The final instalment of my reviews are 'The Company of Wolves' and 'Wolf-Alice' from Angela Carter's 'The Bloody Chamber' and other stories.
'The Company of Wolves' subverts the original tale of 'Red Riding Hood' into a new story by not only empowering the female heroine but also allowing her to realize the 'beast' within herself.
'Wolf-Alice', borrows elements from 'Red Riding Hood', 'Beauty and the Beast' and 'Through the Looking Glass and What Alice Found There', by introducing the heroine as a feral child who was raised by wolves. She is a young girl who has little/no understanding of the civilized world and is adopted by a Duke, just as she comes into womanhood.
'The Company of Wolves' is one of my favourite short stories in Angela Carter's collection as I love the duality of human and animal and the fact that the female chooses her own destiny at the end of the story.
The Company of Wolves:
The Company of Wolves, uses elements of the story of 'Red Riding Hood' and begins with terrifying tales of the werewolves and their deeds from the mouths of the superstitious villagers. They recount tales of encounters with wolves, in one story a hunter sets a trap for the wolf 'who had massacred [his] sheep and goats', when he 'cut off all his paws for a trophy' he realised that 'no wolf at all' lay in front of him, only the 'bloody trunk of a man, headless, footless, dying, dead',this also links to the story of 'The Werewolf', in which the young heroine cuts off the paw of a wolf but realised that it was not a paw at all, but a human hand. They are a 'carnivore incarnate', which suggests that the wolf's only purpose is to kill and devour with their 'slavering jaws'; they are seen only as destructive machines and sexual predators who symbolize danger and desire.
The wolves are also likened to,' all the teeming perils of the night and the forest, ghosts, hobgoblins, ogres that grill babies upon gridirons and witches', which are supernatural and fictional monstrous creatures, which again echoes the villagers irrational belief system. The fear of the villagers is engrained into their society, as even young girls have to carry knifes whenever they enter the woods, this could suggest that not only is the 'knife' there to protect them from whatever harm may come to them at the hands of the wolf, but it also could suggest that it is to protect them from everything that the wolf represents, sexuality, desire, lust, sexual appetite and danger, which they have been sheltered from.
The forest is described as a classic Gothic setting with 'wicked trees' and 'shaggy branches' which 'tangle about you, trapping the unwary traveller in its nets', whereas the path represents safety and the norm, the forest which surrounds her could symbolize unexplored or forbidden elements which need to be discovered, such as the supernatural and her own sexual desires.
The heroine wears a 'red shawl' which is described as being the colour of 'blood on snow', this could foreshadow the young girls transformation into a woman as her 'breasts [had] just began to swell' and she has 'just started her woman's bleeding',which therefore, enables her transgression into a sexual creature. She is an 'unbroken egg', 'a sealed vessel' and does not know how to 'shiver', this description links to the British solider in 'The Lady of The House of Love', as he too does not'shiver' when he enters the castle, although they are both innocents, they are aware of their sexual maturity and trust the individuals who are their potential 'devourers'. However, the solider survives because he is the embodiment of reason, whereas the young girl survives in 'The Company of Wolves', because of her choice to liberate her own sexuality.
The young heroine enters the wood to visit her grandmother on Christmas eve, but takes a carving knife with her for protection; on the path to the forest she meets a 'dashing huntsman', although she was suspicious at first when she 'sprang to the handle of her knife', soon 'they were laughing and joking like old friends'. He tells her that 'his rifle would protect them' as he assures her that his 'compass' has taken him safely through the woods and that they will reach her grandmother's house faster if they left the path, but she refuses and continues on her own path. Before he leaves the man bets her that if he beats her to her grandmother's house before she gets there, she has to kiss him to which 'she lowered her eyes and blushed.'
Once the man arrives at her grandmother's house, he calls 'It's your granddaughter' which he 'mimick[ed] in a high soprano';as he enters the house, her grandmother realises that he is a wolf and 'hurl[s] [her] bible at him', as if it will protect her from the evil beast, however, he laughs and mocks her by saying, 'now call on Christ and his mother and all the angels in heaven to protect you, but it won't do you any good'; this creates an ominous tone, but also contrasts to the way in which the heroine acts when she encounters the wolf, which could suggest that belief and superstition of things that we do not understand, or are not willing to, will not save them from the wolf or danger.
The man eats her grandmother and dresses up in her clothes waiting for the young girl to arrive and when she does, the girl is trapped in the house by the man. She begins to take her 'Scarlett shawl' off and abandons the superstitions and fear of the wolf since 'her fear did her no good, she ceased to be afraid', this allows the heroine to see the duality of the man and the beast for who he truly is. She throws her clothes into the fire, not only does fire link to religious connotations of hell, which the werewolf is associated with, but it could also represent her diminishing her sheltered, past life and embracing her new, sexually awakened existence. They engage in a 'savage marriage ceremony' as the pack of wolves outside howl'a promethium', as the young girl comments on how big the wolf's teeth are, he exclaims the classic line 'all the better the eat you with', to which she laughs and remarks that 'she knew she was nobody's meat' as 'she ripped off his shirt for him, and flung it into the fire.'
