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Cinderella

 
Cinderella

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The oldest known version of this famous European and Asiatic fairytale is Chinese, from about AD 850, translated by Arthur Waley (Folk-Lore 58 (1947), 226-38); but the story as it is now known is always based on Perrault's French ‘Cendrillon’ (1697), translated into English by Robert Samber (1729). Native English versions probably once existed, for a Scottish one, ‘Rashin Coatie’, discovered by Andrew Lang in 1878, is clearly independent of Perrault—the heroine is helped by a magical ‘little red calf’ which enables her to appear in church three times at Christmas in fine clothes and satin slippers, instead of her ugly cloak of rushes; a prince sees her and tries to catch her as she slips out before the service ends. Twentieth-century versions have been found among Gypsies in Lancashire and Scotland (Philip, 1989: 60-9, 161-74). Cap o' Rushes is also related, though less closely.

Bibliography
The full bibliography list is available here.

  • Marian Roalfe Cox, Cinderella: Three Hundred and Forty Five Variants of Cinderella, Catskin, and Cap o' Rushes (1893), and Anna Birgitta Rooth, The Cinderella Cycle (1951). Neil Philip's The Cinderella Story (1989) gives 24 versions with commentary, including the British Gypsy ones. Perrault's text is in Philip, pp. 10-16
  • also in Opie and Opie, 1974: 117-27
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Perrault's popular fairy-tale has been the subject of many ballets, starting with a version by Duport in Vienna in 1813. In 1822 François Decombe (or Monsieur Albert, as he was known) choreographed Cendrillon with music by Fernando Sor for the King's Theatre in London and re-staged it for the Paris Opera the following year. In 1893 the Maryinsky Theatre staged a version with choreography by Ivanov, Cecchetti, and M. Petipa to music by Boris Schell or Schel, which featured Legnani making her Maryinsky debut (she stunned the Russian audience with her celebrated feat of 32 consecutive fouettés). Fokine staged Cendrillon (mus. Frederic d'Erlanger, designs Goncharova) for the Original Ballet Russe (de Basil) at Covent Garden on 19 July 1938. Andrée Howard choreographed a version (mus. Carl Maria von Weber) for Ballet Rambert in 1935, with Pearl Argyle in the title role and Frederick Ashton as the Prince. But it was not until Prokofiev completed his famous score in 1944 that the ballet was able to achieve its greatest success. The first Prokofiev staging was at the Bolshoi Theatre on 21 Nov. 1945(its Russian title was Zolushka), with choreography by Zakharov, designs by Pyotr Williams, and featuring Olga Lepeshinskaya as Cinderella. On 8 Apr. 1946 Sergeyev staged Zolushka (sets by Boris Erdman) for the Kirov with Natalia Dudinskaya as Cinderella and himself as the Prince. Ashton's historic version for Sadler's Wells Ballet (again using the Prokofiev score, although eliminating the extended Act III divertissement) was unveiled at the Royal Opera House on 23 Dec. 1948, the first full-length British ballet. Scenery and costumes were by Jean-Denis Malclés; the cast included Shearer, Somes, Ashton, and Helpmann. The Royal Ballet revived it on 23 Dec. 1965 with new sets and costumes by Henry Bardon and David Walker, with Fonteyn, Blair, Ashton, and Helpmann. It entered the repertoire of the Australian Ballet in 1972. Celia Franca choreographed a new version for the National Ballet of Canada (Toronto, 1968) and Ben Stevenson staged it for the National Ballet of Washington (1970). Rudolf Nureyev enjoyed one of his greatest successes when he staged an updated Cendrillon (starring Sylvie Guillem) for the Paris Opera Ballet in 1986 which set the story in Hollywood. Vasiliev did a new version for the Ballet Theatre of the Kremlin in 1991. In 1996 Michael Corder choreographed an award-winning new version for English National Ballet, which also went to the Boston Ballet. In 1997 Matthew Bourne's West End production set Prokofiev's ballet in the British capital during the Second World War. Other stagings include de Warren for Northern Ballet Theatre (mus. J. Strauss II, 1979) and Darrell for Scottish Ballet (mus. Rossini, 1979).

‘Cinderella’ belongs to a group of tales that have enjoyed both temporal and spatial stability. Although its first European literary appearances were in Bonaventure des Périers' Les Nouvelles Recréations et joyeux devis (New Recreations and Joyous Games, 1558), and in Giambattista Basile's Il pentamerone (1634–6), the best‐known versions were in Charles Perrault's Histoires ou contes du temps passé (Stories or Tales of Times Past, 1697) and in Wilhelm and Jacob Grimm's Kinder‐ und Hausmärchen (Children's and Household Tales, 1812–15). This story has lived as a sum of all its realizations without losing its integrity, despite repeated distortions. Walter Anderson's ‘Law of Self‐Correction’ explains how some relatively stable stories persist in the popular tradition because storytellers, upon hearing a defective version, correct it in the retelling.

