The Jefferson Performing Arts Society Presents Disney’s
Beauty and the Beast
A Study Companion
Jefferson Performing Arts Society 1118 Clearview Parkway Metairie, Louisiana 70001 Phone: 504 885 2000 Fax: 504 885 3437 [email protected]
1 Table of Contents
Teacher’s Notes…………………………………………………………3
Notes on Louisiana Content Standards and Benchmarks………….…5
Synopsis: Beauty and the Beast………………………………………….6
Following the Fairytale: History of Beauty and the Beast…………….11
Beauty and the Beast: Lesson Plans…………………………………….24
Making Music With Fractals……………………………………………41
The Geometry of Roses………………………………………………....48
2 Teacher Notes
Good day and welcome to a world of enchanted objects and magical encounters, a fairytale land where the power of love triumphs over evil and everyone lives happily ever after (eventually.) Beauty and the Beast all started with Jeanne- Marie LePrince de Beaumont. The story was first published in France in 1756 as Magasin des enfans, ou dialogues entre une sage gouvernante et plusieure de ses élèves (“Magazine for Children,” or “Dialogues Between a Wise Governess and Several Exceptional Pupils.”) It was adapted from even older mythologies dating as far back as Ancient Greece. The first English translation appeared in 1757. Over time the title has become the same in French as in English, "La Belle et la Bête,” or, "Beauty and the Beast." The Jefferson Performing Arts Society will be performing a version created by Walt Disney.
This Study Companion includes both Content Standards and Benchmark lists from Louisiana’s State Department of Education and lists of additional online resources. Following the synopsis of Beauty and the Beast, each section begins with lists of corresponding Benchmarks. These individual sections will chronicle the history of the Beauty and the Beast fairytale, present lesson plans based upon the fairytale, explore the connection of music and fractal geometry, examine the interrelation of roses and fractals and investigate the physics of flight. Much of this material comes from the Internet and all sources are listed following each section.
Over the past two hundred and forty eight years, Beauty and the Beast has had many incarnations. This section traces the story from its origins all the way to modern day film and stage renditions. Lesson plans provide opportunities to use
3 Beauty and the Beast to develop Language Arts skills. Additional web resources are also listed.
Many research studies have investigated the link between math and music. Recent technological advances now allow computers to create musical patterns using mathematical formulas. This section focuses on the use of fractal geometry to create musical patterns.
One of the most memorable images from the Beauty and the Beast is the enchanted rose. The arrogant prince must win the love of another before the rose dies, or suffer the fate of remaining a beast forever. Like many things in nature, such as snowflakes, roses possess “The Golden Mean,” a measurable quantity of geometric proportion. Roses bloom by unfolding in steps. The steps unfold in proportionate ratios. These ratios are measurable using fractals. This section contains information on “The Geometric Golden Mean,” and lessons on how to create your own roses using fractal geometry.
Enjoy!
Karel Sloane-Boekbinder, JPAS Director of Cultural Crossroads & Stage Without A Theatre
Front Cover Image: Beauty and the Beast, retold by Jan Carr. 1993, illustration by Katy Bratun.
4 Louisiana Educational Content Standards and Benchmarks
In the interest of brevity, Content Standards and Benchmarks will be listed for grades 5-8 only. Most Content Standards and Benchmark coding for each subject is similar, and can be adapted for every grade level. As an example, English Language Arts Content Standard Three, “Students communicate using standard English grammar, usage, sentence structure, punctuation, capitalization, spelling, and handwriting, has corresponding Benchmarks across grade levels. The code is written ELA (English Language Arts,) 3 (Content Standard 3,) and E1 (grades 1-4.) The same Benchmark applies to all grade levels. Coding can be converted as follows:
ELA-3-E1 Writing legibly, allowing margins and correct spacing between letters in a word and words in a sentence Grades 1-4
ELA-3-M1 Writing fluidly and legibly in cursive or printed form Grades 5-8
ELA-3-H1 Writing fluidly and legibly in cursive or printed form Grades 9-12
As another example:
Mathematics Content Standard NUMBER AND NUMBER RELATIONS, “ In problem-solving investigations, students demonstrate an understanding of the real number system and communicate the relationships within that system using a variety of techniques and tools,” has corresponding Benchmarks across grade levels. The code is written N (Number and Number Relations,) 1 (Benchmark 1,) and E (grades 1-4.) The same Benchmark applies to all grade levels. Coding can be converted as follows:
N-1-E Constructing number meaning and demonstrating that a number can be expressed in many different forms (e.g., standard notation, number words, number lines, geometrical representation, fractions, and decimals); Grades 1-4
N-1-M Demonstrating that a rational number can be expressed in many forms, and selecting an appropriate form for a given situation (e.g., fractions, decimals, and percents); Grades 5-8
N-1-H Demonstrating an understanding of the real number system; Grades 9-12
All Louisiana Content Standards and Benchmarks were retrieved from: http://www.doe.state.la.us/lde/curriculum/home.html
5 Disney’s Beauty and the Beast Synopsis
Image retrieved from: http://www.scils.rutgers.edu/~mjoseph/beauty_and_beast4.jpg
6 nce upon a time, in a faraway land, a YOUNG PRINCE lived in a shining castle. Although he had everything his heart desired, the prince was spoiled, selfish, and unkind. But then, one winter's night, an old beggar woman came to the castle and offered him a single rose in return for shelter from the bitter cold. Repulsed by her haggard appearance, the Prince sneered at the gift and turned the old woman away. But she warned him not to be deceived by appearances, for beauty is to be found within. And when he dismissed her again, the old woman's ugliness melted away to reveal a beautiful enchantress.
he Prince tried to apologize, but it was too late, for she had seen that there was no love in his heart. As punishment, she transformed him into a hideous BEAST and placed a powerful spell on the castle and all who lived there. The rose she had offered was truly an enchanted rose, which would bloom for many years. If he could learn to love another and earn their love in return before the last petal fell, the spell would be broken. If not, he would be doomed to remain a Beast for all time.
n a little town, a quiet provincial village where "every day is like the one before," we meet BELLE, a young woman who lives there with her father. Although Belle is admired by the villagers for her beauty, she is seen as odd and peculiar, ". . . with a dreamy far off look, and her nose stuck in a book, what a puzzle to the rest of us is Belle."
nter GASTON, a handsome, egotistical man who has fallen for Belle. He vows, to Belle's obvious disapproval, that he is going to marry her -- the most beautiful girl in town and the only one worthy of being his wife. So confident is Gaston that Belle will accept his proposal, he sends his flunky LEFOU into the woods to capture a deer for the wedding feast. Meanwhile, Belle slips away and goes home to her father, MAURICE, an eccentric inventor.
aurice is putting the final touches on an invention that he is confident will make his fortune. Sensitive to the looks and comments she endures from the villagers, Belle asks him if he thinks she is odd. Her father assures her that she is not -- after all, she is her mother's daughter, and NO MATTER WHAT, he is on her side. Having finally succeeded in making his invention work, Maurice sets off for the fair, hoping to win first prize, and he takes with him a scarf Belle gives him for good luck. But soon, while lost in the woods, his invention breaks down and wolves begin to chase him. Lost and frightened, he stumbles upon a castle and pounds on the door.
7 nside, he discovers to his amazement that the castle is populated with once human ENCHANTED OBJECTS, who, as the Prince's servants, have also been cruelly affected by the beggar woman's spell. LUMIERE, a candelabra, COGSWORTH, a mantle clock, and MRS. POTTS, a teapot, proceed to make Maurice feel welcome and comfortable while at the same time attempting to keep his presence hidden from the castle's master, the Beast.
t doesn't work. The Beast roars into the room and accuses Maurice of wanting to "stare at the Beast." Maurice apologizes, but to no avail. When he claims that all he wanted was a place to stay, the Beast tells him, "I'll give you a place to stay," and throws him in the dungeon.
ack in town, having made all the arrangements for his wedding to Belle, Gaston decides it's about time to propose to the lucky bride-to-be. He paints a vivid picture of life married to Belle (ME), but she turns him down flat, and Gaston leaves humiliated, now even more determined to have Belle for his wife.
s Lefou shows up looking for Gaston, Belle notices that he is wearing her father's scarf and demands that Lefou tell her where he found it. Lefou confesses that he picked it up in the woods near the crossroads. When he refuses to take Belle there, she goes to look for her father herself.
elle comes upon the Beast's castle and lets herself in. As she cautiously explores the dark interior, looking for her father, Lumiere and Cogsworth worry that they are losing more and more of their humanity each day, as the terrible spell continues to transform them into objects. But, when they discover Belle's presence, their hopes are ignited as they anticipate she might be the one to help their master break the spell.
elle finds Maurice locked up in a cell. He urges her to leave, just as the Beast appears. Belle begs the Beast to let her father go, finally offering to become the Beast's prisoner in exchange for her elderly father's freedom. The Beast accepts her offer and makes her promise to stay there forever. He sends Maurice off before father and daughter can say goodbye.
