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A Cultural Analysis of Cinderella Catherine Foley Director: Dr ABSTRACT If the Shoe Fits: A Cultural Analysis of Cinderella Catherine Foley Director: Dr. Amanda Sigler "Cinderella" is one of the most recognizable stories of all time. Universally beloved and the inspiration for countless retellings, she has touches hearts across the world with her goodness and kindness. This story has found a home in many different countries; over 400 different "Cinderella" stories have been documented across the world and throughout history. This paper recounts three examples of a "Cinderella" story, found in France, Germany, and Native American tribes in Canada. Through detailed analysis, it will look at the history of fairy tales, the elements of a "Cinderella" story, the cultural influences on the stories and the influence of the stories themselves. Along with a look into the symbolism in this tale, this paper will explore these themes to answer the question "What do fairy tales teach us?" APPROVED BY DIRECTOR OF HONORS THESIS: _______________________________________________ Dr. Amanda Sigler, Department of English APPROVED BY THE HONORS PROGRAM: ___________________________________________________ Dr. Andrew Wisely, Interim Director DATE: IF THE SHOE FITS: A CULTURAL ANALYSIS OF CINDERELLA A Thesis Submitted to the Faculty of Baylor University In Partial Fulfillment of the Requirements for the Honors Program By Catherine Foley Waco, Texas May 2021 TABLE OF CONTENTS Acknowledgments..............................................................................................................iii Timeline..............................................................................................................................iv Introduction..........................................................................................................................1 Chapter One: A History of Fairy Tales................................................................................2 Chapter Two: Elements of a “Cinderella Tale”................................................................14 Chapter Three: Perrault’s Parisian Princess....................................................................26 Chapter Four: A Grimm Ending.........................................................................................36 Chapter Five: Cinderella in the Americas.........................................................................44 Conclusion.........................................................................................................................50 Bibliography......................................................................................................................51 Endnotes............................................................................................................................54 ii ACKNOWLEDGMENTS My thesis was able to become a reality because of the kind support of so many people. First my thesis director, Amanda Sigler, who was a great help and guiding light every step of the way and dealt with my continuous mishaps with saintly patience. To my parents, Mike and Alexandra Foley, my role models and best friends. They are the first people I turn to in joy and sorrow, celebration and defeat, and they inspire me every day. To all my siblings-Mary, James, Peter, Monica and Johnny-who never fail to bring a smile to my face. They are my greatest treasures in this life. Especially to Mary, my favorite person…most of the time. To my cousins and dear friends, Margot, Charlotte, and Julia, who have been my sounding boards for all my frustrations. To my long- suffering roommate, Nicholle, who has been the steadiest of rocks during this time and always endured my midnight stress-cleaning. To my St. Peter’s crew, Gabbi, Ryan D., Ryan B., Selena, and Ben, who have always been there for me when I needed them and never let that friendship fade despite a global pandemic. And finally, to my grandparents, Jim and Lucille Foley. They always were my biggest supporters during their time on earth. To my grandfather, who committed a federal crime to get me a VHS copy of Cinderella when I was 8, and my grandmother, whose presence I still feel every day. All my love, Catherine. iii TIMELINE Fairy Tale Timeline • 100-200 A.D. -The myth of “Cupid and Psyche”, the first fairy tale, is written • 200-300 – Panchatantra, an Indian collection of animal fables, is written • 850-860 –“Yeh Shen”, a variant of Cinderella or or “Ye Xian” is written • 900-Arabian Nights first written • Around 1300s- Gesta Romanorum, a Latin collection of fables, is written • Around 1500s- Arabian Nights was first published • 1690-1710 France- French trend of fairy tales peaks, notable authors are Marie- Catherine d'Aulnoy and Charles Perrault • 1729 Great Britain-Robert