While the tale had circulated principally in the Indo‐European world, it was comfortably accepted into the Chinese folk‐tale canon because it resembled an already familiar stepchild story. The same can be said for Africa, Australia, Java, Japan, and the Indian subcontinent. Perhaps the universal appeal of a ‘rags to riches’ story with emphasis on sensitive family issues explains its successful diffusion through time and space.

The story of this persecuted heroine is easily segmented: Girl's mother dies; father remarries and brings to household two daughters; stepmother and stepsisters mistreat her; father is either indifferent or malevolent (threatens death in ‘Cap o’Rushes' and importunes her sexually in ‘Catskin’). She performs all the household's menial tasks and must live and work among the ashes on the hearth (‘Cinderwench’, ‘Cinderella’, ‘Aschenputtel’, ‘Ashypet’, ‘Cendrillon’, ‘Cenerentola’, ‘Pepelluga’, ‘Allerleirauh’).

Cinderella is aided by a magical helper (fairy godmother, magical bird, magic tree, enchanted cow, enchanted fish). In some versions the mother had been transformed into a cow (a fish). When the cow is to be killed, she tells her daughter to collect her bones and to save them. These bones turn into a magical agent like a magic wand. While her magical helper, a fairy godmother in the Perrault version, comes to her unbidden, the Grimms' Cinderella is a resourceful person who acts to improve her condition. She calls upon pigeons and turtle‐doves to come to her aid to complete her stepmother's impossible tasks. Not a passive creature awaiting deliverance, she is also a resourceful person who plants the twig, waters it, tends it, and then tells the tree to shake and shower her with silver and gold.

If one aim of the story is to illustrate the ascent from low to high status, then Cinderella must meet a man in that social milieu who will free her from her miserable circumstances. Furthermore, marriage represents an effort to gain independence from the previous generation and to create a new family. In most of the versions, she will meet the man she is to marry at a social occasion, a festival, a ball, or a party. The Grimms' storyteller reported a version in which she went to the ball on three successive nights, obeying Olrik's ‘law of repetition of three’. The stepmother forbids her attendance at the event and imposes impossible tasks so that the unfortunate young woman may not attend the event. She must separate lentils from ashes, beans from gravel, carry water in buckets with sieved bottoms. However, she summons animal helpers (sparrows, doves) to come to her aid.

The heroine finally attends the ball (festival, party), at which time a prince falls in love with her at first sight. In the Grimms' tale, in response to the prince's report that the beautiful maiden who had eluded him had hidden in her father's dovecote (pear tree), Cinderella's father thinks it might be his daughter and takes an axe to the dovecote (pear tree). As Max Lüthi has observed, fairy‐tale motivations are often unspoken. The storyteller does not explain why the father wants to destroy his daughter. Furthermore, fairy‐tale tradition frequently demands that an interdiction accompany magical gifts. She must leave the ball at midnight, accidentally leaving behind a shoe.

The shoe‐test that proves her identity has fuelled an academic debate as to the material of the lost slipper (glass, fur, gold, embroidered silk). However, the test itself matters more than the material details. Once again the stepsisters fail to imitate her successfully, even mutilating their feet to make them small enough for the slipper. As is the case with many fairy tales, the ending is the least stable part. The stepsisters either suffer a cruel punishment (birds peck out their eyes), or Cinderella, in her new‐found wealth and power, arranges advantageous marriages for them both.

There have been hundreds if not thousands of literary, dramatic, musical, poetic, and cinematic versions of ‘Cinderella’ since the early 19th century, and the ‘heroine’ of the story has become the icon of a rags‐to‐riches success story. Certainly, this is the way she is portrayed in the famous Disney film of 1950. However, since the 1970s, many feminist and postmodern writers have questioned the passive aspects of a girl who waits for her prince, and the term ‘Cinderella complex’ has come to stand for a troubled woman who cannot determine her own destiny. Whatever the ‘truth’ may be, contemporary writers such as Anne Sexton, Wendy Walker, Peter Redgrove, Jane Yolen, Roald Dahl, Tanith Lee, and Angela Carter have explored the complex of the fictional Cinderella in ways that would astound the classical writers of this tale.

Bibliography

  • Cox, Marian Roalfe, Cinderella: Three Hundred and Forty‐Five Variants of Cinderella, Catskin and Cap o'Rushes (1893).
  • Dundes, Alan (ed.), Cinderella: A Folklore Casebook (1982).
  • Lüthi, Max, The Fairytale as Art Form and Portrait of Man (1985).
  • Olrik, Axel, Principles for Narrative Research (1921).
  • Rooth, Birgitta, The Cinderella Cycle (1951).
  • Waley, Arthur, ‘The Chinese Cinderella Story’, Folklore, 58 (1947).