he Beast leads Belle to her new quarters in the castle and tells her that this is now her home. He says she can go anywhere in the castle she likes -- except the West Wing -- and then demands that Belle join him for dinner. As Belle mourns the loss of her father and her freedom (HOME), Mrs. Potts and MADAME DE LA GRANDE BOUCHE, the wardrobe, try to cheer her up.
eanwhile, at the tavern in town, Gaston is pouting about Belle's rejection. Lefou and some of the villagers remind him how admired he is (GASTON). During the revelry,
8 Maurice arrives, frantic and begging for help to rescue Belle from the Beast. No one takes him seriously, and Gaston has him thrown out. When one of the villagers mentions that "crazy old Maurice, he's always good for a laugh," Gaston hatches a new plot, which he confides to Lefou.
ack at the castle, the Beast anxiously awaits Belle at dinner. But, still angry and upset at her predicament, Belle stays in her room. Furious, the Beast confronts Belle and tries to bully her into joining him, but she remains defiant. He tells her that she is forbidden to eat at all, and storms off to the West Wing. In his quarters, using his magic mirror, the Beast looks in on Belle as she declares to Madame de la Grande Bouche that she wants nothing to do with him. Distraught by her refusal to see him as anything but a monster, the Beast reflects on his past mistakes, asking HOW LONG MUST THIS GO ON?
eeling hungry, a courageous Belle finds her way to the kitchen, where, despite the Beast's order, Mrs. Potts insists on feeding her. Lumiere declares that with a proper dinner comes a little music and leads the Objects in spectacular floor show for Belle's entertainment (BE OUR GUEST).
elle is now too excited to sleep, so Cogsworth and Lumiere give her a tour of the castle. Belle slips away from her guides and makes her way to the West Wing, where she discovers the enchanted rose. Just as she is about to touch it, the Beast, frightened at what might happen, bellows at her to stay away. Belle runs out of the castle. The Beast, realizing what he has done, mourns her departure and his own shrinking humanity (IF I CAN'T LOVE HER).
ACT II
n the woods, Belle is attacked by the ferocious wolves. Just as they surround her, the Beast arrives and drives them away -- but not without being wounded himself. Belle takes him back to the castle, and, while she tends to his wounds, Belle and the Beast begin to open up to each other (SOMETHING THERE).
he Beast decides that he wants to give Belle a token of his affection. Remembering her love of books, he leads her to his massive and neglected library, where the two of them spend the day together. Belle suggests that they read "King Arthur" together, but the Beast confesses that he cannot read. Feeling suddenly sympathetic toward him, Belle reads the book aloud to the Beast, giving him a new appreciation for literature. Obviously starting to warm to the Beast, Belle tells him she would like to make a fresh start and asks him if he would join her for dinner. The servants, having witnessed the invitation, raise their hopes that Belle will help their master finally break the spell and that soon they will also be HUMAN AGAIN.
eanwhile, Gaston has summoned MONSIEUR D'ARQUE, who runs the local insane asylum. Gaston explains that everyone knows Maurice is a lunatic who should be locked away, especially since his recent ravings about some Beast. Of course, if Belle consents to
9 marry Gaston, Maurice could be freed from the MAISON DES LUNES. Monsieur D'Arque gleefully agrees to help Gaston.
ack at the castle, the Beast realizes that he truly loves Belle, but is afraid to tell her. Lumiere and Cogsworth encourage him to take the chance. However, during their romantic dinner (BEAUTY AND THE BEAST), the Beast gets cold feet and, instead of telling Belle how he feels, gives her the magic mirror. When Belle asks the mirror to show her Maurice, she discovers that he is alone in the woods and in danger. The Beast tells her she must go to him and insists she take the mirror with her, so that she can always look back.
elle finds her father and brings him home, only to find D'Arque waiting to take Maurice away. Gaston offers to "clear up this little misunderstanding," if she will agree to marry him. Belle refuses and uses the mirror to prove that her father is not crazy -- she shows everyone that the Beast is real. Sensing a friendship between Belle and this "monster," Gaston whips the townsfolk into a frenzy by convincing them the Beast is a threat who must be destroyed, and leads them on the attack (THE MOB SONG). Belle and Maurice slip away and head toward the castle to help the Beast.
he Enchanted Objects drive away the invaders, but Gaston finds the heartbroken Beast and attacks him. The Beast doesn't have the heart to fight back -- until he sees that Belle has returned to him. On the verge of killing Gaston, the Beast's human side triumphs: He sets the cowering bully free and climbs toward Belle. Gaston stabs him in the back, only to be thrown to his own death afterward.
he Beast, dying from his wounds, tells the weeping Belle that he is happy that he at least got to see her one last time. Belle tells him that she loves him, just as the last petal of the Rose falls. A strange light fills the stage, and the Beast's body magically rises and spins in the air. As he twirls around, we witness his TRANSFORMATION into the Prince. The spell has been broken!
ll of the servants are now human again, and, as in all good fairy tales, the Prince and his Beauty live happily ever after (BEAUTY AND THE BEAST - REPRISE).
Information retrieved from: http://www.disney.co.uk/MusicalTheatre/beautyuk/tale/synp01.htm
10
Following the Fairytale: Tracing the History of Beauty and the Beast
The Fairy Book, 1913, illustration by Warwick Goble.
Image retrieved from: http://www.scils.rutgers.edu/~mjoseph/beauty_and_beast7.jpg
11 Louisiana Content Standards and Benchmarks for English Language Arts
Standard One: Students read, comprehend, and respond to a range of materials, using a variety of strategies for different purposes. Focus: Reading as a Process • Responding to Text • Word Meaning • Word Identification • Understanding Textual Features • Connecting Reading to Prior Knowledge and Experiences
ELA-1-M1: Using knowledge of word meaning and developing basic and technical vocabulary using various strategies (e.g., context clues, idioms, affixes, etymology, multiple meaning words) (1, 4)
ELA-1-M2: Interpreting story elements (e.g., mood, tone, style) and literary devices (e.g., flashback, metaphor, foreshadowing, symbolism) within a selection (1, 4)
ELA-1-M3: Reading, comprehending, and responding to written, spoken, and visual texts in extended passages (1, 3, 4)
ELA-1-M4: Interpreting (e.g., paraphrasing, comparing, contrasting) texts with supportive explanations to generate connections to real-life situations and other texts (e.g., business, technical, scientific) (1, 2, 4, 5)
ELA-1-M5: Adjusting reading rate according to texts and purposes for reading (e.g., problem solving, evaluating, researching) (1, 2, 4, 5)
Standard Seven: Students apply reasoning and problem-solving skills to reading, writing, speaking, listening, viewing, and visually representing.
Focus: Critical Thinking • Questioning • Prediction • Investigation • Comprehension • Analysis • Synthesis • Communication Understanding
ELA-7-M1 Using comprehension strategies (e.g., summarizing, recognizing literary devices, paraphrasing) to analyze oral, written, and visual texts
ELA-7-M2 Using reasoning skills (e.g., categorizing, prioritizing), life experiences, accumulated knowledge, and relevant available information resources to solve problems in oral, written, and visual texts
ELA-7-M3 Interpreting the effects of an author’s purpose (reason for writing) and viewpoint (perspective)
ELA-7-M4 Using inductive and deductive reasoning skills across oral, written, and visual texts
12
Beauty and the Beast, Story Origins
The story of Beauty and the Beast has been around for centuries in both written and oral form, and more recently in film and video. Many experts trace similarities back to the stories of Cupid and Psyche, Oedipus and Apuleius’ The Golden Ass of the second century A.D.
The tale of Beauty and the Beast was first collected in Gianfranceso Straparola’s Le piacevolo notti (The Nights of Straparola) 1550-53. The earliest French version is an ancient Basque tale where the father was a king and the beast a serpent. Charles Perrault popularized the fairy tale with his collection Contes de ma mere l’oye (Tales of Mother Goose) in 1697. The 17th century Pentamerone is also said to include similar tales.
The first truly similar tale to the one we know today was published in 1740 by Madame Gabrielle-Suzanne Barbot de Gallon de Villeneuve as part of a collection of stories La jeune amériquaine, et les contes marins (told by an old woman during a long sea voyage). Mme. de Villeneuve wrote fairy tale romances drawn from earlier literature and folk tales for the entertainment of her salon friends.
Almost half of the Villeneuve story revolves around warring fairies and the lengthy history of the parentage of both Beauty and the Prince. Beauty is one of 12 children, her stepfather is a merchant, her real father being the King of the Happy Isles. The Queen of the Happy Isles is both Beauty’s mother and the Dream Fairy Sister. Villeneuve also made various digs at the many enforced marriages that women had to submit to, and her Beauty ponders that many women are made to marry men far more beastly than her Beast. The story was 362 pages long.
