Comparative Analysis of Grimm Brother’s Bluebeard and Fitcher’s Bird of (1812) to, A Tuscan Bluebeard by Isabella Anderton (1905)
Introduction
The comparative analysis of the fairy tales of Grimm Brother’s Bluebeard and Fitcher’s Bird of (1812) with, A Tuscan Bluebeard by Isabella Anderton, takes a feminist viewpoint. Therefore, the comparative attributes of this essay will be embedded on social issues including; marriage, gender, sex, various accords of violence, relationships, among other lenses that determine the mode and trend of a society. Similarity of these viewpoint mean commonality of the same topic discussed in these book, while distinction would mean that the implications of these issues are tackled in a different angles. The reason for making this comparative analysis is to realize either disparity or commonality among these issues as they appear in the three fairy tales. Grimm Brother’s Bluebeard (1812), and Fitcher’s Bird (1812) is a fairy tale that describes elemental aspects in the society, ranging from gender issues, magic, to marriage life, while Tuscan by Isabella Anderton is a collection of tales narrated by a lonely women; Clementina to Anderton when she visited the Tuscan Island, and was so lonely. These authors have one thing in common since their tales are inclined in discussing the plight of women in the society, and how women were subjected to ugly ordeals in order to fulfill personal course of life. This essay thus focuses on the similarities and differences between Grimm’ Brother’s, Bluebeard (1812,) and Fitcher’s Bird (1812), with “A Tuscan Bluebeard" Isabella Anderton, based on issues like marriage, conflicts, and magic.
Grimm Brothers, Bluebeard (1812), Fitcher’s Bird (1812), show many similarities to A Tuscan by Isabella Anderton since they are entrenched on a magical tone. In the Bluebeard (1812), the young lady is given a bunch of keys to hold, but instructed never to open that chamber for which the golden key would open. The golden key is symbolical of sin, and it contravenes the reality of golden nature of this key. Whatever appears here is a contrast to whatever is held in the chamber. The magic plays when the young girl opens the secret chamber, and to what she meets is a pool of blood and skeleton of women (Grimm, Wilhelm 637). The golden key mysteriously drops and it’s tainted with blood, and the more she wipes it is the more it keep changing positions. This is magical manifestation in the symbolic key, and the blood-bath house to the wearied predator (Grimm, Wilhelm 639). Magic is equally forms center-stage in the Grimm Brother’s, Fletcher’s Bird (1812). Grimm Brother’s shows Bluebeard as a sorcerer, who used the tact of changing into an old man with the view of luring young ladies into his house, and thus holding them hostage for his own personal interest. This human predator turned his house into a human slaughter house. Besides, the manifestation of magic in this tale is twofold, and it arises from Bluebeard’s ability to change into an old man, who anyone would accord a substantial help. This was a result of magical enchanting, which transformed him to any age. The second, and the most common magical attribute in this Fletcher’s bird relates to the key and the egg inferno. The magic preoccupied the social parlance during this generation, and every object, however simple it looked had magical power, and would be set to undertake any course of life. In this context, magicians like Bluebeard used his ostensible powers and magic to test the loyalty of women before determining the right one to have for a wife. According to this tale, the old man would live this young lady alone and entrust her with a key and egg, but cautions her never to open one room. This was the room of discovery, and by opening it the old man’s wits and past historical knowledge would be known. This room hosted several body parts of young ladies that were dismembered and thrown into a pool of blood. The key was magically tuned such that anyone who would open the door would have to stain an egg in blood. Principally, the blood and the egg had magical manifestation, and it remained relevant to the society of this generation. The similarity of magical manifestation is exhibited in A Tuscan Bluebeard of 1905. In this tale, a poor woman was tricked and she offered assistance to an old man (Anderton 669). The man would take these ladies one by one to a lonely field and son they would be consumed by a whole to a palace. The man would then authorize his wife to enjoy herself within the palace’s parlance, and entrust her with a golden ring on her hand. He would then give her a golden key and instructs her never to entre into the chamber where the key would open. The chamber had a pool of water with a red-eyed fish swimming inside (Anderton 670). The first two ladies disobeyed the husband’s commands and played with the fish, and were bitten, thus making a revelation to their disobedience. The third girl did not touch the fish and she was safe. This narrative shares a commonality in the use of symbolism and magical influence. The key was magically induced and could reveal the girl’s disobedience. Therefore, The Bluebeard (1812), the Fletcher’s bird (1812), and A Tuscan Bluebird (1905), reveal the use of magic and in both tales there was the key as a common symbolism to disobedience.
