Abstract
Like many fairy tale motifs, the Bluebeard legend is grotesque in essence. This tale of the wealthy, seemingly chivalrous aristocrat who murders seven young brides and inters them in his cellar brings together violence and love, perversion and innocence, death and marriage in an unsettling combination. The intermingling of seemingly incongruous elements and the juxtaposition of opposites challenge audience expectation and habits of thinking in a manner typical of the grotesque as defined by theorists as varied as Wolfgang Kayser and Mikhail Bakhtin. 1
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