Samber translates Perrault's Histories, or Tales of Times Past. • 1740 France-Madame Gabrielle de Villeneuve writes the original novella length version of “Beauty and the Beast.” • 1756 France-Madame Leprince de Beaumont publishes her shorter version of “Beauty and the Beast” • 1812 & 1815 Germany- Jacob and Wilhelm Grimm publish volumes one and two of Kinder und Hausmarchen (Childhood and Household Tales) iv • 1823 England-Editor Edgar Taylor publishes the first English translation by his brother Edward Taylor of the Brothers Grimm' tales in German Popular Stories. • 1835 Denmark-Hans Christian Andersen's Fairy Tales Told for Children is published • 1866 Russia-Alexander Afanasyev collects and publishes his first volume of Russian fairy tales • 1889 England-Andrew Lang publishes the first of his twelve fairy books, The Blue Fairy Book • 1890 Russia-Peter Ilyich Tchaikovsky's The Sleeping Beauty premieres in St. Petersburg, Russia on January 15th • 1890 England-Joseph Jacobs publishes English Fairy Tales, later followed by More English Fairy Tales, Celtic Fairy Tales, Indian Fairy Tales, and European Folk and Fairy Tales • 1893 England-Marian Roalfe Cox publishes her book, Cinderella: Three Hundred and Forty-five Variants of Cinderella, Catskin, and Cap O' Rushes • 1937 United States-Walt Disney's first feature length animated film is released, Snow White and the Seven Dwarfs • 1950 United States-Walt Disney's Cinderella is released • 2015 United States- Walt Disney’s live action Cinderella remake is released v INTRODUCTION “Fairy tales do not tell children the dragons exist. Children already know that dragons exist. Fairy tales tell children the dragons can be killed.” – G.K. Chesterton As children, we listen attentively to mother as she tells us about princesses, ogres, and magic, then take those beautiful stories and careful lock them up in our heart. Those stories will stay with us all our lives. They shape our understanding of villains and heroes, good and bad, beautiful and ugly, and they teach us that no matter the situation we find ourselves in, kindness and love will win over hatred and cruelty. Fairy tales do not merely give us fantasy worlds to play in but inspire our imaginations, fill our dreams with lovely images and our hearts with hope. Cinderella is one of the most well-known fairy tales and is a favorite among both young and old. Her kindness and courage have made her a universally recognized character, present in countless reiterations of her story. Three variants in particular, the French, German, and Native American versions, come together to paint a picture of both Cinderella and the world-wide influence of fairy tales. Using analysis and comparison, this paper aims to explore the themes, symbolism and history of these tales and answer the question, “What do fairy tales teach us?” 1 CHAPTER ONE A History of Cinderella The idea of a fairy tale seems timeless. Often a cherished part of one’s childhood, these stories appear to go back as far as we can remember, capturing stories of ancient lands long forgotten and of times that are only recounted in story books. But the modern concept of a fairy tale as a tale for children is actually a relatively young idea. Originally, fairy tales were just another genre of adult literature. In the same way that we have fantasy or science fiction books today, fairy tales fulfilled an escapism fantasy for adults. In his book Fairy Tales, Sexuality, and Gender in France, Lewis C. Seifert discusses this phenomenon: In fact, literary fairy tales were intended for adult readers in the seventeenth and eighteenth centuries. More significant, their classification as children’s literature is at least in part a mimetic transposition of content onto intended readership since they depict, by and large, the conflicts of childhood or adolescence and its resolution into adulthood. As such, fairy tales specify with extraordinary precision and economy a culture’s prototypical quest for identity; they are par excellence narratives of initiation, becoming, and maturity; they are themselves susceptible to becoming (and have become) powerful instruments of socialization and acculturation.i “Cinderella” remains one of the most important fairy tales as it is a compilation of classic fairy tale elements in a universally recognizable format. There are over 700 variants of the same basic version of the tale, and they all play a part in influencing each other. The Victorian folklorist Joseph Jacobs once said the “Cinderella Tale” that he was working on was “an English version of an Italian adaptation of a Spanish translation of a Latin version of a Hebrew translation of an Arabic translation of an Indian original.” These ancient origins of “Cinderella” help us better understand the individual tale as a 1 whole
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