CINDERELLA

'Cinderella' (French: ''Cendrillon'') is a popular fairy tale embodying a classic folk tale myth-element of unjust oppression/triumphant reward. Thousands of variants are known throughout Europe.^[1]

Contents

Origins and history

Plot summary (taken from Perrault)

Plot variations and alternate tellings

Revisionist retellings

Discussion

Adaptations

Opera

Dance

Pantomime

Musical Comedy

Films

Television

Books

Concept Albums

Cinderella Jumprope Song

Songs

Footnotes

External links

Origins and history

The ancient Greco-Egyptian version of Cinderella where her name is Rhodopis is considered the oldest version of the story.^[2] The tale was first recorded by the Greek historian Strabo in the first century BC.
The most popular version of Cinderella was written by the French author Charles Perrault in 1697, based on an earlier literary fairy tale by Giambattista Basile (''La Gatta cenerentola'' in 1634). Another well-known version in which the girl is called ''Aschenputtel'' was recorded by the German Brothers Grimm in the 19th century.
''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''; ''The Wonderful Birch''; ''Fair, Brown and Trembling'' and ''Katie Woodencloak''.^[3]
Furthermore, Cinderella is probably one of the most popular Disney movies ever created. It is a well-known that portrays the typical fairytale lifestyle with a happy ending marked by Cinderella and Prince Charming's marriage. One can argue that this is one of the greatest stories in the history of story-telling times.

Plot summary (taken from Perrault)

(See below for many variations)
Once there was a widower who married a proud and haughty woman for his second wife. She had two daughters, who were equally haughty. By his first wife, he had a beautiful young daughter of unparalleled goodness and sweet temper. Along with her daughters, the Stepmother employed the daughter in 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 dared not tell her father, who would have scolded her; for his wife controlled him entirely.
The Prince invited all maidens in the land to a ball. As the two Stepsisters were invited, they gleefully planned their wardrobes. Cinderella assisted them, but they still taunted her by saying a cinderwench could never attend a ball.
As the sisters swept away to the ball, Cinderella cried in despair. Her Fairy Godmother appeared and vowed to assist Cinderella in attending the ball. She turned a pumpkin into a coach, mice into horses, a rat in to 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 bade her 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 thanked her Godmother. She then greeted the Stepsisters who could talk of nothing but the beautiful girl at the ball.
With her Godmother's help, she attended the ball the next evening, and entranced the Prince even more. However, she left only at the final stroke of midnight, and lost one of her glass slippers on the steps of the palace. She retained its pair. The Prince chased her, but the guards had seen only a country wench leave. The Prince pocketed the slipper and vowed to find and marry the maiden to whom it belonged.
The Prince tried the slipper on all the maidens in the land. The Stepsisters tried in vain. Though the Stepsisters taunted her, Cinderella asked if she may try. Naturally, the slipper fit perfectly, and Cinderella put on 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.^[4]