— Harriet Goldberg

Columbia Encyclopedia:

Cinderella

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Cinderella, heroine of one of the most famous folktales in the world. She is rescued from a life of drudgery by her fairy godmother and eventually marries a handsome prince. The story (dating back to 9th-century China) exists in 500 versions in Europe alone; it was included by both Charles Perrault and the Grimm brothers in their collections of tales.


A fairy tale from the collection of Charles Perrault. Cinderella, a young girl, is forced by her stepmother and stepsisters to do heavy housework and relaxes by sitting among the cinders by the fireplace. One evening, when the prince of the kingdom is holding a ball, Cinderella's fairy godmother visits her, magically dresses her for the ball, turns a pumpkin into a magnificent carriage for her, warns her not to stay past midnight, and sends her off. Cinderella captivates the prince at the ball but leaves just as midnight is striking, and in her haste she drops a slipper; as the story is usually told in English, the slipper is made of glass. She returns home with her fine clothes turned back into rags and her carriage a pumpkin again. The prince searches throughout the kingdom for the owner of the slipper. Cinderella is the only one whom it fits, and the prince marries her.

  • The name Cinderella is sometimes applied to a person or group that undergoes a sudden transformation, such as an athletic team that loses frequently and then starts to win steadily.

  • Wikipedia on Answers.com:

    Cinderella

    Top
    Cinderella
    Cendrillon2.JPG
    Gustave Doré's illustration for Cendrillon
    Folk tale
    Name: Cinderella
    Data
    Country: Worldwide
    Published in: The Pentamerone (1634)
    Mother Goose Tales (1697)
    Grimm's Fairy Tales (1812)

    "Cinderella; or, The Little glass Slipper" (French: Cendrillon, ou La petite Pantoufle de Verre, German: Aschenputtel) is a folk tale embodying a myth-element of unjust oppression/triumphant reward. Thousands of variants are known throughout the world.[1] The title character[2] is a young woman living in unfortunate circumstances that are suddenly changed to remarkable fortune. The story was first published by Charles Perrault in Histoires ou contes du temps passé in 1697.[3]

    The word "cinderella" has, by analogy, come to mean one whose attributes are unrecognised, or one who unexpectedly achieves recognition or success after a period of obscurity and neglect. The still-popular story of "Cinderella" continues to influence popular culture internationally, lending plot elements, allusions, and tropes to a wide variety of media.

    Contents

    Early versions

    The Cinderella theme may well have originated in classical antiquity. The Ancient Greek historian Strabo (Geographica Book 17, 1.33) recorded in the 1st century BC the tale of the Greco-Egyptian girl Rhodopis, "rosy-cheeked", who lived in the Greek colony of Naucratis in Ancient Egypt. It is often considered the oldest known version of the story:

    They tell the fabulous story that, when she was bathing, an eagle snatched one of her sandals from her maid and carried it to Memphis. While the king was administering justice in the open air, the eagle, when it arrived above his head, flung the sandal into his lap. The king, having been stirred both by the beautiful shape of the sandal and by the strangeness of the occurrence, sent men in all directions into the country in quest of the woman who wore the sandal. When she was found in the city of Naucratis, she was brought up to Memphis and became the wife of the king...[4][5]

    Herodotus, some five centuries before Strabo, supplied further information about Rhodopis in his Histories, writing that Rhodopis came from Thrace, and was the slave of Iadmon of Samos, and a fellow-slave of Aesop. She was taken to Egypt in the time of Pharaoh Amasis, and freed there for a large sum by Charaxus of Mytilene, brother of Sappho, the lyric poet.[6][7]

    The story later reappears with Aelian (ca. 175–ca. 235),[8] showing that the Cinderella theme remained popular throughout antiquity.

    Another version of the story, Ye Xian, appeared in Miscellaneous Morsels from Youyang by Tuan Ch'eng-Shih around 860. Here, the hardworking and lovely girl befriends a fish, the reincarnation of her mother, who was killed by her stepmother. Ye Xian saves the bones, which are magic, and they help her dress appropriately for a festival. When she loses her slipper after a fast exit, the king finds her slipper and falls in love with her (eventually rescuing her from her cruel stepmother). Another version of the story, which is similar to the Chinese version, exists in the Philippines. The story is known as "Mariang Alimango" (Mary the Crab). In this version, the spirit of her dead mother reincarnates as a crab, hence the title, and serves as her "fairy godmother".

    In the Vietnamese version Tấm Cám, the protagonist Tấm turns into the antagonist in part two of the story, by boiling her stepsister alive and then fooling her stepmother into cannibalism by feeding her her own daughter's flesh.

