Items

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  Chisholm, Louey. “Beauty and the Beast.” In Fairyland: Tales Told Again, illustrated by Katharine Cameron, New York: G. P. Putnam’s Sons, 1904, pp. 191-198.

  The illustration in this version is very colorful and intricate, almost dream-like, and gives a detailed image of Beauty and the beast once he is a prince. This illustration is at the end of the story, however, allowing the reader to form their own mental images of the characters first. Additionally, this version deals with class and gender roles. The merchant starts out rich, but loses his money, which causes the story to unfold. There is no mention of regaining wealth, however they do end up with the prince at his palace, so it is implied. Throughout the story, Beauty displays what may be a message to women about their role in society and what they have to do to be proper ladies. Beauty is constantly doing housework and taking care of her father without complaint, and eventually agrees to marry a beast. She is rewarded for these actions by the beast turning into a handsome prince, her prideful sisters being enchanted, and her father being able to live with her in the palace.
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  The History of Beauty and the Beast. Devonport, England: Samuel and John Keys, [c. 1840].

  This adaptation of Beauty and the Beast is one that highlights an extremely compassionate Beast and has an ending that contains a strong sense of justice for the two sisters who treated Beauty horribly. In this version, Beauty and the Beast live happily ever after she returns from visiting her father because she realizes she love the Beast which breaks his enchantment. After the Beast becomes a handsome prince, a fairy appears to make Beauty a queen and to make her sisters pay for their malice and injustice towards Beauty by turning them into statues at the gates of Beauty’s palace. They will remain statues until they become aware of the mistakes they have made, while Beauty and the Beast live a long and happy life. This version is also special because it is a cheap version of print published without an author or the original source. It is printed extremely simply, and only sold for a penny. Samuel and John Keys have published countless other fairytales, as seen on the back of the book, all for a penny each .
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  Beauty and the Beast (Santa Claus Series). New York: McLoughlin Bro's, 1891.

  This is a beautifully illustrated and simply written version of the classic Beauty and the Beast tale. The inclusion of Beauty’s dreams drives the plot forward in a unique twist to this tale. This version also begins with explanations of her character versus her sisters’, spending the first pages proving that Beauty is selfless and kind. Beauty willingly stays in the Beast’s castle in place of her father and in the midst of the tale, Beauty is allowed to return home for a brief visit, only to return by choice to the Beast after a terrible dream. The tale concludes with the classic transformation.
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  Crane, Walter. Beauty and the Beast. London and New York: George Routledge and Sons, 1875.

  Part of the Walter Crane’s Toy Books Shilling Series, this edition of Beauty and the Beast is a simplified tale with light colorful images that caters toward young readers. It is a very light and simple read with many magical and delightful elements. In this version, the prince is put under a spell by a magician and doomed to live as a beast, until a beautiful girl loves him despite his ugliness.
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  “Beauty and the Beast.” The Blue Fairy Book, edited by Andrew Lang, London and New York: Longmans, Green, and Co., 1889, pp. 100-119.

  Edited specifically for children with five black and white illustrations that depict the following scenes: Beauty’s father departing, her father picking the rose when the Beast appears, Beauty’s dream of the handsome prince, Beauty in the room with exotic birds, and Beauty finding the Beast on the ground in the garden.
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  Jacobs, Joseph. “Beauty and the Beast.” Europa’s Fairy Book, New York, London: G.P. Putnam’s Sons, 1916, pp. 34-41.

  In some versions of the tale there are different numbers of children, the Beast gives the merchant the gifts for the other children beside Beauty, or magical helpers like fairies try to nudge Beauty toward the Beast. In this version, there are three daughters, the merchant buys gifts for his children while on his journey elsewhere, and the Beauty, named Bella, falls in love with the beast of her own accord. The servants in some versions are animals that are enchanted in some way, but this version only has invisible servants. Perhaps the most striking difference is that the Beast in this version is kinder than in other versions and allows the father to visit weekly, while in other versions the Beast allows Beauty to visit her family only once. In the end of the story, some versions have Bella discovering her noble background, but this version does not touch on that aspect.