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Cinderella

 
English Folklore: Cinderella
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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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Dictionary of Dance: Cinderella
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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).

Fairy Tale Companion: 'Cinderella'
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‘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.

Mythology Dictionary: “Cinderella”
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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: Cinderella
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    For other uses, see Cinderella (disambiguation).
    Cinderella
    Cendrillon2.JPG
    Gustave Doré's illustration for Cendrillon
    Folk tale
    Name: Cinderella
    AKA: Cendrillon, Aschenputtel, Cenerentola
    Data
    Aarne-Thompson Grouping: 510a
    Country: Worldwide
    Published in: The Pentamerone (1634)
    Mother Goose Tales (1697)
    Grimm's Fairy Tales (1812)

    Cinderella (French: Cendrillon) is a well-known classic 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 which suddenly change to remarkable fortune. 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

    Origins and history

    The Cinderella theme may well have originated in classical antiquity: The Greek historian Strabo (Geographica Book 17, 1.33) recorded in the 1st century BC the tale of the Greco-Egyptian girl Rhodopis, which is considered the oldest known version of the story.[3][4] Rhodopis (the "rosy-cheeked") washes her clothes in an Ormoc stream, a task forced upon her by fellow servants, who have left to go to a function sponsored by the Pharaoh Amasis. An eagle takes her rose-gilded sandal and drops it at the feet of the Pharaoh in the city of Memphis; he then asks the women of his kingdom to try on the sandal to see which one fits. Rhodopis succeeds. The Pharaoh falls in love with her, and she marries him. The story later reappears with Aelian (ca. 175–ca. 235),[5] showing that the Cinderella theme remained popular throughout antiquity. Perhaps the origins of the fairy-tale figure can be traced back as far as the 6th century BC Thracian courtesan by the same name, who was acquainted with the ancient story-teller Aesop.[6]

    Another version of the story, Ye Xian, appeared in Miscellaneous Morsels from Youyang by Tuan Ch'eng-Shih around A.D. 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 and falls in love with her.

    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.[7]

    Another early story of the Cinderella type came from Japan, involving Chūjō-hime, who runs away from her evil stepmother with the help of Buddhist nuns, and she joins their convent.

    The earliest European tale is "La Gatta Cenerentola" or "The Hearth Cat" which appears in the book "Il Pentamerone" by the Italian fairy-tale collector Giambattista Basile in 1635. This version formed the basis of later versions published by the French author Charles Perrault and the German Brothers Grimm. (Note: In the Brothers Grimm's version, there is no fairy godmother, but her birthmother's spirit represented via two birds from a tree over the mother's grave.)

    Oliver Herford illustrated the fairy godmother inspired from the Perrault version

    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. It was widely believed that in Perrault's version, Cinderella wore fur boots ("pantoufle en vair"), and that when the story was translated into English, vair was mistaken for verre (glass), resulting in glass slippers and that the story has remained this way ever since.[8] However, the "fur theory" has since been disproven.[9]

    Another well-known version was recorded by the brothers Jacob and Wilhelm Grimm in the 19th century. The tale is called "Aschenputtel" ("Ashputtel" in English translations) and the help comes not from a fairy-godmother but the wishing tree that grows on her mother's grave. In this version, the stepsisters try to trick the prince by cutting off parts of their feet in order to get the slipper to fit. The prince is alerted by two pigeons who peck out the stepsisters' eyes, thus sealing their fate as blind beggars for the rest of their lives. In this story, the prince is tricked twice but is spared by the birds. This lowers the Prince's status and he seems less heroic, which can raise Cinderella's status as a strong willpowered individual.[10]

    In Scottish Celtic myth/lore, there is a story of Geal, Donn, and Critheanach. The Stepsisters' Celtic equivalents are Geal and Donn, and Cinderella is Critheanach.

    Plot (taken from Perrault)

    (See above for many variations)

    Once there was a widower who for his second wife, married a proud and haughty woman. She had two daughters, who were equally vain. By his first wife, he had a beautiful young daughter who was a girl of unparalleled goodness and sweet temper. The Stepmother and her daughters forced the first daughter to complete all the housework. When the girl had done her work, she sat in the cinders, which caused her to be called "Cinderella". The poor girl bore it patiently, but she dared not tell her father, who would have scolded her; his wife controlled him entirely.

    One day the Prince invited all the young ladies in the land to a ball so he could choose a wife. As the two Stepsisters were invited, they gleefully planned their wardrobes. Although Cinderella assisted them and dreamed of going to the dance, they taunted her by saying a maid could never attend a ball.

    As the sisters swept away to the ball, Cinderella cried in despair. Her Fairy Godmother magically appeared and vowed to assist Cinderella in attending the ball. She turned a pumpkin into a coach, mice into horses, a rat into a coachman, and lizards into footmen. She then turned Cinderella's rags into a beautiful gown, complete with a delicate pair of glass slippers. The Godmother told her to enjoy the ball, but return before midnight for the spells would be broken.

