Beauty: A Retelling of Beauty and the Beast

Up until Beauty’s father recounts his adventure, magic is mentioned only by Beauty and can potentially be interpreted as a product of youthful imagination, rather than an accepted aspect of the world of the novel. Roderick’s description of encountering enchantments at the castle, however, portrays magic as a known—if not often seen—part of reality. Though it seems much like France in the 18th century, the setting of the story is not specified. This gives McKinley the flexibility to imbue Beauty’s world with magic enchantments, without trying to explain their presence in the real world as readers know it. Magic begins to influence the plot in the dramatic present after Roderick tells his story. The items connected with this magic—namely the roses and griffin ring in these chapters—will take on symbolic meaning as the narrative continues. Beauty’s assessment of the griffin ring hints at its symbolic connection to Beast’s character: “It did not look evil, nor predatory; it was proud, not vicious” (81). Receiving rose seeds rather than gems gives Beauty a sense that Beast has a sense of humor, which alleviates some of her fear. The seeds thus bring her comfort, as do the rose blooms that cover the house before Beauty leaves, beating the odds and suggesting that perhaps she, too, can thrive in the face of adversity.

Beauty’s dream of anxiously searching for something in the castle suggests dreams offer access to preternatural sight; to visions of hidden truths. Though she’s never been to the castle, in her dream it’s familiar, as if her dream is a look into her future. Such uncanny glimpses beyond what’s apparent, through dreams and other devices, will develop the novel’s theme about Outward Appearance Versus Inner Beauty. Beauty’s father, through his fear of the Beast, demonstrates the opposite type of sight, that all-too human type of vision in which appearances exert undue influence on judgment. When Beauty says the Beast “cannot be so bad if he loves roses so much,” her father responds helplessly, “[b]ut he is a Beast” (79). He considers only Beast’s physical form, not his generosity in filling the saddlebags with gifts or even his promise that Beauty will be in no danger in his home. Fear for his daughter contributes to Roderick’s metaphoric near-sightedness. Beauty’s rejoinder, “[c]annot a Beast be tamed?” (79), reveals one of the novel’s conflicts: love versus fear. It also foreshadows how Beauty will learn to see the truth beneath Beast’s fearsome exterior.

McKinley characterizes Beauty through several noteworthy events in these chapters. Beast’s words to Roderick demonstrate the importance of Beauty’s character attributes. He insists, “she must come here of her own free will, because she loves you enough to want to save your life—and is courageous enough to accept the price of being separated from you, and from everything she knows. On no other condition will I have her” (73). Beast makes this caveat because he needs to find someone who can break the spell over the castle, someone who can see past his beastly appearance and love what lies beneath. Thus he draws a thematic connection between familial love and loyalty, courage, and romantic love. These ideas will culminate in a message about How Romantic Ideals Mirror Family Values.

Beauty proves her desire to save her father’s life, and her courage, when she insists on being the one to go to the castle in her father’s place. “What will you do then, tie me up?” she asks, adding “I will go, and what’s more, if you don’t promise right now to take me with you when the time comes, I will run off tonight while you’re asleep” (77). Beauty’s stubbornness when it comes to doing what’s right for those she loves characterizes her as noble and strong. Yet she still sees herself as having little value, saying, “I’m the youngest—and the ugliest. The world isn’t losing much in me” (77). Such low assessments of her self-worth epitomize the knot—the initial flaw she must overcome through transformation—in Beauty’s character arc. Despite this flaw, Beauty’s optimism gives her a powerful tool with which to achieve transformation. This optimism is apparent in Beauty’s observation about becoming Beast’s prisoner: “I probably shall be able to get on with my studies: He must have a library in that great castle of his” (86). Beauty’s outlook helps her see the positive aspects of everything around her. To transform, she only needs to learn how to apply that optimism to the way she sees herself.