Sleeping Beauty: Wikis


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Sir Edward Burne-Jones painted The Sleeping Beauty.

Sleeping Beauty (French: La Belle au Bois dormant, "The Beauty asleep in the wood") is a classic fairy tale which involves a beautiful princess and a handsome prince. It is the first in the set published in 1697 by Charles Perrault, Contes de ma Mère l'Oye ("Tales of Mother Goose").[1]

While Perrault's version is better known, an older version, the tale "Sun, Moon, and Talia", was contained in Giambattista Basile's Pentamerone, published in 1634.[2] The most familiar Sleeping Beauty in the English speaking world has become the 1959 Walt Disney animated film, which draws as much from Tchaikovsky's ballet (premiered at Saint Petersburg in 1890) as it does from Perrault.


Perrault's narrative

The basic elements of Perrault's narrative are in two parts. Some folklorists believe that they were originally separate tales, as they became afterward in the Grimms' version, and were joined together by Basile, and Perrault following him.[3]

Part one

At the christening of a long-wished-for princess, fairies invited as godmothers offered gifts, such as beauty, wit, and musical talent. However, a wicked fairy who had been overlooked placed the princess under an enchantment as her gift, saying that, on reaching adulthood, she would prick her finger on a spindle and die. A good fairy, though unable to completely reverse the spell, said that the princess would instead sleep for a hundred years, until awakened by the kiss of a prince and true love's first kiss.

The king forbade spinning on distaff or spindle, or the possession of one, upon pain of death, throughout the kingdom, but all in vain. When the princess was fifteen or sixteen she chanced to come upon an old woman in a tower of the castle, who was spinning. The Princess asked to try the unfamiliar task and the inevitable happened. The wicked fairy's curse was fulfilled. The good fairy returned and put everyone in the castle to sleep. A forest of briars sprang up around the castle, shielding it from the outside world: no one could try to penetrate it without facing certain death in the thorns.

After a hundred years had passed, a prince who had heard the story of the enchantment braved the wood, which parted at his approach, and entered the castle. He trembled upon seeing the princess's beauty and fell on his knees before her. He kissed her, then she woke up, then everyone in the castle woke to continue where they had left off... and, in modern versions, starting with the Brothers Grimm version, they all lived happily ever after.

Part two

Secretly wed by the re-awakened Royal almoner, the Prince John continued to visit the Princess, who bore him two children, L'Aurore (Dawn) and Le Jour (Day), which he kept secret from his mother, who was of an Ogre lineage. Once he had ascended to the throne, he brought his wife and the children to his capital, which he then left in the regency of the Queen Mother, while he went to make war on his neighbor the Emperor Contalabutte ("Count of The Mount").

There was a tearful secret reunion in the cook's little house, while the Queen Mother was satisfied with a hind prepared with sauce Robert. Soon she discovered the trick and prepared a tub in the courtyard filled with vipers and other noxious creatures. The King returned in the nick of time and the Ogress, being discovered, threw herself into the pit she had prepared and was consumed, and everyone else lived happily ever after.


An older image of the sleeping princess: Brünnhilde, surrounded by magical fire rather than roses (illustration by Arthur Rackham to Richard Wagner's Die Walküre

Beside differences in tone, the most notable differences in the plot is that the sleep did not stem from a curse, but was prophesied; that the king did not wake Talia from the sleep with a kiss, but raped her,[4] and when she gave birth to two children, one sucked on her finger, drawing out the piece of flax that had put her to sleep, which woke her; and that the woman who resented her and tried to eat her and her children was not the king's mother but his jealous wife. The mother-in-law's jealousy is less motivated, although common in fairy tales.

There are earlier elements that contributed to the tale, in the medieval courtly romance Perceforest (published in 1528), in which a princess named Zellandine falls in love with a man named Troylus. Her father sends him to perform tasks to prove himself worthy of her, and while he is gone, Zellandine falls into an enchanted sleep. Troylus finds her and impregnates her in her sleep; when their child is born, he draws from her finger the flax that caused her sleep. She realizes from the ring he left her that the father was Troylus; he returns after his adventures to marry her.[5]

Earlier influences come from the story of the sleeping Brynhild in the Volsunga saga and the tribulations of saintly female martyrs in early Christian hagiography conventions. It was, in fact, the existence of Brynhild that persuaded the Brothers Grimm to include the story in latter editions of their work rather than eliminate it, as they did to other works they deemed to be purely French, stemming from Perrault's work.

The second half, where the princess and her children are almost put to death, but hidden instead, may have been influenced by St. Genevieve.


This fairy tale is classified as Aarne-Thompson type 410.[6]

The princess's name has been unstable. In Sun, Moon, and Talia, she is named Talia ("Sun" and "Moon" being her twin children). Perrault removed this, leaving her anonymous, although naming her daughter "L'Aurore". The Brothers Grimm named her "Briar Rose" in their 1812 collection.[7] This transfer was taken up by Disney in the film, which also called her Aurora.[8] John Stejean named her "Rosebud" in TeleStory Presents.