Carter subverts the traditional role of the wolf as a predatory beast as the girl is now the individual who is in control, whilst the wolf is fearful. Christmas Day arrives and she 'sleeps in granny's bed, between the paws of the tender wolf', Carter could be suggesting that by denying our own sexual needs and desires, we are therefore putting ourselves in 'danger' as it is not something to be loathed, ashamed of or run away from, it is something to be embraced.
The wolves are also likened to,' all the teeming perils of the night and the forest, ghosts, hobgoblins, ogres that grill babies upon gridirons and witches', which are supernatural and fictional monstrous creatures, which again echoes the villagers irrational belief system. The fear of the villagers is engrained into their society, as even young girls have to carry knifes whenever they enter the woods, this could suggest that not only is the 'knife' there to protect them from whatever harm may come to them at the hands of the wolf, but it also could suggest that it is to protect them from everything that the wolf represents, sexuality, desire, lust, sexual appetite and danger, which they have been sheltered from.
The forest is described as a classic Gothic setting with 'wicked trees' and 'shaggy branches' which 'tangle about you, trapping the unwary traveller in its nets', whereas the path represents safety and the norm, the forest which surrounds her could symbolize unexplored or forbidden elements which need to be discovered, such as the supernatural and her own sexual desires.
The heroine wears a 'red shawl' which is described as being the colour of 'blood on snow', this could foreshadow the young girls transformation into a woman as her 'breasts [had] just began to swell' and she has 'just started her woman's bleeding',which therefore, enables her transgression into a sexual creature. She is an 'unbroken egg', 'a sealed vessel' and does not know how to 'shiver', this description links to the British solider in 'The Lady of The House of Love', as he too does not'shiver' when he enters the castle, although they are both innocents, they are aware of their sexual maturity and trust the individuals who are their potential 'devourers'. However, the solider survives because he is the embodiment of reason, whereas the young girl survives in 'The Company of Wolves', because of her choice to liberate her own sexuality.
The young heroine enters the wood to visit her grandmother on Christmas eve, but takes a carving knife with her for protection; on the path to the forest she meets a 'dashing huntsman', although she was suspicious at first when she 'sprang to the handle of her knife', soon 'they were laughing and joking like old friends'. He tells her that 'his rifle would protect them' as he assures her that his 'compass' has taken him safely through the woods and that they will reach her grandmother's house faster if they left the path, but she refuses and continues on her own path. Before he leaves the man bets her that if he beats her to her grandmother's house before she gets there, she has to kiss him to which 'she lowered her eyes and blushed.'
Once the man arrives at her grandmother's house, he calls 'It's your granddaughter' which he 'mimick[ed] in a high soprano';as he enters the house, her grandmother realises that he is a wolf and 'hurl[s] [her] bible at him', as if it will protect her from the evil beast, however, he laughs and mocks her by saying, 'now call on Christ and his mother and all the angels in heaven to protect you, but it won't do you any good'; this creates an ominous tone, but also contrasts to the way in which the heroine acts when she encounters the wolf, which could suggest that belief and superstition of things that we do not understand, or are not willing to, will not save them from the wolf or danger.
The man eats her grandmother and dresses up in her clothes waiting for the young girl to arrive and when she does, the girl is trapped in the house by the man. She begins to take her 'Scarlett shawl' off and abandons the superstitions and fear of the wolf since 'her fear did her no good, she ceased to be afraid', this allows the heroine to see the duality of the man and the beast for who he truly is. She throws her clothes into the fire, not only does fire link to religious connotations of hell, which the werewolf is associated with, but it could also represent her diminishing her sheltered, past life and embracing her new, sexually awakened existence. They engage in a 'savage marriage ceremony' as the pack of wolves outside howl'a promethium', as the young girl comments on how big the wolf's teeth are, he exclaims the classic line 'all the better the eat you with', to which she laughs and remarks that 'she knew she was nobody's meat' as 'she ripped off his shirt for him, and flung it into the fire.'
Carter subverts the traditional role of the wolf as a predatory beast as the girl is now the individual who is in control, whilst the wolf is fearful. Christmas Day arrives and she 'sleeps in granny's bed, between the paws of the tender wolf', Carter could be suggesting that by denying our own sexual needs and desires, we are therefore putting ourselves in 'danger' as it is not something to be loathed, ashamed of or run away from, it is something to be embraced.
Wolf-Alice:
The story of 'Wolf-Alice' combines elements from 'Red Riding Hood', 'Beauty and the Beast' and 'Through the Looking Glass and What Alice Found There', to create a new version of the stories. Once again we see Carter play with the dichotomy's of human and beast, but in 'Wolf-Alice' the heroine is introduced as a feral child raised by nuns who is adopted by a Duke who transforms into a more human character; this element is also significant in the title of the story, as 'Wolf-Alice' is a hyphenated version of the two parts of herself, an animal and a human.
