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Fairy tales influence children
Fairytales and their impact on human development
The effect of fairy tales on human development
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Fairy tale heroines are usually portrayed as weak and submissive characters. They are the damsel in distress, the girl who needs to be saved from the wicked stepmother or witch, and the beautiful daughter in need of a husband. This meek, submissive female character reached its peek in Charles Perrault’s Griselda. Griselda is consistently abused through the entire story by her controlling husband, but she takes the abuse without complaint or protest. Her total obedience to her husband is rewarded at the end when she is reunited with her daughter, restored to her position of power, and finally treated with respect by her husband. Although Perrault may have intended Griselda to be a parody, the Grimm Brothers stabilized this obedient, submissive character through stories like Cinderella. Although Cinderella disobeys her stepmother and seems to stand up for herself by attending the ball, she is actually being obedient to a higher moral authority instead of the human authority in the tale. These fairy tales teach readers that obedience is the most important trait a women can have, and even when a female character seems to stand up for herself, she is just being submissive to a higher authority.
Charles Perrault’s Griselda exemplifies what it means to be a submissive, obedient women and how these attributes are rewarded. The prince of the story has convinced himself that “all women [are] faithless and deceivers” and even women of the highest esteem were really a “cruel enemy whose unbroken ambition was to gain the mastery over whatever unhappy man might surrender to [them]” (Perrault). The prince is so convinced of this he will only marry “a young beauty without pride or vanity, obedient, with tried and proved patience and…without a ...
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...gets punished for her sins; because she broker her promise to Cinderella. Through these stories, children are taught that women are rewarded for their obedience and total submission to authority whether is be a human figure or a higher moral power.
Bibliography
Grimm, Jacob and Wilhelm Grimm. “Cinderella” – “Aschenputtel” The Great Fairy Tale Tradition. Ed. Jack Zipes. New York: W.W. Norton and Company, 2001. 468-472. Print.
Lieberman, Marcia R.. “Some Day My Prince Will Come: Female Acculturation through the Fairy Tale” College English 34.3 (1972): 383-395. Web. 11 Feb. 2014.
Perrault, Charles. “Griselda.” SurLaLune Fairy Tales. Web. 11 Feb. 2014.
Tatar, Maria. “Daughters of Eve: Fairy Tale Heroines and Their Seven Sins” Off With Their Heads: Fairy Tales and the Culture of Childhood. Princeton: Princeton University Press, 1992. 94-119. Print.
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,
In James Poniewozik's "The Princess Paradox" (323-325) the author explains how the idea of a feminist, independent woman becoming a fairy tale princess is a paradox and that society is engaging in a paradox through the belief of it. He utilizes the recent bout of Cinderella retellings to show the paradox of how girls cannot be both completely independent and a fairytale princess, and yet society perpetuates the paradox through believing that this is not only possible, but realistically attainable as well. Poniewozik exposes the contradictions that surround these new Cinderellas to defy these "realistic" stories that society has come to embrace. By showing how truly constrictive and illogical these fantasies are, Poniewozik also shows how hypocritical society has become for idolizing them and why this new princess is a true paradox.
Today, adults reading Charles Perrault’s Cinderella realize similarities and differences between Cinderella and a modern western woman. Adults recognize that Cinderella in Perrault’s fairy tale has undesirable qualities for a modern western woman, today. Cinderella is affectionate, goodwill, forgiving, and loyal. On the other hand, Cinderella is not independent, outspoken, confident, and strong. Cinderella has low self esteem and is incapable of solving problems. Inferiority, dependence and passiveness are characteristics that represent Cinderella do not characterize a modern western woman.
Folktales can be used to share morals or a lesson using symbols, and this is true of the classic “Cinderella” story. Madonna Kolbenschlag, a feminist, writes “A Feminist’s View of ‘Cinderella,’” explaining the Cinderella story in a more sexist view. Bruno Bettel-heim, a distinguished psychologist, centers his article, “‘Cinderella’: A Story of Sibling Rivalry and Oedipal Conflicts” very specifically on the sibling rivalry exhibited in the classic “Cinderella” story. He also writes about the oedipal period of a child’s life. Both authors agree that “Cinderella” is most likely the best-known and best-liked fairy tale. Although, according to Stith Thompson, folktales have been passed form country to country and through different time periods,
As the world has transformed and progressed throughout history, so have its stories and legends, namely the infamous tale of Cinderella. With countless versions and adaptations, numerous authors from around the world have written this beauty’s tale with their own twists and additions to it. And while many may have a unique or interesting way of telling her story, Anne Sexton and The Brother’s Grimm’s Cinderellas show the effects cultures from different time periods can have on a timeless tale, effects such as changing the story’s moral. While Sexton chooses to keep some elements of her version, such as the story, the same as the Brothers Grimm version, she changes the format and context, and adds her own commentary to transform the story’s
At first glance, what makes a fairy tale a fairy tale may seem obvious—some kind of magic, hidden symbols, repetition, and of course it’s evident it’s fiction—but fables are more than that. As Arthur Schelesinger puts it, it’s about “[expanding] imagination” and gaining understanding of mysterious places (618). While doing this, it also helps children to escape this world, yet teach a lesson that the reader may not be conscious of. A wonderful story that achieves all of this is Cinderella, but not the traditional tale many American’s have heard. Oochigeaskw, or The Rough-Faced Girl, and Ashputtle would be fitting for a seven-year-old because they get the gears of the mind turning, allowing for an escape on the surface, with an underlying enlightenment for children of the ways of the world.
