Cinderella is one of the best loved fairy tales. Variations of it
have been told around the world for thousands of years. The theme and
plot of the story seem to have appealed across a myriad of cultures and
times. The versions we know best today are those told by Perrault and
the brothers Grimm, or the saccharine supermarket and Disney adaptations.
Summary:
The basic story line in most accounts concerns an adolescent girl (although
there are some that refer to a boy.) Her mother is dead, her father dead
or absent. Usually she is subject to cruel drudgery and ill treatment
by stepmother and step sisters, mostly resulting in the heroine being
relegated to dirty tasks where she is covered in ashes or cinders.
A celebration is planned where the prince (or similar ruling heir) is to be
present. The sisters plan to go, but Cinderella is not permitted to be present.
A fairy godmother (or bird, or fish: some agent who represents or is connected
with her mother) creates the magic that enables Cinderella to go. She is usually
given a beautiful dress and shoes and is conveyed to the ball in grand style.
She attends and captivates the prince. Warned by the fairy godmother that the
magic has a limited time span, she runs out before midnight, leaving behind
one of her glass slippers (or fur shoes or equivalent). The prince, who is
fascinated by the mysterious girl, searches for the owner of the slipper. The
stepsisters try to usurp Cinderella’s position by various devious plots
(cutting off heels or hiding her presence) but Cinderella makes sure the truth
is revealed. She is united with her Prince, marries him and takes her rightful
place as his Princess. The fate of her tormentors varies from forgiveness to
cruel punishment.
Origin:
The various versions of Cinderella have been found on every continent,
and for thousands of years, with variations being found in ancient Egypt
(Climo, 1989) and new versions every year. One of
the most common versions with which we are familiar is that of the French
writer Perrault who first published his in 1697 in France in the collection "Histoires
ou Contes du Temps Passe," or "Tales of Times Past." The
second version with which we are mostly conversant is "Ashcenputtel," written
by the Brothers Grimm in Germany in 1812. But, there are many more.(Jensen,
T, 2000; Ashliman D. L., 1998-2001;Salda,1997)
Entertainment:
Children and adults have long found entertainment in fairy tales. The story
of Cinderella has remained a firm favourite for hundreds of years and still
remains so today. The obvious reasons are not hard to see. The young girl is
under subjection by a stepmother and stepsisters. Most children, at some time,
believe that somehow they have been placed with the wrong family, that they
are really princes or princesses, or children of some other more worthy family,
in disguise, and that they will one day be re-united with their real family
who will appreciate them for their actual worth.
“’Cinderella’ is...rescued from improper or wicked enslavement” (Yolen,
1977, p. 21)
The protagonist is victimised by her family. Many children feel that this is
occurring to them, even if the persecution is confined to asking them to wash
up!
In today’s society, step-mothers are once again common though created
by divorce not by death in childbirth. Many children will perceive an imagined
parallel.
The best (pre mass market and literary stories) versions of the story have
Cinderella being “a shrewd and practical girl persevering and winning
a share of the power” (Yolen 1977, p. 21)
A benevolent godmother who grants Cinderella’s every wish, overcomes
all the difficulties she faces. What child is not delighted by that possibility?
The wonder and fantasy of pumpkins into stagecoaches and rats into coachmen
is indisputable.
What delight most children feel when Cinderella, dressed in her glory, out-shines
her wicked sisters! And the excitement they feel as midnight draws near and
Cinderella runs away, just as the fabulous dress turns to rags, leaving that
tantalising slipper on the stairs.
When the prince is searching for Cinderella and he is diverted at every turn,
this is the time for the catch of breath as they cheer on Cinderella while
she slips on the slipper and proves incontrovertibly that she is the real princess.
Best of all is when Cinderella is restored to her rightful royal place, happily
married to her prince, far away from the carping and cruelty of mean step-mother
and sisters. Children feel vindicated: the princess is returned to her correct
place.
Moral and Religious Lessons and Force for Good:
It is not useful to draw on fairy tales as vehicles for straight out
or blatant moral teaching. There are very few times when teaching moral
lessons works. Overt preaching rarely achieves its aim, mostly being
counterproductive. Explaining why a story is enjoyable will destroy that
enjoyment,(Bettleheim, 1976, p. 18). On the
other hand moral lessons are contained in all great stories and fairy
tales are no exception. Children can learn these best by enjoying the
stories and becoming involved in their unfolding.
“A well-fortified and story-enriched moral imagination helps children to
move about in their expanding world with moral intent and ultimately with faith,
hope, and charity.” (Guroian, 2002, p. 1.) A good
story, like Cinderella, has stood the test of time: changing, growing, adapting
but teaching ultimate truths by the unfolding of the tale.
