Villeneuve, Gabrielle‐Suzanne Barbot de (1685–1755), French writer whose ‘La Belle et la bête’ (‘Beauty and the Beast’) was the basis for Mme
Her version of ‘Beauty and the Beast’ appeared in La Jeune Amériquaine et les contes marins (The Young American Girl and the Sea Tales, 1740). This frame narrative recounts the voyage of a young girl returning to Santo Domingo, where her parents are plantation owners, after finishing her studies in France. During the trip, the girl's chambermaid is joined by everyone on board in telling stories. This volume contains two fairy tales—‘Les Naïades’ and ‘Beauty and the Beast’—but it is the latter that was to be Villeneuve's claim to fame. Later, Villeneuve wrote Les Belles solitaires (Solitary Beauties, 1745), in which assembled friends tell the fairy tales ‘Papa Joly’, ‘Mirliton ou la prison volontaire’ (‘Mirliton or the Voluntary Prison’), and ‘Histoire du roi Santon’ (‘Story of King Santon’).
Villeneuve's best‐known tale, ‘Beauty and the Beast’, is considerably longer and more complex than Leprince de Beaumont's adaptation for English schoolgirls learning French which appeared in Le Magasin des enfants (The Young Misses' Magazine) in 1757. In addition to the basic plot retained by Leprince de Beaumont, Villeneuve provides the Beast's story (his enchantment by a fairy whose love he had rebuffed) as well as the narrative of Belle's true identity (she is a princess and not the daughter of the merchant who raised her). Belle's story is crucial to the dénouement when it is revealed that the Beast may marry only a woman of royal blood. For a good part of the narrative—and unlike the vast majority of French fairy tales at the time—Belle is portrayed as a non‐noble but none the less virtuous heroine. In the end, though, her virtue is revealed to be the innate consequence of her aristocratic birth, and she may marry the Beast‐turned‐Prince. Considered as a whole, then, Villeneuve's tale displays a somewhat ambiguous stance towards social class, witnessed especially in the favourable treatment of Belle's adoptive father (a merchant).
Villeneuve's version of the tale also differs from Leprince de Beaumont's in its eroticism and its insistence on the Beast's monstrosity. Villeneuve makes explicit the transgressive sexual union at the heart of this tale type. Not only does the Beast repeatedly ask Belle to sleep with him (in Leprince de Beaumont's version he asks her to marry him), but Belle has pleasurable dreams of being courted by a handsome prince. The transgressiveness of these descriptions is intensified by details of the Beast's frightening appearance and his equally repulsive stupidity. But at the end of the tale, this transgression is resolved when Belle discovers that the Beast is none other than the prince in her dreams.
Overall, one of Villeneuve's most important contributions is her representation of women. In her novels and fairy tales alike she pays particular attention to women's plight in marriage, their financial constraints, and ultimately their difficult quest for happiness.
Bibliography
- Hearne, Betsy, Beauty and the Beast: Visions and Revisions of an Old Tale (1989).
— Lewis C. Seifert




