l e l s w it h f a i r y - t a l e m o t i f s a r e n o t a s

c l e a r l y d e fin ed i n t h i s n ove l a s i n t h e ~ r o n t k ' w o r k s ,

bu t t hey do e x i s t . Magg ie, t h e c h i l d who

i s

always

i n t r o u b l e f o r n o t b eh av in g a s s h e s h o u l d , grows up


12/16

t o b e a b e a u t y , a s d oe s C i n d e r e l l a . A lt ho ug h s h e

d r e s s es p l a i n l y and does n o t c a l l a t t e n t i o n t o h e r

a p pe a ra n ce , b o t h P h i l i p and S t ep he n s e e h e r t r u e

w o r th and p u r s u e h e r . U n l ik e C i n d e r e l l a , h ow ev er ,

s h e

i s

u n a b le t o a c c e p t a m a tu re f e m in in e r o l e a nd

deve lop a f u l l r e l a t i o n s h i p w i t h e i t h e r s u i t o r .

P h i l i p Wakem, w i th h i s phy s i ca l de fo rm i t y can

b e s e e n on o ne l e v e l a s t h e b e a s t t o M ag gi e's

Beauty. A s i n t h e t a l e , a f t e r an i n i t i a l repug-

n an ce s h e d e v el o ps a n a f f e c t i o n f o r him o v e r a p e r i o d

o f t im e , du r ing w hich they ho ld many long con ve r s a t io ns .

Although s h e t e l l s P h i l i p t h a t s h e l o v e s him, s h e s a y s ,

There i s o n l y one t h i n g

I w i l l

n o t do f o r y o ur s a k e :

I

w i l l neve r do any t h in g t o wound my fa the r . Z 2

L a t e r

s he b re ak s o f f t h e i r r e l a t i o n s h i p a t h e r b r o t h e r ' s

i n s i s t e n c e ( a c t i ng i n h e r f a t h e r ' s r o l e ) because o f

o be di en ce t o h e r f a t h e r ' s wi s he s . L i ke B ea ut y, s h e

e v e n t u a l l y a g r e e s t o marry h e r Beast f o r h i s s a k e.

Piaggie c on f i de s i n Lucy: ' I would choose t o marry

him. I t h i n k i t would b e t h e b e s t and h i g h e s t l o t f o r

me--to make h i s l i f e happy ' (p .

4 5 4 .

L ucy p rev ious ly

h a s p r e d ic t e d t o h e r t h a t P h i l i p w i l l a d or e you l i k e

a husband i n a f a i r y t a l e ( p.

400).

However, i n t h i s

c a s e t h e m ar r ia g e n e ve r t a k e s p l a c e .

If one i n t e r p r e t s t h e a ni ma l grooms of t h e f a i r y

t a l e s on a more p s y c h o l o g i c a l b a s i s , t h e y ca n b e s e e n

a s sy mb ol ic of t h e a n i m a l i s t i c , s e x u a l s i d e o f human

n a t u r e , w hich must b e a c c e p t e d by t h e f e m al e i n o r d e r

f o r a m at ur e r e l a t i o n s h i p t o d ev el op . On t h i s l e v e l ,

S t ep h en G ue st c an a l s o b e s e e n a s t h e P,e ast, i . e . ,

s e xu a l p as s i on , w i th w hich Maggie i s u l t i m a t e l y u n a b l e

t o cope. Although sh e c a r e s f o r P h i l i p i n s p i t e of h i s

d e f o r m i t y , h e i s n o t t h r e a t e n i n g i n t h e s e xu a l s en s e ;

however , sh e ca nnot a cc ep t t h e handsome prince--Stephen--

who r e p l ac es him. The t r a ns f o rm a t i on o s t e n s i b l y occ u r s

i n t h e male , b u t f u l f i l l m e n t i s dependen t on a t r a ns -

formed a t t i t u d e i n t h e f e ma l e, which i s l a ck i n g i n

Maggie

P a t r i c i a Spacks s a y s t h a t The i l l on t h e F l o s s

c on ce rn s i t s e l f w i t h what t

means, w i t h what

t

c a n

mean t o a g i r l , t o be a woman. l t Z 3

The emphas i s h e r e i s

on what i t c o u l d ha v e meant f o r M aggie, f o r s h e n e v e r


13/16

a c h i e ve s t h e f u l f i l l m e n t o f h e r p e r so n a l m a t u r i t y .