Marriage
Marriage is a common them in Grimm Brother’s Bluebeard (1812), the Fletcher’s Bird (1812), and A Tuscan Bluebeard (1905). In the Bluebeard (1812), the Bluebeard goes to a man and asks for his daughter’s hands in marriage. The man accepts, despite the daughter’s resentment to this marriage. The young girl secretly woos her three brothers and informs them to come to her rescue whenever she would raise an alarm (Grimm, Wilhelm 637). One she sets out to her matrimonial home, she is amazed to have seen the beauty of the garden, and other wonderful things. She is given similar commands illustrated in the previous section, but disobeys. In a nutshell, this point clearly illustrates that Bluebird (1812), was culminated with marriage, and very influential people in the society would be accorded a first priority to the occasion. The theme of marriage is equally manifests in the Fletcher’s Bird (1812), and here the Sorcerer goes and gets hands of women in marriage. The sorcerer has a secret held in the room of death, and he murders his wives and dumps their bodies inside this room. Similarly, A Tuscan Bluebeard (1905) is told along the theme of marriage. Here, Bluebeard lures an old lady to let her daughters help her, but instead abducts them and let them be his wife. He killed the first two ladies, but the third lady used her wit and intelligence to sabotage her death traps (Anderton 671). Yet gain this take is purely anchored on the quest of marriage, and magic plays a key role in winning women.
Curiosity
The young lady in the Grimm Brother’s Bluebeard (1812) and Fitcher’s Bird (1812) share similarity to the Isabella Anderton’s “A Tuscan Bluebeard" (1905). In these three fairy tales, the ladies were curious to open the forbidden door, and faced the ultimate prices for disobedience (Grimm, Wilhelm 638). While there are so many things that they could entertain themselves with, they chose to make the discovery by opening the door to the secrete chamber. Therefore, the human nature to become curiosity is exhibited in the three tales.
Points of Distinction
Human Nature
The first point of distinction relates to the ladies’ discretion in marriage. Bluebird (1812), reveals an old man’s willingness for negation with the bride’s family to have his daughter for a wife. In fact, he approached the girl’s father and sought his consent whether he should marry his daughter, something that the man accepted, and it was accomplished by a dowry. However, Fletcher’s Bird (1812), and A Tuscan Bluebeard of (1905) describes marriage on the premise of deceit and wit. In this context, Bluebeard assumes a tactful role and lures ladies to her trap. This is unlike the scenario that transpires in the Bluebeard (1812), where the ladies are lured and tricked to marriage.
The second aspect of distinction relates to the manner in which the enslaved ladies were freed. The Bluebeard (1812) talks about the use of violence in order to realest ha young lady. On the other hand, Fletcher’s Bird (1812), and A Tuscan (1905) enumerates about the liberation of the ladies from marriage through wit and trick.
In conclusion, the two generations exhibited by the Grimm Brother’s Bluebeard(1812) and Fitcher’s Bird of (1812) and “A Tuscan Bluebeard” by Isabella Anderton signify aspects of similarities and distinction on a feminist’s perspective, with the first element being magic, mainstream point for most decisions. The antagonists and protagonists in the tales above engage in a double standard magical war, but is the antagonist who suffers the worst causality in the game. On the other hand, marriages in both tales are all construed on magical note, and no situation would go without invoking the power of magic in assistive marriages.
Works Cited
Anderton, Isabella. “A Tuscan Bluebeard (1905).” The Golden Age of Folk and Fairy Tales From the Brothers Grimm to Andrew Lang. Ed. Jack Zipes. Indianapolis: Hackett Publishing, 2013. 669. Print.
Grimm, Jacob, and Wilhelm Grimm. “Bluebeard (1812).” The Golden Age of Folk and Fairy Tales From the Brothers Grimm to Andrew Lang. Ed. Jack Zipes. Indianapolis: Hackett Publishing, 2013. 636. Print.
Grimm, Jacob, and Wilhelm Grimm. “Fitcher’s Bird (1812).” The Golden Age of Folk and Fairy Tales From the Brothers Grimm to Andrew Lang. Ed. Jack Zipes. Indianapolis: Hackett Publishing, 2013. 639. Print.
