Glass Slippers and Fairy Godmothers: A Fairy Tale for All Time

Glass Slippers and Fairy Godmothers: A Fairy Tale for All Time
The prince of the realm is enchanted by the mysterious guest in director Kenneth Brannagh's "Cinderella." MovieStillsDB
Jeff Minick
Updated:

Charles Perrault (1628–1703) was well advanced in years when he built his greatest monument.

For over 30 years, Perrault worked as a public servant, often in the employ of King Louis XIV. He wrote poetry and pamphlets celebrating the Sun King’s military victories and accomplishments.

As first commissioner of royal buildings, he appointed his brother, an architect, to complete the work on the Louvre and to build the Paris Observatory. He served as secretary to the newly founded Academy of Inscriptions and Belles-Lettres, helped establish the Academy of Sciences, and held the post of chancellor at the French Academy.

Even before his retirement around age 55 from public service, Perrault was also a prolific writer of verse, often long poems with Christian themes. In addition, he composed a four-volume work defending the art and science of his day as opposed to those who cherished the culture of the ancient Greeks and Romans.

Despite Perrault’s engagement in public life, today only historians remember him for these many achievements. The rest of the world knows Charles Perrault as the father of the fairy tale.

Charles Perrault, author of “Cinderella, or the Little Glass Slipper,” is known today as the father of the fairy tale. “Portrait of Charles Perrault,” circa 1670, by Charles Le Brun. (Public Domain)
Charles Perrault, author of “Cinderella, or the Little Glass Slipper,” is known today as the father of the fairy tale. “Portrait of Charles Perrault,” circa 1670, by Charles Le Brun. Public Domain

In 1697, under the name of his youngest son—he feared criticism from his literary enemies—Perrault published “Tales and Stories of the Past With Morals“ (”Histoires ou Contes du Temps Passé“), also known by its subtitle “Tales of Mother Goose” (“Les Contes de Ma Mère l'Oie”). Originally having gathered together eight of these traditional oral stories, Perrault soon added three more to his “Mother Goose” collection.

At the time of his death, the books were selling wildly, purchased by an audience who had heard these stories in their childhood and wished to share them with their own children. Over a century later, between 1842 and 1913, some 230 editions of this collection found readers around the world.

One of these stories was “Cinderella, or the Little Glass Slipper“ (”Cendrillon ou la Petite Pantoufle de Verre"). It remains one of the world’s most popular and well-known fairy tales.

The Standard: Perrault’s 

Though variations exist, Perrault’s version remains the template for Cinderella stories.

Here in his tale are the elements we know so well: the cruel stepmother, the two nasty stepsisters, and the fairy godmother who grants Cinderella’s wish to attend the royal ball. With her magic, the fairy godmother transforms a pumpkin into a coach, six mice into splendid horses, a rat into the coachman, and six lizards into footmen. Another touch of her magic wand, and Cinderella’s “clothes turned into cloth of gold and silver, all beset with jewels.”

Cinderella (Lily James) attends the royal ball in a pumpkin transformed into a coach, in "Cinderella." (MovieStillsDB)
Cinderella (Lily James) attends the royal ball in a pumpkin transformed into a coach, in "Cinderella." MovieStillsDB

And off our heroine goes to the ball, forewarned by her godmother that at the stroke of midnight all her finery, coach, and attendants would lose their magic and become just as they were. As soon as she enters the great hall of the royal palace, the dancing and the music stop, and the crowd falls silent, “so entranced was everyone with the singular beauties of the unknown newcomer.” The prince himself becomes so smitten by her beauty and grace that he “ate not a morsel.”

In Perrault’s telling, Cinderella leaves that ball before midnight, returns the next evening even more finely decked out, and again casts her spell of beauty over the attendees—but loses track of time and barely escapes before her gown and jewels revert to rags. She manages to arrive home with one of her glass slippers, but loses the other in her hasty retreat from the festivities.

The fairy godmother (Helena Bonham Carter) does her magic so Cinderella can attend the ball, in "Cinderella." (MovieStillsDB)
The fairy godmother (Helena Bonham Carter) does her magic so Cinderella can attend the ball, in "Cinderella." MovieStillsDB

The smitten prince decrees that the maiden whose foot fits the slipper will become his bride. Even though she is mocked by her stepsisters, Cinderella asks to try her foot in the slipper. When it fits perfectly, “as if it had been made of wax,” she pulls the other slipper from her pocket.

Her fairy godmother makes an appearance, touches her with the wand, and she glitters once more like the beauty at the ball. The stepsisters throw themselves at her feet and beg her forgiveness for their mistreatment. Cinderella embraces them and offers pardon, saying that she “wanted them always to love her.”