Depr ived o f a f a t h e r t o h e l p h e r d ev el op a r e s p o n s i b l e

c o ns ci e nc e ( a s t h e k i n g do es f o r h i s d a u gh t er i n The

F ro g P r i nc e when h e i n s i s t s s h e k ee p h e r p ro m is es t o

t h e f r o g ) , Maggie i n s t e a d h as f i r s t

a

f a t h e r and t h e n

a

b r o t h e r who a c t i v e l y p r o h i b i t h e r from k ee p in g h e r

p ro m is es t o P h i l i p . By r e t a i n i n g h e r p a s s i v e

dependence on a m a le r e l a t ive , Magg ie i s e i t h e r

u n w il l in g o r u na b l e t o a c c e p t and r e t u r n t h e p h y s i c a l

p a s s i o n w hi ch

i s

a p a r t o f

a

m atu re l o v e r e l a t i o n s h i p .

L ike Ca t he r in e Earnshaw L i n to n , s h e canno t make t h e

r e s o l u t i o n of c o n f l i c t which

i s

n e ce s sa r y f o r m a t u r i t y ,

and t h u s s h e e x p e r i e n c e s a p s y c h i c d e a t h , r e p r e s e n t e d

i n t h e n ov e ls by p h y s i c a l d e a t h .

With t h e e x c e p t io n of t h e P e r r a u l t v e r s i o n o f

C i n d e r e l l a and t h e f i c t i o n a l h e r o i n e who fo l l o w s t h i s

model, t h e f a i r y

t a l e s

c o n s i d e r e d h e r e a nd t h e n o v e l s

e mplo ying t h e i r m o t i f s im ply a n a c t i v e f e m al e n a t u r e .

The G r i m m s C i n d e r e l l a , who c om pl et es t h e d i f f i c u l t

t a s k s g i v en h e r by h e r s t e p m ot h e r a nd t a k e s a n a c t i v e

r o l e i n h e r r e l a t i o n s h i p w i th t h e p r i n c e , c an b e

s e e i n J a n e E yr e , who ov er co me s many d i f f i c u l t i e s a n d ,

once a s s u r e d o f R oc h e st e r ' s l o v e , t a k e s t h e i n i t i a t i v e

i n t h e i r r e l a t i o n s h i p . A s h e p o i n t s o u t , J a n e t ,

by-the-by,

i t

w a s you who made me t h e o f f e r . Her

m a t t e r - o f - f a c t r e s p o n s e i s Of c o ur se , I d id (p .

264 .

W hile t h e t a l e s o f ~ e a u t y nd t h e B ea st an d The

F r og P r i n c e f 1 e mp ha si ze t h e p r o p e r f e m i n in e r e s p o n s e s

o f l o v e and o be di en ce t o t h e f a t h e r (m oth ers a r e

n o t i c e a b l y a b se n t i n t h e s e t a l e s ) , t he y a l s o c e n t e r

a ro un d a n a c t i v e f e m al e p r o t a g o n i s t who g a i n s h e r

own h um anity t hr ou gh h e r e f f o r t s t o h e l p a n o t h e r g a i n

h i s . On a p s y c h ol o g i ca l l e v e l , b o th t h e t a l e s and t h e

n o v el s i n v o l v e t h e h e r o i n e ' s coming t o t e rm s , o r

f a i l i n g t o do s o , w i t h t h e s e x u a l n a t u r e o f m ature

l o v e r e l a t i o n s h i p s .

