"Beauty and the Beast" has not only a complex folkloristic background but also an elaborate printed history involving drama, poetry, novels, fairy tale collections or single editions, illustration, and film. Here, five landmark versions by Nozière, Quiller Couch/Dulac, Tarrant, Heath-Stubbs, and Cocteau are examined for their distinguishing features in a period between 1900 and 1950 when
... [Show full abstract] psychological conceptualization splits the story's audience between adult and child.