The essential truth of Cinderella is not about the granting of wishes but in “stripping
away of the disguise that conceals the soul from the eyes of others” (Cook,
1977, p. 277)
I believe, like Tolkien, fairy tales grant often unexpressed
desires; (1975, p. 20), provide escape from unbearable situations, and ultimately
from fear of death, (pp 66-67)
Children have a sense of fairness, often exhibited very early. “But that’s
not fair!!” they cry even if their lives have not taught them to expect
fairness. This finds an echo when Tolkien quotes Chesterton on this. “For
children”, he says, “are innocent and love justice; while most
of us are wicked and naturally prefer mercy”. (Tolkien,,
1975, p. 47)
While children are aware fairy tales are fantasy and may not reflect reality, “Fantasy
often expresses certain inborn longings of the human heart. In doing so, it
touches on matters of ultimate reality” (Lansdown,
2001, p. 16.
We all would like good to triumph, evil punished, justice prevail, children
most of all. Their sense of justice and fair play is rewarded in the story
of Cinderella. She is treated badly by her family, her step mother and sisters
but, though they seem to be in charge and be “winning” at the beginning
of the story, they are relegated to misery and disappointment at the end. Those
who treat others badly do not prosper in fairy tales. “Good stories are
like scaffolding in a child’s mind in which truth will grow up firmly
until it is strong enough to stand apart on its own.”(Watson,
1982, p. 127) Too young to see the graduations from good and evil that adults
see in the “real” world, children can relate to the simplicity
of the fairy tale which can help build a moral universe that strengthens and
guides.
Children, like all human beings, need meaning in their lives. “Storytelling
satisfies this need and desire by intending an intelligible, coherent meaningful
world” (Navone, 1977, p. 38) In Cinderella, the
instinctive pattern is established where good triumphs and evil is punished.
Deeper Understandings:
The essential nature of the story is enough to speak to children, with
very little mediation needed by the teacher or parent. However, for adults’ edification,
other investigations can offer useful background, although I find the
interpretations often seem forced and unnatural. Bettleheim (1976, p.
8) refers to Freud’s ideas that struggle against all odds can provide
meaning and states that this is what fairy tales allow the child to see.
He says consolation that evil will be done away with is “the greatest
service the fairy tale can offer a child” (Bettleheim,
1976, p. 147). Cinderella has to suffer the jealousy of her step-sisters
but that is ultimately overcome. Bettleheim would say children reject
the outcome in “pretty” versions of the story when the sisters
are forgiven, and rightly so, as it offends children’s sense of
justice.
But, Cinderella patiently bears degradation, and takes her chance to come into
the light. In part, the tale tells of evil punished but there is more to it
than that. As Schwartz points out, (1982, p. 108),”her
humiliation is mainly external...The treatment she suffers ...cannot break
her spirit”. Her real, essential self is untouched by the suffering and
she can weather misery, her soul remains undaunted.
One group of understandings of Cinderella is found in the feminist readings.
One writer sees Cinderella, and tales like it, celebrating the “cruelty,
brutality and hatred of woman against woman”, (Duncker,
1992, p. 152) It serves to objectify women and keep them in place. In this
view only “Beauty translates to female power” (Duncker,
1992, p. 152). However, this fails to see the other side: the fairy godmother
is neither cruel nor powerless nor necessarily beautiful.
Gendered readings concentrate on seeing Cinderella placed in a patriarchal
world, where obedience to expected roles is considered admirable. Zipes (1986,
p. 8-9) reports Dowling as saying that the stories of Cinderella have caused
women to repress their minds and creativity and wait for someone else to rescue
them. I would say this is true only of some versions of Cinderella, and is
an overlay to the essential story, for many versions have Cinderella influencing
her fate.
Warner (1994), in her chapter on “Absent
Mothers: Cinderella”, points out that not all versions depict
Cinderella as patient or long-suffering, in fact, many picture her
as intelligent and active,(p. 202). Nevertheless, many versions do
include “imagery of deformation, cultural and literal”,
(p. 203). She says that in this familiar tale of “female wish-fulfilment”,
(p. 205) the wicked and powerful step-mother is attractive and powerful,
Cinderella weak and sentimental. (p. 207) I would like to point out
the powerful step-mother is the one that loses!
Warner says, “Fairy tales like ‘Cinderella’ bear
witness against women” (1995, p. 210). However, she also makes
it clear that grieving children may be comforted by the tale of comfort
following death, so it is not clear cut.
Rowe examines gender and psycho-analytical
readings, and points out that with a feminist reading “fairy
tale fantasies come to seem more deluding than problem-solving” as
they promote passivity and only one solution or direction in life.
(Rowe, 1986, p. 211),
She sees Cinderella and tales like it, as a way of release from anxiety and
a development of confidence to enter maturity. However, they also tend to prescribe
the expected cultural norms of adult life. The step-mother denotes a rival
for a girl’s developing sexual maturity; the “real“ mother,
or her substitute, offers comfort and guidance. The conflict between growing
up and remaining a child, between sexuality and obedience is reflected in the
tale. (Rowe 1986, p.212-213).
It is only because Cinderella fits in with the expected societal roles that
she is rewarded with status and future. (Rowe 1986, p.