The Brothers Grimm included a variant, Briar Rose, in their collection (1812).[9] It truncates the story as Perrault and Basile told it to the ending now generally known: the arrival of the prince concludes the tale.[10] Some translations of the Grimm tale give the princess the name Rosamond. The brothers considered rejecting the story on the grounds that it was derived from Perrault's version, but the presence of the Brynhild tale convinced them to include it as an authentically German tale. Still, it is the only known German variant of the tale, and the influence of Perrault is almost certain.[11]

The Brothers Grimm also included, in the first edition of their tales, a fragmentary fairy tale, The Evil Mother-in-Law. This began with the heroine married and the mother of two children, as in the second part of Perrault's tale, and her mother-in-law attempted to eat first the children and then the heroine. Unlike Perrault's version, the heroine herself suggested an animal be substituted in the dish, and the fragment ends with the heroine's worry that she can not keep her children from crying, and so from coming to the attention of the mother-in-law. Like many German tales showing French influence, it appeared in no subsequent edition.[12]

Italo Calvino included a variant in Italian Folktales. The cause of her sleep is an ill-advised wish by her mother: she wouldn't care if her daughter died of pricking her finger at fifteen, if only she had a daughter. As in Pentamerone, she wakes after the prince raped her in her sleep, and her children are born and one sucks on her finger, pulling out the prick that had put her to sleep. He preserves that the woman who tries to kill the children is the king's mother, not his wife, but adds that she does not want to eat them herself but serves them to the king.[13] His version came from Calabria, but he noted that all Italian versions closely followed Basile's.[14]

Besides Sun, Moon, and Talia, Basile included another variant of this Aarne-Thompson type, The Young Slave. The Grimms also included a second, more distantly related one, The Glass Coffin.[15]

Joseph Jacobs noted the figure of the Sleeping Beauty was in common between this tale and the Gypsy tale The King of England and his Three Sons, in his More English Fairy Tales.[16]

The hostility of the king's mother to his new bride is repeated in the fairy tale The Six Swans,[17] and also features The Twelve Wild Ducks, where she is modified to be the king's stepmother, but these tales omit the cannibalism.

Myth themes

Some folklorists have analyzed Sleeping Beauty as indicating the replacement of the lunar year (with its thirteen months, symbolically depicted by the full thirteen fairies) by the solar year (which has twelve, symbolically the invited fairies). This, however, founders on the issue that only in the Grimms' tale is the wicked fairy the thirteenth fairy; in Perrault's, she is the eighth.[18]

Among familiar themes and elements in Perrault's tale:

Modern retellings

Sleeping Beauty has been popular for many fairytale fantasy retellings. These include Mercedes Lackey's Elemental Masters novel The Gates of Sleep; Robin McKinley's Spindle's End, Orson Scott Card's Enchantment, Jane Yolen's Briar Rose, Sophie Masson's Clementine, and Anne Rice's Sleeping Beauty Trilogy.

The curse of the fairy godmother, by itself, has been taken from the tale and used in many contexts. George MacDonald used it in his Sleeping Beauty parody, The Light Princess, where the evil fairy godmother curses the princess not to death but to lack gravity — leaving her both lacking in physical weight and unable to take other people's suffering seriously.[19] In Andrew Lang's Prince Prigio, the queen, who does not believe in fairies, does not invite them; the fairies come anyway and give good gifts, except for the last one, who says that he shall be "too clever" — and the problems with such a gift are only revealed later. In Patricia Wrede's Enchanted Forest Chronicles, a princess laments that she wasn't cursed at her christening. When another character points out that many princesses aren't (even in the Chronicles' fairy-tale setting), she complains that in her case the wicked fairy did come to the christening, "had a wonderful time," and left the princess with no way to assume her proper, fairy-tale role.

Angela Carter's "The Bloody Chamber" provides a postmodern retelling of Sleeping Beauty entitled "The Lady of the House of Love". Although she deviates significantly from the original subject matter she keeps intact what she terms the "latent content", for example though not actually asleep there are repeated references to the protagonist existing as a somnambulist . The story follows the life of a Transylvanian vampire condemned by her fate until a young soldier arrives who, through his innocence, frees her from her curse.

Waking Rose is a modern-day take on the story. The heroine, Rose (named after Briar Rose), is put into a coma; she has to be saved by her boyfriend from two doctors who want to euthanize her after she had previously discovered that they illegally killed people to sell their organs off the black market. It is not posted on the Surlalune website, although other books of the series are.

Annaliese Evans' "Night's Rose" continues to play on the same elements from part two of Sleeping Beauty. Where the heroine, Rosemarie Edenberg (the princess) has her mind set on wiping out the entire orgre tribe. Through her journey she is joined by her fairy advisor Ambrose Nuit and a Vampire Lord Gareth Shenley.

The Puerto Rican writer, Rosario Ferré, has a story entitled, "Sleeping Beauty", in her collection of stories, "The Youngest Doll." The story deals with a lot of the elements found in the fairy tale.

Sleeping Beauty in music

Michele Carafa composed La belle au bois dormant in 1825.

Before Tchaikovsky's version, several ballet productions were based on the "sleeping beauty" theme, amongst which one from Eugène Scribe: in the winter of 1828–1829, the French playwright furnished a four-act mimed scenario as a basis for Aumer's choreography of a four-act ballet-pantomime La Belle au Bois Dormant. Scribe wisely omitted the violence of the second part of Perrault's tale for the ballet, which was set by Hérold and first staged at the Académie Royale in Paris on 27 April 1829. Though Hérold popularized his piece with a piano Rondo brilliant based on themes from the music, he was not successful in getting the ballet staged again.