    Several different variants of the story appear in the medieval One Thousand and One Nights, also known as the Arabian Nights, including "The Second Shaykh's Story", "The Eldest Lady's Tale" and "Abdallah ibn Fadil and His Brothers", all dealing with the theme of a younger sibling harassed by two jealous elders. In some of these, the siblings are female, while in others, they are male. One of the tales, "Judar and His Brethren", departs from the happy endings of previous variants and reworks the plot to give it a tragic ending instead, with the younger brother being poisoned by his elder brothers.[9]

    Aspects of Cinderella may be derived from the story of Cordelia in Geoffrey of Monmouth's Historia Regum Britanniae. Cordelia is the youngest and most virtuous of King Leir of Briton's three daughters, however her virtue is such that it will not allow her to lie in flattering her father when he asks, so that he divides up the kingdom between the elder daughters and leaves Cordelia with nothing. Cordelia marries her love, Aginippus, King of the Franks, and flees to Gaul where she and her husband raise an army and depose her wicked sisters who have been misusing their father. Cordelia is finally crowned Queen of the Britons. However her reign only lasts five years. The story is famously retold by Shakespeare, but given a tragic ending.

    Cenerentola, Cinderella and Aschenputtel

    Aschenputtel at her mother's grave, with birds

    In 1634, Giambattista Basile, a Neapolitan soldier and government official, wrote Lo cunto de li cunti (The Story of Stories), or Pentamerone. It featured the tale of Cenerentola, which features a wicked step mother and step sisters, magical transformations, a missing slipper, and a hunt by a prince for the owner of the slipper.

    Plot (Cenerentola)

    A widowed prince has a daughter, Zezolla (the Cinderella figure), who is tended by a beloved governess. The governess, with Zezolla's help, persuades the prince to marry her. The governess then brings forward six daughters of her own, who abuse Zezolla , and send her into the kitchen to work as a servant. The prince goes into the island of Sardinia, meets a fairy who gives presents to his daughter, and brings back for her, a golden spade, a golden bucket, a silken napkin, and a date seedling. The girl cultivates the tree, and when the king gives a ball, Zezolla appears dressed richly by a fairy living in the date tree. The king falls in love with her, but Zezolla runs away before he can find out who she is. Twice Zezolla escapes the king and his servants. The third time, the king's servant captures one of her slippers. The king invites all of the maidens in the land to a feast with a shoe-test, identifies Zezolla after the shoe jumps from his hand to her foot, and eventually marries her.[10]

    One of the most popular versions of Cinderella was written by Charles Perrault in 1697. The popularity of his tale was due to his additions to the story, including the pumpkin, the fairy-godmother and the introduction of glass slippers.[11]

    Another well-known version was recorded by the German brothers Jacob and Wilhelm Grimm in the 19th century. The tale is called "Aschenputtel" ("Cinderella" in English translations) and the help comes not from a fairy-godmother but the wishing tree that grows on her mother's grave.

    Plot (Aschenputtel)

    A rich gentleman's wife lay dying, and calling her only daughter to her bedside, asked her to remain kind and generous, and God will protect her. She then died and was buried. After a transition of seasons (winter and spring) the widower married another woman, who had two daughters of her own; they were beautiful yet cruel and wicked. The stepsisters destroyed the girl's clothes, sent her into the kitchen to do the worst chores, and renamed her Cinderella. Despite all of this the girl remained good and pious, and would always go to her mother's grave to cry and pray to God to give better circumstances for herself.

    One day, the gentleman visits a fair, promising his stepdaughters gifts of luxury. One asks for beautiful dresses, while the other for pearls and diamonds. His own daughter merely asks for the first twig that will hit his hat off on the way. The gentleman goes into his way, and acquires presents for his stepdaughters. While passing a forest he gets a hazel twig, and gives it to his daughter. She plants the twig over her mother's grave, waters it with her tears and over the years, it grows into a glowing hazel tree. Under it the girl would pray for thrice a day, and a white bird would always come to talk and grant her everything she would ask for.

    The king decides to give a festival that will last for three whole days and nights, and invites all the beautiful maidens in the land to attend, because the prince is supposed to select from one of them a bride for himself. The two sisters were also invited, but when Cinderella begged them to allow her to go with them into the celebration, the stepmother scoffed her off, because she had no dress nor shoes to wear. When the girl insisted, the woman threw a dish of lentils into the ashes for her to pick up, guaranteeing her permission to attend the festival, and when the girl accomplished the task in less than an hour with the help of two, white doves sent by God from Heaven, the stepmother only redoubled the task and threw down even a greater quantity of lentils. When Cinderella was able to accomplished it in a greater speed, not wanting to spoil her daughters' chances, the stepmother hasted away with them to the ball and left the crying stepdaughter behind.

