Sleeping Beauty

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Sleeping Beauty ("La Belle au Bois dormant" (The Sleeping Beauty in the Wood)) is a fairy tale classic, the first in the set published in 1697 by Charles Perrault, Contes de ma Mère l'Oye ("Mother Goose Tales").^[1]

While Perrault's version is better known, an older variant, the tale Sun, Moon, and Talia, was contained in Giambattista Basile's Pentamerone (published 1634).^[2] Professor J. R. R. Tolkien noted that Perrault's cultural presence is so pervasive that, when asked to name a fairy tale, most people will cite one of the eight stories in Perrault's collection.^[3] Since Tolkien's generation, however, the most familiar Sleeping Beauty in the English speaking world has become the Walt Disney animated film (1959), which draws as much from the Pyotr Ilyich Tchaikovsky ballet (Saint Petersburg, 1890) as from Perrault.

Contents 1 The Story 2 Perrault's narrative 2.1 Part one 2.2 Part two 3 Sources 4 Naming the princess 5 Variants 6 Myth themes 7 Modern retellings 8 Sleeping Beauty in music 9 Walt Disney's Sleeping Beauty 10 Uses of Sleeping Beauty 11 See also 12 References 13 External links

[edit] The Story

Once upon a time there was a Queen who had a beautiful baby daughter. She asked all the fairies in the kingdom to the christening, but unfortunately forgot to invite one of them, who was a bit of a witch as well. She came anyway, but as she passed the baby's cradle, she said:

"When you are sixteen, you will injure yourself with a spindle and die!"

"Oh, no!" screamed the Queen in horror. A good fairy quickly chanted a magic spell to change the curse. When she hurt herself, the girl would fall into a very deep sleep instead of dying.

The years went by, the little Princess grew and became the most beautiful girl in the whole kingdom. Her mother was always very careful to keep her away from spindles, but the Princess, on her sixteenth birthday, as she wandered through the castle, came into a room where an old servant was spinning.

"What are you doing?" she asked the servant.

"I'm spinning. Haven't you seen a spindle before?"

"No. Let me see it!" The servant handed the girl the spindle ... and she pricked herself with it and. with a sigh, dropped to the floor.

The terrified old woman hurried to tell the Queen. Beside herself with anguish, the Queen did her best to awaken her daughter but in vain. The court doctors and wizards were called, but there was nothing they could do. The girl could not be wakened from her deep sleep. The good fairy who managed to avoid the worst of the curse came too, and the Queen said to her,

"When will my daughter waken?"

"I don't know," the fairy admitted sadly.

"In a year's time, ten years or twenty?" the Queen went on.

"Maybe in a hundred years' time. Who knows?" said the fairy.

"Oh! What would make her waken?" asked the Queen weeplng.

"Love," replied the fairy. "If a man of pure heart were to fall in love with her, that would bring her back to life!"

"How can a man fall in love with a sleeping girl?" sobbed the Queen, and so heart-broken was she that, a few days later, she died. The sleeping Princess was taken to her room and laid on the bed surrounded by garlands of flowers. She was so beautiful, with a sweet face, not like those of the dead, but pink like those who are sleeping peacefully. The good fairy said to herself,

"When she wakens, who is she going to see around her? Strange faces and people she doesn't know? I can never let that happen. It would be too painful for this unfortunate girl."

So the fairy cast a spell; and everyone that lived in the castle - soldiers, ministers, guards, servants, ladies, pages, cooks, maids and knights - all fell into a deep sleep, wherever they were at that very moment.

"Now," thought the fairy, "when the Princess wakes up, they too will awaken, and life will go on from there." And she left the castle, now wrapped in silence. Not a sound was to be heard, nothing moved except for the clocks, but when they too ran down, they stopped, and time stopped with them. Not even the faintest rustle was to be heard, only the wind whistling round the turrets, not a single voice, only the cry of birds.

The years sped past. In the castle grounds, the trees grew tall. The bushes became thick and straggling, the grass invaded the courtyards and the creepers spread up the walls. In a hundred years, a dense forest grew up.