13 French aristocrat Madame Jeanne-Marie Le Prince de Beaumont (1711 - 1780) emigrated to England in 1745 where she established herself as a tutor and writer of books on education and morals. She took Mme. de Villeneuve’s tale and shortened it, publishing it in 1756 as part of a collection entitled Magasin des enfants. Although taking all the key elements from the Mme. de Villeneuve story, Mme. de Beaumont omits some dream sequences and the fact that in the original the transformation to handsome prince takes place after the wedding night. Intended as a lesson for her students, some of the subversive edges were polished off the story. It is pretty well the version we consider traditional today. Mme. Le Prince de Beaumont’s story was translated into English as The Young Misses Magazine, Containing Dialogues between a Governess and Several Young Ladies of Quality, Her Scholars (1757).
The French tradition of the time was to unfold stories in a more everyday situation, with a tendency to substitute dramatic development founded on human emotions in place of actions based on magic forces. They eliminated whatever was bloody or cruel and relied on a story with direct action and without accessory actions, a style sober and unadorned. French storytellers subjected traditional stories to their own classical, logical, even rational taste. Perrault began this trend away from the traditional folk manner, and the ladies who followed him - Mlle. Lhéritier, Mme. d’Aulnoy and Mme. Le Prince de Beaumont - went even further. The lowliest of people in their tales are gentlemen, shepherds are princes in disguise, and the stories are peopled by the upper levels of the court. These influences over the story explain some of the differences we find between today’s Beauty and the Beast rooted in these French tales and more traditional versions.
Since its initial publishing the story has been revised many times. In 1756 the Comptesse de Genlis produced a play on the theme; in 1786 Mme. de Villeneuve reprinted her story as part of Le Cabinet des Fées et autres contes merveilleux.
14 The nineteenth century saw a proliferation of retellings in France, England and America. 68 different printed editions are listed in the Index to Fairy Tales. Notable versions include the 1811 poem by Charles Lamb, an 1841 ‘grand, romantic, operatic, melodramatic fairy extravaganza in 2 acts’ by J.R. Planchée which premiered April 12, 1811 at the Covent Garden Theatre with Mme. Vestris as Beauty, Walter Crane’s picture book in 1875, and Eleanor Vere Boyle’s illustrated novella of 1875.
Moving into this century we have been treated to the landmark film of Jean Cocteau (La Belle at la Bete), Walt Disney Studio’s cartoon adaptation and a science fiction Beauty by Tanith Lee. A fuller listing follows later.
The story of Beauty and the Beast appears in many other cultures in different forms. Aarne-Thompson lists 179 tales from different countries with a similar theme to Beauty and the Beast. There are usually three daughters, the youngest being the most kind and pure, her sisters displaying some of the undesirable traits of humankind. Beauty often has no name but is referred to as the youngest daughter. (For purposes of identification I shall use "Beauty" when referring to the heroine of the story.) There never seems to be a mother, thus omitting the possible conflicts a mother would have allowing her daughter to leave to live with a monster and allowing a closer relationship with the father who is, in most cases, wealthy. Although the Beast takes on many guises (serpent, wolf, even pig) he is never appealing in appearance but is rich and powerful. Hidden powers seem to guide the humans. At one point the Beauty is separated from her Beast and at that time some ill befalls him. Beauty’s remorse, sometimes as simple as shedding a tear and sometimes as onerous a penance as going to the end of the earth, saves the Beast and his transformation to handsome man is achieved.
Much psychological hay has been made of the story of Beauty and the Beast; the men are all passive, the older women are less sympathetic, the youngest one pure and virginal and even the desired rose has come in for its share of analysis.
15 To the Greeks and Romans the rose was a symbol of pleasure associated with extravagance and luxuriousness. It is considered the flower of romance that ‘blushes with the warmth of worldly delights.’ Is the father dying in a literal sense or is he dying for the love of his Beauty who is now devoted to the Beast?
As stories swap back and forth, new elements are introduced and exchanged. Folklorists have developed a system for categorizing stories, (e.g. the number 425A has been assigned to tale of the type "The Monster or Animal as Bridegroom"). Whatever the varying versions or systematic cataloging, the basic values that the stories convey are similar. The story and its questions regarding human values run deeper than the simple facts and details of the tale and remain timeless. We all have the potential to be beautiful or beastly; how do we overcome our ‘monsters’?
Information retrieved from: http://www.balletmet.org/Notes/StoryOrigin.html
16 CINDERELLA BIBLIOGRAPHY by Russell A. Peck
BEAUTY AND THE BEAST
[Beauty and the Beast narratives have much in common with Cinderella narratives, particularly as defined by Madame Jean-Marie Le Prince de Beaumont and Madame Gabrielle-Susanne Barbot de Gallon de Villeneuve: a hard-working girl, the youngest of three, does all the scullery work and household chores without complaint; her spoiled siblings are lazy and cruel and treat her like a stepsister; the mother is deceased and the father somewhat inept; the girl is beautiful and virtuous, but the sisters do what they can to obliterate acknowledgement of her good qualities; the girl has remarkable ingenuity and is capable of venturing outside the ordinary boundaries of her childhood life and servitude; her struggle bears strong similarities with the Cupid and Psyche story in which she learns to see differently and performs labors to save or recover her lost loved ones; the denouement reveals the redemptive power of love, which ends in marriage and the reestablishment of domestic fruition. Both Madame Le Prince and Madame de Villeneuve incorporate within Beauty's narrative a counterpart, namely, a Beast imported from tales of people transformed into subhuman animal form, who search, often as male Cinderellas for some way to be returned to their human form. The learning of compassion and empathy are crucial for both sides of the paradigm. Compare Cinderella versions such as Donkey Skin and Allerleirauh, where the animal form is only a disguise and is worn by the woman. These kinds of narratives tend to be strongly gendered in their exploration of compatible opposites, but they also are alert to tensions between the spiritual and physical within individual psyches. Like Cinderella stories, Beauty and the Beast stories are studies in acknowledgement as well as endurance.]
BASIC TEXTS:
Madame Gabrielle-Susanne Barbot de Gallon de Villeneuve. "La belle et la bête," in La jeune amériquaine, et les contes marins. 1740. [A wealthy merchant, with six sons and six daughters, is caught in a disastrous reversal of fortune: his house burns, his ships are lost at sea, his foreign agents are treacherous, and he is left bankrupt. The family is forced to move to an isolated spot in the country. The children, having grown up as socialites, are unable to adjust to rustication - all except the youngest, a sixteen year old daughter, Belle, who decides that it is better to be cheerful and meet misfortune with perseverance and resolution. She is scorned by her siblings for such low notions. News comes that one last ship of the merchant's fleet has survived and come into port. The father goes to see if their fortune has been restored but discovers that the goods have been ruined and the rest
17 impounded by his creditors. He had promised to return home with gifts for the children, who demanded rich clothing, etc., all except Belle, who asked only for her father's good health and a rose. On his return, empty-handed, the father is caught in a blizzard and takes refuge in a castle filled with lifelike statues but no people. Nonetheless, the hearth fire burns and a meal appears on a table. The father eats, then sleeps. When he awakens he seeks the genius of the place and in the garden picks a rose to give to Belle. At that moment a beast appears, roaring and placing its elephant trunk on the merchant's neck, pronouncing a sentence of death on the man. The sentence can be modified if the merchant gives the beast one of his daughters in his place. She must come willingly, moreover. Belle accepts blame for the incident and insists on going to the Beast. Recalling an ancient prediction, the merchant permits Belle to return with him. Beast rewards the father handsomely, though Belle advises him on what to take (gold and diamonds rather than fancy clothing). She sleeps well at the castle and has wonderful dreams of a youth - a fair unknown - who talks with her reassuringly. She is surprised to find in the castle a picture of a youth identical to the one she saw in her dream. At Beast's palace she is entertained with art, birds, monkeys, theater, etc., and time passes. The dream continues, warning her not to be deceived by appearances. Beauty begins defending Beast in her dreams. A lady also appears in her dreams to advise her. Belle begins to distrust Beast and the fair unknown, who seem at odds with each other, yet similar. Beast permits Belle to return to her father, who is ill. The money has run out. Belle learns of other kindnesses to her father but overstays her time because of enticements by the sisters. Though the dream of the fair unknown vanishes, the lady reappears in her dreams and tells of Beast's illness. She returns to find him dying in a cave. She expresses her love for him and Beast rallies. Now, instead of being dumb, he speaks eloquently. She agrees to marry him and the sky bursts into a fireworks display. Beast is transformed into the state he enjoyed before he was cursed, and Belle recognizes him as the man of her dreams and the one pictured in the palace. Two women visit, one the lady of Belle's dreams and the other the queen, who blesses the marriage. But then Belle acknowledges her common