    The girl retreats to the graveyard to ask for help. The white bird drops a silver gown and silk shoes. She goes to the ball, with the precaution of leaving before midnight. The prince dances with her, but she eludes him before midnight strikes. The next evening, the girl appeared in a grander apparel. The prince fell in-love with her and danced her the whole evening, but when midnight came, she left again. The third evening, she appeared dressed with gold. Now the prince was determined to keep her, and had entire stairway smeared with pitch. Cinderella lost her track of time, and when she ran away to leave, one of her golden slippers stuck on that pitch. The prince proclaimed that he would marry the maiden whose foot would fit the golden slipper.

    The next morning, the prince went into Cinderella's house and tried the slipper on the eldest stepsister. The sister was advised by her mother to cut off her heel in order to fit the slipper, and while riding with the prince, the two doves from Heaven told the Prince that blood drips from her heel. Appalled at her treachery, he went back again and tried the slipper to the other stepsister. She cut off her toe in order to get in her foot in the slipper, and again the prince was fooled. While he was riding with her on the way to the king's castle, the doves alerted him again about the blood on her foot. He came back to inquire for another girl. The gentleman tells him that they kept a kitchen-maid in the house - yet did not mention that she was his own daughter - and the prince asked him to let her try the slipper. The girl appeared after washing herself, and when she had put on the slipper, the prince recognized her as the stranger he danced at the ball.

    In the end during Cinderella's wedding, as she was walking down the aisle with her stepsisters as her bridesmaids, for they had hoped to worm their way into her favor, the doves from Heaven flew down and struck the two stepsister's eyes, one in the left and the other in the right. When the wedding comes to an end, and Cinderella and her prince march out of the church, the doves fly again, striking the remaining eyes of the two evil sisters blind, a punishment they have to endure for the rest of their lives.

    Plot (taken from Perrault)

    Oliver Herford illustrated the fairy godmother inspired by the Perrault version

    (See above for many variations)

    Once upon a time, there was a widower who married a proud and haughty woman as his second wife. She had two daughters, who were equally vain. By his first wife, he'd had a beautiful young daughter, a girl of unparalleled goodness and sweet temper. The Stepmother and her daughters forced the first daughter into servitude, where she was made to work day and night in menial chores. After the girl's chores were done for the day, she would retire to the barren and cold room given to her, and would curl up near the fireplace in an effort to stay warm. She would often arise covered in cinders, giving rise to the mocking nickname "Cinderella". Cinderella bears the abuse patiently and dares not tell her father, since his wife controls him entirely.

    One day, the Prince invites all the young ladies in the land to a ball, planning to choose a wife from amongst them. The two Stepsisters gleefully planned their wardrobes for the ball, and taunted Cinderella by telling her maids were not invited to the ball.

    As the sisters depart to the ball, Cinderella cries in despair. Her Fairy Godmother magically appears and immediately begins to transform Cinderella from house servant to the young lady she was by birth, all in the effort to get Cinderella to the ball. She turns a pumpkin into a golden carriage, mice into horses, a rat into a coachman, and lizards into footmen. She then turns Cinderella's rags into a beautiful jeweled gown, complete with a delicate pair of glass slippers. The Godmother tells her to enjoy the ball, but warned that she had to return before midnight, when the spells would be broken.

    At the ball, the entire court is entranced by Cinderella, most especially the Prince. At this first ball, Cinderella remembers to leave before midnight. Back home, Cinderella graciously thanks her Godmother. She then greets the stepsisters, who had not recognized her earlier and talked of nothing but the beautiful girl at the ball.

    Another ball is held the next evening, and Cinderella again attends with her Godmother's help. The Prince has become even more entranced, and Cinderella in turn becomes so enchanted by him she loses track of time and leaves only at the final stroke of midnight, losing one of her glass slippers on the steps of the palace in her haste. The Prince chases her, but outside the palace, the guards watch only a simple country wench leave. The Prince pockets the slipper and vows to find and marry the girl to whom it belonged. Meanwhile, Cinderella keeps the other slipper, which did not disappear when the spell was broken.

    The Prince tries the slipper on all the women in the kingdom. When the Prince arrives at Cinderella's villa, the stepsisters try in vain to win over the prince. Cinderella asks if she might try, while the stepsisters taunt her. Naturally, the slipper fits perfectly, and Cinderella produces the other slipper for good measure. The stepsisters beg for forgiveness, and Cinderella forgives them for their cruelties.

    Cinderella marries the Prince, and the stepsisters also marry two lords.