Plot variations and alternate tellings

'Villains:' In some versions, her father plays an active role in the humiliation of his daughter; in others, he is secondary to his new wife; in some versions, especially the popular Disney film, the father has died.
Although many variants of Cinderella feature the wicked stepmother, the defining trait of type 510A is a female persecutor: in ''Fair, Brown and Trembling'' and ''Finette Cendron'', the stepmother does not appear at all, and it is the older sisters who confine her to the kitchen. In other fairy tales featuring the ball, she was driven from home by the persecutions of her father, usually because he wished to marry her. Of this type (510B) are ''Cap O' Rushes'', ''Catskin'', All-Kinds-of-Fur, and ''Allerleirauh'', and she slaves in the kitchen because she found a job there.^[5] In ''Katie Woodencloak'', the stepmother drives her from home, and she likewise finds such a job.
In ''La Cenerentola'', Gioachino Rossini inverted the sex roles: Cenerentola is oppressed by her stepfather. (This makes the opera Aarne-Thompson type 510B.) He also made the economic basis for such hostility unusually clear, in that Don Magnifico wishes to make his own daughters' dowries larger, to attract a grander match, which is impossible if he must provide a third dowry. Folklorists often interpret the hostility between the stepmother and stepdaughter as just such a competition for resources, but seldom does the tale make it clear.^[6]
'Ball, Ballgown, and Curfew:' The number of balls varies, sometimes one, sometimes two, and sometimes three. The fairy godmother is Perrault's own addition to the tale.^[7] The person who aided Cinderella (Aschenputtel) in the Grimms's version is her dead mother. Aschenputtel requests her aid by praying at her grave, on which a tree is growing. Helpful doves roosting in the tree shake down the clothing she needs for the ball. This motif is found in other variants of the tale as well, such as ''The Cinder Maid'', collected by Joseph Jacobs, and the Finnish ''The Wonderful Birch''. Playwright James Lapine incorporated this motif into the Cinderella plotline of the musical ''Into the Woods''. Giambattista Basile's ''Cenerentola'' combined them; the Cinderella figure, Zezolla, asks her father to commend her to the Dove of Fairies and ask her to send her something, and she receives a tree that will provide her clothing. Other variants have her helped by talking animals, as in ''Katie Woodencloak'', ''Rushen Coatie'', ''Bawang Putih Bawang Merah'', ''The Story of Tam and Cam'', or ''The Sharp Grey Sheep'' -- these animals often having some connection with her dead mother; in ''The Golden Slipper'', a fish aids her after she puts it in water. In "The Anklet", it's a magical alabaster pot the girl purchased with her own money that brings her the gowns and the anklets she wears to the ball. Gioachino Rossini, having agreed to do an opera based on ''Cinderella'' if he could omit all magical elements, wrote ''La Cenerentola'', in which she was aided by Alidoro, a philosopher and formerly the Prince's tutor.
The midnight curfew is also absent in many versions; Cinderella leaves the ball to get home before her stepmother and stepsisters, or she is simply tired. In the Grimms' version, Aschenputtel slips away when she is tired, hiding on her father's estate in a tree, and then the pigeon coop, to elude her pursuers; her father tries to catch her by chopping them down, but she escapes.^[8]
Furthermore, the gathering need not be a ball; several variants on Cinderella, such as ''Katie Woodencloak'' and ''The Golden Slipper'' have her attend church.
In the three-ball version, Cinderella keeps a close watch on the time the first two nights and is able to leave without difficulty. However, on the third (or only) night, she loses track of the time and must flee the castle before her disguise vanishes. In her haste, she loses a glass slipper which the prince finds—or else the prince has carefully had her exit tarred, so as to catch her, and the slipper is caught in it.
'The Identifing item:' The glass slipper is unique to Charles Perrault's version; in other versions of the tale it may be made of other materials (in the version recorded by the Brothers Grimm, German: ''Aschenbroedel'' and ''Aschenputtel'', for instance, it is gold) and in still other tellings, it is not a slipper but an anklet, a ring, or a bracelet that gives the prince the key to Cinderella's identity. In Rossini's opera "''La Cenerentola''" ("Cinderella"), the slipper is replaced by twin bracelets to prove her identity. In the Finnish variant ''The Wonderful Birch'' the prince uses tar to gain something every ball, and so has a ring, a circlet, and a pair of slippers. Interpreters unaware of the value attached to glass in 17th century France and perhaps troubled by sartorial impracticalities, have suggested that Perrault's "glass slipper" (''pantoufle de verre'') had been a "fur slipper" (''pantoufle de vair'') in some unidentified earlier version of the tale, and that Perrault or one of his sources confused the words; however, most scholars believe the glass slipper was a deliberate piece of poetic invention on Perrault's part.^[9]
Another interpretation of verre/vair (glass/fur) suggested a sexual element - the Prince was 'trying on' the 'fur slipper' (vagina) of the maidens in the kingdom, as a 'droit de seigneur' right of sexual possession of his subjects. The disguised Cinderella's 'fur slipper' was of unique appeal to the Prince who sought her thereafter through sexual congress (a variety of sources including Joan Gould).
The translation of the story into cultures with different standards of beauty has left the significance of Cinderella's shoe size unclear, and resulted in the implausibility of Cinderella's feet being of a unique size for no particular reason. Humorous retellings of the story sometimes use the twist of having the shoes turn out to also fit somebody completely unsuitable, such as an amorous old crone. In Terry Pratchett's ''Witches Abroad'', the witches accuse another witch of manipulating the events because it was a common shoe size, and she could only ensure that the right woman put it on if she already knew where she was and went straight to her. In "When the Clock Strikes" (from ''Red As Blood''), Tanith Lee had the sorcerous shoe alter shape whenever a woman tried to put it on, so it would not fit.