'Wolf-Alice', has not been affected by societies expectations as she 'grew up with wild beasts' and therefore, does not adhere to what is viewed as acceptable behaviour, as 'her panting tongue hangs out' and 'she never walks; she trots or gallops'. Not only is 'Wolf-Alice' physically naked, but her mind is also mentally free from the expectations of society; She has not been taught how to behave and therefore, doesn't wear clothes, she howls because 'she cannot speak' and she crawls on all fours because 'nothing about her is human except that she is not a wolf'.
The significance of the moon links to 'Wolf-Alice's menstruation and transgression into womanhood, which brings her human conciousness to light as 'she [learns] to expect these bleedings'. The Duke and 'Wolf-Alice's transformation into humanity occur when they are both confronted with the mirror, as not only does it highlight her childish curiosity and confusion about her own reflection as she believes it's a playmate and proceeds to 'nuzzle her reflection', but it also symbolizes the confusion around her own identity. She becomes less beastly and more human when she understands the nature of mirrors and finds a wedding dress behind it which makes her 'shine'; whereas the Dukes realisation occurs when 'the lucidity of the moonlight lit the mirror propped against the red wall' and 'there appeared within it' the face of the Duke.
'Wolf-Alice' can be viewed as being trapped, as she is both human and beast, however, once she sees it is her own reflection staring back at her, she gains power over her being and also over the reflection itself; She is inspired to look human on the outside once she has transformed into human on the inside. The Duke is also half wolf and half human, he initially casts no reflection upon the mirror, although he is real enough to devour his victims, it is only when he is wounded that one witnesses 'Wolf-Alice' save the Duke as he transforms in the mirror from a half being to a human being.
Although 'Wolf-Alice' regains some human traits such as taking pity on the Duke, she still retains some anamalistic qualities, and therefore, the animal part of her still exists to some extent. It is this function of her animal side that allows her to feel empathy towards the Duke, who is both a wolf and a man, in contrast to that of the other humans in the story who wish to murder him; 'Wolf-Alice' is able to some degree understand the Dukes torturous existence and his uncontrollable ravenousness, because she too is part animal and can relate to the innate urges he feels.
Although 'Wolf-Alice' becomes more human as the story progresses she still retains the animal part of her being, he name doesn't change unlike 'Mr Lyon' in 'The Courtship of Mr Lyon', she remains as 'Wolf-Alice', perhaps Carter is suggesting that in order to co-exist in peace one needs to accept both their humanity and their animalistic nature. In addition, she may also question that without society, culture, expectations or materialistic objects, could we all be mere animals?
'Wolf-Alice', has not been affected by societies expectations as she 'grew up with wild beasts' and therefore, does not adhere to what is viewed as acceptable behaviour, as 'her panting tongue hangs out' and 'she never walks; she trots or gallops'. Not only is 'Wolf-Alice' physically naked, but her mind is also mentally free from the expectations of society; She has not been taught how to behave and therefore, doesn't wear clothes, she howls because 'she cannot speak' and she crawls on all fours because 'nothing about her is human except that she is not a wolf'.
The significance of the moon links to 'Wolf-Alice's menstruation and transgression into womanhood, which brings her human conciousness to light as 'she [learns] to expect these bleedings'. The Duke and 'Wolf-Alice's transformation into humanity occur when they are both confronted with the mirror, as not only does it highlight her childish curiosity and confusion about her own reflection as she believes it's a playmate and proceeds to 'nuzzle her reflection', but it also symbolizes the confusion around her own identity. She becomes less beastly and more human when she understands the nature of mirrors and finds a wedding dress behind it which makes her 'shine'; whereas the Dukes realisation occurs when 'the lucidity of the moonlight lit the mirror propped against the red wall' and 'there appeared within it' the face of the Duke.
'Wolf-Alice' can be viewed as being trapped, as she is both human and beast, however, once she sees it is her own reflection staring back at her, she gains power over her being and also over the reflection itself; She is inspired to look human on the outside once she has transformed into human on the inside. The Duke is also half wolf and half human, he initially casts no reflection upon the mirror, although he is real enough to devour his victims, it is only when he is wounded that one witnesses 'Wolf-Alice' save the Duke as he transforms in the mirror from a half being to a human being.
Although 'Wolf-Alice' regains some human traits such as taking pity on the Duke, she still retains some anamalistic qualities, and therefore, the animal part of her still exists to some extent. It is this function of her animal side that allows her to feel empathy towards the Duke, who is both a wolf and a man, in contrast to that of the other humans in the story who wish to murder him; 'Wolf-Alice' is able to some degree understand the Dukes torturous existence and his uncontrollable ravenousness, because she too is part animal and can relate to the innate urges he feels.
Although 'Wolf-Alice' becomes more human as the story progresses she still retains the animal part of her being, he name doesn't change unlike 'Mr Lyon' in 'The Courtship of Mr Lyon', she remains as 'Wolf-Alice', perhaps Carter is suggesting that in order to co-exist in peace one needs to accept both their humanity and their animalistic nature. In addition, she may also question that without society, culture, expectations or materialistic objects, could we all be mere animals?
Good analysis, thank you.
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