origins: the queen is shocked. She offers Belle other husbands. The prince says he would rather be a beast again than lose Belle. Belle asks for one reward of the queen - that her father be restored to her. At this point the Fairy intervenes and favors the lovers. She says that the queen is in error, for Belle is not in truth the child of the merchant. Rather she was born of the fairy's sister and is of higher rank than the prince. As a baby they hid her with the merchant so that another jealous fairy might not harm her. The queen asks forgiveness for the prejudices of her rank. Belle then asks for the prince's story: His father died before he was born. His mother became a warrior queen and defended the kingdom well, even defeating other aggressive provinces. The prince, put in the care of an elder fairy of high rank, studied hard, and he too became a warrior. His mother worries about his desire for battle. But the ugly old fairy wants him for a husband, even though she has the power to be beautiful only one day a year. The queen mother is shocked and speaks against the impropriety of such a marriage. The prince stands by his mother and refuses. In a rage the old fairy transforms him into a creature even more ugly than she is. Moreover he will be stupid, unable to think or speak clearly. The curse may be broken only if someone, of her own volition, loves him so utterly that she will marry him. The good fairy comforts the prince. He must forget who he is. She will help him break the spell. The queen mother must keep the secret too. As a
18 comfort to the prince she provides him with theater and art. She then comes up with her plan to rescue Belle at the same time that she is rescuing the prince. The prince recapitulates how difficult it was for him as he to be with Belle yet to maintain silence. To see Belle was to love her. An impulse of self-love hidden under the horrible outward form kept alive the hope that she might someday love him despite the hideous circumstance. He explains how he would approach her at night in his true form and in her dreams, and how the portrait in the house might also speak to her. The fairy protects him by threatening him with a dagger if he were to attempt to explain the story too soon. She snatched him from the grave, so to speak. Belle's real father arrives, thrilled to learn that his daughter, whom he thought he had lost, still lives. All express their debt to Belle. The story of Belle's mother, a shepherdess, is next explained. Her marriage to the fairy king had to be hidden on the Fortunate Island. But she was apparently lost while the king defended his borders. Then the good fairy tells her story. The shepherdess was in truth her sister who had assumed a disguise to get beyond the laws of faerie. But she was exposed by a jealous fairy who wanted to marry the king. She put a curse on the child (Belle) that she would become the bride of a monster. The old fairy hoped to destroy the child by degrading her as a scullion. The good fairy gets control of Belle and searches for a means of protecting her. At one point an abductor attempts to steal her when she was a wee baby, but the good fairy, in the form of a bear, destroys the abductor. Nearby shepherds affirm the story. She then learns of a merchant's wife, who has given birth to a sick and dying infant, and Belle is substituted. She does grow up in adversity, working as a scullion. But the fairy gives the merchant a prophecy that the child will bring him great wealth. Meanwhile, the bad old fairy would marry the fairy king who is grieving over the apparent loss of his wife and daughter. But the good fairy, having lived now a thousand years, gains greater power and is able to contrive a means so that the harmful curses of the old fairy will become blessings. She tells how her sister, the onetime shepherdess, had to endure great hardships, passing part of her life as a serpent, learning of devastating misery until she were able to reappear and regain her husband. But now they are all reunited and the bad fairy imprisoned. Belle asks to see the merchant, who is invited to the feast. He is surprised to learn of the changeling: he is both sad and glad. All in the family celebrate her story. Then she and the prince are married and fly away on an enchanted horse. The prince's mother has the events recorded in the archives of her kingdom so that people will never cease talking about the wonderful adventures of Beauty and the Beast. See Zipes, Beauties, Beasts, and Enchantments, pp. 151-229, for a modern translation of Mlle de Villeneuve's story.]
-----. "La belle et la bête," in Le cabinet des fées, ou collection des fées, et autres contes merveilleux, ornés de figures. Amsterdam, 1786.
Madame Jean-Marie Le Prince de Beaumont. Le magasin des enfans, ou dialogues entre une sage gouvernant et plusiers de ses élèves de la première distinction. Par Mme. Le Prince de Beaumont. London: J. Haberkorn, 1756. [Based on the first part of Mme de Villeneuve's La Bele et la Bête this is the most famous and influential of the Beauty and the Beast stories. A widower merchant had three daughters and three sons. All the daughters were pretty but the youngest most of all. The older girls loved the social life of the rich; the youngest loved to read and was mocked by the others. By a turn of fortune
19 the father lost his wealth and they were forced to live in a small country house. Beauty took the disaster in stride, working, reading, playing the harpsichord, and spinning. She kept the household together. Years pass and the father learns that one of his ships has at last come into port. The spoiled girls want expensive presents; Beauty asks only for a rose. But the father discovers that the ship has been impounded, the cargo ruined, and the ship worthless. On his return he is caught in a raging snowstorm and takes refuge in a strangely peaceful estate in the wilderness. There seem to be no people evident but there is hay in the stable for his horse and food on the table for him. He eats and thanks "madam fairy" for being so kind to him. He sleeps and after breakfast starts to return home, picking a rose for Beauty as he leaves. Suddenly he is seized by a hideous monster who will kill him unless one of his daughters will return in his place by own volition. The merchant returns home, grief stricken. When the children find out the cause only Beauty does not weep. "Why should I lament my father's death when he is not going to perish?" She will gladly go in his place. Her brothers object but she insists. The horse takes her to the place and places herself at the Beast's mercy. He sees that she is good and treats her well. At night she envisions a lady who tells her that her goodness will not go unrewarded. She has her own room and considerable luxury. The Beast only asks that they eat together at the end of the day. Gradually she learns to like his innate courtesy. She acknowledges his kindness but when he asks her to marry him she always says no. Then she learns of her father's illness and asks to return home for a week. Beast agrees, providing she return when the week is over. If she does not, he will die. She returns home, taking with her a ring that grants her wish to return. Her sisters, jealous of Beauty's happiness, decide to spoil it by keeping her past the promised return date. They weep and call her ungrateful for not staying with them longer. On the tenth night she dreams of the dying Beast, puts on the ring and in an instant is back in the Beast's palace. She dons on her best dress and goes in search of him. Finding him near death she throws herself on his body, finds that he is still alive, and brings him water. He comes to long enough to say that she forgot her promise and that he about to die. But she says, "No, my dear Beast, you shall not die. You will live to become my husband." She scarcely uttered the words when fireworks and music announce a feast, and Beast is transformed into a young man more handsome than Eros himself. At first Beauty does not recognize him but the beautiful lady of her dreams appears and explains the transformation. She preferred virtue over beauty and wit and has won a great throne with her prince. The two sisters are turned into statues who must perpetually witness the perfect happiness that Beauty and her prince enjoy, perfect because their relationship was founded on virtue. See Zipes, Beauties, Beasts, and Enchantment, pp. 231-45, for a modern edition of the tale.]
-----. The Young Ladies Magazine, or Dialogues between a Discreet Governess and Several Young Ladies of the First Rank under her Education. 4 vols. in 2. London: J. Nourse, 1760.
-----. The Young Misses Magazine, containing Dialogues between a Governess and Several Young Ladies of Quality her Scolars. Vol. 1. 4th edn. London: C. Nourse, 1783.
-----. Letters from Emerance to Lucy. 2 vols. London: J. Nourse, 1766.
20 Beauty and the Beast: or a Rough Outside with a Gentle Heart, a Poetical Version of an Ancient Tale, by Charles Lamb. London: M.J. Godwin. 1811. Rpt. London: The Rodale Press, 1955. [Godwin first approached William Wordsworth to put Madame Le Prince de Beaumont's tale into English verse, but Wordsworth refused. Lamb's version is in octosyllabic couplets and was printed with a "series of elegant engravings" to sell for 5s. 6d (colored) and 3s. 6d (plain). The engravings include: "Beauty in her Prosperous State" (frontispiece); "Beauty in a State of Adversity" at her spinning wheel; "The Rose Gather'd" as a bear-like beast leaps into the picture at the turbined merchant with striped pants is startled; "Beauty in the Enchanted Palace," as the beast first looks in and her father supports her; "Beauty Visits her Library"; "Beauty entertained with Invisible Music" (three angel musicians, two with harps and one a singer hover overhead); "The Absence of Beauty Lamented" as Beauty returns to the ailing bear; "the Enchantment Dissolved" (Beast, now transformed into Orasmyn, the Prince Persia, kneels before the startled Beauty.]
COLLECTIONS THAT INCLUDE BEAUTY AND BEAST TALES AND ADAPTATIONS:
Best-Loved Folk-Tales of the World, ed. Joanna Cole. Illustrated by Jill Karla Schwarz. New York: Doubleday, 1982. [Includes Madame de Beaumont's Beauty and the Beast (France), Grimms' Frog Prince (Germany), Eros and Psyche (Greece), Prince Hedgehog (Russia).]