When Ivan Vsevolozhsky, the Director of the Imperial Theatres in Saint Petersburg, wrote to Tchaikovsky on 25 May 1888, suggesting a ballet based on Perrault's tale, he also cut the violent second half, climaxed the action with the Awakening Kiss, and followed with a conventional festive last act, a series of bravura variations.

Although Tchaikovsky was maybe not all that eager to compose a new ballet (remembering that the reception of his Swan Lake ballet music, staged eleven seasons earlier, had only been lukewarm), he set to work with Vsevolovzhsky's scenario. The ballet, with Tchaikovsky's music (his Opus 66) and choreography by Marius Petipa, was premiered in the Saint Petersburg Mariinsky Theatre on 24 January 1890.

Besides being Tchaikovsky's first major success in ballet composition, it set a new standard for what is now called "Classical Ballet", and remained one of the all time favourites in the whole of the ballet repertoire. Sleeping Beauty was the first ballet that impresario Sergei Diaghilev ever saw, he later recorded in his memoirs, and also the first that ballerinas Anna Pavlova and Galina Ulanova ever saw, and the ballet that introduced the Russian dancer Rudolph Nureyev to European audiences. Diaghilev staged the ballet himself in 1921 in London with the Ballets Russes. Choreographer George Balanchine made his stage debut as a gilded Cupid sitting on a gilded cage, in the last act divertissements.

Mimed and danced versions of the ballet survived in the distinctly British genre of pantomime, with Carabosse, the evil fairy, a famous travesti role.

Maurice Ravel's Ma Mère l'Oye includes a movement entitled Pavane de la Belle au bois dormant (Pavane of the Sleeping Beauty in the Wood). This piece was also later developed into a ballet.

The band Alesana also has a song related to Sleeping Beauty called "The Uninvited Thirteenth" which is on the their album Where Myth Fades to Legend. "It's in the point of view of the uninvited thirteenth and the prince. Many princes before him had tried to wake Sleeping Beauty up but before they could reach her they got pierced by the thorns. The uninvited thirteenth is talking about revenge and killing the both of them. As for the prince is talking about saving her and how he struggles to pass the thorns. In the end he reaches her and kisses her. His prize is his darling Rosamond."

Walt Disney's Sleeping Beauty

Walt Disney's Sleeping Beauty

The Walt Disney Productions animated feature Sleeping Beauty was released on 29 January 1959 by Buena Vista Distribution. Disney spent nearly a decade working on the film, which was produced in the Super Technirama 70 widescreen film process with a stereophonic soundtrack. The film cost six million U.S. dollars to produce. Its musical score and songs are adapted from Tchaikovsky's ballet. This tale includes three good fairies - Flora, Fauna, and Merryweather - and one evil fairy, Maleficent. As in most Disney films, there are considerable changes made to the plot. For example, it is Maleficent herself that appears in the upper tower of the castle and creates the spinning wheel and spindle on which the princess, Aurora (called Briar Rose by Flora, Fauna, and Merryweather in the years prior to the event), pricks her finger. The princess' hair is also changed from dark brown, as in Perrault's original book, to blonde. The princess has been described as Disney's most beautiful heroine,[20] and while it has been observed that "comparisons of this statuesque blonde to the contemporaneous Barbie doll are difficult to avoid,"[21] all the sequences of the film were first filmed in live action.[22]

