An analysis of the hegemonic values of the classic fairy tales of Cinderella or Sleeping Beauty as can be s een in the German Grimm brothers’ “Little Briar Rose” would reveal rather blatantly the idea of stereotypical femininity where the quintessential heroine is graceful, polite, supportive, often maligned by the other stronger females of the society , but has no agency of her own, incapable of changing her situations with her own will power, and waits in passivity for an outsider, usually a male in the image of a Prince Charming, who will eventually save the day ending in a ‘heterosexual happiness ’. Angela Carter through her short story collection called The Bloody Chamber tries not only to break such phallogocentric stereotypes worked under hegemonc discourse, rather created a complete new type of narrative like écriture féminine or feminine writing as populari sed by the French feminists like Hélèn Cixous, Luce Irigaray and Julia Kristeva. Unlike Grimms’ “Little Briar Rose” that ends with a note of heterosexual marital happiness after the Prince saves the Sleeping Beauty with his life affirming kiss, Carter ’s “The Lady of the House of Love” deconstructs and defamiliarises the patriarchal notions of gender performativity by depicting an active, sexually rapacious female protagonist, and an apparently powerful but ignorant Officer whose fatal kiss fails to save the damsel in distress and seals her destiny to death