The Blue Fairy Book, ed. Andrew Lang (New York: Dover, 1965). See "Beauty and the Beast," pp. 100-19. First published in 1889; perhaps the most popular of the English translations. Based on Madame de Villeneuve's version. Five illustrations by H. J. Ford, some based on Walter Crane's depictions.
Sleeping Beauty & Other Favourite Fairy Tales, trans. Angela Carter; illustrated Michael Foreman. Boston: Otter Books, 1991. [Includes Beauty & the Beast, Cinderella, and Donkey-Skin.]
Beauties, Beasts and Enchantment: Classic French Fairy Tales, translated with introduction by Jack Zipes. New York: New American Library, 1989,[Includes the two earliest B&B narratives by Gabrielle-Suzanne de Villeneuve and Jeanne-Marie Leprince de Beaumont, along with several other beast-transformation analogues such as "Riquet with the Tuft" by Perrault and a version by Catherine Bernard and Marie Catherine d'Aulnoy's "The Ram" and "The Beneficent Frog." Each tale is introduced with a brief sketch of the author.]
Spells of Enchantment: The Wondrous Fairy Tales of Western Culture, ed. Jack Zipes. New York: Viking Penguin, 1991. [An anthology of literary fairy tales written explicitly for adults, that includes several Beauty and the Beast narratives, n.b., Apuleius, "Cupid and Psyche (2d century)" (pp. 1-27), Giovanni Straparola, "The Pig Prince (1553)" (pp. 32-38), Marie-Jeanne L'Héritier, "Ricdin-Ricdon (1696)" (pp. 48-84), Charles Perrault,
21 "Riquet with the Tuft (1797)" (pp. 85-90), Marie-Catherine D'Aulnoy, "Green Serpent (1797)" (pp. 91-114), Janosch's "Hans My Hedgehog (1972)" (pp. 702-3), Angela Carter's "The Tiger's Bride (1979)" (pp. 729-44), and Robin McKinley's "The Princess and the Frog (1981)" (pp. 745-57).]
Beauties and Beasts. Collected and Edited by Betsy Gould Hearne. Illustrated by Joanne Caroselli. The Oryx Multicultural Folktale Series. Phoenix, Arizona: Oryx Press, 1993. [Includes eight tales from various countries of Rescued Beasts, thirteen tales of Questing Beauties, six tales of Homely Women and Homemade Men, and a rather snooty essay (pp. 159-60) on Disney's Beauty and the Beast entitled "In the Dark with Disney," which objects to the alterations of plot to create a Gaston who is destroyed by violence by Beast while Beauty watches from the sidelines. The monsters inside you "have to be tamed slowly, with acceptance and love, as the Beast was. They can't just be killed off in one climactic fight like Gaston, hurled to his death. We are all beautiful and we are all beastly. That is an important focus of a Beauty and Beast story, and teacups distract from that focus considerably. None of us is made of china. As an image, teacups just aren't in the same league with a love-or-death struggle. Dancing forks and spoons make the story cute instead of powerful. At a more elemental level, the addition of a vicious movie villain such as Gaston keeps us from realizing that in the fairy tale, Beauty becomes the real villain by abandoning the Beast, then turns into a hero who saves him from loneliness .... In a dark movie theater, teacups may seem like fun, but they're not much company on a dark journey. There you need the power to make your own way" (p. 160). Hearne suggests activities students of the story might wish to engage in and includes an excellent bibliography (pp. 170-75).]
Information Retrieved from: http://www.lib.rochester.edu/camelot/cinder/BB1.htm Beauty and the Beast Web Resource List: Versions From Around the World
http://www.pitt.edu/~dash/type0425c.html#jacobs
http://www.pitt.edu/~dash/beauty.html
http://www.pitt.edu/~dash/type0425c.html#garden
http://www.pitt.edu/~dash/type0425c.html#lowesleaf
22 http://www.pitt.edu/~dash/type0425c.html#bearprince
http://www.pitt.edu/~dash/type0425c.html#zelinda http://www.pitt.edu/~dash/type0425c.html#smalltooth http://www.pitt.edu/~dash/type0425c.html#singingrose
23 Beauty and the Beast : Lesson Plans
Image retrieved from: http://www.disney.co.uk/MusicalTheatre/beautyuk/song/song. htm
24 Louisiana Content Standards and Benchmarks for English Language Arts
Standard One: Students read, comprehend, and respond to a range of materials, using a variety of strategies for different purposes.
Focus: Reading as a Process • Responding to Text • Word Meaning • Word Identification • Understanding Textual Features • Connecting Reading to Prior Knowledge and Experiences
ELA-1-M1: Using knowledge of word meaning and developing basic and technical vocabulary using various strategies (e.g., context clues, idioms, affixes, etymology, multiple meaning words) (1, 4)
ELA-1-M2: Interpreting story elements (e.g., mood, tone, style) and literary devices (e.g., flashback, metaphor, foreshadowing, symbolism) within a selection (1, 4)
ELA-1-M3: Reading, comprehending, and responding to written, spoken, and visual texts in extended passages (1, 3, 4)
ELA-1-M4: Interpreting (e.g., paraphrasing, comparing, contrasting) texts with supportive explanations to generate connections to real-life situations and other texts (e.g., business, technical, scientific) (1, 2, 4, 5)
ELA-1-M5: Adjusting reading rate according to texts and purposes for reading (e.g., problem solving, evaluating, researching) (1, 2, 4, 5)
Standard Two: Students write competently for a variety of purposes and audiences.
Focus: Writing as a Flexible, Recursive Process • Awareness of Purpose and Audience • Variety of Approaches to Writing Frequent, Meaningful Practice • Connecting Writing to Prior Experiences
ELA-2-M1: Writing multiparagraph compositions (150-200 words) that clearly imply a central idea with supporting details in a logical, sequential order (1, 4)
ELA-2-M2: Using language, concepts, and ideas that show an awareness of intended audience and/or purpose (e.g., classroom, real-life, workplace) in developing complex compositions (1, 2, 4)
ELA-2-M3: Identifying and applying the steps of the writing process (1, 4)
ELA-2-M4: Using narration, description, exposition, and persuasion to develop various modes of writing (e.g., notes, essays) (1, 4)
25 ELA-2-M5: Identifying and applying literary devices (e.g., symbolism, dialogue) (1, 4)
Standard Three: Students communicate using standard English grammar, usage, sentence structure, punctuation, capitalization, spelling, and handwriting.
Focus: Conventions of Language • Language Patterns • Revising Written Text • Editing/Proofreading • Applying Standard English in Real-World Contexts
ELA-3-M1: Writing fluidly and legibly in cursive or printed form (1, 4)
ELA-3-M2: Demonstrating use of punctuation (e.g., colon, semicolon, quotation marks, dashes, parentheses), capitalization, and abbreviations (1, 4)
ELA-3-M3: Demonstrating standard English structure and usage by using correct and varied sentence types (e.g., compound and compound-complex) and effective personal styles (1, 4,5)
ELA-3-M4: Demonstrating understanding of the parts of speech to make choices for writing (1, 4)
ELA-3-M5: Spelling accurately using strategies and resources (e.g., glossary, dictionary, thesaurus, spell check) when necessary (1, 3, 4)
Standard Four: Students demonstrate competence in speaking and listening as tools for learning and communicating.
Focus: Communication Process • Interpersonal Skills
ELA-4-M1 Speaking intelligibly, using standard English pronunciation and diction
ELA-4-M2 Giving and following directions/procedures
ELA-4-M3 Using the features of speaking (e.g., audience analysis, message construction, delivery, interpretation of feedback) when giving rehearsed and unrehearsed presentations
ELA-4-M4 Speaking and listening for a variety of audiences (e.g., classroom, real-life, workplace) and purposes (e.g., awareness, concentration, enjoyment, information, problem solving) ELA-4-M5 Listening and responding to a wide variety of media
ELA-4-M6 Participating in a variety of roles in group discussions (e.g., facilitator, recorder)
26 Standard Seven: Students apply reasoning and problem-solving skills to reading, writing, speaking, listening, viewing, and visually representing.
Focus: Critical Thinking • Questioning • Prediction • Investigation • Comprehension • Analysis • Synthesis • Communication Understanding
ELA-7-M1 Using comprehension strategies (e.g., summarizing, recognizing literary devices, paraphrasing) to analyze oral, written, and visual texts
ELA-7-M2 Using reasoning skills (e.g., categorizing, prioritizing), life experiences, accumulated knowledge, and relevant available information resources to solve problems in oral, written, and visual texts
ELA-7-M3 Interpreting the effects of an author’s purpose (reason for writing) and viewpoint (perspective)
ELA-7-M4 Using inductive and deductive reasoning skills across oral, written, and visual texts
27 Beauty and the Beast
Retold by Marianna Mayer
SYNOPSIS Beauty and the beast is the well-loved story of a beautiful young woman who consents to live in the palace of a terrible beast in exchange for the life of her father. After living with the beast, Beauty finds herself growing fond of him because of his kindness and generosity. She enjoys conversations with him and is impressed by his intelligence and compassion. She refuses his offer of marriage because she feels that it would not be fair to him to marry him when she does not love him. As you read this story you will realize the importance of love and generosity. The story has some surprising events as well as an unexpected ending, but don't read ahead! You will only cheat yourself out of an exciting adventure in great literature!