Uses of Sleeping Beauty

  • One of the fairy gifts is sometimes misremembered as Intelligence. No such gift was however offered in Perrault's version: not appropriate in 1697, when a good ear for playing music appeared more essential. More modern versions of the tale might include, apart from Intelligence, Courage and Independence as fairy gifts. This can be compared with the gifts Moll Flanders apparently possessed, in the book with the same name that appeared precisely a quarter of a century after Perrault's Sleeping Beauty (1722).
  • Freudian psychologists, encouraged by Bruno Bettelheim's The Uses of Enchantment, have found rich materials to analyze in Sleeping Beauty as a case history of latent female sexuality and a prescription for the passive socialization of those young women who were not destined for work.
  • Eric Berne uses this fairy tale to illustrate "Waiting for Rigor Mortis", as one of the life scripts.[23] After pointing out that almost everything in this story could actually happen, he singles out the key illusion that the story fails to recognize: that the time didn't stop while she was asleep, that in reality Rose won't be fifteen years old, but thirty, forty, or fifty. Berne uses this and other fairy tales as a convenient tool to puncture the script armor that captivates people.
  • Joan Gould's book Turning Straw into Gold reclaims the story for women's agency, arguing that Sleeping Beauty is an example of a woman's ability to "turn off" in times of crisis. She cites a version of the story where the princess awakes when the prince enters the room, because she knows it's time to wake up.
  • Terry Pratchett refers to several fairy tales in his Discworld series, especially in reference to witches who try to control the narrative potential of their world. In Wyrd Sisters the Lancre witches draw on the influence of Black Aliss, who moved a castle and its inhabitants one hundred years into the future, when Granny Weatherwax transports her own native kingdom seventeen years ahead to allow the proper heir to the usurped throne to reach adulthood abroad without having to wait. Later, in Witches Abroad, the same coven comes across a castle that has fallen under a curse that causes everyone to slumber while the forest grows into the courtyard; Granny explains that it's happened dozens of times. The servants wake up angry and determined to chase the witches away after they rouse the princess, not with a kiss but by pitching the spinning wheel out the window.
  • Pamela Ditchoff's novel, Mrs. Beast[2], explores what happened to the famous Fairy Tales princesses including Sleeping Beauty after they said "I Do!".[24]
  • The Princess's sleeping attendants, waiting to accompany her when she wakes in the other world, even to the spit-boys in the kitchens and her pet dog, expresses one of the most ancient themes in ritual burial practices, though Perrault was probably unaware of the Egyptian burials, and certainly unaware of the royal tombs of Queen Puabi of the Third Dynasty of Ur, the courtiers that accompanied early emperors of China in the tomb, the horses that accompanied the noble riders in the kurgans of Scythian Pasyryk. The King and Queen are not included in this analogue of a burial, but retire, while the protective spectral thorn forest immediately grows up to protect the castle and its occupants, as effective as a tumulus.[citation needed]
  • Sleeping Beauty appears as a character in the Fables comic book. She is one of the three ex-wives of Prince Charming, and is one of the wealthier Fables. She is still vulnerable to pricking herself, falling back into an enchanted slumber when this happens, along with all others in whatever building she is in.
  • The second half of Sleeping Beauty appears as one of the comics in Little Lit. The comic is written and drawn by famed comics author Daniel Clowes.
  • In the book Sisters Grimm she is one of the people who actually do not despise Relda Grimm. She is shown as a very kind person and she has cocoa colored skin.
  • In Happily Ever After: Fairy Tales for Every Child, Sleeping Beauty's depicted as a Hispanic princess named Rosita. She was under the spell for a century.
  • Sheri S. Tepper adapts the Sleeping Beauty story in her novel, Beauty. This novel also includes references to Cinderella and The Frog Prince.
  • Bruce Bennett adapted Sleeping Beauty into a Children's Musical with Lynne Warren, which made its world premiere at Riverwalk Theatre
  • The computer game Max Payne 2: The Fall of Max Payne uses Sleeping Beauty as an allegory to the game's own ending when Max kisses a dead Mona Sax on the lips—-according to Max, "...all this time we got the story of Sleeping Beauty all wrong." He theorizes that the prince, much like Max himself, is not kissing Sleeping Beauty to wake her up, but rather to wake himself from the hope and pain that brought him there—-Max states, "No one who's slept for a hundred years is likely to wake up." However, if one manages to beat the game on the hardest difficulty, Mona will wake up after the kiss, surviving in the alternate ending.
  • In philosophy, the Sleeping Beauty paradox is a thought-experiment where Beauty is given an amnesiac and put to sleep on Sunday night. A coin is flipped and if heads occurs, she will be awoken on Monday and then put back to sleep. if tails occurs, she is awoken on Monday and Tuesday. Whenever she awakes, she will be asked what her subjective probability is for the coin having landed heads. Everybody agrees that she will answer 1/2 before the experiment, but some argue that during the experiment she will answer 1/3. If that is the case then she is said to defy the Reflection Principle, commonly thought by Bayesians to be a constraint on rationality.
  • In Cardcaptor Sakura, Sakura's class performs Sleeping Beauty in the episode "Sakura and the Blacked Out School Arts Festival", with the characters chosen at random. Sakura gets the title of the Prince and Syaoran gets the title of Aurora, with Yamazaki earning the title of the witch in the manga. However, since Meilin took the role of the witch in the anime, Yamazaki became the queen which lead to Rika, who was the queen in the manga, to be one of the fairies instead of an unnamed boy.
  • In Kaori Yuki's manga, Ludwig Revolution, the queen was infertile and had Princess Friederike after a fish relayed a prophesy. Rather than meeting a servant, the princess pricked her finger when the witch told her that there had been no prophesy; instead the queen had been raped and she was not the king's daughter. Friederike touched the spindle as a way to test if the witch was telling the truth and slept for one hundred years. When Prince Ludwig meets her in his dreams, he falls in love with her and his kiss breaks the spell. They do not, however, live happily ever after, as she dies the moment she awakens due to old age. She later returns as a spirit and lends her powers to help overthrow the false queen, Lady Petronella.
  • In one chapter of Honey and Clover Morita threatens Ayumi that if she doesn't invite him to a Christmas party, he will curse her, that her future daughter, on her 15th birthday will prick her finger on a spindle and fall into a deep sleep, weirding out her and Hagumi.
  • Walt Disney's Sleeping Beauty's main protagonist and antagonist were used in the Square-Enix/Disney collaboration PS2 games Kingdom Hearts, Kingdom Hearts 2, and will be featured in the upcoming prequel Kingdom Hearts: Birth by Sleep for PSP. Aurora is one of the Princesses of Heart who are princesses that have no darkness in their hearts. Gathering all seven of the Princesses of Heart together will create a doorway to Kingdom Hearts, the heart of all worlds. She shares the title Princess of Heart with Cinderella, Belle, Alice, Snow White, Jasmine, and, the game's original princess, Kairi. Maleficent acts as a main antagonist in these games who helps the other Disney villains in their schemes while making her own come to fruition. Also featured in Kingdom Hearts 2 were the three good fairies Flora, Fauna, and Merryweather who give the main character, Sora, his new clothes and enable him to use his Drive Forms.
  • This was also spoofed in the 1948 Popeye cartoon Wotta Knight with Olive Oyl as Sleeping Beauty.
  • In the 1988 Muppet Babies episode "Slipping Beauty," while Piggy catches a case of the chicken pox, the gang cheers her up by telling her their version of the story of Sleeping Beauty over the walkie-talkie. During Piggy's imagination of the story, she plays the princess, while Kermit is the prince; Fozzie, Rowlf, and Gonzo are the three good fairies; Animal is the bad fairy, and Scooter and Skeeter are the king and queen. During the narration, Fozzie alters the princess's sleeping curse by having the princess (Piggy) step on a banana peel (since little kids shouldn't play with sharp objects) and "fall asleep" before her fourth birthday. At the same time, the "nice little cottage" is really Buckingham Palace, and Piggy only goes away to throw away the giant harp Rowlf gave her.
  • In the "Sleeping Beauty" episode of Fractured Fairy Tales of the Rocky and Bullwinkle show, the narrator quickly gets through the story from the princess's birth to the point where the prince arrives at the castle. From there, rather than kiss her, the prince opens up Sleeping Beauty Land (a parody of Disneyland). While business booms, he is constantly interrupted by the bad fairy and disposes of her in many ways. Finally, at the end of the episode, after business goes downhill with fewer attendants, the princess cheers up the prince and bad fairy by waking up without true love's first kiss.
  • A new book that tells the story of "Sleeping Beauty's Daughter" called "Alinda of the Loch"[25] will be released tentatively in August of 2009. It has been a multi-year writing collaboration of two teachers who each "live across the pond." Oonagh Jane Pope (UK Andover 3rd grade teacher) and Julie Ann Brown (US Santa Barbara College Professor) who each felt that it was time to tell the story of Queen Aurora of Inverness-Shire and her youngest daughter, Alinda. The Scottish fairy tale answers many a question as to why the land and the loch have held such mystery, adventure and magic throughout the passing centuries.
  • Jane Yolen's novel "Briar Rose" reimagines the tale of "Sleeping Beauty" against the background of the Holocaust.
  • In the Sixth/Last (depending on your viewing order) episode of The Melancholy of Haruhi Suzumiya season one, while trapped in 'Closed Space' Kyon is given the mysterious message 'Sleeping Beauty' by Nagato Yuki via a computer.
  • Joss Whedon's series Dollhouse uses this story as an extended metaphor in the aptly-named episode "Briar Rose," equating it both to the brainwashed members of the Dollhouse and a young character dealing with the after-effects of sexual abuse.