217). I think this kind of interpretation limits the scope of the tale, as
the point is not fitting but breaking free. In fact, here is one of Tolkien’s
escaped prisoners (Tolkien 1975, p. 66)
There are many psychoanalytic readings of Cinderella. However, Freud himself
thought “the insights of the psychologist had been anticipated by the
storyteller” (Hornyansky, 1969, p. 123). The
readings such as these often appear specious and contrived.
Duncker (1992, p. 151) identifies sadism in
Cinderella, and tales like it, as they seem to glorify cruelty. However,
it is soundly punished, so there is little glory.
Bettleheim himself explains part of the
tale by saying it gives children the possibility of separating the
two parts of a parent’s role into the comforting nurturing
person (the dead mother), and the frightening critical persona (the
cruel step-mother). Children can then cope with the intrusion of
contradictory reality as they grow. (Bettleheim,
1975, p. 68-69). He also saw echoes of menstruation in toes and heels
cut off, and purity in the glass slipper.
Duffy understands Cinderella as foot fantasy,
with the tiny glass slipper equating with a corresponding small
vagina, a “sign of virginity and delicacy” (1972, p.
297); the midnight curfew, a “taboo on pre-marital sex”,
and trying on the slipper mirroring the common virginity examination. Zipes criticises
Bettleheim’s psychoanalytic position, where the magic wand
of fairy tale operating on the child’s psyche somehow fixes
all the child’s problems. He reports Nitschke’s examination
which places Cinderella as a maintenance of a hunting and grazing
society where women were given a place of honour (Zipes,
1979, p. 172).
Hornyansky reports (1969, p. 123) that
fairy tales mirror the child’s world where mothers may appear
tyrannical. In the tale, this tyranny is overcome.
These understandings seem to distance the story to a place where we would no
longer read them to children. The sense of wonder is lost and the contrivances
of psychoanalysis can ruin our enjoyment.
Another reading of Cinderella wants to situate Cinderella in its historical
context. The literary tales with which we are familiar came out of an oral
tradition that shaped and changed the stories as society changed. Once written
down, they tended to reflect the society at the time when they were transcribed,
and then suffered much less change. Many so –called fantasy features
were not fantasy at all but based very squarely in reality.
Weber points out that some of the objections people
have to the mean stepmothers were reflections of historical reality
in which the stories were first based. Poverty was rife, step-children
were common, dire necessity and competing claims of natural and step
children were very real. White faces were indications of the wealthy,
for they had access to soap and clean water; small feet, too, were
an indication of the wealthy for they were of no use to a peasant class.
Enduring in silence was a virtue, not to be taken lightly in a world
where loud objections were really not an option if you wanted to live
long. He maintains fairytales were tales that reflected reality far
more than fantasy and that when times improved, the tales could be
relegated to children as fantasy. (Weber, 1981)
Conclusion- A Final Reading:
One reading that has not often been suggested is the Christian one.
In a recent book, The Owl, the Raven and the Dove, G. Ronald Murphy, after
examining the notebooks and Bibles of Wilhelm Grimm, has suggested, that
Wilhelm’s aim was to re-write the tales to include Christian ideas
and pagan mythology. Murphy maintains that the
Grimm brothers succeeded in “...writing stories in which doctrine
is subordinated to feeling”. They deliberately inserted common
Christian images into the tales. For instance, “Cinderella depends
for its power upon the idea of the communion of saints”. (Zaleski,
2001, p. 37). The command to love is reflected in “happily ever
after”, and “humble faith is a saving characteristic”.
(Silwance, 2000, p. 1-2). The Prince suggests
Christ as Bridegroom and Saviour (Heinegg, 2000,
p. 2)
These readings of the meaning of Cinderella deepen our understanding; allow
us to see multiple viewpoints. They are polysemic so no one of them is “right” or
complete. The tale is multi-faceted and somehow mythic, appealing to our minds,
our hearts and our souls.
It seems that the most useful understanding of fairy tales is this: they are
valuable because good stories are valuable. Tolkien, Bettleheim, Lansdown and
many others agree that through imagination and fantasy children can come to
understand themselves and therefore come to faith. Bausch (1999)
reiterates throughout his book that stories are essential to our lives and
our understanding of our place in the world, and we can best meet Christ in
the telling and re-telling of stories.
Our Cinderella tale is one most of us heard when young. It can still speak
to children of today, especially if we re-tell a number of different versions,
so that the power of the essential tale can shine through. The moral or religious
teaching, the forming of young minds comes most from the telling of the tale.
We should not dissect its meaning with children but let them enjoy the fantasy
and wonder.
Works Cited
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Ashliman, D.L. (1998-2001) Cinderella:
Aarne-Thompson folktale type 510A and related stories of persecuted
heroines http://www.usu.edu/anthro/origins_of_writing/cinderella/
(2002, February 4).
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Bausch William J Yellow Brick Road: A
Storyteller's Approach to the Spiritual Journey
Mystic, Connecticut: Twenty-Third Publications
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enchantment. New York: Knopf
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get ready for the ball." In M Meek, A Warlow & G Barton
(Eds.) The cool web. (pp. 272-28). London: Bodley Head.
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