One of the most common tropes used in fairy tales, especially Grimms’ fairy tales, is the wicked stepmother. The three most famous stepmothers are arguably from Hansel and Gretel, Cinderella, and Snow White. In Hansel and Gretel, the stepmother convince the children’s father to abandoned them twice in the forest but end up dying herself later on. Cinderella’s stepmother made her do all the housework and would not let her go to the wedding even after she picks up three bowls of lentils from the ashes. The evil queen, Snow White’s stepmother, tried to kill Snow White three times before she suffers an ill of “[putting] on the red-hot iron shoes and dance in them until she dropped to the ground dead” (Tatar, pg 89). Ever wondering why are stepmothers so vile in the stories? In Grimm’s Fairy tale, stepmothers are often portrayed as evil characters because we are reading the stories in the main character’s perspective and miss the …show more content…
There is a high chance of death after giving birth to a child even if you have the best resources. Snow White’s mother is just one of the example of dying in childbirth. Looking in the stepmother’s angle, they are survivors of childbirth, they should provide the best of what they can to their children. They are not going to let the previous mother's child get in the way of their success. The stepmother of Cinderella is not a bad mother to her own daughters. She gives them pretty dresses and jewelries and honestly want the best for them. When the mother in the Juniper Tree “[looks] at her daughter, she felt love for her” (Tatar pg 191) but when she looks at her stepson, “she was sick at heart” (Tatar pg 191). In both cases, it shows that the stepmothers are great mother to their own children and only ever hate their stepchildren. It is to be the new woman entering a house and trying to set things in order, while simultaneously making sure your own children is cared
Step Mother (second wife of fathers and mother to the youngest children) was only a young girl when her parents were killed. After a series of unfortunate events she was bought from a village clan and sold to become someone’s “companion”. None of this was her choice. “She was taken to a mission house, then taken away again, reclaimed by the village clan, and eventually sold into fathers canton merchant family” (13). Objectified and forced to be what someone else wants, stepmother is told to be exactly how the father wants her. She is forced to be submissive, and acts as a mother to the children, a wife to the husband, and a servant to the grandmother, or Poh-Poh. Throughout the novel her life is not hers to live, and her children are taught to treat her differently because of it. She is father’s second wife and not his first and because of this the children-even those who are biological- are expected to call her stepmother: “Poh-oh insisted we simplify our kinship terms in Canada, so my mother became “step mother.”… What the sons called my mother, my mother became… Father did not protest. Nor did the slim, pretty woman that was my mother seem to protest, though she must have cast a glance at the old one and decided to buy her time” (15). Stepmother is forced to be a third party in the raising of her children. She is only able to step out of
They have no power to choose for themselves and are considered to have a lack of ability to be independant, forcing the need to rely on men in their lives like fathers, husbands, brothers, and sons. As a representing character, Stepmother did not control her life. Bandits killed most of her family when she was young, but she survived by hiding between two trunks of clothes. Then she was taken away from a Mission House and “reclaimed by the village clan, eventually being sold to her Father’s Canton merchant family” (Choy 6). So clearly, Stepmother has no right to choose for herself like an individual; she is just an article that belongs to others and a good that can be sold. In addition, in this family, Stepmother has a very low position even though she gave birth to two kids. Stepmother is Jook Liang and Sek Lung’s birth mother, but she can only be called “Stepmother”. Third Uncle explained, “Stepmother” was a ranking much more respectable than a “family servant,” more honourable than “concubine,” but never equal in honour or respect to the title of First Wife or Mother, Stepmother remained silent (Choy 147). This illustrates Old Chinese Seniority Rules; no matter what a female dedicates to the family, if she is not the first wife, she will never get the respect that she deserves to have. Normally, in Old China, women cannot get fair treatments. They must follow the rules without any doubt, even if they are unequal. Also, Stepmother
This characterization of the woman shows how she overpowers her husband, as opposed to the first wife (Snow White’s mother) who is characterized as being obedient and “sitting and sewing by a window with a black ebony frame” (Grimm 249). This characterization contrasts starkly with the dominant woman who plays the archetype of the evil stepmother. The original mother’s wishes came true as she wished for “a child as white as snow, as red as blood, and as black as the wood of the window frame” (Grimm 249). In this imagery, we are given a color palette that represents a beautiful woman (pale white skin, red rosy cheeks and black ebony hair). Anne Sexton never offers a description of Snow White’s real mother, perhaps showing the reader how it is less important whether the mother is evil or good, but rather how the stepmother and daughter relationship became muddled by the fear the stepmother had to have beauty surpass her own.
This is typical of antagonistic characters written during the time Perrault was alive and writing. In a certain variation rehashing of Cinderella, “Confessions of an Ugly Step-Sister” by Gregory Maguire, even though the setting is a long time ago like Perrault’s version, the writer is of modern times and it is a book instead of a short tale. Because of these factors the characters are more fleshed out and person-like. The reader sees that these ‘ugly stepsister’ are merely girls in poverty trying to have a happy life. They are not evil or cruel; if anything Clara, the Cinderella of this story, can be very cruel despite her beauty. One factor that is similar in both the modern and old tale is the eventual antagonism the stepmother directs at Cinderella. In Maguire’s version even though (stepmothers name) does not force Clara to become a maid(it is in fact Clara’s own choice), the reader finds out that the evil stepmother actually poisoned Clara’s mother so that she could marry Clara’s rich father. In Perrault’s version, the stepmother isn’t shown to be evil to that extent, but she is much more cruel to Cinderella. In both the old and new stories the stepmother remains an evil character, which is a common trop in fairy
Both concrete similarities between the characters of the stepmother and Meroe and metaphors in the story of the stepmother that are meant to represent the magical elements in the story of the witch connect the two stories. Initially, there are several concrete similarities between the stepmother and Meroe. The first likeness the stepmother bears to the witch is her position of power. After she decides to kill her stepson, she enlists “the aid of a villainous slave, part of her dowry” (174). The fact that she has resources of her own makes her powerful and all the more dangerous. Her possession of a slave and her ability to procure poison, though also metaphors of the deadly spells Meroe casts upon Socrates, are most prominently concrete representations of her status of power. A second similarity is that the stepmother and Meroe are both notably older than the younger men they prey upon. This detail helps to accentuate the i...