Cinderella's stepsisters (Holliday Grainger, C, and Sophie McShera, R) beg Cinderella's forgiveness, and she welcomes them into her new home, in "Cinderella." (MovieStillsDB)
Cinderella's stepsisters (Holliday Grainger, C, and Sophie McShera, R) beg Cinderella's forgiveness, and she welcomes them into her new home, in "Cinderella." MovieStillsDB
After marrying the prince, Cinderella, “who was no less good than beautiful,” took her sisters into the palace and found two lords for their husbands.

Cinderella Off the Page

Perrault’s “Cinderella” has not only appeared in hundreds of different editions, including anthologies, but has also attracted audiences through dance, plays, and film. Just this past October, for instance, choreographer Ben Stevenson directed the Philadelphia Ballet in Sergei Prokofiev’s “Cinderella.”
The first attempt to put Perrault’s story on film was in 1899, a short French movie deemed a failure. Since then, however, a number of movies about the chargirl and her fairy godmother, the most successful of them from Walt Disney Studios, have attracted throngs of theatergoers.

From 1957, for instance, we have this remarkable event. Richard Rodgers and Oscar Hammerstein II made a musical of “Cinderella” for television. This one-time show—television was then “live”—was watched by more than 107 million people, the largest TV audience in history up to that time, a number that made up 60 percent of the American population.

Though that performance disappeared as soon as it ended, a dress rehearsal was filmed, and viewers can watch that production along with an opening monologue by its star, Julie Andrews, on YouTube.
More recently, director Kenneth Branagh and writer Chris Weitz collaborated on a brilliant, live-action “Cinderella” released in 2015. In their movie, with a few changes of detail, they adhered closely to Perrault’s original story.

The cinematography is beautifully done, the costumes lavish, and the actors—particularly Lily James as Cinderella, Richard Madden as the prince, and Cate Blanchett as the stepmother—give outstanding performances. But surely the film’s most notable asset is its portrait of love, romance, and virtue.

The wicked stepmother (Cate Blanchett, L) gives orders to Cinderella (Lily James) in "Cinderella." (MovieStillsDB)
The wicked stepmother (Cate Blanchett, L) gives orders to Cinderella (Lily James) in "Cinderella." MovieStillsDB
Branagh and Weitz never forget that they’re telling a timeless tale, and so avoid any intrusions of modernity—cynicism, feminism, politics—that might otherwise have marred their story. Several reviewers were struck by the movie’s deep sense of moral virtue, including some critics associated with religious publications. As Michael Jameson of The Catholic World Report noted:

The most refreshing thing about this film is that, at several turns, it portrays a world in which the virtuous choice is the beautiful choice, and the reason for a character’s likeability is not her spectacular good looks, but ultimately her pure and virtuous heart, according to fairly traditional standards.

The Moral of This Story Is ...

“I have to tell you a secret that will see you through all the trials that life can offer,” says her dying mother to Cinderella in Branagh’s film. “Have courage and be kind.”
That wise advice runs through the movie, just as Perrault appended a moral to each of his fairy tales. In fact, in the case of “Cinderella,” Perrault offered readers two morals to be drawn from the story:

Moral: Beauty in a woman is a rare treasure that will always be admired. Graciousness, however, is priceless and of even greater value. This is what Cinderella’s godmother gave to her when she taught her to behave like a queen. Young women, in the winning of a heart, graciousness is more important than a beautiful hairdo. It is a true gift of the fairies. Without it nothing is possible; with it, one can do anything.

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.

A Message Especially for Us

From both Perrault’s story and Branagh’s movie, we moderns might draw one more lesson from Cinderella about the value and beauty of innocence. In an age such as ours, when so many people want children to be taught about sexuality as if it were a course in auto mechanics, and when even the definitions of a man and a woman are up for debate, the story of Cinderella can act as a counterweight.
Cinderella (Lily James) and her prince (Richard Madden) live happily ever after, in "Cinderella." (MovieStillsDB)
Cinderella (Lily James) and her prince (Richard Madden) live happily ever after, in "Cinderella." MovieStillsDB

Her story embodies the virtues of purity, a heart unsullied by resentment over her cruel treatment, and a heart that understands and longs for true love.

The cinematic “Cinderella” ends with these words: “And Ella continued to see the world not as it is, but as it could be, if only you believe in courage, and kindness, and occasionally, just a little bit ... of magic.”

Our children need that magic.

And so, as Charles Perrault might tell the rest of us, do we all.

Jeff Minick
Jeff Minick
Author
Jeff Minick has four children and a growing platoon of grandchildren. For 20 years, he taught history, literature, and Latin to seminars of homeschooling students in Asheville, N.C. He is the author of two novels, “Amanda Bell” and “Dust On Their Wings,” and two works of nonfiction, “Learning As I Go” and “Movies Make The Man.” Today, he lives and writes in Front Royal, Va.
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