See also


Prince Florimund finds the Sleeping Beauty
  1. ^ Heidi Anne Heiner, "The Annotated Sleeping Beauty"
  2. ^ Giambattista Basile, Pentamerone, "Sun, Moon and Talia"
  3. ^ Maria Tatar, p 96, The Annotated Classic Fairy Tales, ISBN 0-393-05163-3
  4. ^
  5. ^ Jack Zipes, The Great Fairy Tale Tradition: From Straparola and Basile to the Brothers Grimm, p 648, ISBN 0-393-97636-X
  6. ^ Heidi Anne Heiner, "Tales Similar to Sleeping Beauty"
  7. ^ Jacob and Wilheim Grimm, Grimms' Fairy Tales, "Little Briar-Rose"
  8. ^ Heidi Anne Heiner, "The Annotated Sleeping Beauty"
  9. ^ Jacob and Wilheim Grimm, Grimms' Fairy Tales, "Little Briar-Rose"
  10. ^ Harry Velten, "The Influences of Charles Perrault's Contes de ma Mère L'oie on German Folklore", p 961, Jack Zipes, ed. The Great Fairy Tale Tradition: From Straparola and Basile to the Brothers Grimm, ISBN 0-393-97636-X
  11. ^ Harry Velten, "The Influences of Charles Perrault's Contes de ma Mère L'oie on German Folklore", p 962, Jack Zipes, ed. The Great Fairy Tale Tradition: From Straparola and Basile to the Brothers Grimm, ISBN 0-393-97636-X
  12. ^ Maria Tatar, The Annotated Brothers Grimm, p 376-7 W. W. Norton & company, London, New York, 2004 ISBN 0-393-05848-4
  13. ^ Italo Calvino, Italian Folktales p 485 ISBN 0-15-645489-0
  14. ^ Italo Calvino, Italian Folktales p 744 ISBN 0-15-645489-0
  15. ^ Heidi Anne Heiner, "Tales Similar to Sleeping Beauty"
  16. ^ Joseph Jacobs, More English Fairy Tales, "The King of England and his Three Sons"
  17. ^ Maria Tatar, The Annotated Brothers Grimm, p 230 W. W. Norton & company, London, New York, 2004 ISBN 0-393-05848-4
  18. ^ Max Lüthi, Once Upon A Time: On the Nature of Fairy Tales, p 33 Frederick Ungar Publishing Co., New York, 1970
  19. ^ Jack Zipes, When Dreams Came True: Classical Fairy Tales and Their Tradition, p 124-5 ISBN 0-415-92151-1
  20. ^ Charles Solomon, The Disney That Never Was 1989:198, quoted in Bell 1995:110.
  21. ^ Elizabeth Bell, "Somatexts at the Disney shop", in Elizabeth Bell, Lynda Haas, Laura Sells eds., From Mouse to Mermaid: the politics of film, gender, and culture (Indiana University Press) 1995:110.
  22. ^ Leonard Maltin, The Disney Films.
  23. ^ What Do You Say After You Say Hello?; 1975; ISBN 0-552-09806-X
  24. ^ Mrs. Beast, Stay Thirsty Press, 2009. ASIN: B001YQF59K [1]
  25. ^

External links


Up to date as of January 14, 2010

From Wikiquote

Sleeping Beauty is a Disney film from 1959. A snubbed malevolent fairy casts a curse on a princess that only a prince can break, with the help of three good fairies.