ABOUT THE AUTHOR
Marianna Mayer has truly captured the rich imagery of this very well known fairy tale. Mrs. Mayer was born in New York where she studied and worked as a commercial artist and art director for an advertising agency. During this time she began to write children's stories and now she devotes full time to writing stories that she knows children will enjoy. Marianna Mayer's husband, Mercer Mayer, is also a well-loved writer of children's books. His illustrations for Everyone knows what a Dragon Looks Like as well as What do you do with a Kangaroo, have won several awards of excellence in the field of illustrators of children's books.
VOCABULARY merchant desolate modest necessities outraged prospects sulked port
28 marvel cargo salvaged confiscated billowed exhausted fatigued hospitality enchanted porridge hastily hideous shuddering thievery wailed slay persuade astonished tremendous continuously wretched abrupt vivid
29 curtsy shimmering vain overjoyed envious connived dread betrayed cradling misery rejoicing
30 VOCABULARY ACTIVITIES
1. Directions: list two synonyms for the following vocabulary words:
merchant:
modest:
necessity:
sulked:
port:
confiscated:
porridge:
2. Directions: List two antonyms for the following vocabulary words.
suspicious:
enchanted:
hideous:
shuddering:
slay:
tremendous:
dread:
Directions: Draw the following:
1. a billowing merchant
2. sulking porridge
3. suspicious cargo
31 4. a confiscated, shuddering magician
5. an abrupt curtsy
6. a rejoicing, envious hag
7. a wretched port
8. a shimmering, enchanted prince
9. a dreadful, consenting beast
10. a conniving, dreadful king
Directions: Please use your vocabulary words to complete the following sentences:
1. The old______was standing on the deck of the boat, which was located at the ______.
2. Sam always would ______the Science test, especially if he didn't study!
3. The ______water made the lake appear as if it was in a land of ______.
4. When John won the prize, his friends were very ______of him and some even ______to steel the prize from him.
5. The losing football team finally won a game and began ______before they were even of the field. They really wanted to ______themselves in the hearts of their fans.
6. The ______old hag was ______when the boys ______her favorite broom.
7. ______the small child in her arms, the young mother began to spoon the ______into the child's mouth.
QUESTIONS
1. What did Beauty's father do for a living? Was he successful?
2. What happened to Beauty's father's ships?
3. How did the shipwreck change the way that beauty's family lived?
32 4. How did the children react to the shipwreck?
5. Why did Beauty's sisters consider themselves too good to be married to farmers?
6. Why couldn't the sisters wash the dishes? Why couldn't they work in the fields?
7. Who did all the chores? Why?
8. Why didn't Beauty complain about her work?
9. List some of the gifts that the sisters requested that their father bring them. What did Beauty request?
10. Why was the cargo worthless?
11. Describe the storm that the merchant encountered on this way home.
12. Describe what the merchant found inside the palace.
13. Why did the merchant feel that the owner of the palace would not mind if he "helped himself" to the food left on the table?
14. Describe what the merchant ate in the palace for dinner and breakfast.
15. Why did the merchant take a rose? How did the beast react to his thievery?
16. What did the merchant say to the beast that "softened" him enough to allow the merchant to live? What was the deal that the merchant made with the beast?
17. How did Beauty's brothers and sisters react to the request of the Beast?
18. Why did Beauty feel that she should live with the Beast?
19. Why did beauty think that the Beast was kind?
20. How did Beauty react to seeing the Beast for the first time? How did she know he was sad?
21. What did the beast give to the merchant when he left the palace?
22. What were some of the treasures that Beauty found in the closets and dresser? Why did she put them on?
23. When Beauty asked the Beast how he spent his day what did he tell him?
24. Why did Beauty refuse to marry the beast?
33 25. What did the prince in the garden tell Beauty about the old hag?
26. What was the magic mirror?
27. When did the beast tell Beauty to return? Why?
28. When did the black horse appear?
29. What did Beauty say to the beast to change him back into a prince?
30. What was the mystery of Beauty's dreams?
34 TEACHER'S ANSWER KEY FOR VOCABULARY ACTIVITIES
1. Answers will vary, but two synonyms most be given.
2. Answers will vary, but two antonyms must be given.
VOCABULARY DRAWING: This will certainly differ!
FILL-IN:
1. merchant, port
2. dread
3. shimmering, enchantment
4. envious, connived
5. rejoicing, redeem
6. hideous, enraged, taunted
7. cradled, porridge
KNOWLEDGE QUESTIONS - ANSWERS
1. Beauty's father was a successful wealthy merchant.
2. A great storm destroyed all the merchant's ships and their rich cargo
3. His children would no longer have servants to wait on them and the family would have to do all the work.
4. All the children complained loudly except for Beauty.
5. They felt that they had not been brought up to marry farmers and they were very proud.
6. They couldn't wash dishes because they would not be able to find a husband with rough and red hands.
35 If they worked in the fields they felt they would not be acceptable to their friends.
7. Beauty and her three brothers were kept busy doing all the chores. The brothers felt that the girls were not strong.
8. Beauty didn't complain about her work because she was anxious to prove to her father she could manage.
9. The sisters requested dresses of silk, fine shoes, and a carriage to ride in. Beauty requested a rose.
10. Most of the cargo was damaged and the few valuables that were salvaged were confiscated by bill collectors
11. The storm growled and twisted. The rain turned to snow.
12. He found the doors open, a grand hall, a warm fire and a tale set with delicious food.
13. He was exhausted and hunger got the best of his senses. He told himself that the meal was meant for him.
14. He ate baked bread, soup, meat pie; and he ate sweet rolls, hot porridge, milk, tea and honey for breakfast.
15. He remembered Beauty's wish for a single rose. "How dare you steal one of my roses!" The beast growled.
16. The merchant pleaded with the beast, begging for his children, who would be orphaned should he die.
17. When the merchant told them of the bargain he had made with the beast they wept.
18. She felt it was her fault that all this had happened to her father and that the beast surely can't be that bad.
19. Beauty thought the beast was kind because of the fine meal he served.
20. She felt he was frightening and yet his eyes were sad. She felt he must be very lonely.
21. When the merchant left the palace he was given three chests that were to be filled with gold and precious jewels.
22. Her dresser spilled over with jewels of every kind. She also found closets filled with beautiful clothes. She put them on to please the beast.
36 23. He told her that he hunted and prowled the woods for prey. He said he was an animal and killed for his meat.
24. She did not love him.
25. That the hag had come begging at his palace gate. He showed her no pity because she was so ugly. The hag put a spell on him.
26. If one is pure of heart, one can see into it.
27. He wanted her to return to him in three weeks.
28. The black horse appeared as soon as she wished to be with her father.
29. "Please recover: If you do, I swear to be your wife, I do love you."
30. The old woman was really a fairy in disguise sent to test him. She put his whole palace in a magical spell till he could find you to redeem him.
Information retrieved from: http://www.mcoe.org/instruct/litpackets/beauty.html
37 From the Beast's Library
Many of literature's most enduring stories explore universal themes. One of the most popular themes is that of the Beauty and the Beast: an "ugly" exterior that hides a pure nature, as well as a "beautiful" exterior that camouflages an "ugly" soul. The literature below explores the variations on this theme:
"It's what's inside that counts." Character Literature Author The Beast "Beauty and the Beast" A folk tale The monster Frankenstein Mary Shelley Charlotte Charlotte's Web E. B. White The duckling "The Ugly Duckling" Hans Christian Andersen Hannah The Witch of Blackbird Pond Elizabeth George Speare Phantom Phantom of the Opera Gaston Leroi Louise Jacob I Have Loved Katherine Paterson
"You can't judge a book by its cover." Character Literature Author Gaston "Beauty and the Beast" A folk tale Estella Great Expectations Charles Dickens Kidnapped child "The Ransom of Red Chief" O. Henry Aging protagonist The Picture of Dorian Gray Oscar Wilde Captain Jaggery True Confessions of Charlotte Doyle Avi
Now imagine that they are the character in this story. As this character, have them write a series of journal or diary entries that capture the way they feel when the world perceives them as "ugly" just because they are physically different. In stories with a reverse scenario, write about how it feels to use physical beauty to manipulate people so that they react positively when they know their motives are anything but "good." Do you think they or other people are able to see people for who they really are? Is there anything a person can do about this? What are the differences between looking "beautiful" or "ugly" and acting "beautiful" or "ugly."
