Self-determination is a messy process for princes and princesses, when succession and a whole country hinges upon their getting hitched. Also, Princess Merida (did 10th century Scotland have princesses?) nearly precipitates a war through her refusal to pick a suitor. I sense a hint of the Morrigan, especially in the witch who (of course) has a raven or crow familiar. Some of this is a revisionist feminist fairy tale (girl fights for her own autonomy and the right to choose), but some is very, very traditional and pre-Christian: note the maiden, mother, and crone. During their ordeal, both mother and daughter transform, redefine their own roles and their relationship to one another, eventually reconcile and forge a new “womanhood” role which suits both of them. The mother also must learn a difficult lesson. This “wicked witch” isn’t truly wicked, but allows the girl to learn through the school of hard knocks by granting her wish (always dangerous in fairy tales). Princess Merida resists the role prescribed by her mother and seeks help from the previous generation by supplicating a witch, i.e. Its narrative, set in an idealized 10th century Scotland, straddles myth, fable, and fairy tale.īefore I dive into the mysteries of bear-mythology, here’s a SPOILER WARNING: I’m about to give away a MAJOR PLOT TWIST in Brave.īrave is a thinly-disguised parable of a maiden’s initiation into womanhood.

Originally titled “The Bear and the Bow,” the movie weaves a a tapestry of bear and mother goddess symbolism which I find fascinating. Having just watched the Disney / Pixar movie Brave, I’m pondering the vaguely Scottish-Irish-Celtic-European mythology and motifs buried in this film.

The Celtic Goddess Artio, photograph by Sandstein, Wikimedia Commons

Brave merida and mother