Directed by Clyde Geronimi. Written by Erdman Penner and Charles Perrault.


Narrator: In a far away land long ago lived a king and his fair queen. Many years had they longed for a child and finally their wish was granted. A daughter was born; and they called her Aurora. Yes, they named her after the dawn, for she filled their lives with sunshine. Then a great holiday was proclaimed throughout the kingdom so that all of high or low estate might may homage to the infant princess. And our story begins on that most joyful day.

Court Announcer: Their most honoured and exalted excellencies, the Three Good Fairies! Mistress Flora... Mistress Fauna... and Mistress Merryweather!

Flora: Each of us the child may bless with a single gift, no more, no less. [flies over to the cot] Little princess, my gift shall be the gift of beauty.
Fauna: Tiny princess, my gift shall be the gift of song.
Merryweather: Sweet princess, my gift shall be the-
[A storm blows up and a gust of wind blows open the castle doors. A woman magically appears, enrobed in green flames]
Fauna: Why, it's Maleficent.
Merryweather: What does she want here?
Flora: Shh!
Maleficent: Well, quite a glittering assemblage, King Stefan. Royalty, nobility, the gentry, and-- [laughs and looks at the Good Fairies] How quaint. Even the Rabble. [Merryweather charges at her but is held back by Flora] I really felt quite distressed at not receiving an invitation.
Merryweather: You weren't wanted.
Maleficent: No wa--Oh, dear, what an awkward situation. I had hoped it was merely due to some oversight. Well, in that event, I'd best be on my way.
Queen: And you're not offended, Your Excellency?
Maleficent: Why, no, Your Majesty. And to show I bear no ill will, I, too, shall bestow a gift on the child. Listen well, all of you. The princess shall indeed grow in grace and beauty, beloved by all who know her. But, before the sun sets on her sixteenth birthday, she shall prick her finger on the spindle of a spinning wheel, and die!

Flora: Don't despair, Your Majesties. Merryweather still has her gift to give.
King Stefan: Then she can undo this fearful curse?
Merryweather: Oh no, Sire.
Flora: Maleficent's powers are far too great.
Fauna: But she can help.
Merryweather: But--
Fauna: Just do your best, dear.
Flora: Yes, go on.
Merryweather: Sweet princess, if through this wicked witch's trick, a spindle should your finger prick, a ray of hope there still may be in this, the gift I give to thee. Not in death, but just in sleep, the fateful prophecy you'll keep. And from this slumber you shall wake, when true love's kiss the spell shall break.

Flora: I'll turn her into a flower.
Merryweather: Maleficent?
Flora: Oh, no, dear. The princess.
Fauna: Oh, she'd make a lovely flower.
Flora: Don't you see? A flower can't prick its finger.
Merryweather: It hasn't any.
Fauna: That's right.
Flora: She'll be perfectly safe.
Merryweather: Until Maleficent sends a frost.

Flora: You're right. And she'll be expecting us to do something like that.
Merryweather: Oh! Well, what won't she expect? She knows everything.
Fauna: Oh, but she doesn't, dear. Maleficent doesn't know anything about love, or kindness or the joy of helping others. You know, sometimes I don't think she's really very happy.
Flora: That's it! Of course. It's the only thing she can't understand and won't expect. Now, now, now, we'll have to plan it carefully. Let's see. The woodcutter's cottage. Yes, yes, the abandoned one. Of course, the king and queen will object. But when we explain it's the only way--
Merryweather: Explain what?
Flora: About the three peasant women raising a foundling child, deep in the forest.
Fauna: Oh? Oh, that's very nice of them.
Merryweather: Who are they?
Flora: Turn around. [turns them into peasant women]
Merryweather: Eww!
Fauna: Why, it's us!

Maleficent: Now, shall you deal with ME, oh Prince... and all the powers of Hell!

Merryweather: Do you really think we can?
Flora: If humans can do it, so can we.
Merryweather: And we'd have our magic to help us.
Fauna: That's right.
Flora: No, no, no, no, no, no! No magic! I'll take those wands right now. Oh, better get rid of those wings, too.
Merryweather: You mean live like mortals? For sixteen years?

Narrator: So the king and his queen watched with heavy hearts as their most precious possession, their only child, disappeared into the night.

Maleficent: It's incredible!! Sixteen years and not a trace of her. She couldn't have vanished into thin air! Are you sure you searched everywhere?
Minion"": Yep, yep, uh, everywhere, we all did.
Maleficent: And what about the town? The forest? the mountains?!
Minion: Yeah, we searched mountains, uh, uh, uh, uh forests, and, uh, houses, and uh- Let me see. Uh, and all the cradles.
Maleficent: Cradle?
Minion: Yep, yep. Every cradle.
Maleficent: Cradle? [to her raven] Did you hear that, my pet? All these years they've been looking for a baby. [laughs manically] Fools! Idiots! Imbeciles! [shoots lightning bolts at them all] Oh, they're hopeless. A disgrace to the forces of evil. My pet, you are my last hope. Circle far and wide, search for a maid of sixteen, with hair of sunshine gold and lips red as the rose. Go, and do not fail me.