Information retrieved from: http://www.disney.co.uk/MusicalTheatre/beautyuk/tale/beastlibr.htm
38
Enchanted Objects
In Disney's Beauty and the Beast, the rose and the mirror are objects that are both magical and symbolic. "Supernatural" or symbolic objects are often a component of fairy tales and other stories.
Read one of the stories or books listed below, or another book or story that includes an enchanted object.
Using the examples listed below as a jumping-off point, brainstorm about an enchanted object that you'd like to have in your own life. Now draw or paint and write about it. What would it look like? What would its powers be? Why would you like to have access to this object?
Belle's Favorite Books Object Literature Author The rose, "Beauty A folk tale mirror, and the household Beast" objects Amulet Castle in E. Winthrop the Attic Ruby The L.F. Baum slippers Wonderful
39 Wizard of Oz Excalibur The Once T.H.White and Future King The The J.R.R.Tolkien magic ring Hobbit Potion Tuck Natalie Everlasting Babbitt
Information retrieved from: http://www.disney.co.uk/MusicalTheatre/beautyuk/tale/encha nt.htm
40 Making Music with Fractals
Beauty Would Sing and Play
Image retrieved from; http://www.art.com/asp/sp-asp/_/PD-- 10111390/BeautyWouldSingandPlay.asp?ui=442F6C97A9F64FD 4B1B8E244F6B0E96E
41 What is a Fractal? A fractal is a geometric shape that is complex and detailed in structure at any level of magnification. Many fractals are self-similar, meaning that each small portion of the fractal can be viewed as a reduced scale replica of the whole. (I found the previous statement on an abandoned web page...I don't know who wrote it, but it simply defines the concept perfectly.). For example, a natural example of fractal geometry can be seen in snowflakes in the sense that all snowflakes are almost identical in form yet the structure of a snowflake will never be duplicated exactly. Each flake differs slightly from all other flakes. Moreover, when a snowflake is magnified, each isolated portion of the flake is nearly identical to the whole flake! Other natural examples of fractals include ashes, tree bark, tree branches, broccoli stems, bubbles, carpet and
roses. Fractal mathematics is related very closely to chaos theory. Chaos theory is the study of forever-changing complex systems. Chaos theory is commonly misunderstood to be a belief that the universe is absolutely chaotic. However in fact, chaos theory suggests that objects, actions, environments, etc. that we perceive as chaotic may actually contain perfect order according to a complex system which we don't have the capacity to fully understand yet; therefore these systems, due to their complexity, seem like chaos. I don't fully understand fractal geometry, as my focus is not calculus, but I feel that I have a good layman's understanding of the possibilities and implications of fractal mathematics. The first implication, and perhaps most intriguing, is the notion that our entire universe - it's existence, as well it's past, present, on both macro and micro levels - may be explained via a complex system -- mathematical or otherwise. The second implication is far more simple...
42 The very nature of fractal formulae is to generate numbers. The numbers generated by a fractal equation can be used to define such things as coordinates, frequency, duration, amplitude, etc. for use in audio or visual art. Fractals as Coordinates The most commonly known fractal is called the Mandelbrot Set. The Mandelbrot set is based on the quadratic equation f(z) = z2 + c, where both z and c can be complex numbers. (Complex numbers are pairs of real numbers.) The actual equation is: Z => Z ^ 2 + C. The first iteration of this equation will present a pair of coordinates (the exact coordinates all depend on the initial values you define for z and c - the initial value you define is sometimes referred to as a seed). Then, on the second, third, fourth, etc. iterations, the equation presents related coordinates. If, let's say, you process 1,000,000 iterations of the equation, then you will be presented with 1,000,000 pairs of coordinates which are all very closely related and belong to a wonderfully complex pattern. These coordinates, when mapped to a simple X Y graph, create an image!
Fractals as Music Fractal equations and other complex systems are used in computer programming to generate random numbers. However, it is absolutely impossible for a computer to generate a totally random number!! What actually happens, is the computer is instructed to generate a number using a mathematical algorhythm based on a particular seed (sometimes the value of the computer's internal clock). (i.e. grab the number from the clock - perhaps 12:30 - and run that number through an equation to generate a number which seems random). In this sense, fractals are wonderful tools to generate numbers to use as pitches, durations, amplitudes, etc. in musical composition. The numbers seem random due to the complexity of the pattern, yet they are related in such obscure ways that the musical result is often very pleasing...always interesting.
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Formally Speaking The piece for piano below is constructed of 5 distinct patterns. Each of which were generated using the results of a fractal equation -- namely the Mandelbrot set where: C = -0.745454545454545 and,
Ci = 0.435897435897436 (coordinates) Each pattern was "translated" into musical elements by assigning the values of C
and Ci to either MIDI pitch numbers or durations, and the values of Z to velocity. Specifically, the "translations" are as follows: Piano 1 Pitch numbers Generated by the values of C
Durations Generated by the values of Ci Piano 2
Pitch numbers Generated by the values of Ci Durations Generated by the values of C Piano 3 Pitch numbers Generated by the values of C
Durations Generated by the values of Ci All values were converted to absolute values (i.e. -1 = 1, -2 = 2) Piano 4 Pitch numbers Generated by the values of C
Durations Generated by the values of Ci All values were converted to conform to a Sine shape. Piano 5 Pitch numbers Generated by the values of C
Durations Generated by the values of Ci All values were converted to conform to a Cosine shape. After the translation of each pattern 3 of the patterns became 80 units in length (repeating forever of course), a fourth became 28 units, and the fifth became 48 units. If each unit is considered to be an eighth note for example, then 3 of the patterns are 10 measures long (in common time) while the other 2 patterns are 7 and 12 measures respectively.
44 Hence, performing the 5 patterns simultaneously will create a loop where patterns 1, 2, and 3 repeat 21 times, while pattern 4 will repeat 60 times, while pattern 5 will repeat 35 times. Although I did not choose the pitches, the results were limited to the 12 note well- tempered scale. As it turned out the patterns oscillate between E-flat and B major.
Information retrieved from: http://www.davesabine.com/media/fractals.asp
Image of rose retrieved from: http://www.posternow.org/onlineshop?000000020000000 200d5d2f20000002a70824e50&Global.CallFrom=cf0040& Global.Used.ArticleID=23591&Global.Used.InterpretID=1564&Gl obal.Trend=0007cf0030L'important+C'est+La+Rose
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Fractals In Music Background Chaos and Fractals appear in many forms throughout mathematics, art, and the world at large. Images of fractals are commonly known even outside the academic community. Fractals have been applied to image compression and to modeling real terrain in computer applications (for instance, fractal terrain generation in computer games). Chaos and Fractals have also been applied to music with varying degrees of success.
Fractals, especially those generated via Iterated Function Systems, show varying degrees of self similarity. In the visual domain, this means that that the image of a fractal seen at one magnification is the same as the same fractal seen at a higher magnification (and perhaps at a different location). That is, fractals look the same close up as they do zoomed all the way out. A mountain looks (statistically) similar to a mound of dirt on the side of that mountain. A coast line seen from space looks (statistically) similar to that same coast line when viewed from a few feet away.
Since fractals appear in nature and art, it makes sense to extend them to music. We would like to produce music that has the same self similar characteristics as mountains or coastlines. In the world of music, this means to create music that sounds the same played at different rates or transposed into different ranges. Or in the case of statistical self similarity, music that has the same form when looked at entirely and when only a few bars are examined. A secondary goal is to create music that is more pleasing than simple chaotic and random music.
The Cantor Set Background The Cantor Set is a well known self-similar fractal. It is created by taking an unbroken line and removing the middle third. The two line segments created from this removal are also subject to having their middle third removed. This process continues indefinitely. The cantor set looks the same at all levels of magnification which means it is strictly self- similar. Algorithm Consider the C Major triad: C-E-G. Take this as the straight line and remove the middle third to produce C-G. Then build triads off of each of these notes to produce C-E-G G-B- D. Removing the middle third of these two triads produces C-G B-D. The process continues by first building triads out of each of these four notes. The triad built on the last note of a sequence after the thirds have been removed (eg, D in the case of C-G B-D) will produce a new triad not already seen. In fact, if this process is continued long enough,
46 every possible major triad can be achieved (The first few triads are D-F#-A, A-C#-E, E- G#-B and so on).
Music can be created out of these triads. We will consider one iteration of this process as: 1) Building a triad off of notes from the previous step (or from a single starting note if this is the first step) 2)Removing the thirds
There are several possibilities of arranging the notes from one iteration. They can be stacked in two vertical chords; all the complete triads in one chord and the next chord contains the same triads without their thirds. The option chosen in the examples below is to play each note of the triad from the bottom up (ie, arppeggiated in musical terms). The first iteration then consists of these notes in order: C-E-G-C-G. All iterations are played one after the other.
