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This work aims to get behind the myths and present the real Bluebeard, Gilles de Rais, one of the most enduring baddies of history. His infamy lives on, the precursor of our own time's serial killers and a founding father of the cult of the child-snatching bogeyman.
“Ranks with Vonnegut’s best and goes one step beyond . . . joyous, soaring fiction.”—The Atlanta Journal and Constitution Broad humor and bitter irony collide in this fictional autobiography of Rabo Karabekian, who, at age seventy-one, wants to be left alone on his Long Island estate with the secret he has locked inside his potato barn. But then a voluptuous young widow badgers Rabo into telling his life story—and Vonnegut in turn tells us the plain, heart-hammering truth about man’s careless fancy to create or destroy what he loves. Praise for Bluebeard “Vonnegut is at his edifying best.”—The Philadelphia Inquirer “The quicksilver mind of Vonnegut is at it again. . . . He displays all his talents—satire, irony, ridicule, slapstick, and even a shaggy dog story of epic proportions.”—The Cincinnati Post “[Kurt Vonnegut is] a voice you can trust to keep poking holes in the social fabric.”—San Francisco Chronicle “It has the qualities of classic Bosch and Slaughterhouse Vonnegut. . . . Bluebeard is uncommonly feisty.”—USA Today “Is Bluebeard good? Yes! . . . This is vintage Vonnegut—good wine from his best grapes.”—The Detroit News “A joyride . . . Vonnegut is more fascinated and puzzled than angered by the human stupidities and contradictions he discerns so keenly. So hop in his rumble seat. As you whiz along, what you observe may provide some new perspectives.”—Kansas City Star
By turns humorous and warm, stark and frightening, Bluebeard's Egg infuses a Canada of the 1940s, '50s and '80s with glowing childhood memories, the harsh realities of parents growing old, and the casual cruelty that men and women inflict on each other. Here is the familiar outer world of family summers at remote lakes, winters of political activism, and seasons of exotic friends, mudane lives and unexpected loves. But here too is the inner world of hidden places and all that emerges from them—the intimately personal, the fantastic and the shockingly real...whether it's what lies in a mysterious locked room or in the secret feelings we all conceal.
Rare edition with unique illustrations. Along with the collections of Andersen, Lang, and the Brothers Grimm, the Fairy tales of Charles Perrault is among the great books of European fairy tales. These stories have been enjoyed by generation after generation of children in many countries, and are here, waiting to be enjoyed again. "Blue beard" is a French folktale, the most famous surviving version of which was written by Charles Perrault and first published by Barbin in Paris in 1697 in Histoires ou contes du temps passe. The tale tells the story of a violent nobleman in the habit of murdering his wives and the attempts of one wife to avoid the fate of her predecessors.
Bluebeard is the main character in one of the grisliest and most enduring fairy tales of all time. A serial wife murderer, he keeps a horror chamber in which remains of all his previous matrimonial victims are secreted from his latest bride. She is given all the keys but forbidden to open one door of the castle. Astonishingly, this fairy tale was a nursery room staple, one of the tales translated into English from Charles Perrault's French Mother Goose Tales. Bluebeard: A Reader's Guide to the English Tradition is the first major study of the tale and its many variants (some, like “Mr. Fox,” native to England and America) in English: from the eighteenth- and nineteenth-century chapbooks, children's toybooks, pantomimes, melodramas, and circus spectaculars, through the twentieth century in music, literature, art, film, and theater. Chronicling the story's permutations, the book presents examples of English true-crime figures, male and female, called Bluebeards, from King Henry VIII to present-day examples. Bluebeard explores rare chapbooks and their illustrations and the English transformation of Bluebeard into a scimitar-wielding Turkish tyrant in a massively influential melodramatic spectacle in 1798. Following the killer's trail over the years, Casie E. Hermansson looks at the impact of nineteenth-century translations into English of the German fairy tales of the Brothers Grimm, and the particularly English story of how Bluebeard came to be known as a pirate. This book will provide readers and scholars an invaluable and thorough grasp on the many strands of this tale over centuries of telling.
The Seven Wives of Bluebeard by Anatole France Pdf
THE strangest, the most varied, the most erroneous opinions have been expressed with regard to the famous individual commonly known as Bluebeard. None, perhaps, was less tenable than that which made of this gentleman a personification of the Sun. For this is what a certain school of comparative mythology set itself to do, some forty years ago. It informed the world that the seven wives of Bluebeard were the Dawns, and that his two brothers-in-law were the morning and the evening Twilight, identifying them with the Dioscuri, who delivered Helena when she was rapt away by Theseus. We must remind those readers who may feel tempted to believe this that in 1817 a learned librarian of Agen, Jean-Baptiste PŽrŽs, demonstrated, in a highly plausible manner, that Napoleon had never existed, and that the story of this supposed great captain was nothing but a solar myth. Despite the most ingenious diversions of the wits, we cannot possibly doubt that Bluebeard and Napoleon did both actually exist. An hypothesis no better founded is that which Consists in identifying Bluebeard with the Marshal de Rais, who was strangled by the arm of the Law above the bridges of Nantes on 26th of October, 1440. Without inquiring, with M. Salomon Reinach, whether the Marshal committed the crimes for which he was condemned, or whether his wealth, coveted by a greedy prince, did not in some degree contribute to his undoing, there is nothing in his life that resembles what we find in Bluebeard's; this alone is enough to prevent our confusing them or merging the two individuals into one. Charles Perrault, who, about 1660, had the merit of composing the first biography of this seigneur, justly remarkable for having married seven wives, made him an accomplished villain, and the most perfect model of cruelty that ever trod the earth. But it is permissible to doubt, if not his sincerity, at least the correctness of his information. He may, perhaps, have been prejudiced against his hero. He would not have been the first example of a poet or historian who liked to darken the colours of his pictures. If we have what seems a flattering portrait of Titus, it would seem, on the other hand, that Tacitus has painted Tiberius much blacker than the reality. Macbeth, whom legend and Shakespeare accuse of crimes, was in reality a just and a wise king. He never treacherously murdered the old king, Duncan. Duncan, while yet young, was defeated in a great battle, and was found dead on the morrow at a spot called the Armourer's Shop. He had slain several of the kinsfolk of Gruchno, the wife of Macbeth. The latter made Scotland prosperous; he encouraged trade, and was regarded as the defender of the middle classes, the true King of the townsmen. The nobles of the clans never forgave him for defeating Duncan, nor for protecting the artisans. They destroyed him, and dishonoured his memory. Once he was dead the good King Macbeth was known only by the statements of his enemies. The genius of Shakespeare imposed these lies upon the human consciousness. I had long suspected that Bluebeard was the victim of a similar fatality. All the circumstances of his life, as I found them related, were far from satisfying my mind, and from gratifying that craving for logic and lucidity by which I am incessantly consumed. On reflection, I perceived that they involved insurmountable difficulties. There was so great a desire to make me believe in the man's cruelty that it could not fail to make me doubt it.