Now, it so happened that a Prince arrived in these parts. He was the son of a king in a country close by. Young, handsome and melancholy, he sought in solitude everything he could not find in the company of other men: serenity, sincerity and purity. Wandering on his trusty steed he arrived, one day, at the dark forest. Being adventurous, he decided to explore it. He made his way through slowly and with a struggle, for the trees and bushes grew in a thick tangle. A few hours later, now losing heart, he was about to turn his horse and go back when he thought he could see something through the trees . . . He pushed back the branches . . . Wonder of wonders! There in front of him stood a castle with high towers. The young man stood stock still in amazement,

"I wonder who this castle belongs to?" he thought.

The young Prince rode on towards the castle. The drawbridge was down and, holding his horse by the reins, he crossed over it. Immediately he saw the inhabitants draped all over the steps, the halls and courtyards, and said to himself,

"Good heavens! They're dead!" But in a moment, he realised that they were sound asleep. "Wake up! Wake up!" he shouted, but nobody moved. Still thoroughly astonished, he went into the castle and again discovered more people, lying fast asleep on the floor. As though led by a hand in the complete silence, the Prince finally reached the room where the beautiful Princess lay fast asleep. For a long time he stood gazing at her face, so full of serenity, so peaceful, lovely and pure, and he felt spring to his heart that love he had always been searching for and never found. Overcome by emotion, he went close, lifted the girl's little white hand and gently kissed it . . .

At that kiss, the princess quickly opened her eyes, and wakening from her long long sleep, seeing the Prince beside her, murmured:

"Oh, you have come at last! I was waiting for you in my dream. I've waited so long!"

Just then, the spell was broken. The Princess rose to her feet, holding out her hand to the Prince. And the whole castle woke up too. Everybody rose to their feet and they all stared round in amazement, wondering what had happened. When they finally realized, they rushed to the Princess, more beautiful and happier then ever.

A few days later, the castle that only a short time before had lain in silence, now rang with the sound of singing, music and happy laughter at the great party given in honor of the Prince and Princess, who were getting married. They lived happily ever after.

[edit] 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 Grimms' version – and were joined together by Basile, and Perrault following him.^[4]

[edit] 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's son.

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 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' 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.

[edit] Part two

Secretly wed by the re-awakened Royal almoner, the Prince continued to visit the Princess, who bore him two children, L'Aurore (Dawn) and Le Jour (Day), which he kept secret from the Queen, who was of an Ogre lineage. Once he had acceded to the throne, he brought the Princess 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").

The Ogre Queen sent the Princess Queen and the children to a house secluded in the woods, and directed her cook there to prepare the boy for her dinner, with a sauce Robert. The humane cook substituted a lamb, which satisfied the Ogre Queen, who demanded the girl, but was satisfied with a young goat prepared in the same excellent sauce. When the Ogre Queen demanded that he serve up the Princess Queen, she offered her throat to be slit, so that she might join the children she imagined were dead. There was a tearful secret reunion in the cook's little house, while the Ogre Queen 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.

[edit] Sources

Perrault transformed the tone of Basile's "Sole, Luna, e Talia". Basile's was an adult tale told by an aristocrat for aristocrats, emphasizing concerns such as marital fidelity and inheritance. Perrault's is an aristocratic tale told for a high-bourgeois audience, inculcating female patience and passivity.^{[citation needed]}

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, 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 gets her pregnant 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 Briar Rose 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.

[edit] Naming the princess

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." Tchaikovsky shifted the name of the daughter, in translation, to the mother: Aurora. This transfer was taken up by Disney in the film.^[6] John Stejean named her "Rosebud" in TeleStory Presents.

[edit] Variants

This fairy tale is classified as Aarne-Thompson type 410.^[7]

The Brothers Grimm included a variant, Briar Rose, in their collection (1812). ^[8] It truncates the story as Perrault and Basile told it to the ending now generally known: the arrival of the prince concludes the tale.^[9] 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.^[10]

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.^[11]

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.^[12] His version came from Calabria, but he noted that all Italian versions closely followed Basile's.^[13]

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.^[14]

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.^[15]

The hostility of the king's mother to his new bride is repeated in the fairy tale The Six Swans,^[16] and also features The Twelve Wild Ducks, where she is modified to be the king's stepmother, but these tales omit the cannibalism.

