Ariel Little Mermaid Love Quotes

I do love you. I love you enough to accept who you are. Why can’t I received the same feeling in return?” -Ariel

I’m owning my wild mane of red, she’d said when Lily tried to get her to brush and straighten it before leaving today. I’m like Ariel in The Little Mermaid.

Making Waves I would do anything for you. Would you be yourself? In the Hans Christian Anderson classic, The Little Mermaid, Ariel gives up her beautiful voice in exchange for legs. This is a seemingly innocent fable that captures our deal with the modern devil. For aren't we taught that mobility is freedom, whether it be moving from state to state, or from marriage to marriage, or from adventure to adventure? Aren't we convinced that upward mobility, moving from job to job, is the definition of success? Of course, there is nothing inherently wrong with change or variety or newness or with improving our condition. The catch is when we are asked to give up our voice in order to move freely, when we are asked to silence what makes us unique in order to be successful. When not making waves means giving up our chance to dive into the deep, then we are bartering our access to God for a better driveway. As a story about relationship, the lesson of Ariel is crucial. On the surface, her desire for legs seems touching and sweetly motivated by love and the want to belong. Yet here too is another false bargain that plagues everyone who ever tries it. For no matter how badly we want to love or be loved, we cannot alter our basic nature and survive inside, where it counts.

This fear of needing a man to make us happy is a product of our bullshit Disney princess culture that also taught us a man can fall in love even if a sea witch stole the woman's voice. She was pretty damn awesome as a mermaid first!

If Eric had just listened to his heart and not someone else's singing, none of this would have happened. He had fallen in love with the voiceless red-haired girl. He was just too stupid and obstinate to recognize it. He loved everything about her. Her smile, the way she moved, the way she took delight in everything around her. She was impulsive, unmannered, willing to get dirty, a little strange, and extremely hands-on. And beautiful. So different from all the princesses and ladies his parents had introduced him to.

Ariel is an independent, headstrong, and determined young mermaid who sings, daydreams, and is willing to risk everything to explore the shore above. Her unflappable spirit and resilience carry her through her journey of self-discovery, through which she becomes a courageous young woman who discovers her place in the world.

Her whole childhood, she'd devoured stories of children with dead and missing mothers, often easier to find than stories of children whose mothers were alive and well. The absence of a mother was a promise of adventure; mothers made things too safe, too comforting. Children with mothers didn't need to look outside their homes for affirmation of their supremacy in someone's story. They didn't need to write their own protagonism. Esther remembered Cecily complaining about this when they'd watched The Little Mermaid, Cinderella, and Snow White, offended by the lack of loving birth mothers and the prevalence of monstrous stepmothers. She'd squeezed Esther tight and smeared her cheek with red kisses and said, 'This evil stepmother loves you very much.' But despite Cecily's love, which Esther had never doubted, she had already identified within herself the same motherless quality that drove Ariel to shore, Cinderella to the ball, Snow White into the forest. Her motherlessness was intrinsic to her sense of self, and her sense of self was all she had these many years alone. What would it mean if her mother was alive? Not only alive, but aware of Esther and watching out for her, passing notes through magic mirrors and protecting her from afar, her own fairy godmother. What would it mean if her mother had not died, but left her?

Mermaid queens didn't often have a reason to move quickly. There were no wars to direct, no assassination attempts to evade, no crowds of clamoring admirers to avoid among the merfolk. In fact, slowness and calm were expected of royalty. So Ariel found herself thoroughly enjoying the exercise as she beat her tail against the water- even as it winded her a little. She missed dashing through shipwrecks with Flounder, fleeing sharks, trying to scoot back home before curfew. She loved the feel of her powerful muscles, the way the current cut around her when she twisted her shoulders to go faster. She hadn't been this far up in years and gulped as the pressure of the deep faded. She clicked her ears, readying them for the change of environment. Colors faded and transformed around her from the dark, heady slate of the ocean bottom to the soothing azure of the middle depths and finally lightening to the electric, magical periwinkle that heralded the burst into daylight. She hadn't planned to break through the surface triumphantly. She wouldn't give it that power. Her plan was to take it slow and rise like a whale. Casually, unperturbed, like Ooh, here I am. But somehow her tail kicked in twice as hard the last few feet, and she exploded into the warm sunlit air like she had been drowning. She gulped again and tasted the breeze- dry in her mouth; salt and pine and far-distant fires and a thousand alien scents.

Benny barely even looks at the papers before dropping his signature onto the designated line. I'm reminded of the scene in The Little Mermaid when Ariel signs her voice away to Ursula, and I try to skim for any major life-altering clauses. But I feel the pressure of everyone waiting on me and quickly sign my name, kissing my fins goodbye.

JULY 12 Making Waves I would do anything for you. Would you be yourself? n the Hans Christian Anderson classic, The Little Mermaid, Ariel gives up her beautiful voice in exchange for legs. This is a seemingly innocent fable that captures our deal with the modern devil. For aren't we taught that mobility is freedom, whether it be moving from state to state, or from marriage to marriage, or from adventure to adventure? Aren't we convinced that upward mobility, moving from job to job, is the definition of success? Of course, there is nothing inherently wrong with change or variety or newness or with improving our condition. The catch is when we are asked to give up our voice in order to move freely, when we are asked to silence what makes us unique in order to be successful. When not making waves means giving up our chance to dive into the deep, then we are bartering our access to God for a better driveway. As a story about relationship, the lesson of Ariel is crucial. On the surface, her desire for legs seems touching and sweetly motivated by love and the want to belong. Yet here too is another false bargain that plagues everyone who ever tries it. For no matter how badly we want to love or be loved, we cannot alter our basic nature and survive inside, where it counts. o Sit quietly and consider your own history of love. o As you exhale, consider a time when you gave up some aspect of yourself in order to be loved. o As you inhale, allow yourself to reconnect with this silenced part of your nature. JULY

Her voice had been such an important part of her life before. The merfolk celebrated her for it. Her father excused her occasionally questionable behavior because of it. Eric loved the girl who rescued him, because of her singing... But... ... she'd never really enjoyed singing for anyone else. In fact, she hated audiences. She sang because she liked to sing. She just... felt... something, and had to sing it. If she were happy, or sad, or angry... she would go off by herself and sing to the coral, sing to the seaweed, sing to an audience of sea snails or tube worms (who listened, but never commented). Most of her mergirlhood had been spent swimming around, exploring, singing to herself. Making up little stories in her head and then putting them into song.