This helps define her as an obedient daughter who will later be rewarded for such behavior. Obedience was clearly an important aspect for women in the Brothers
“Cinderella” the tale of a suffering young girl who finds her prince charming, and lives happily ever after in a big beautiful castle. Truly, the dream of many young female readers. This story is well known all around the world and has many different versions. This paper will specifically focus on the versions by Charles Perrault and Giambattista Basile. One cannot argue that while writing their individual version of Cinderella both Charles Perrault and Giambattista Basile were strongly influenced by the many other tales of Cinderella, and this can be seen by the repetitive plot line, character and morals in both their stories. Giambattista Basile story was called “The Cat Cinderella” and Charles Perrault named his “Cinderella” or “Little Glass
During the 19th century, Grimm’s fairytales were strongly disapproved of due to harsh, gruesome details and plots. One American educator from 1885 stated, “The folktales mirror all too loyally the entire medieval worldview and culture with all its stark prejudice, its crudeness and barbarities.” As childre...
Thinking back to our childhood, we all remember hearing many kinds of fairy tales. Some of them inspired us others confused us, and most of them taught us valuable lessons. Through out centuries tales and stories have been used as a valuable tool to pass on our culture to new generations. There is a strong belief that these fairy tales mirror and influence society. All cultures interpret tales in their own unique way. They add and subtract various aspects of the tale to fit the needs of their particular society. The same tale in the United States is different from the tale told in Asia. A good example of tale evolution can be seen in one of the most famous tales ever told which is “Cinderella”. As a professor of women’s history Karol Kelley points out in her essay Pretty Woman: A Modern Cinderella “There are some 700 versions of Cinderella”.This fairy tale as many others has been changing for many years, and in recent years Cinderella has come under some criticism for its depiction of women’s roles in society.
Throughout the history of folklore and fairytales, many interpretations of tales have been created and introduced. When exchanged, many details have been lost in translation, only to be redistributed as a similar tale following a certain moral. But throughout the life of the tale “Cinderella,” one objective has never been misconstrued; the social structure and the status Cinderella falls and rises to. Many fairytales display a rise and fall of a protagonist, often in the case of social classes. The many versions of “Cinderella,” including Ever After, exhibit a definite, strong, monarchical settlement with a defined arrangement of classes that create and develop the beloved character of Cinderella, or Danielle De Barbarac, herself.
In a society unbridled with double standards and set views about women, one may wonder the origins of such beliefs. It might come as a surprise that these ideals and standards are embedded and have been for centuries in the beloved fairy tales we enjoyed reading as kids. In her analytical essay, “To Spin a Yarn: The Female Voice in Folklore and Fairy Tales”, Karen Rowe argues that fairy tales present “cultural norms which exalt passivity, dependency, and self-sacrifice as a female’s cardinal virtues.” Rowe presents an excellent point, which can be supported by versions of the cult classics, “Cinderella” and “Snow White”. Charles Perrault’s “ The Little Glass Slipper” and the Brothers Grimm’s “ Snow White” exemplify the beliefs that females are supposed to be docile, dependent on the male persona and willing to sacrifice themselves. In many cases, when strong female characters are presented they are always contradicting in these characteristics, thus labeled as villainous. Such is the case of the Cinderella’s stepsisters in Perrault’s “Cinderella” and the stepmother in the Brothers Grimm’s “Snow White.” These female characters face judgment and disapproval when they commit the same acts as male characters. With such messages rooted in our beloved fairy tales it is no wonder that society is rampant with these ideals about women and disapprove of women when they try to break free of this mold.
This classic tale mirrors cultural expectations of the behaviour of women and depicts the different expectation of men and women within society. Textual features evident in the base text promote an invited reading of Cinderella. The text suggests that women who are beautiful and obedient are the desirable and that women should strive to conform to this mould. These good women, who are docile and passive, specifically in the domestic sphere, are elevated within the text.
Tatar, M. (1987). Sex and Violence: The Hard Core of Fairy Tales. The hard facts of the Grimms' fairy tales (p. 3). Princeton, N.J.: Princeton University Press.
Zipes, Jack. Why Fairy Tales Stick: The Evolution and Relevance of a Genre. New York: Routledge, 2006. Print.