Bluebeard is the main character in one of the grisliest and most enduring fairy tales. A serial wife murderer, he keeps a horror chamber in which remains of all his previous matrimonial victims are secreted from his latest bride. She is given all the keys but forbidden to open one door of the castle. This is a major study of the tale and its many variants in English: from the 18th and 19th century chapbooks, children's toybooks, pantomimes, melodramas, and circus spectaculars, to the 20th century in music, literature, art, film, and theatre.
A provocative new theory about fairy tales from one of the world's leading authorities If there is one genre that has captured the imagination of people in all walks of life throughout the world, it is the fairy tale. Yet we still have great difficulty understanding how it originated, evolved, and spread—or why so many people cannot resist its appeal, no matter how it changes or what form it takes. In this book, renowned fairy-tale expert Jack Zipes presents a provocative new theory about why fairy tales were created and retold—and why they became such an indelible and infinitely adaptable part of cultures around the world. Drawing on cognitive science, evolutionary theory, anthropology, psychology, literary theory, and other fields, Zipes presents a nuanced argument about how fairy tales originated in ancient oral cultures, how they evolved through the rise of literary culture and print, and how, in our own time, they continue to change through their adaptation in an ever-growing variety of media. In making his case, Zipes considers a wide range of fascinating examples, including fairy tales told, collected, and written by women in the nineteenth century; Catherine Breillat's film adaptation of Perrault's "Bluebeard"; and contemporary fairy-tale drawings, paintings, sculptures, and photographs that critique canonical print versions. While we may never be able to fully explain fairy tales, The Irresistible Fairy Tale provides a powerful theory of how and why they evolved—and why we still use them to make meaning of our lives.
Inside Bluebeard's Castle by Carl S. Leafstedt Pdf
This is the first book-length examination of Bartók's 1911 opera Duke Bluebeard's Castle, one of the twentieth century's enduring operatic works. Writing in an engaging style, Leafstedt adopts an interdisciplinary approach to the opera by introducing, in addition to music-dramatic analysis, a number of topics that are new to the field of Bartók studies. These new areas of critical and scholarly terrain include a detailed literary study of the libretto and a gender-focused analysis of the opera's female character, Judith. Leafstedt begins with a short introductory chapter that places Duke Bluebeard's Castle within the context of Bartók's early composing career, his discovery of folk music, and its impact on his later work. The book goes on to explore the composition's troubled history, its failure to win two early Hungarian opera competitions, and the three versions of the ending that resulted, discussed here in depth for the first time. The core of the book is devoted to the musical and dramatic organization of the opera and offers an analysis of the seven individual door scenes, including a detailed analysis of scene six, the "lake of tears" scene, illustrating the work's complex tonal organization and dramatic structure. A separate chapter places this darkly psychological version of the Bluebeard story within the broader context of European history and literature. Throughout the book, Leafstedt draws on original Hungarian source material, much of it newly translated by the author and available here for the first time in English, and he includes a generous selection of musical examples. Inside Bluebeard's Castle is an ideal starting point for research in twentieth-century music, Hungarian cultural history, and opera studies, as well as an invaluable guide for anyone interested in Bartók's only opera.
Tales of Bluebeard and His Wives from Late Antiquity to Postmodern Times by Shuli Barzilai Pdf
This project provides an in-depth study of narratives about Bluebeard and his wives, or narratives with identifiable Bluebeard motifs, and the intertextual and extratextual personal, political, literary, and sociocultural factors that have made the tale a particularly fertile ground for an author’s adaptation of the story. Whereas Charles Dickens, for example, expresses a sympathetic identification with Bluebeard, and a discernable strain of misogyny emerges in his recreation of the tale and recurrent allusions to it, his contemporary, William Makepeace Thackeray, uses the tale as a springboard for his critique of avarice, hypocrisy, pretension, and the subjugation of women in Victorian society.
Waiting for Bluebeard tries to understand how a girl could grow up to be the woman living in Bluebeard's house. The story begins with a part-remembered, part-imagined childhood, where seances are held, and a father drowns in oil beneath the skeleton of his car. When her childhood home coughs up birds in the parlour, the girl enters Bluebeard's house paying the tariff of a single layer of skin. This is only the first stage of her disappearing, as she searches for a phantom child in a house where Bluebeard haunts the corridors like a sobbing wolf. Waiting for Bluebeard is Helen Ivory's fourth book of poems.