P e r h a p s t h e s e a r c h e t y p a l m o t i f s w er e c h os e n con-

s c i o u s l y by t h e s e a u t h o r s t o d e a l w i th a s u b j e c t t h a t

cou ld n o t be d e a l t w i t h o v e r t l y i n t h e n i n e t e e n t h -

c e n t u r y n o v e l. As E l l i o t Gose p o i n t s o u t , w h i l e

t h e V i c t o r i a n s d i d n o t o b j e c t much t o t h e v i o l e n c e of

suc h t a l e s a s t h e G r i m m s C i n d e r el l a , i n which t h e


14/16

wicked s i s t e r s chop o f f t h e i r t o e s i n o r d e r t o f i t i n t o

t h e s l i p p e r and l a t e r have t h e i r e y e s pecked o u t by

b i r d s , t h e V ic t o r i a n n ov e l i s d i s t i n g u i s h e d ev en f ro m

t h o s e of t h e e i g h t e e n th c e n tu r y f o r t s s u p p r e s s i o n

of s e x u a l r e l a t i o n s . 2 4

A t

any

r a t e ,

l i k e t h e f a i r y

t a l e s , t h e s e n o v e l s convey t h e message t h a t

sex ,

which

a t f i r s t may

seem

r e p u g na n t , i n du e

t i m e

c a n p ro v e t o

b e a b e a u t i f u l and n a t u r a l p a r t o f l i f e ;

and they con-

vey t h i s w i t ho ut e v e r d i r e c t l y r e f e r r i n g t o a s e x u a l

r e l a t i o n s h i p .

The p e r s o n a l l i v e s o f t h e a u t h o r s c o n s i d e r e d may

a l s o o f f e r some c l u e s a s t o t h e i r c h oi ce of t h e s e

p a r t i c u l a r m o t i f s . F a t h e r s and b r o t h e r s p la ye d a

p ro min en t r o l e i n t h e l i v e s o f a l l t h r e e women,and

a l l l o s t t h e i r mothers a t a r e l a t i v e l y e a r l y age . With

t h e e x c e p t i o n o f t h e t im e t h e y w ere a t t e n d i n g s c h o o l

o r t e a c h i n g , C h a r l o t t e a nd Emily B ro n te s p e n t t h e i r

l i v e s a t home c a r i n g f o r t h e i r weak and i n e f f e c t u a l

f a t h e r and b r o t h er . E l i o t a l s o c a r ed f o r h e r f a t h e r

u n t i l h i s d e a th and was q u i t e c l o s e e m ot io n a l l y t o b o t h

h e r f a t h e r a nd h e r b r o t h e r . However, s h e and h e r

f a t h e r q u a r r e l l e d s e r i o u s l y o v er r e l i g i o n , and h e r

b r o t h e r disowned h e r f o r l i v i n g w i t h

G H

Lewes.

P er ha ps t h e i n e f f e c t u a l i t y o f t h e B ro nt gs ' male

r e l a t i v e s he l pe d them d ev el op t h e i r own p e r s o n a l i t i e s

a s w e l l a s t ho se of t h e i r f i c t i o n a l h e ro i n e s . I n he

M i l l

o n t h e F l o s s , ho we ver, E l i o t s ee ms

s t l l

t o be

w o rk i ng o u t h e r p s y ch o l o g i c a l d epend en ce on h e r

f a t h e r and b r o th e r , whom sh e lov ed bu t w i t h whom she

c o ul d n o t a g r e e .

F i n a l l y , b oth r ea d and w r i t t e n l i t e r a t u r e s e e m s t o

h av e o f f e r e d t h o s e a u t h o r s a n e s c a pe f ro m t h e

n a rr ow n es s of t h e l i m i t e d

lifestyle v il ble t o w o m e n

a t t h a t t im e . I n t h e s e f a i r y t a l e s t h ey c ou ld s e e

women t a k i n g a n a c t i v e r o l e , a p a t t e r n t h a t was s c a r c e

i n t h e r e a l w o rl d a ro un d them. D en ie d a c c e s s t o

r e a l - l i f e a c t i v i t y , women g e n e r a l ly t en d t o l i v e more

i n t h e i r i m ag i na t io n s and de ve lo p a v a r i e d

f a n t a s y l i f e . While t h e u se of f a n t a s y m o t i f s i n t h e s e

n o v e l s

s

s i g n i f i c a n t , a s

s

t h e - f a c t t h a t t h e s e

p a r t i c u l a r s t o r i e s f e a t u r e a c t i v e h e r o i n e s , t h e

emphas i s s e e m s t o b e on t h e de ve lo pm en t of i n d i v i d u a l

f em al e p o t e n t i a l . Max L c t h i s t a t e s :


15/16

The f a i r y t a l e d e p i c t s o v e r and o v e r a n upward

development , th e overcoming of m or tal dangers

and seemingly in so lu b le problems. The

image

i s

t h a t of one who has t h e

c a p a b i l i t y t o r i s e a bove h i m s e l f , h a s w i t h i n him

t h e y e ar n in g f o r t h e h i g h e s t t h i n g s , and i s a l s o

a b l e t o a t t a i n them.

