Magic is in the air this weekend, as audiences worldwide have been going to see Disneyâ€™s live action remake of its classic animated tale, Beauty and the Beast. In Disneyâ€™s version of this classic tale, an enchantress places a curse on a vain prince which turns him into a hideous beast. If the prince does not learn to love another by the time the last petal falls on a magical rose, he will remain in his beastly state forever. Some years later, a young village girl, known for her love of reading and beauty, is taken prisoner in his castle. Naturally, romance ensues and Belle and her now-handsome prince live â€˜happily ever afterâ€™.
'Canon fuga in dyatessaron': from Magister Sampsonâ€™s Motets, Low Countries (Antwerp), c. 1516, Royal MS 11 E XI, f. 2v
Contrary to some reviewers, who describe the setting of Disneyâ€™s film as â€˜medievalâ€™, Disneyâ€™s adaptation was based on the fairytale by the French novelist, Gabrielle-Suzanne Barbot de Villeneuve, written in 1741. However, like many fairy tales composed during the 17th and 18th centuries, these narratives have roots which reach back into antiquity and draw on aspects of medieval and early modern life, from the use of roses in heraldry to its portrayal of literate women to the â€˜Beauty and the Beastâ€™ story itself.
A particularly popular aspect of Disneyâ€™s adaptation of this tale is Belle's love of literature and enthusiasm for reading. There are numerous examples of women from the medieval period that wrote texts of their own, and clearly shared this same love of the written word.
Her nose stuck in a book: detail of a miniature of Christine de Pizan in her study, from the Book of the Queen, France (Paris), c. 1410â€“1414, Harley MS 4431, f. 4r
In a recent post, we explored the work of female scribes in manuscripts dating back to the 2nd century BC. In these early texts, it is possible to deduce from the context, content and the pronouns used that it may have been written by a woman. Later in the Middle Ages, it is possible to identify specific women who wrote, read or owned a variety of books. A particularly well known female author is Christine de Pizan (1364â€“1430). One of Christineâ€™s most famous works, The Book of the City of the Ladies, was written for Isabel of Bavaria, Queen consort of Charles VI of France, and discussed the important contributions to society made by women in the past.
Be our guest: detail of Christine de Pizan presenting her book to Queen Isabel of Bavaria, Harley MS 4431, f. 3r
Another medieval female writer from the medieval period was Marie de France (1160â€“1215). Although little is known about Marieâ€™s personal life, it is clear that she had an interest in literature and a desire to share her passion with others. During her lifetime, she translated part of the collection of Aesopâ€™s fables and wrote about the importance of proverbs to moral instruction within society.
Marie also composed 21 short lais poems. These lais were romantic narratives, which glorified the concept of courtly love through the adventures of the main characters. In one particular lai Marie combined the theme of love with the supernatural and fairytale motifs to create a story that will be familiar to fans of the Beauty and the Beast tale.
The tale of Bisclavret: from the lais of Marie de France, c. 1250â€“75, England (Oxford?), Harley MS 978, f. 131v
This lai is called Bisclavret (or The Werewolf), and tells of a baron who shape-shifts weekly into a wolf. He disappears from his home for three days, and then reverts to his human form by putting his clothes back on. When his wife discovers his secret, she decides to get rid of him by sending a knight, her suitor, to steal his clothes after his next transformation. Bisclavret, unable to return to his human form, is forced to spend the rest of his life roaming the woods. His luck changes, however, when the king finds him and adopts him as a pet. But the story unravels when the king takes him on a visit to his former lands, now governed by his wife and her suitor. Seeing his wife, Bisclavret goes into a rage, attacks her and rips off her nose. She then confesses her deeds and returns the stolen clothes, enabling Bisclavret to change back to his human form and regain his lands. This is, of course, a much darker version than Disneyâ€™s joyful adapatation.
Positively primeval! A woman demonstrates displeasure at a wodewose's advances, Smithfield Decretals, Southern France (?Toulouse), c. 1300â€“40, Royal MS 10 E IV, f. 73r
Nor was Marie de Franceâ€™s tale the only instance of a â€˜Beauty and the Beastâ€™ type story in medieval art and literature. Wodewoses, or hairy wild men from the forest, often appear in the margins of manuscripts attempting (usually unsuccessfully) to woo beautiful women. There were also stories about a handsome young knight forced to marry a much older woman, who became beautiful when he learned to respect her. This is the plot of the Wife of Bathâ€™s tale in Chaucerâ€™s Canterbury Tales.
As a female who loves to read and marvels at the contents of a library, Belle continues to be an important role model for young girls who share this love of the written word. Christine de Pizan and Marie de France are just two examples of many women throughout history who were clearly passionate about reading and writing texts of their own. Marie de Franceâ€™s story of physical transformation as a barrier of love is just one example of how fairytale narratives recur throughout history, and still delight audiences today. One could even say that this kind of narrative is a tale as old as timeâ€¦
Beauty is found within: historiated initial with a rose, Royal MS 11 E XI, f. 13v
Becky Lawton and Clarck Drieshen
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