Author | Robin McKinley |
---|---|
Country | United Kingdom |
Language | English |
Series | Folktales |
Genre | Fantasy novel |
Publisher | Greenwillow Books |
Publication date | June 1997 |
Media type | Print (hardcover) |
Pages | 320pp |
ISBN | 0-688-15439-5 |
OCLC | 36008522 |
813/.54 21 | |
LC Class | PZ8.M1793 Ro 1997 |
Preceded by | Beauty |
Followed by | Spindle's End |
Rose Daughter is the second retelling of the fairy tale Beauty and the Beast by Robin McKinley, published in 1997 by Greenwillow Books, a imprint of HarperCollins Publishers. Rose Daughter has been republished in both print and digital editions, the last iteration from 2016. [1]
A merchant loses all his money when his ships are lost at sea, and is forced to move his three daughters to a lonely countryside house called Rose Cottage which was left to his youngest, Beauty, in a will, and thus is not subject to his creditors. The garden of the house is full of strange thorny bushes and vines, which neither the merchant nor his three daughters recognize but are told by the townspeople that they are rose bushes. The roses bloom under Beauty's care, and the sisters sell wreaths of them in the town. One day, the merchant receives word that one of his ships has appeared. Before his journey, he asks his daughters what presents they would like him to bring back, and Beauty requests a rose, as her bush has not blossomed that year.
When the merchant arrives, his ship is there but his creditors have already seized the ship's cargo to pay for his debts. After being turned out from a former employee's home, he leaves the city in bad weather on a borrowed pony. On the way he gets lost in a snow storm, and ends up at a magnificent castle where he is given food and shelter. As he is leaving he notices a beautiful rose on a table and decides to take it back for Beauty. This enrages the castle's owner - a terrifying beast. When the merchant explains his actions, the Beast agrees to let him go on the condition that Beauty comes to live with him in the castle.
Beauty stays at the house for what seems to be seven days, during which she revives the roses in the Beast's greenhouse and calls small creatures (bats, birds, frogs/toads, hedgehogs) back to the palace. During her time in the castle, Beauty dreams every night of her family, and when she speaks to the Beast of how real her dreams seem, he admits to her that they are real. Beauty, distressed at missing so much of her sisters' lives, begs Beast to allow her to return home to visit. He grants her request on one condition, that if she does not return to him by placing a petal on her tongue before the last petal falls from the rose he gives her, he will die.
When Beauty returns to the Beast and declares her love for him, she is given a choice. Either the Beast returns to his human form and regains his wealth and power, thereby also returning her family to their former status, or he stays as is and they live a peaceful peasant life in the village. Depending on her choice, their names would be spoken throughout the land if she chooses to return Beast to human form. She asks how they will be spoken, and on hearing that it would be in fear and dread, she chooses the peaceful peasant life. The pair return home to Rose Cottage and Beauty's family.