    The first moral of the story is that beauty is a treasure, but graciousness is priceless. Without it, nothing is possible; with it, one can do anything.[12]

    However, the second moral of the story mitigates the first one and reveals the criticism that Perrault is aiming at: "Another moral: Without doubt it is a great advantage to have intelligence, courage, good breeding, and common sense. These, and similar talents come only from heaven, and it is good to have them. However, even these may fail to bring you success, without the blessing of a godfather or a godmother."[13]

    Types

    Folklorists have long studied variants on this tale across cultures.[14] In 1893, Marian Roalfe Cox, commissioned by the Folklore Society of Britain, produced Cinderella: Three Hundred and Forty-Five Variants of Cinderella, Catskin and, Cap o'Rushes, Abstracted and Tabulated with a Discussion of Medieval Analogues and Notes.[14]

    Further morphology studies have continued on this seminal work.[14]

    Cinderella is classified as Aarne-Thompson type 510A, the persecuted heroine. Others of this type include The Sharp Grey Sheep, The Golden Slipper, The Story of Tam and Cam, Rushen Coatie, Fair, Brown and Trembling and Katie Woodencloak.[15]

    Adaptations

    Massenet's opera Cendrillon
    Pantomime at the Adelphi
    Cinderella Christmas exhibit in Minden, Louisiana

    The story of "Cinderella" has formed the basis of many notable works:

    Opera

    Ballet

    Ice Show

    Verse

    Theater

    Pantomime

    Cinderella debuted as a pantomime on stage at the Drury Lane Theatre, London in 1904 and at the Adelphi Theatre in London in 1905. Phyllis Dare, aged 14 or 15, starred in the latter. In 1926, Cinderella was caught on film in the London Palladium, starring Lennie Dean in the lead role.

    In the traditional pantomime version the opening scene is set in a forest with a hunt in sway and it is here that Cinderella first meets Prince Charming and his "right-hand man" Dandini, whose name and character come from Gioachino Rossini opera (La Cenerentola). Cinderella mistakes Dandini for the Prince and the Prince for Dandini.

    Her father, Baron Hardup, is under the thumb of his two stepdaughters, the Ugly sisters, and has a servant named Buttons, who is Cinderella's friend. Throughout the pantomime, the Baron is continually harassed by the Broker's Men (often named after current politicians) for outstanding rent. The Fairy Godmother must magically create a coach (from a pumpkin), footmen (from mice), a coach driver (from a frog), and a beautiful dress (from rags) for Cinderella to go to the ball. However, she must return by midnight, as it is then that the spell ceases.

    A version debuted in the USA at the El Portal Theatre, NoHo in 2010. It was produced by Lythgoe Family Productions of So You Think You Can Dance fame and MPI Entertainment.

    Musical theatre

    The Rodgers and Hammerstein version has also been staged live at times. A successful version ran in 1958 at the London Coliseum with a cast including Tommy Steele, Yana, Jimmy Edwards, Kenneth Williams and Betty Marsden. This version was augmented with several other Rodgers and Hammerstein's songs plus a song written by Tommy Steele, "You and Me" which he sang with Jimmy Edwards. Bobby Howell was the musical director. A 2005 version featured Paolo Montalbán and an ethnically diverse cast, like the 1997 TV version. Broadway Asia Entertainment produced a staged International Tour starring Lea Salonga and Australian actor Peter Saide in 2008.
    • Mr. Cinders, a musical which opened at the Adelphi Theatre, London in 1929. Filmed in 1934
    • Into the Woods by Stephen Sondheim (1988), in which Cinderella is one of many fairy tale characters who take part in the plot. This is partly based on the Grimm Brothers version of "Cinderella," including the enchanted birds, mother's grave, three balls, and mutilation and blinding of the stepsisters.
    • The Return of The Glass Slipper by Mary Donelly
    • Cinderella by Kate Hawley is written in the style of British pantos.
    • Cindy, a 1964 Off-Broadway musical composed by Johnny Brandon
    • Золушka (or Zolushka), a 2002 made-for-TV Russian pop musical
    • Cinderella (2007), a pantomime written by Stephen Fry for the Old Vic Theatre
    • Cinderella the Musical (2008), features J-Pop group Morning Musume and the Takarazuka Revue
    • Cinderella Sillyious Musical (2008/09), a musical comedy produced by Ross Petty for the Elgin Theatre Toronto
    • If the shoe fits (2011) Riverside Theater Guild
    • Cinderella the Musical "Moscow operetta"

    Films

    Over the decades, hundreds of films have been made that are either direct adaptations from Cinderella or have plots loosely based on the story. Almost every year at least one, but often several such films are produced and released, resulting in Cinderella becoming a work of literature with one of the largest numbers of film adaptations ascribed to it.

    Books

    • Cox M.-R. Cinderella. Three Hundred and Forty-five Variants of Cinderella, Catskin, and Cap 0’ Rushes, abstracted and tabulated, with a discussion of mediaeval analogues, and notes, by Marian Roalfe Cox. L., 1893.
    • Rooth A.B. The Cinderella cycle. Lund: Gleerup, 1951.
    • 50 Ways To Retell A Story: Cinderella by Alan Peat, Julie Peat and Christopher Storey: Published by Creative Educational Press Ltd 2010. ISBN 978-0-9544755-5-0.

