Les Contes de ma mère l'Oye (The Tales of my Mother Goose)

The slighted fairy who curses an infant at her christening is Perrault's invention and has no name in his text. Maleficent takes that figure, gives her the name Disney gave her in 1959, and retells the tale from inside her, keeping the christening, the spindle and the sleep while replacing the motive entirely. It is the clearest case on the map of a villain origin built on a source where the villain has no interior at all.

Angela Carter translated Perrault's tales in 1977 and rewrote them in The Bloody Chamber two years later. The title story is Bluebeard, Puss-in-Boots gets his own story, and the wolf stories answer Little Red Riding Hood.

Disney worked from Perrault rather than from the Grimms, and the choice is visible in what is on screen: the fairy godmother, the pumpkin coach and the glass slipper are all Perrault's and none of them is in the Grimm version, where the help comes from a tree on the mother's grave and birds peck out the stepsisters' eyes. The film keeps Perrault's forgiving ending too.

Perrault's La Belle au bois dormant supplies the christening, the slighted fairy, the curse fixed to a spindle and the hundred years of sleep. Disney stops where Perrault's first half stops and drops his second, in which the prince's ogress mother tries to eat the children. The film's score is built on Tchaikovsky's ballet of the same tale rather than on the text.

Petipa's scenario follows Perrault closely enough to name his other tales in it: the last act's divertissement is a wedding party attended by Puss in Boots, Little Red Riding Hood and Bluebeard's wife, all of them characters from the same 1697 collection rather than from the Sleeping Beauty story itself.