28 pages • 56 minutes read
The Little Glass Slipper
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Background
Societal Context: The Role of Literature in 17th Century Society
During the Enlightenment, writers like Charles Perrault debated 17th-century contemporaries regarding the modern movement versus the ancient classics. His argument did not sit well with those who revered the legacy of the Greeks and Romans. He defended his beliefs and wrote Le Parallèle des Anciens et des Modernes en ce qui regarde les Arts et les Sciences (Parallel Between Ancients and Moderns Concerning Arts and Sciences). In line with his philosophy of challenging then-classic Greco-Roman literature, Perrault interpreted well-known folktales, traditionally shared orally from generation to generation, into published works that ultimately led to a standardized format for fairytales. His collection titled Tales of Mother Goose, in addition to “Cinderilla,” included “Little Red Riding Hood” and “Sleeping Beauty in the Woods.”
This fairy tale was published in 1697 during the reign of Louis XIV, who passionately encouraged artistic culture in his court. Perrault wrote many pieces for the king as part of his patronage. The aristocracy and the royal court significantly influenced the literature and arts of the time. During this period, there was a growing interest in storytelling and folklore. Fairy tales were popular among the modern French elite, particularly in literary salons; these were intentionally set apart from the court, where writers and intellectuals gathered to discuss literature. In an article published at John Hopkins University in 2004, Steven Kale discussed literary salons, stating, “salon[s] encouraged socializing between the sexes [and] brought nobles and bourgeois together” (Kale, Steven. “French Salons: High Society and Political Sociability from the Old Regime to the revolution of 1848.“ Baltimore: The John Hopkins University Press, 2004).
Salons helped break down social barriers, making the enlightened salons’ development possible, especially for women who otherwise had no voice or value in court. They challenged some of the gender social norms of the time, giving women a place to occupy that wasn't domestic.
Perrault was a member of these salons and contributed to developing literary culture. Perrault, with his often-female audience, included morals to engage his newfound listeners further. In the case of “The Little Glass Slipper,” the “rags to riches” narrative and moral couplet were designed to appeal to feminine virtues, the upholding of societal expectations, and the desire for social climbing and finding favor among the nobility.
Literary Context: Fairy Tale Origins and Influences
“Cinderilla,” whose heroine is known today as Cinderella, is a timeless fairy tale that has been retold and adapted in various forms throughout history. Its origins date back to ancient folk tales and myths from different cultures worldwide. The story has a rich literary and cultural significance, reflecting the values and beliefs of diverse societies.
The story dates back to the sixth century BCE in ancient Greece. In this tale, an eagle steals a shoe from Rhodopis, a courtesan. Soaring away, he gives it to an Egyptian king, who finds the shoe dropped into his lap. An article at Vox.com discusses the legacy of Cinderella and describes the king's reaction: “Taking the shoe drop as a sign from the heavens (literally and metaphorically), the king goes on a quest to find the owner of the shoe. When he finds Rhodopis, he marries her, lifting her from her lowly status to the throne” (McKinney, Kelsey. “Disney didn’t invent Cinderella. Her story is at least 2,000 years old.“ Vox.com).
The Cinderella archetype can also be traced to the time of the Tang dynasty in China. Yu Yang Tsa Tsu by Tuan Ch’êng-shih features a similar tale with an orphan girl and wicked stepmother: According to Carolina Ciucci at Bookriot.com, the orphan girl’s “only friend was a fish, and her stepmother eventually killed it out of spite. [The girl], following a stranger’s advice, prayed over its bones whenever she wanted something…like a dress and shoes to attend a cave-festival” (Ciucci, Carolina. “A History of the Cinderella Fairytale.” Bookriot.com). In other words, the fish was her fairy godmother. Similarly, in a story from the medieval Philippines, the Cinderella character meets the reincarnation of her mother in the form of a talking fish, Gold Eyes, whom the heroine’s wicked stepmother and stepsisters kill.
Cinderella-type characters can also be found in One Thousand and One Nights, a collection of medieval Middle Eastern stories. Several tales explore the abuse of a young person—sometimes male, sometimes female—by envious elders. Unlike the version of Cinderella we are familiar with today, one of these stories does not have a happily ever after, and ends with two siblings poisoning their younger brother.
“Cenerentola,” a Cinderella-type tale appearing in a 17th-century Italian collection, also features a darker undertone, with the heroine marrying a brutal king. This story provided the foundation for Perrault’s “Cinderilla” and the version by the Brothers Grimm. The Brothers Grimm version, written by German academics and published in 1812, is also not PG-rated. The stepsisters cut off parts of their feet to squeeze into the glass slipper, and later, birds blind them. The Cinderella character, known as Aschenputtel, is more resilient than the Cinderella of today. Instead of being saved by a fairy godmother, she creates her own: Using a twig, she grows a tree on her mother’s tomb, nurturing it with her tears. The tree, blooming, gives her anything she desires.
A Japanese tale presents a Cinderella-like story: Chūjō-hime, the heroine, escapes from her wicked stepmother with the assistance of Buddhist nuns and finds refuge in their convent. In a Korean tale, the Cinderella character, Kongji, is abused by her sister and stepmother. At a feast, she meets the prince character, the mayor’s son.
Some retellings of Cinderella include Rodgers and Hammerstein's musical Cinderella, Stephen Sondheim’s Into the Woods, Johnny Brandon’s off-Broadway musical Cindy, Stephen Fry’s pantomime Cinderella, and Walt Disney’s animated Cinderella. Films like Pretty Woman and She’s All That draw from the core of the Cinderella myth, in which a woman is transformed and saved by a man considered by others to be out of her league.
Overall, Cinderella's literary and cultural history showcases the enduring appeal of the rags-to-riches narrative, the transformative power of love and kindness, and the universal desire for a happily-ever-after ending.
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By Charles Perrault
