What attributes qualify someone, or something, as a monster? Despite the fact that the answer to this subjective question varies greatly from individual to individual, we have been trying to build a universal definition of the word "monster" for centuries. The Oxford English Dictionary (1884) illustrates man's inability to produce such a designation by including a variety of descriptions derived from those previously established and changes in cultural and social standards. One entry, for example, defines a monster as “a mythical creature that is part animal and part human, or that combines elements of two or more animal forms, and is often large and ferocious in appearance.” Within this same entry, he goes on to adapt this description in an attempt to make it more general: "Any imaginary creature that is big, ugly, and scary." Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay In literature, however, we are exposed to figures of all backgrounds, appearances, and temperaments who are presented as monsters, some of whom do not embody the more conventional qualities that have accompanied this distinction. One such case manifests itself in author Angela Carter's “Tiger Bride,” an edited version of Jeanne-Marie LePrince de Beaumont's “Beauty and the Beast.” The characteristics he chooses to prioritize in shaping his monster, the tiger Milord, extend beyond the physical classifications presented in previous definitions and earlier versions of the tale. Carter proceeds to argue that it is an abuse of power that creates a monster, and illustrates this claim through the way his beast treats the heroine, Rose, as well as his ability to break her strength and sense of identity. To adequately defend this claim and identify the additional attributes of the monster that Carter presents in his narrative, an analysis of his descriptions, narrative style, and tone will be performed. The relationship between “The Tiger's Bride” and Julia Kristeva's theories on the abject will also be explored. It is clear that Carter wanted to incorporate specific physical qualities as the basis for generating a monster within his narrative, perhaps using the initial mental images produced. by many to the mention of the term "monster" as a starting point for the proposal of his argument. As the plot unfolds, he constantly gives the audience details of Milord's intimidating form, reminding us that he is of "large size and fierce appearance" (Oxford English Dictionary). The “annihilating vehemence of its eyes” (Carter, 63), its “excoriating claws” (60) and its “savage geometry” (63) suggest that the degree of intensity and control that the tiger is capable of possessing is such to be feared. What accompanies these rich descriptions of Milord's frightening characteristics is one of the more underlying "stipulations" that Carter considers necessary for the monster label: deception. The beast takes every measure to disguise its true form. The speaker describes the overpowering smell of perfume radiating from Milord's sumptuous purple gown, as well as the male face painted on his mask: “Oh yes, a handsome face; but one with too much formal symmetry of features to be entirely human…too perfect, disturbing” (53). Furthermore, Milord uses emotional deception to catalyze the deterioration of the heroine's identity, a topic that will be explored in more depth later in this analysis. The tiger feigns weakness through tears and senses shame following the expression of his expectation of seeing Rose's naked body. In doing so, he gives Rose the false sense of being in controlsituation, ultimately pushing her to see herself as the monster and give in to his demands. However, until Rose succumbs to my Lord's barbaric desire, he continues to maintain the physical façade used to convince others of his humanity within his private quarters, as if attempting to overcome his personal denial of being an animal: "In his privacy rarely disturbed, the Beast wears…a dull purple robe with gold embroidery around his neck that falls from his shoulders to hide his feet” (57) By including these more familiar attributes of a monster in his tale, Carter essentially “warms up” her audience and prepares us to receive the criterion she proposes. She offers this insight into her opinions primarily through the narrative style of “The Tiger’s Bride.” Establishing Rose as the speaker helps Carter show her that the scope of existence of a monster depends on its effects and an individual's reactions, as well as his behavior. Rose's defiant and disturbed tone, constructed as a result of her interaction with Milord, clearly articulates the author's idea of ​​a monster, taking it further. the text and ensuring a connection with readers. Consider the initial setting, atmosphere, and events of the story. As a risky card game comes to an end, Rose feels her freedom stripped away as she becomes one of the last objects to bet on. Carter uses this opening scene to present oppression as a quality of a monster. He presents Milord as a daunting figure who abuses his tyrannical stature: “All who come to this city must play a hand with the great lord; few come” (51)—My lord willingly takes his valuable possessions as a means of payment for residence in his city. As the candles dim and her father's sweat rises, Rose is driven to develop feelings of loathing and impertinence for Milord as his yellow eyes habitually tear away from her