    At the ball, the entire court was entranced by Cinderella, especially the Prince, who never left her side. Unrecognized by her sisters, Cinderella remembered to leave before midnight. Back home, Cinderella graciously thanked her Godmother. She then greeted the Stepsisters who enthusiastically talked of nothing but the beautiful girl at the ball.

    When another ball was held the next evening, Cinderella again attended with her Godmother's help. The Prince became even more entranced. However, this evening she lost track of time and left only at the final stroke of midnight, losing one of her glass slippers on the steps of the palace in her haste. The Prince chased her, but outside the palace, the guards had seen only a simple country wench leave. The Prince pocketed the slipper and vowed to find and marry the girl to whom it belonged. Meanwhile, Cinderella kept the other slipper, which had not disappeared when the spell had broken.

    The Prince tried the slipper on all the young women in the land. When the Prince arrived at Cinderella's villa, the Stepsisters tried in vain. When Cinderella asked if she might try, the Stepsisters taunted her. Naturally, the slipper fit perfectly, and Cinderella produced the other slipper for good measure. The Stepsisters begged for forgiveness, and Cinderella forgave them for their cruelties.

    Cinderella returned to the palace where she married the Prince, and the Stepsisters also married two lords.

    Moral: Beauty is a treasure, but graciousness is priceless. Without it nothing is possible; with it, one can do anything.[11]

    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.[12]

    Adaptations

    Massenet's Cendrillon
    Prokofiev's Cinderella, choreographed by Frederick Ashton
    Pantomime at the Adelphi

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

    Opera

    Ballet

    Verse

    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 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.

    Musical

    • Cinderella: The Musical by Landon Parks (Book & Lyrics) and Ioannis Kourtis (music) is an English language musical stage show written in 2009, and based on the opera Cendrillon by Jules Massenett.

    Musical Comedy

    Plays

    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. It is perhaps rivalled only by the sheer number of films that have been adapted from or based on Bram Stoker's novel Dracula.[citation needed]

    Books

    Novels

    • Bound by Donna Jo Napoli
    • Confessions of an Ugly Stepsister by Gregory Maguire. Maguire's style of writing is to twist fairy tales. In his novel, Cinderella is the spoiled child.
    • Ella Enchanted by Gail Carson Levine Ella was put under a spell at birth that forces her to obey any order given to her. An unusual twist as it features the ball only in the last few chapters, dealing more with Ella's struggle against the curse and because the prince (Charmont) knows Ella before the ball but does not recognize her as she is in disguise.
    • Cinderellis and the Glass Hill by Gail Carson Levine
    • I was a Rat! or The Scarlet Slippers by Philip Pullman
    • Bella at Midnight by Diane Stanley
    • Just Ella by Margaret Peterson Haddix
    • Nine Coaches Waiting by Mary Stewart
    • The Glass Slipper by Eleanor Farjeon
    • Phoenix and Ashes by Mercedes Lackey
    • When Cinderella Falls Down Dead by Joshua Gabe and Grayian Phoenix. In this version, Cinderella is reembodied into the 21st Century in the body of a young girl.
    • Witches Abroad by Terry Pratchett
    • The Midnight Dancers by Regina Doman makes references to the fairy tale. The heroine Rachel is exploited by her stepmother and stepsisters, and routinely sneaks out to dance.
    • Godmother, The Secret Cinderella Story by Carolyn Turgeon. Lil is the fairy that was given the task of helping Cinderella get to the ball and the prince, but she is trapped in the body of an aging eldery woman for the huge mistake she made. To redeem her mistake, she tries to get two single New Yorkers together to a ball.
    • Her Feet Chime by Rumki Chowdhury. In this Bangladeshi version, Asha's evil aunt and cousin turn her into a servant, renaming her Thamsha, and breaking all family relations with her. Asha's servant friends help her wear a ginger garment and meet her Nawabzada, Bengali Prince, at a palace gathering.
    • Mrs. Beast by Pamela Ditchoff
    • Cindy Ella by Robin Palmer

    Short Stories

    Picture books

    • Cinder Edna by Ellen Jackson and Kevin O'Malley. Cinder Edna is Cinderella's next-door neighbor who also has wicked stepsisters and a stepmother, but she cleans birdcages and mows the lawns for neighbors in her spare time. She marries the prince's younger brother who runs an orphanage for kittens, and lives much more "happily ever after" than Cinderella.
    • The Egyptian Cinderella by Shirley Climo (combines the Greco-Egyptian story of Rhodopis with everyday life in ancient Egypt)
    • The Persian Cinderella by Shirley Climo
    • The Irish Cinderlad
    • Cinder-Lily
    • Sidney Rella and the Glass Sneaker
    • Joe Cinders
    • Bubba the Cowboy Prince
    • Anklet for a Princess
    • Cinderella Skeleton
    • Cindy Big Hair
    • Rufferella
    • Bigfoot Cinderrrrrella
    • Cinderhazel
    • Cinderbear
    • Cinderella Bunny
    • Rexerella
    • Cinder-Elly