[edit] Myth themes

The tale has been interpreted as a myth of natural phenomena, especially in light of the names given Sleeping Beauty's children: Sun and Moon, Dawn and Day, are easily interpreted as figurative characters.

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.^[17]

Among familiar themes and elements in Perrault's tale:

• the Wished-for Child

Further information: Saint Anne and Rapunzel

• the Accursed Gift

Further information: Nessus and Deianira

• the Inevitable Fate
• the Spinner

Further information: Moirae and Norn

• the Heroic Quest
• the Ogre Stepmother
• the Substituted Victim

Further information: Isaac, Jesus, Zeus, Cronos and Iphigeneia

See also: Weaving (mythology)

[edit] Modern retellings

Sleeping Beauty has been popular for many fairytale fantasy retellings. This 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 Series.

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.^[18] 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.

[edit] 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, Paris, April 27, 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 May 25, 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 Vsevolovsky'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 January 24, 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.

[edit] Walt Disney's Sleeping Beauty

Main article: Sleeping Beauty (1959 film)

The Walt Disney Productions animated feature Sleeping Beauty was released on January 29, 1959 by Buena Vista Distribution. Disney spent nearly a decade working on the film, which was produced in the Super Technirama 70 widescreen 70 mm film process with a stereophonic soundtrack. 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, pricks her finger.

The film cost six million US dollars (mainly because of the amazing dragon sequence) to produce, and only returned a revenue of three million dollars, nearly bankrupting the Disney studio. The film later gained a following, and is today considered one of the best animated features ever made, due to its unique style and authentic look along with a beautiful story and lush music. A Platinum Edition of the film is due for release October 2008, though Disney has already launched the official website for the Sleeping Beauty Special Edition DVD.

[edit] 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", a one of the life scripts ^[19]. After pointing out that almost everything in this story can actually happen, he singles out the key illusion that script protagonist 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.

• 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]}

Further information: Grave goods

• Anne Rice's erotic novel, The Claiming of Sleeping Beauty, written under the name of A. N. Roquelaure, is loosely based on this fairy tale.

• 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 2002 the Dutch-speaking author Toon Tellegen published Brieven aan Doornroosje ("Letters to Sleeping Beauty"), leading, in 2005, to a year-long daily series of such letters, imagined to be written by the prince making his quest to Sleeping Beauty's castle, being presented at the Flemish classical radio station (Klara), every morning just before 7 h opening the day program.

• 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 priness named Rosita. She was under the spell for a century

• The Sleeping Beauty (Live in Israel) is a live album by Tiamat.

• Angela Carter reinterpreted the tale for her collection of short stories The Bloody Chamber.

• Caitlín R. Kiernan's "Glass Coffin" is a retelling of "Sleeping Beauty." It appears in her collection Tales of Pain and Wonder. The story's title is a reference to P. J. Harvey's song "Hardly Wait," which is itself also a reference to "Sleeping Beauty."

• 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

• Catherynne M. Valente adapted the story in The Maiden-Tree, in which she likens the spindle to a syringe.

• In Shrek the Third, Beauty (as the character is called) is a friend of Princess Fiona. She suffers from narcolepsy.

• 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- accoriding 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." Though 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.

[edit] See also

• The Queen Bee
• The Glass Coffin
• Walt Disney's Sleeping Beauty (board game)

[edit] References

[edit] External links

• The Annotated Sleeping Beauty on the SurLaLune Fairy Tales site, including variants, history, modern interpretations, poetry and illustrations
• Perrault's version discussed by Waller Hastings in "The sleeping beauty in the woods"
• Perrault's version also discussed by Waller Hastings in "Sol, Luna, e Talia"
• Free audio story of The Sleeping Beauty at Storynory
• Audio of The Sleeping Beauty Part Two (The Queen Ogre) at Storynory
• Sleeping Beauty by Jacob and Wilhelm Grimm
• Sleeping beauty in the woods, by Perrault, 1870 illustrated scanned book via Internet Archive