An unabridged audio-book recording was released in 2013 by Recorded Books, narrated by Bianca Amato, and is available via Audible.com. [2]
Anne Bachelier, in conjunction with Robin McKinley, generated an Artist Book for Rose Daughter in a limited edition as Rose Daughter-A Re-Telling of Beauty and the Beast. [3] It was published on behalf of CFM Gallery, located in New York City. [4]
Considering that this is the second retelling of Beauty and the Beast from Robin McKinley, there is less scholarly or critical response to Rose Daughter, or to compare the two, with the exception of Evelyn Perry who has done work at great length on Robin McKinley's work. In Perry's article, from January 2004 in The Looking Glass: New Perspectives on Children's Literature Volume 8 Issue 1, compares Rose Daughter and Beauty through present and absent motifs, like mirrors and both iterations of Beauty being removed from their own self image. [5] McKinley, having written several other adaptations of fairy tales and folktales, utilizes these works as personal retellings. [6] McKinley publicly mentioned the multiple versions of the same story and about her own work on Rose Daughter on her personal blog, titled The Flying Piano:
"I said in the afterword to ROSE DAUGHTER, my second official Beauty & the Beast retelling, that someone once said that every writer has only one story to tell, & their life (& their royalties) depends on whether they can continue to find interesting ways to retell that one story." [7]
In comparing it to McKinley's previous adaptation of Beauty and the Beast , Kathryn Harrison wrote in The New York Times , "Ironically, this reworking has disabled the fairy tale, robbing it of tension and meaning, and creating for her readers a less usable enchantment." [8] Harrison mentions McKinley's authorial note following the text in her criticism of Rose Daughter, where McKinley reasons that her new retelling stems from her recent marriage and new found love of gardening, specifically rose gardening. [9] Sally Estes of Booklist review of Rose Daughter is more complimentary than Harrison's, calling it “a more mystical, darker edge” in comparison to Beauty: A Retelling of the Story of Beauty and the Beast. [6]
Beauty and the Beast, originating with Gabrielle-Suzanne de Villenueve and Jeanne-Marie Leprince de Beaumont, exists in the folkloric tradition under specific classifications. Under the Aarne-Thompson-Uther Index, the folktale is labeled ATU425A "The Animal as Bridegroom" and AT 425A "Animal Bridegroom". [10] However, the Aarne-Thompson-Uther Index, also labels Beauty and the Beast stories in their own subsection ATU 425C "Beauty and the Beast" and AT 425C "Beauty and the Beast". [10] McKinley's Rose Daughter follows a specific subcategorization of this index with C761.2. "Taboo: staying too long at home". [10]
Rose Daughter can be classified as a Bildungsroman, another classification system that interacts with folklore specifically, as Beauty reaches a coming-of-age through the course of the novel.
"Beauty and the Beast" is a fairy tale written by French novelist Gabrielle-Suzanne Barbot de Villeneuve and published in 1740 in La Jeune Américaine et les contes marins. Her lengthy version was abridged, rewritten, and published by French novelist Jeanne-Marie Leprince de Beaumont in 1756 in Magasin des enfants to produce the version most commonly retold. Later, Andrew Lang retold the story in Blue Fairy Book, a part of the Fairy Book series, in 1889. The fairy tale was influenced by Ancient Greek stories such as "Cupid and Psyche" from The Golden Ass, written by Lucius Apuleius Madaurensis in the second century AD, and "The Pig King", an Italian fairytale published by Giovanni Francesco Straparola in The Facetious Nights of Straparola around 1550.
Werewolf fiction denotes the portrayal of werewolves and other shapeshifting therianthropes, in the media of literature, drama, film, games and music. Werewolf literature includes folklore, legend, saga, fairy tales, Gothic and horror fiction, fantasy fiction and poetry. Such stories may be supernatural, symbolic or allegorical. A classic cinematic example of the theme is The Wolf Man (1941) which in later films joins with the Frankenstein Monster and Count Dracula as one of the three famous icons of modern day horror. However, werewolf fiction is an exceptionally diverse genre, with ancient folkloric roots and manifold modern re-interpretations.
Robin McKinley is an American author best known for her fantasy novels and fairy tale retellings. Her 1984 novel The Hero and the Crown won the Newbery Medal as the year's best new American children's book. In 2022, the Science Fiction and Fantasy Writers Association named her the 39th Damon Knight Memorial Grand Master in recognition of her significant contributions to the literature of science fiction and fantasy.
"The Frog Prince; or, Iron Henry" is a German fairy tale collected by the Brothers Grimm and published in 1812 in Grimm's Fairy Tales. Traditionally, it is the first story in their folktale collection. The tale is classified as Aarne-Thompson type 440.
The Aarne–Thompson–Uther Index is a catalogue of folktale types used in folklore studies. The ATU Index is the product of a series of revisions and expansions by an international group of scholars: originally composed in German by Finnish folklorist Antti Aarne (1910), the index was translated into English, revised, and expanded by American folklorist Stith Thompson, and later further revised and expanded by German folklorist Hans-Jörg Uther (2004). The ATU Index, along with Thompson's Motif-Index of Folk-Literature (1932)—with which it is used in tandem—is an essential tool for folklorists.