    Comic books

    • Cinderella appears as a character in Bill Willingham's Vertigo series, Fables. Cinderella (or "Cindy," as her fellow Fables call her) is the third and final of Prince Charming's ex-wives and is Fabletown's resident super spy. Her cover is the ownership of her own shoe store, the Glass Slipper, and she maintains a bitter persona in order to throw off the suspicions of the rest of her community.
    • Cinderalla by Junko Mizuno
    • Ludwig Revolution by Kaori Yuki. In this version, Cinderella's feet are too large and the series' protagonist lends her his shoe for the evening, acting as her Fairy Godmother. Also, the Prince doesn't hold the ball to find his wife, but to find the woman with large feet who killed his pet lizard, Isolde.

    Cinderella jumprope song

    There is a jumprope song for children that involves Cinderella:

    Cinderella dressed in yellow, went upstairs to kiss her fellow, made a mistake she kissed a snake, how many doctors will it take? 1, 2, 3, etc.
    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. Cinderella was 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 yella, went downstairs to kiss a fella. Made a mistake and kissed a snake, how many stitches did it take?"

    Songs

    		 This article may require cleanup to meet Wikipedia's quality standards. Please improve this article if you can. (March 2008)

    Some popular songs that make reference to the story of Cinderella include:

    Video games

    In 2005, Disney released Disney's Cinderella: Magical Dreams for the Nintendo Game Boy Advance. Cinderella was also featured in Disney's / Squaresoft's video game Kingdom Hearts. [14]

    Cinderella was also featured in Disney's / Squaresoft's video game Kingdom Hearts, where she plays the part as one of the seven princesses of heart which are needed to open the door to darkness. She, along with her entire world, will also be in Kingdom Hearts: Birth by Sleep.

    See also

    Footnotes

    1. ^ Jack Zipes, The Great Fairy Tale Tradition: HELP!, p 444, ISBN 0-393-97636-X
    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. ^ "The Egyptian Cinderella"
    4. ^ "Cinderella", The Every-day Book and Table Book; or, Everlasting Calendar of Popular Amusements, Sports, Pastimes, Ceremonies, Manners, Customs, and Events, Each of the Three Hundred and Sixty-Five Days, in Past and Present Times; Forming a Complete History of the Year, Months, and Seasons, and a Perpetual Key to the Almanac, Including Accounts of the Weather, Rules for Health and Conduct, Remarkable and Important Anecdotes, Facts, and Notices, in Chronology, Antiquities, Topography, Biography, Natural History, Art, Science, and General Literature; Derived from the Most Authentic Sources, and Valuable Original Communication, with Poetical Elucidations, for Daily Use and Diversion. Vol III., ed. William Hone, (London: 1838) pp 719-20. Retrieved on 2008-06-05
    5. ^ Aelian, "Various History", 13.33
    6. ^ Herodot, "The "Histories", 2.134-135
    7. ^ Ulrich Marzolph, Richard van Leeuwen, Hassan Wassouf (2004), The Arabian Nights Encyclopedia, ABC-CLIO, p. 4, ISBN 1576072045 
    8. ^ Funk & Wagnalls New Encyclopedia, 27 vols. (New York: Funk & Wagnalls, Inc., 1975) Vol. 6, p. 133-134 -- This encyclopedia set features this error.
    9. ^ The boots were indeed glass in the original; see http://www.snopes.com/language/misxlate/slippers.asp
    10. ^ Karasek, Barbara and Hallett, Martin, Folk & Fairy Tales. Ormskirk, Lancashire: Broad View Press, 2002.
    11. ^ Perrault: Cinderella; or, The Little Glass Slipper
    12. ^ Heidi Anne Heiner, "Tales Similar to Cinderella"
    13. ^ 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. 
    14. ^ Anise Hollingshead, "Review of Disney's Cinderella: Magical Dreams," GameZone (10/03/2005).

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    Translations: Cinderella
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    Home > Library > Literature & Language > Translations

    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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    Cinderella
    Cindy Eller (1991 Drama Film)
    Fairy Tales: Vol. 1 (1977 Children's/Family Film)

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    English Folklore. A Dictionary of English Folklore. Copyright © 2000, 2003 by Oxford University Press. All rights reserved.  Read more
    Dictionary of Dance. The Oxford Dictionary of Dance. Copyright © 2000, 2004 by Oxford University Press. All rights reserved.  Read more
    Fairy Tale Companion. The Oxford Companion to Fairy Tales. Copyright © 2000, 2002, 2005 by Oxford University Press. All rights reserved.  Read more
    Columbia Encyclopedia. The Columbia Electronic Encyclopedia, Sixth Edition Copyright © 2003, Columbia University Press. Licensed from Columbia University Press. All rights reserved. www.cc.columbia.edu/cu/cup/.  Read more
    Mythology Dictionary. 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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