Narrator: And so, for sixteen long years the whereabouts of the princess remained a mystery. While deep in the forest in a woodcutter's cottage the Good Fairies carried out their well-laid plan. Living like mortals, they had reared the child as their own and called her Briar Rose. On this, her sixteenth birthday, the good fairies had planned a party and something extra special for a surprise.

Rose: Berries?
Fauna: Lots of berries.
Rose: But I-I picked berries yesterday.
Flora: Oh, w-we need more, dear.
Fauna: Lots, lots more.
Flora: Not don't hurry back, dear.
Merryweather: But don't go too far.
Flora: And don't speak to strangers.

Merryweather: I wonder if she suspects.
Flora: Of course not. Come on! Oh, will she be surprised.
Merryweather: A real birthday party.
Fauna: With a real birthday cake.
Flora: Yes, and a dress a princess can be proud of.
Merryweather: I'll get the wands.
Flora: Yes, you can, uh-- The wands?
Fauna: Oh, no!
Flora: No magic!

Rose: Oh, dear. Why do they still treat me like a child?
Owl: Who?
Rose: Aunt Flora and Fauna and Merryweather. They never want me to meet anyone. But you know something? I fooled them. I have met someone.
Owl: Who? Who? Who?
Rose: Oh, a prince. [birds twitter] Well, he's tall and handsome and-- and so romantic. [birds twitter] Oh, we walk together and talk together. And just before we say goodbye he takes me in his arms...and then...I wake up. [birds sigh] Yes, it's only in my dreams. But, they say, if you dream a thing more than once it's sure to come true...and I've seen him so many times.

[Philip and Rose meet for the first time.]
Philip: I'm awfully sorry. I didn't mean to frighten you.
Rose: Oh, it, uh, wasn't that. It's just that you're a-- a--
Philip: A stranger?
Rose: Mm-hmm.
Philip: But don't you remember? We've met before.
Rose: We-- We have?
Philip: Well, of course. You said so yourself. Once upon a dream.

Merryweather: I think we've had enough of this nonsense! I think we ought to think of Rose and what she'll think of this mess. I still think what I thunk before. I'm going to get those wands.

Flora: Quick, lock the doors. Uh, Fauna, you close the windows. Oh, block up every cranny. We can't take any chances. [passes Fauna her wand] Now, you take care of the cake.
Merryweather: While I--
Flora: [hands Merryweather her wand] Clean the room, dear. And I'll make the dress. Now hurry!
Merryweather: Ooh! Come on, bucket, mop, broom. Flora says clean up the room.
Flora: And now to make a lovely dress, fit to grace a fair princess.
Fauna: Eggs, flour, minute-- Just do it like it says here in the book. I'll put on the candles.

Merryweather: [sees the dress Flora has made] Oh, no, not pink! Make it blue. [changes it blue, magically]
Flora: Merryweather! Make it pink. [makes it pink]
Merryweather: [carries on magically mopping] Make it blue. [makes it blue again]
Flora: Oh, pink!

Flora: Bolt the door, Merryweather. Fauna, pull the drapes. [to Aurora] And now, dear, if you'll just sit here. This one last gift, dear child, for thee, the symbol of thy royalty: a crown to wear in grace and beauty, as is thy right and royal duty.
[Aurora starts to cry]
Fauna: Now, dear--
Flora: Come. Let her have a few moments alone.

Fauna: Poor King Stefan and the queen.
Merryweather: They'll be heartbroken when the find out.
Flora: They're not going to.
Merryweather: They aren't?
Fauna: But--
Flora: We'll put them all to sleep until Rose awakens.

King Hubert: [to King Stefan as Flora puts them under the spell] Well, just been talking to Philip. Seems he's fallen in love with some-- peasant girl. [falls asleep]
Flora: Peasant girl? [flies back to him] Yes? Yes? The peasant girl? Who is she? Where did he meet her?
King Hubert: Uh, just some peasant girl he met--
Flora: Where? where?
King Hubert: [falling asleep] Once upon a dream.
Flora: Once upon a dre-- Rose! Prince Philip! Oh! Oh! Come on. We've got to get back to the cottage.

Maleficent: Well! This is a pleasant surprise. I set my trap for a peasant, and lo, I catch a prince. [laughs] Away with him. But gently, my pets. Gently. I have plans for our royal guest.

Maleficent: Oh, come now, Prince Philip. Why so melancholy? A wondrous future lies before you. You, the destined hero of a charming fairy tale come true. [shows Philip an image of a castle, using her wand] Behold, King Stefan's castle. And in yonder topmost tower, dreaming of her ture love, the Princess Aurora. But see the gracious whim of fate. Why, 'tis the selfsame peasant maid who won the heart of our noble prince but yesterday. She is indeed most wondrous fair, gold of sunshine in her hair, lips that shame the red, red rose. In ageless sleep, she finds repose. The years roll by. But a hundred years, to a steadfast heart, are but a day. And now, the gates of a dungeon part and our prince is free to go his way. Off he rides on his noble steed-- [shows him walking slowly away on his horse, old and slumped] a valiant figure, straight and tall-- to wake his love with love's first kiss...and prove that "true love" conquers all! [laughs wildly]
Merryweather: Why, you, you, y-- [Flora pulls her back into hiding]
Maleficent: Come, my pet. Let us leave our noble prince with these happy thoughts. [at the door] A most gratifying day. For the first time in sixteen years I shall sleep well.
[Flora, Fauna and Merryweather fly in]
Flora: Shh! No time to explain. [they magically break his chains and he gets up to leave] Wait, Prince Philip. The road to true love may be barred by still many more dangers, which you alone will have to face. So arm thyself with this enchanted sheild of virtue, and this mighty sword of truth, for these weapons of righteousness will triumph over evil. Now come, we must hurry.