"East of the Sun and West of the Moon" is a Norwegian fairy tale. It was included by Andrew Lang in The Blue Fairy Book (1889).
"The Singing, Springing Lark", "The Singing, Soaring Lark", "The Lady and the Lion" or "Lily and the Lion" is a German fairy tale collected by the Brothers Grimm, appearing as tale no. 88.
"The Hut in the Forest" is a German fairy tale collected by the Brothers Grimm. Andrew Lang included it in The Pink Fairy Book (1897). It is Aarne-Thompson type 431.
The Blue Mountains is a fairy tale. Andrew Lang included it in The Yellow Fairy Book (1894), but provided no bibliographical information and its origin remains obscure.
Gold-Tree and Silver-Tree is a Scottish fairy tale collected by Joseph Jacobs in his Celtic Fairy Tales. It is Aarne-Thompson type 709, Snow White. Others of this type include Bella Venezia, Nourie Hadig, La petite Toute-Belle and Myrsina.
The Tale of the Hoodie is a Scottish fairy tale, collected by John Francis Campbell in his Popular Tales of the West Highlands. Andrew Lang included it, as The Hoodie-Crow, in The Lilac Fairy Book.
The Sprig of Rosemary is a Catalan fairy tale from Spain collected by Dr. D. Francisco de S. Maspons y Labros in Cuentos Populars Catalans. Andrew Lang included it in The Pink Fairy Book.
The Ram is a French literary fairy tale by Madame d'Aulnoy.
The Daughter of the Skies is a Scottish fairy tale collected by John Francis Campbell in Popular Tales of the West Highlands, listing his informant as James MacLauchlan, a servant from Islay.
The Small-Tooth Dog is a fairytale gathered by Sidney Odall Addy from the village of Norton, Derbyshire(now Sheffield) in his compilation, Household Tales and Other Traditional Remains(1895) alongside other tales such as The Little Watercress Girl and The Glass Ball. It is an Aarne Thompson type 425C tale, which places it alongside other animal bridegroom tales such as Beauty and the Beast and The Singing, Springing Lark. Ruth Manning-Sanders included it in A Book of Magic Animals. A more recent version has been rewritten by Margaret Read MacDonald and published by August House Little Folk.
Sapia Liccarda is an Italian literary fairy tale written by Giambattista Basile in his 1634 work, the Pentamerone. It is not known whether he had a specific source, either literary or oral, for this tale.
Beauty: A Retelling of the Story of Beauty and the Beast is a 1978 novel written by the children's book author Robin McKinley. It was her debut book, retelling the classic French fairy tale La Belle et La Bete. Almost 20 years later, McKinley returned to the same material with her 1997 novel Rose Daughter. Beauty was the 1998 Phoenix Award honor book. It was the 1966 -1988 Best of the Best Books for Young Adults.
The Scarlet Flower, also known as The Little Scarlet Flower or The Little Red Flower, is a Russian fairy tale written by Sergey Aksakov. It is a variation of the plot of the fairy tale Beauty and the Beast. In Russia, Beauty and the Beast story is known mostly via Aksakov's retelling.
Fairer-than-a-Fairy is a literary fairy tale published anonymously in the 1718 fairy tale collection Nouveaux contes de fées. It is attributed to the Chevalier de Mailly. Andrew Lang included it in The Yellow Fairy Book.
In folkloristics, "The Animal as Bridegroom" refers to a group of folk and fairy tales about a human woman marrying or being betrothed to an animal. The animal is revealed to be a human prince in disguise or under a curse. Most of these tales are grouped in the international system of Aarne-Thompson-Uther Index under type ATU 425, "The Search for the Lost Husband". Some subtypes exist in the international classification as independent stories, but they sometimes don't adhere to a fixed typing.