![]() ![]() By contrast, Leprince de Beaumont aimed to convince young ladies that the man was who he was and that rather than wish for things to be different, a proper lady’s place was to see past the ugliness to the good man beneath, whether or not this even existed. There, she met Prosper Jolyot de Crébillon, or Crébillon, père, whom she lived with until her death. Eventually, she made her way to Paris where she embarked on her literary career. Barbot De Villeneuve emphasized the ideal reality in which women could choose whom to marry and whether to stay in an unpleasant or frightening situation. Gabrielle-Suzanne became a widow at the age of 26 and progressively lost her family fortune and was forced to seek a means of employment to support herself. Whereas the original version of the tale focused on the Beast’s transformation and had much to say about the status of women (specifically how few choices and rights they were afforded in regards to marriage), Leprince de Beaumont’s adaptation didn’t question societal norms, and rather than centering on the Beast’s curse, her version was a moral story for young women. At the time, Leprince de Beaumont was working as a governess in England and was influenced by the lifestyle of the well-to-do. In 1756, 16 years after Barbot De Villeneuve first published Beauty and the Beast, Jeanne-Marie Leprince de Beaumont abridged the story and published it in a magazine geared toward young ladies of the upper class. ![]()
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