The examples are generated with two kinds of triads: major and minor. Each of these is played with and without a drone. The drone is simply the root of the triad (ie, the bottom note in the triad) played for as long as it takes to play the triad in arpeggiated form (that is, 3 beats for a full triad and only 2 for a triad with the third removed). The drone serves two purposes. One is to help make the cantor set appear more audible in the music. The length of the drone and the pitch will indicate which step of an iteration is being played and which triad is being played. The other purpose is to serve as a rudimentary accompaniment which is fully explored in the next algorithm.
Information retrieved from: http://www.cgl.uwaterloo.ca/~revane/chaos/main.html
47 The Geometry of Roses
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48 Louisiana Content Standards and Benchmarks for Mathematics
GEOMETRY
FOCUS: Geometry is the study of the physical shapes of the world in which we live. It provides a natural environment for the use of inductive and deductive reasoning. It is not only basic to design, construction, and engineering, but also to law, medicine, and other fields that depend on critical deductive thinking skills. It provides models for representing many numerical and algebraic concepts. In Grades K-4, students must have opportunities to examine, manipulate, and construct geometric models using concrete materials. These activities should take place in a setting where students may freely explore and discuss ideas in order to develop and use appropriate vocabulary. After such first-hand experiences, many students should be able to progress to pictorial and abstract representations. The study of geometry should center around cooperative group investigations designed to promote the discovery of geometric concepts and principles and should encourage the development of communication, reasoning, and problem- solving skills. Secondary students should develop coordinate and transformational geometry as well as the usual axiomatic geometry. They should develop deductive reasoning skills by way of written proofs in a variety of formats. In the study of geometry, students should have access to appropriate manipulatives, technology, and construction materials to enhance their investigations.
STANDARD: In problem-solving investigations, students demonstrate an understanding of geometric concepts and applications involving one-, two-, and three- dimensional geometry, and justify their findings.
G-1-M: Using estimation skills to describe, order, and compare geometric measures; (1, 2)
G-2-M: Identifying, describing, comparing, constructing, and classifying geometric figures and concepts; (1, 2, 3)
G-3-M: Making predictions regarding transformations of geometric figures (e.g., make predictions regarding translations, reflections, and rotations of common figures); (1, 4)
G-4-M: Constructing two- and three-dimensional models; (3)
G-5-M: Making and testing conjectures about geometric shapes and their properties; (1, 2, 3, 4)
49 G-6-M: Demonstrating an understanding of the coordinate system (e.g., locate points, identify coordinates, and graph points in a coordinate plane to represent real-world situations); (1, 3, 4)
G-7-M: Demonstrating the connection of geometry to the other strands and to real-life situations (e.g., applications of the Pythagorean Theorem). (1, 3, 4, 5)
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The Golden Mean : Unfolding the Stairway to Infinity
Image and title retrieved from: http://www.vashti.net/mceinc/goldsqre.htm
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The Golden Mean
The Golden Mean (or Golden Section), represented by the Greek letter phi, is one of those mysterious natural numbers, like e or pi, that seem to arise out of the basic structure of our cosmos. Unlike those abstract numbers, however, phi appears clearly and regularly in the realm of things that grow and unfold in steps, and that includes living things. The decimal representation of phi is 1.6180339887499... .
Pure Math Proportion is the relationship of the size of two things. Arithmetic proportion exists when a quantity is changed by adding some amount. Geometric proportion exists when a quantity is changed by multiplying by some amount. Phi possesses both qualities. If you study the Fibonacci series and the Golden Rectangle carefully, you will eventually realize that phi + 1 = phi * phi. Consider: suppose that you start with a Golden rectangle having a short side one unit long. Since the long side of a Golden rectangle equals the short side multiplied by phi, the long side of our rectangle is one times phi. or simply phi. Now suppose that you swing the long side to make a new Golden rectangle. The short side of the new rectangle is, of course, phi units long, and the long side is that times phi, or phi * phi. This describes a Geometric proportion. But we also know from simple geometry that the new long side equals the sum of the two sides of the original rectangle, or phi + 1. This describes an Arithmetic proportion. Since these two expressions describe the same thing, they are equivalent, and so phi + 1 = phi * phi. The resulting proportion is both arithmetic and geometric. It is thus perfect proportion; you could think of it as the place on some imaginary graph where the curved line of multiplication crosses the straight line of addition.
52 Geometry If you have a rectangle whose sides are related by phi (say, for instance, 13 x 8), that rectangle is said to be a Golden Rectangle. It has the interesting property that, if you create a new rectangle by 'swinging' the long side around one of its ends to create a new long side, then that new rectangle is also Golden. In the case of our 13 x 8 rectangle, the new rectangle will be (13 + 8 =) 21 x 13. You can see this is the same thing that's going on in our number list, but when you discover it geometrically it looks downright magical. If you start with a square (1 x 1) and start swinging sides to make rectangles, you wind up with Golden rectangles without even trying. Here's the list, in case it isn't obvious: 1 x 1 2 x 1 3 x 2 5 x 3 8 x 5 13 x 8 21 x 13 34 x 21 and so on, with, again, each addition coming ever closer to multiplying by phi. Ancient architecture is filled with Golden rectangles.
Nature In pure mathematics, an increase in size can be any imaginable number, even one like e or pi. But in the world of nature, things always grow by adding some unit, even if the unit is as small as a molecule. So it's not surprising that phi turns out to be an ideal rate of growth for things which grow by adding some quantity.
Some examples: The Nautilus shell (Nautilus pompilius) grows larger on each spiral by phi. The sunflower has 55 clockwise spirals overlaid on either 34 or 89 counter- clockwise spirals, a phi proportion.
Information retrieved from: http://www.vashti.net/mceinc/golden.htm
Easier - A fractal is a shape, often drawn by a computer, that repeats itself in a pattern. The design shapes usually reoccur in different sizes.
53 Harder - Fractals are endlessly repeating patterns that vary according to a set formula, a mixture of art and geometry. Fractals are any pattern that reveals greater complexity as it is enlarged A real-life example of fractals is ice crystals freezing on a glass window. You can see countless variations of the same pattern emerge in the crystals over time.
Exploring Fractals (Grades 9-12) by M.A. Connors http://www.math.umass.edu/~mconnors/fractal/fractal.html This website explores fractal dimensions of strictly self-similar fractals, from Cantor Dust to the Fractal Skewed Web. Includes a teacher information section. Related Websites: 2) Fract-ED (Grades 8 and Above) http://www.ealnet.com/ealsoft/fracted.htm 3) Fractals by C. Lanius http://math.rice.edu/~lanius/frac/ 4) Fractals from Math Archives (Links-site) http://archives.math.utk.edu/topics/fractals.html
Fantastic Fractals by J. Sheu and M. Turvey http://www.techlar.com/fractals/websys.exe?file=index.html This comprehensive site on fractals first began as a ThinkQuest project. It still includes a kid's section that uses audio clips to explain the basics of fractals in an interesting manner, and the rest of the site has just about any fact or explanation a high school student might need on the topic. Also has quizzes, downloadable files, links, and more. Another Comprehensive Fractal Website: 2) Amazing Seattle Fractals! http://www.fractalarts.com/ASF/index.html
Fractals by S. Alejandre from Math Forum http://mathforum.org/alejandre/workshops/fractal/fractal3.html This is an introduction to fractals. It also has some good links.
Fractals: An Introduction http://www.dcet.k12.de.us/teach/quest/shari.htm This website provides very simple methods to construct fractals, to do and practice some math, to appreciate the beauty of fractals, and finally to have fun with math. Related Website: 2) Fractals (Grades 5-8) http://math.rice.edu/~lanius/frac/
Information retrieved from: http://www.42explore.com/fractal.htm
54 Fractals Web Resource List http://www.ugcs.caltech.edu/~oran/JuliaExplorer.html http://www.scienceu.com/geometry/fractal http://www.math.com/students/wonders/fractals.html http://aleph0.clarku.edu/%7Edjoyce/julia/explorer.html
FRACTAL ROSES http://www.hofen.ch/~andreas/Englisch/Fraktalgalerie/Fraktalgalerie6.html http://www.eart.ne.jp/iiapc/iiapc_work_detail.asp?WorkID=4093&lang=e http://fractal.sphosting.com/g23f.html http://www.fractalism.com/fractals/rose.htm http://www.fractalism.com/fractals/geometry.htm http://www.willamette.edu/~sekino/fractal/rose.htm http://www.geocities.com/ffgnl/fr6.htm
FRACTAL FOREST http://members.ozemail.com.au/~davesag/snd.html
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Illustrated by Edmund Dulac: “ These no sooner saw Beauty than they began to scream and chatter:” Sir Arthur Quiller-Couch (1863–1944). The Sleeping Beauty and other Fairy Tales. 1910
Image retrieved from: http://www.bartleby.com/76/P16.html
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