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Rival Sisters and Vengeance Motifs in the \contes de fées\ of d'Aulnoy, Lhéritier and Perrault
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Rival Sisters and Vengeance Motifs in the \contes de fées\ of d'Aulnoy, Lhéritier and Perrault
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Journal Article
Rival Sisters and Vengeance Motifs in the \contes de fées\ of d'Aulnoy, Lhéritier and Perrault
2012
Overview
[...]scholars have also pointed out the dubious manner in which the conteuses are serving women's interests, especially considering the submission of the heroines to a male code, and the taming of female desire according to typical male views of female nature-all points which mark the morals attached to the end of almost every narrative, or else the conventional ending with a marriage.1 Although I share in general the position of those more cautious feminist critics who emphasize the fact that the women's literary contes de fées reveal \"simultaneous resistance to and complicity with patriarchal constructions of gender identities\" (Seifert, \"Female Empowerment\" 28) in this article I will continue to explore the elements of subversion in order to demonstrate the process of the redefinition of femininity in the female-penned fairy tales and the extent to which the characters described by Mme d'Aulnoy and Mlle Lhérititer exhibit a psychology comparable with that of late seventeenth-century novels and dramatic texts. The character's first name, \"Finette,\" suggests that d'Aulnoy was also familiar with the L'Adroite Princesse (already published in 1696) by Marie-Jeanne Lhéritier de Villandon, the niece of Charles Perrault. [...]in composing her Finette Cendron, d'Aulnoy combines two separate Perrault tales (Le Petit Poucet and Cendrillon), and employs some psychological characteristics of Lhéritier's heroine in her portrayal of Finette.