noticed that in a number of films the father is dead thus it is impossible to protect his children, such as in Cinderella. Also stepfathers seem to not be portrayed in pop culture as evil thus stepmothers are the only ones that receive such hideous flack. Because stepfathers are not portrayed in a negative way, when it comes to real life they have less difficultly finding their place in their new family. (Church 1994) (Hall and Bishop 2009)
In “Cinderella” by the Grimm Brothers, the moral is that one should never lie or be wicked to others. In the story, Cinderella’s mother passed away and a year later her father gets remarried to an evil woman who has two daughters. The wife and daughters torment Cinderella, making her complete tedious chores. Eventually, Cinderella attends a ball for the Prince and they fall in love. However, she runs away every night and he cannot find her. The Prince finally takes one of her slippers and sets out to find the love of his life. He then goes to her household and asks all the sisters to try the slipper on. The stepsisters try to deceive the Prince but “the blood was streaming from” their feet and they are eventually caught. When Cinderella tries on the shoe it fits perfectly and the two get married. At the reception, two birds peck out the stepsisters’ eyes, punishing them “with blindness as long as they lived.” The archetypes in the story are Cinderella who is the damsel in distress, the Prince who saves her and the evil stepsisters and mother who are the villains. A convention is that true love always...
The Grimm’s stories have strict criteria for good and evil. Good women are not the hero, they do not plan, nor do they get themselves out of bad situations; they are obtuse and wait until a Prince saves them. These qualities doom the female protagonists (and readers) to pursue the only destiny women have, and that is to be a wife and mother (Rowe, 1978). Cinderella is the heroine and the ideal good girl. She is unambiguously beautiful, kind, and compassionate. She does not complain or get angry. This is foreseen early in the Grimm’s Cinderella story:
In "Cinderella';, the stepmother tries to make sure that one of her daughters is chosen for a wife by the prince at the ball. At first she tells Cinderella that she can go also even...
(Cheryl 1) I love how she always refers back to the stepsisters as ugly instead of evil. This (re)telling is absolutely my favorite and I would encourage anyone with a mind to read it. Another (re)telling that really caught my attention, like I know it did many others, was the one written in France in 1697. An author named Charles Perrault proved, yet again, that Cinderella is not who everyone expects her to be. According to this article, “scholars think Perrault may have confused vair (French for “fur”) with the word verre (French for “glass”).”
In the article, “Fairy Tales and a Dose of Reality,” Catherine Orenstein attempts to show the contrast between the modern romanticism of marriage and the classic fairy tale’s presentation of them (285). She looks at the aristocratic motivations for marriage and the way these motivations are prominent in Cinderella. She then looks at the 20th century to highlight the innate difference of our mentalities, showing a much more optimistic and glorified relationship. In the article, “Cinderella: Not So Morally Superior,” Elisabeth Panttaja claims that Cinderella’s success can be attributed to her craftiness (288). She shows her and her mother as an equal to the stepfamily, analyzing each family’s goals and values. She attempts to show their similarities,
Jacqueline Schectman is a therapist who has focused on the psychological pattern finding archetypes brought out by stories that resonate with the readers own experiences. She attempts to bridge the connection between the reader 's imagination and real life. In “Cinderella” and a Loss of Father-Love, Schectman takes what her clients take from Cinderella, and uses it to understand their case better. Their interpretation of the story Cinderella reveals what they tend to relate with in their personal lives. While in The Truth about Cinderella, Martin Daly and Margo Wilson explain the statistics of stepparent domestic abuse towards children, sexual and domestic violence. While both authors use Cinderella and her wicked stepmother as the analogy between children and their stepparents, Jacqueline Schectman focuses more on emotional abuse, while Martin Daly and Margo Wilson emphasize physical abuse.
Cinderella’s step sisters are portrayed to lack morals (goodness and kindness). Through-out the Grimm version, the lack of morals is widely spread. In the fourth paragraph, they insult insinuating that she is a stupid goose. In the fifth paragraph, these step sisters take away the beautiful clothes f Cinderella and end up giving her wooden shoes as well as dressing her in an old gray smock. They always misused her and took advantage of Cinderella’s kindness and goodness; when they were preparing to attend the ballroom, they asked her to comb their hair, brush their shoes and even fasten their buckles. After the prince chose Cinderella instead of them, they became so angry due to their jealousy. In Perrault’s version, the lack of morals of Cinderella’s sisters is shown in their insults such as nicknaming her Cinder-Clod in the third paragraph. When Cinderella borrowed Javotte her stepsister her yellow dress she declined saying that she must be mad for her to lend her dress to a grubby cinder-clod like
In the original Little-Snow White by the Grimms brothers and the readapted Disney version, the stepmother
Setting the tale in Nazi Germany creates an atmosphere of fear and anxiety, and establishes a set of circumstances in which it is possible for people to act in ways that would be unacceptable under other circumstances. The stepmother is a good example of this. She is the force in the family – it is she who decides that everyone in the family will have a better chance of survival, if they split up – the children going off alone together and the parents going in another direction. Unlike the portrayal of the stepmother in the Grimm fairy tale, this stepmother is not wicked. She is strong willed and determined, but not evil, although she is protecting herself and her husband by abandoning the children.