    Novels

    Comic books

    Songs

    Cinderella jumprope song

    There is a jumprope song for children that involves Cinderella[21]:

    Cinderella dressed in yellow, went upstairs to kiss her fellow, by mistake she kissed a snake, how many doctors will it take? 1, 2, 3, 4, 5, 6, 7, 8, 9, 10 etc. (Go to 20 then go down to the next line)
    Cinderella dressed in blue, went upstairs to tie her shoe, made a mistake and tied a knot, how many knots will she make? 1, 2, 3, etc.
    Cinderella dressed in green, went downtown to buy a ring, made a mistake and bought a fake, how many days before it breaks? 1, 2, 3, etc.
    Cinderella dressed in lace, went upstairs to fix her face, oh no oh no, she found a blemish, how many powder puffs till she's finished? 1, 2, 3, etc.
    Cinderella dressed in silk, went outside to get some milk, made a mistake and fell in the lake, how many more till she gets a break? 1, 2, 3, etc.

    The counting continues as long as the jumper avoids missing a jump. If they do then the counting starts again.

    Variations:

    Cinderella dressed in yellow, went downtown to meet her fellow (or "to buy some mustard"). On the way, her girdle busted. All the people were disgusted.
    (Heard in Jackson Heights, Queens, late 1950s)

    Cinderella dressed in yellow, went upstairs to kiss her fellow. how many kisses did she give him?
    (Heard in Northern Ireland)

    Cinderella dressed in yell'a, went downstairs to kiss a fell'a. Made a mistake and kissed a snake, how many stitches (or "doctors") did it take?"

    Cinderella dressed in yell'a, went downtown to kiss her fell'a. How many kisses did he get? 1,2,3 etc. (Heard in Leesburg, Florida, Early 2009)

    Cinderella dressed in yell'a, tell me the name of your sweet fella a,b,c,d,e,f,g,h,i,j,k,,l,m,n,o,p,q,r,s,t,u,v,w,x,y,z (The jumper runs out when the first letter of their crush or boyfriend/girlfriend's name is called and shouts their name at the same time)

    Video games

    In 2005, Disney released Disney's Cinderella: Magical Dreams for the Nintendo Game Boy Advance. Cinderella was also featured in Disney's / Square's video game Kingdom Hearts[22] where she is one of the seven princesses of heart which are needed to open the door to darkness. She, along with her entire world, also are in Kingdom Hearts: Birth by Sleep.

    In other languages

    Language Name Romanisation
    Arabic رودوبس Rūdūbis
    Bulgarian Пепеляшка Pepelyashka
    Catalan Ventafocs
    Chinese 灰姑娘 Huīgūniang
    Croatian Pepeljuga
    Czech Popelka
    Danish Askepot
    Dutch Assepoester
    English Cinderella
    Estonian Tuhkatriinu
    Filipino Sinderela
    Finnish Tuhkimo
    French Cendrillon
    German Aschenputtel
    Greek Σταχτοπούτα Stachtopoúta
    Hebrew סינדרלה\לכלוכית Sinderela\Lichluchit
    Hindi सिंडिरेल्ला Sindirēllā
    Hungarian Hamupipőke
    Indonesian Cinderella
    Irish Cinderella
    Icelandic Öskubuska
    Italian Cenerentola
    Japanese シンデレラ Shinderera
    Korean 신데렐라 Sinderella
    Latvian Pelnrušķīte
    Lithuanian Pelenė
    Macedonian Пепелашка Pepelashka
    Malaysia cinderela
    Norwegian (bokmål) Askepott (Originally the name of Askeladden)
    Norwegian (nynorsk) Oskepott (Originally the name of Oskeladden)
    Persian سیندرلا Sinderela
    Polish Kopciuszek
    Portuguese Cinderela
    Romanian Cenuşăreasă
    Russian Золушка Zolushka
    Serbian Пепeљуга Pepeljuga
    Slovak Popoluška
    Slovenian Pepelka
    Swedish Askungen
    Spanish Cenicienta
    Thai ซินเดอเรลล่า Cinderella
    Turkish Külkedisi
    Vietnamese Công Chúa Lọ Lem
    Ukrainian Попелюшка Popelyushka