2

5

Viewed i n t h i s l i g h t , what more f i t t i n g f a i r y - t a l e

m o t i f s t h a n t h e s e c o u l d E l i o t and t h e B r on te s h av e

chosen f o r t h e i r p o s i t i v e p r o j e c t i o n of f em in in e

p o t e n t i a l t o d e ve lo p i n t o f u l l human be i ng s ?

NOTES

1

E l l i o t Gose, I m a g i n a t i z Indulged (Montreal and London: XcGill-Queens U niv ers ity

Pr es s, 1972). p. 41.

2. Iona and Pe te r Opie, The Cl as si c Fai ry Tales (London: Oxford Un ive rsi ty Pr es s, 1974),

pp. 121, 137, 118.

3. See Gordon Haig ht, George E l i o t (New York and Oxford: Oxford Un iv er si ty P r e s s , 1968).

pp. 7, 13; El iz ab et h Ga sk el l. The L i fe of Ch ar lo tt e (New York: 0

A

Appleton

and Co.

,

18571, p. 48; Win ifred Ge ri n, The Bron tzs: The Form ativ e Years

(Longman Group Lt d. , 1973 ), p. 17; and Norman Sh err y, C ha rl ot te and Emily Bron ta

(London: Evans Br ot he rs , Ltd. , 1969 ), p. 29.

4. Uarie-Louise von Franz, Int rod uct ion to the Psychology of Fairy Tales (Zuric h:

Spring Publi cat io ns, 1975), p. 11.

5.

Opie, Cla ss ic Fairy Tales, p. 12.

6. Opie, C la ss ic Fai ry Tales , p. 11.

7. Bruno Be tt elhe im. The Uses of Enchantment (New York: Alf re d

A

Knopf. 1976), p. 251.

8. Bette lhe im, Uses of Enchantment, pp. 252 and 271.

9. Be tte lhe im, Uses of Enchantment, p. 279.

10. Opie, Cl as si c Fai ry Ta les , p. 123.

11. Be tt el he im , Uses of Enchantment, p. 264.

12. Ja cq ue li ne Simpson, The Function of Fol kl or e i n Jan e Eyre and Wuthering Hei ght s,

Folk-Lore 85 (1974) :47.

13. Simpson, Func tion of Fo lkl or e, p. 61.

14. C h a r lo t te ~ r o n t s , a n e Eyre (Nar York: New American Lib ra ry , 1960) , p. 125. Fu rt he r

r e f er e n ce s a r e t o t is e d i t i o n .

15. Opie, C la ss ic Fa ir y Tal es. pp. 145-46.


16/16

16. Emily Brcnt a, Wu the rin ~.He ig ht s New York: Random House, 1950).

p

4 2 Fur ther

r e fe r en c es a r e t o t h i s e d i t i on .

17. Gose. Imag ina tio n Indulg ed, p. 51.

18. Ib id .

19. Marie-Louise von Pranz, Problems of t h e Feminine i n Fa ir y Ta le s New York:

Pub lica tion s, 1972). p. 38

Spr ing

20 Gose, Imag inat ion Indulged,

p

69.

2 1 Gose, Imag inatio n Indulg ed, pp 48-49.

2 2 George El io t ,

he

i l l on th e F los s N w York: Ea rp er and Row. 1965). p. 3 4 7

F u r t h e r r e f e r e r s e s

edit=

23 P a t r i c i a Meyer Spacks, The Female Imagin ation Nev York: Alf red A Knopf. 1 975) , p. 4t

2 4

Gose, Imagination Indulged, p. 50.

25.

ax Lzthi, Once Upon a Time New York:

Frederick Unger Publishing Co., 19701,

p.

140

nineteenth century fairytale analysis

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