Maleficent: A forest of thorns shall be his tomb, borne through the skies on a fog of doom! Now go with a curse and serve me well. 'Round Stefan's castle cast my spell.

[Last lines. The fairies are watching Philip and Aurora dance; Fauna begins to cry.]
Flora: Why Fauna, what's the matter, dear?
Fauna: Oh, I just love happy endings.
Flora: Yes, I do too-- t-- Ooh! [notices Aurora's dress] Blue! Pink. [turns the dress pink]
Merryweather: Blue. [changes it back to blue]
[The dress continues to change color as the couple dance into the clouds.]

(Aurora singing after meeting Prince Phillip)
Fauna: She's in love of--
Merryweather: Oh no!
Flora: This is terrible!
Aurora: Why? After all, I am sixteen.
Flora: It isn't that, dear.
Fauna: You are already betrothed.
Aurora: Betrothed?
Merryweather: Since the day you were born.
Fauna: To Prince Phillip, dear.
Aurora: But that's impossible! How could've I marry a prince? I have to be-
Merryweather: A princess.
Fauna: And you are, dear.
Flora: Princess Aurora. Tonight we're taking you back to your father, King Stefan.
Aurora: But I can't! He's coming here tonight, I'd promise to meet him.
Flora: I'm sorry, child. But you must never see that young man again.
Aurora: Oh no! No! I can't believe it! No! No!
(She runs to her room crying)
Merryweather: And we thought she'll be so happy.


Princess Aurora/Briar Rose (voice) - Mary Costa
Prince Phillip (voice) - Bill Shirley
Maleficent (voice) - Eleanor Audley
Flora (voice) - Verna Felton
Merryweather (voice) - Barbara Luddy
Fauna (voice) - Barbara Jo Allen
Stefan (voice) - Taylor Holmes
Hubert (voice) - Bill Thompson

External Links

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Sleeping Beauty quotes at the Internet Movie Database

Source material

Up to date as of January 22, 2010

From Wikisource

Sleeping Beauty
This is a disambiguation page, which lists works which share the same title. If an article link referred you here, please consider editing it to point directly to the intended page.

Sleeping Beauty may refer to:


Up to date as of January 15, 2010

Definition from Wiktionary, a free dictionary



Proper noun

Sleeping Beauty

  1. A fairy tale originally titled La Belle au bois dormant by Charles Perrault.
  2. The main character in this story, who is in unbroken slumber under a magical spell, awaiting the kiss of a prince.
  3. (genetics) A transposon used in genetic engineering


See also

External links

Simple English

Sleeping Beauty is a classic fairy tale. An early variant by the Italian was published in 1634, but the most famous version was first written by Charles Perrault under the title of La Belle au bois dormant ("The Sleeping Beauty in the Wood"). This story was later retold by the Brothers Grimm under the title of Dornröschen ("Little Briar-Rose").


=Plot (Perrault's version)


May contain spoilers!

====Part One==== A king and a queen have a baby girl. They invite fairies to her christening. Unfortunately, they forgot to invite an old fairy and so the old fairy places a curse on the princess. She says that she will one day prick her finger on the spindle of a spinning wheel and will die. Fortunately, one of the good fairies changes the curse so that instead, the princess shall sleep for a hundred years and be discovered by the prince of her dreams. The king also bans spinning wheels, but nonetheless, his daughter finds a spinning wheel when she is sixteen and falls into the deep sleep. The good fairy also puts everyone in the castle to sleep and covers the castle with a thorny forest. A hundred years later, a prince discovers the castle and the princess. He kisses the sleeping princess, and she wakes up. They fall in love so they live happily ever afters...

Part Two

Most versions of the story that are told today end when the princess wakes up, but Perrault writes about something scary that happened to the princess and her new children. The prince goes off to fight in a war and his wife and children stay with his mother, who is an ogress. The queen wants to eat the princess and her three children but her servants helps save the two children. He gives the ogress some normal meat and tells her that they are the princess and her children. The ogress believes this but she finds out that she has been tricked. She plans to push her daughter-in-law and grandchildren into a pit of nasty snakes. But the prince arrives just in time and the queen does not kill his wife and children. She throws herself into the pit instead and dies.


A Russian ballet with music by Pyotr Ilyich Tchaikovsky was first performed in 1890. The music for the ballet has become very famous. At the end of the ballet, characters from other fairy tales by Charles Perrault attend the wedding of the prince and princess.

Disney's film

In 1959, Walt Disney made an animated film based on the fairy tale. The film and the original story have differences. In this version, the princess is called Aurora, the prince is called Philip and the evil fairy is called Maleficant. The princess only sleeps for a little while before she is kissed by the prince and the pair meet in the forest beforehand. The good fairies (whose names are Flora, Fauna and Merryweather) also provide comic moments throughout the film. The music from Tchaikovsky's ballet is used in the film.

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