    See also

    Footnotes

    1. ^ Zipes, Jack (2001). The Great Fairy Tale Tradition: From Straparola and Basile to the Brothers Grimm. W. W. Norton & Co. p. 444. ISBN 978-0393976366. 
    2. ^ Although both the story's title and the character's name change in different languages, in English-language folklore "Cinderella" is the archetypal name.
    3. ^ Bottigheimer, Ruth. (2008). "Before Contes du temps passe (1697): Charles Perrault's Griselidis, Souhaits and Peau". The Romantic Review, Volume 99, Number 3. pp. 175-189
    4. ^ Strabo (23). "Strabo's account of Rhodopis". The Geography. http://penelope.uchicago.edu/Thayer/E/Roman/Texts/Strabo/17A3*.html#ref178. Retrieved 25 March 2010. 
    5. ^ "The Egyptian Cinderella", an embellished retelling.
    6. ^ Anderson, Graham (2000). Fairytale in the ancient world. Routledge. p. 27. ISBN 978-0415237024. http://books.google.com/id=B2DAAlUrbBIC&pg=PA27&dq=Fairytale+in+the+ancient+world+rhodopis&cd=1#v=onepage&q=Fairytale%20in%20the%20ancient%20world%20rhodopis. Retrieved 25 March 2010. 
    7. ^ Herodotus. The Histories. http://www.perseus.tufts.edu/hopper/searchresults?target=en&inContent=true&q=Rhodopis&doc=Perseus%3Atext%3A1999.01.0126. Retrieved 25 March 2010. , book 2, chapters 134 and 135.
    8. ^ Aelian, "Various History", 13.33
    9. ^ Ulrich Marzolph, Richard van Leeuwen, Hassan Wassouf (2004). The Arabian Nights Encyclopedia. ABC-CLIO. p. 4. ISBN 1576072045. 
    10. ^ http://www.surlalunefairytales.com/pentamerone/6cenerentola1911.html
    11. ^ An modern edition of the original French text by Perrault is found in Charles Perrault, Contes, ed. Marc Soriano (Paris: Flammarion, 1989), pp. 274-79.
    12. ^ Perrault: Cinderella; or, The Little Glass Slipper
    13. ^ Perrault: Cinderella; or, The Little Glass Slipper
    14. ^ a b c "If The Shoe Fits: Folklorists' criteria for #510"
    15. ^ Heidi Anne Heiner, "Tales Similar to Cinderella"
    16. ^ http://www.youtube.com/watch?v=yc8AN1feUkA
    17. ^ Perlman, Janet (1981). "The Tender Tale of Cinderella Penguin". NFB.ca. National Film Board of Canada. http://www.nfb.ca/film/the_tender_tale_of_cinderella_penguin. Retrieved 2009-03-12. 
    18. ^ Confessions of an Ugly Stepsister (2002)
    19. ^ Amanda Seyfried Rumored for Live-Action CINDERELLA
    20. ^ "Ash". Amazon.com. http://www.amazon.com/Ash-Malinda-Lo/dp/031604010X/ref=sr_1_1?s=books&ie=UTF8&qid=1327106062&sr=1-1. Retrieved 21 January 2012. 
    21. ^ The British Library. "Skipping games - Cinderella, dressed in yellow". Playtimes. The British Library. http://www.bl.uk/learning/langlit/playground/browseadultview.html#cm=Videos&gm=Skipping&id=120554&id2=121109. Retrieved 5 August 2011. 
    22. ^ Anise Hollingshead, "Review of Disney's Cinderella: Magical Dreams," GameZone (10/03/2005).

    External links


    Translations:

    Cinderella

    Top

    Dansk (Danish)
    n. - Askepot

    Nederlands (Dutch)
    Assepoester

    Français (French)
    n. - Cendrillon

    Deutsch (German)
    n. - Aschenbrödel, Stiefkind

    Ελληνική (Greek)
    n. - Σταχτοπούτα

    Italiano (Italian)
    cenerentola

    Português (Portuguese)
    n. - Cinderela (f)

    Русский (Russian)
    Золушка

    Español (Spanish)
    n. - la Cenicienta

    Svenska (Swedish)
    n. - Askungen, styvbarn (bildl.)

    中文(简体)(Chinese (Simplified))
    灰姑娘

    中文(繁體)(Chinese (Traditional))
    n. - 灰姑娘

    한국어 (Korean)
    n. - 신데렐라, 숨은 재원, 일약 유명해진 사람

    日本語 (Japanese)
    n. - シンデレラ, まま子扱いされる者, 隠れた美人, シンデレラのような

    العربيه (Arabic)
    ‏(الاسم) شخص أو شي ما مهمل و غير مقدر حق قدره‏

    עברית (Hebrew)
    n. - ‮לכלוכית, סינדרלה‬


     
     
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    Oxford Dictionary of English Folklore. A Dictionary of English Folklore. Copyright © 2000, 2003 by Oxford University Press. All rights reserved.  Read more
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    Oxford Companion to Fairy Tales. The Oxford Companion to Fairy Tales. Copyright © 2000, 2002, 2005 by Oxford University Press. All rights reserved.  Read more
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    Dictionary of Cultural Literacy: Mythology. The New Dictionary of Cultural Literacy, Third Edition Edited by E.D. Hirsch, Jr., Joseph F. Kett, and James Trefil. Copyright © 2002 by Houghton Mifflin Company. Published by Houghton Mifflin. All rights reserved.  Read more
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