hand to look at her as if she were his prize or prey. The evocation of these emotions was certainly intentional: there are strong feminist overtones in this piece, as will be described in the next paragraph. However, Carter has adopted a strategy for Milord to arouse these same feelings in his audience as well: there is a sense of indignation as we witness the tiger's appraisal of Rose as a mere possession to add to his collection: "... If you are so negligent of your treasures, expect them to be taken away from you" (54). His failure to recognize Carter's heroine as an individual with emotion and dignity immediately elicits attitudes of disapproval that prevent us from associating Milord with any human quality When exploring Carter's proposal of the abuse of power as an attribute of Milord, it is possible to argue that misogynistic qualities are also included in his criterion for a tiger's animalistic request to see the body of a virgin works to elicit a range of emotions. Rose was initially struck by the ridiculous and almost predictable nature of her desire, later commenting on how men had never taken her seriously because of her gender. As for me, I reacted to his request with revulsion: to be seen simply as an object from which all value has been stripped is heartbreaking. Milord's lustful and almost obsessive desire to deflower a woman with his eyes manages to evoke the kind of reaction Carter believes can also be produced as a monster effect, very different from fear. While these particular instances illustrate some of Rose's feelings, emotional and physical responses that were not rooted in terror are included in the tale, others that involve a monster's ability to produce such a reaction. WhenMy lord sends his valet to collect his winnings, Rose describes the carriage as "black as a hearse" (54). This comment provides significant insight into Rose's composure as the time comes to be taken to Milord. A sense of dread, the knowledge of impending doom, is embodied in this description, and we begin to get an idea of ​​how intimidating Milord is for a woman of such confidence. As the valet leads Rose into the tiger's dark, stuffy chamber, the heroine's reflection offers a similar connotation: “I held my head high and followed him; but, for all my pride, my heart was heavy” (57). “Powers of Horror: An Essay on Abjection” by Julia Kristeva can be used to understand Milord's main and final attribute that classifies him as a monster within this text: his ruthless attempts to erode resilience and Rose's self-esteem, and her ultimate success in doing so. In her essay, Kristeva considers Sigmund Freud's theories of the uncanny and writes to redefine the word "abject" by describing it as a sort of "limbo", the middle ground between something that is part of someone as an individual and something that is embedded in a separate entity. The abject pushes someone to react with uncertainty and discomfort by essentially connecting the individual to something they do not wish to have a connection with, either because it instills fear in them, or because they have developed a set of negative feelings towards it. Carter functions to produce the abject through Milord's manipulative behavior, and it becomes more apparent once the tone, thoughts, and actions of his victim Rose are considered. Initially, the heroine is admirably respectful and firm, refusing to allow her captor the satisfaction of having complete dominion over her. Entering the tiger's chamber for the first time, Rose communicates that she will not be easily subdued: “I remained standing. During this interview, my eyes were at the same level as those inside the mask…” (57). However, it is as the tiger's yellow eyes penetrate Rose's that the connections between her and the monster begin to make themselves known. Being separated from mankind and thrown into a world of beasts forces the heroine to become more aware of her animalistic qualities, dismantling every trace of humanity. The more time Rose spends in the palace, the more it becomes apparent that she is losing her sense of self. identity. She recognizes the apparent power struggle between herself and Milord, and neither is willing to step down. On the winter day when she, my lord, and the footman go horseback riding, we see Rose come to a climactic realization: "A deep sense of strangeness slowly began to possess me... then we six - horse and riders, both - could boast not a soul among us, for all the best religions of the world categorically affirm that neither beasts nor women were endowed with it…” (62), Rose inadvertently recognizes that a part of Milord refers to her and vice versa In their society, neither is considered to have an opinion, a soul, a remote sense of worth. It is here that the abject is officially established, and it is here that the heroine loses herself in the face of Carter's monster. Just before revealing her breasts to the tiger, Rose grants a glimpse of the newfound fear instilled in her by Milord: “My composure deserted me; suddenly I was on the verge of panic” (62). The tiger exploits this abjection and strips his prize of more than his clothes. He maintained a kind of patience, waiting for Rose to recognize her inner bestiality and take herself apart one piece at a time. Ultimately, her actions push her to deteriorate, and Rose withers in the tiger's chamber while Milord's rough, licking tongue "tears away a.