Extension English – Task #1 Research and critical analysis of texts
Whether it’s around a traditional camp fire or tucked in bed with a story book, fairy tales have been passed down from generation to generation for hundreds of years. Designed to teach lessons about right and wrong, fairy tales not only entertain they often challenge our morals and values. It is believed that fairy tales reflect societies’ thinking as they continue to adapt to the current political, cultural and social climates of each generation. Two fairy tales that have adapted and changed over the years and have successfully challenged people’s thinking and values are Hansel and Gretel and Cinderella.
The fairy tale Cinderella is not only a well-loved tale but it subtly challenges the reader’s morals and values. The story of a girl’s unfair persecution, Cinderella was published in 1634 by Giambattista Basile, released again by Charles Perrault in 1697 and was part of the Brothers Grimm collection “Grimms’ Fairy Tales” which were released in 1812. Today, there are more than 700 versions of the fairy tale Cinderella. In addition to countless books and stories, it has been released as an opera, play and pantomime. It has also been remade into film many times, with the latest iteration set to launch this month.
Each tale has been shaped by society, as almost every culture seems to have a unique version. Considered the most common, Charles Perrault’s version of Cinderella was released in Paris at a time when fairy tales were fashionable with aristocrats in literary salons. It was during this time that fairy tales were either written for the upper class as serious demonstrations of morals and values, or they included superstitions and “magic” for the lower classes. Perrault’s version of Cinderella managed to combine both the magic of the lower class with the morals of the upper class. Perrault’s version was popular because it also included the pumpkin, the fairy godmother and the glass slippers for the first time.
Not surprisingly, Perrault was greatly influenced by the fact that his target audience was the French upper and middle classes. In his version of Cinderella, the heroine leaves the ball early as she is an aristocratic young lady that wouldn’t have been allowed to stay out late. He also accentuates the patriarchal and religious thinking of his time where Cinderella is portrayed as a helpless female with Christian traits such as patience, hardworking and diligence. Warner said “The female form provides the solution in which the essence itself is held; she is passio, and acted upon, the male is action, the mover” (Warner 1996). Perrault also emphasises Christian values of forgiveness at the end of the book when he shows Cinderella to be “as good as she was beautiful”. In this version, Cinderella forgives her sisters and takes them to the palace with her and the prince and marries them to noblemen.
Another well-known version of Cinderella was written by German brothers Jacob and Wilhelm Grimm in 1812. At this time Germany was split into a number of principalities and the Grimms wanted to see them united as one nation. As part of this effort, the Grimms wanted to collect stories that reflected the German people’s fears, hopes and morals.
Instead of a fairy godmother, in the Grimms’ version, help for Cinderella comes from a wishing tree that grows on her mother’s grave. This version of Cinderella is also considered a lot more gruesome with the wicked stepsisters cutting off parts of their feet in order to fit the slipper. Rather than the Christian moral of forgiveness, this version shows each of the step sisters getting their eyes plucked out by pigeons as a punishment for being so wicked. This also reflects the German society’s acceptance of severe physical punishments.
In order to change the tone of fairy tales set by the Grimm brothers, themes of romanticism along with the guarantee of a happy ending soon become the norm with Disney’s 1950 adaptation of Cinderella. In this cheerful version, light and happy music accompanies the story as good triumphs over evil. Zipes said “Rarely do wonder tales end unhappily” (Zipes 148). Contrasting the Grimms’ version where the stepsisters were pretty on the outside but ugly on the inside, the Disney versions shows the stepsisters with an ugly outward appearance to reflect their hearts. The Disney version was also reflective of the 1950’s society where women did not have equal rights and were often placed in a submissive role.
Modern versions of Cinderella such as “Ever After: A Cinderella Story” presents a new twist on this classic fairytale. Released in 1998, this version shows the character of Cinderella as smart, charming and independent rather than submissive and obedient. Reflective of modern society, Cinderella questions and challenges the step mother. No longer a “damsel in distress”, Cinderella is now a character that is equal to her male counterpart. Furthermore, the 2004 version of “A Cinderella Story” reflects today’s society with Cinderella losing her mobile phone rather than her slipper.