'The Revealation:' Cinderella's stepmother and stepsisters (in some versions just the stepsisters and, in some other versions, a stepfather and stepsisters) conspire to win the prince's hand for one of them. In the German telling, the first stepsister fits into the slipper by cutting off a toe, but the doves in the hazel tree alert the prince to the blood dripping from the slipper, and he returns the false bride to her mother. The second stepsister fits into the slipper by cutting off her heel, but the same doves give her away.
In many variants of the tale, the prince is told that Cinderella can not possibly be the one, as she is too dirty and ragged. Often, this is said by the stepmother or stepsisters. In the Grimms' version, both the stepmother and the father urge it.^[10] The prince nevertheless insists on her trying. Cinderella arrives and proves her identity by fitting into the slipper or other item (in some cases she has kept the other).
'The Conclusion:' In the German version of the story, the evil stepsisters are punished for their deception by having their eyes pecked out by birds. In other versions, they are forgiven, and made ladies-in-waiting with marriages to lesser lords.
In The Thousand Nights and A Night, in a tale called "The Anklet" ^[11], the stepsisters make a comeback by using twelve magical hairpins to turn the bride into a dove on her wedding night. In ''The Wonderful Birch'', the stepmother, a witch, manages to substitute her daughter for the true bride after she has given birth. Such tales continue the fairy tale into what is in effect a second episode.
In an episode of Jim Henson's ''The Storyteller'', writer Anthony Minghella merged the old folk tale ''Donkeyskin'' (also written by Perrault) with ''Cinderella'' to tell the tale of ''Sapsorrow'', a girl both cursed and blessed by destiny.

Revisionist retellings

There is Yeh Shen, set in medieval China. In it, the title character befriends a talking fish named Gold-Eyes...who is tricked and killed by Yeh Shen's cruel stepmother and ugly stepsister. They eat Gold-Eyes for dinner after sending Yeh Shen on an errand across the forest, then show her his bones when she returns. The stepmother wants her natural daughter to marry the kind and handsome Prince of China, who (predictably) falls in love with Yeh Shen instead.
There is also Gregory Maguire's novel ''Confessions of an Ugly Stepsister'', which gives the classic story from the view of one of the ugly stepsisters. In this version, the Cinderella character is unusually beautiful, but also a shy enigma. Her stepsister, though plain, is charming and intelligent. The novel has themes much more adult than the traditional story.
Gail Carson Levene wrote Ella Enchanted, a story how "Ella" is under a fairy curse of obedience (she does whatever someone tells her too). A movie also has been made based on this book.
In Korea, there is the well-known story of Kongji, who was being mistreated by her stepmother and sister. She goes to a feast prepared by the town's "mayor", and meets his son. The story is followed by similar events as the western Cinderella.
In 1982, Roald Dahl rewrote the story in a more modern and gruesome way in his book ''Revolting Rhymes''.

Discussion

The Cinderella tale is sometimes portrayed as a "rags-to-riches" tale. However, in fact, it is a "riches-to-rags-to-riches" tale; Cinderella, being the daughter of a rich merchant, is at first driven from her rightful patrimony, and the course of the fairy tale restores her to it.^[12]
The tale has been interpreted as a psychological "splitting": by having both a dead mother and the all good benefactor, any feelings of resentment can be put onto the evil ''step''mother. ^[13]
The idea that "Cinderella" embodies myth elements was explored in ''The Uses of Enchantment'' (1989) by Bruno Bettelheim, who made many connections to the principles of Freudian psychology.
As Freudian analyses have come to be viewed as less scientific, mythographers have turned to trying to disentangle different cultural elements from different versions of the Cinderella tale. Each social group, in re-telling "Cinderella", has emphasized or suppressed individual elements and has given them interpretations that are especially relevant within each society. Mythography return to Cinderella for hints of the social ''ethos'' embodied in it, and the familiar story proves to be a useful case example for young students beginning to understand how myth works. Thus serious uses come from what appears on the surface to be a trivial wish-fulfilment narrative.
Earlier, less self-consciously instructive Cinderellas have more revealing mythic content.
The term Cinderella has originated from its storybook beginnings to become the name for a variety of female personalities. Some girls are described as a Cinderella if they are meek and immediately submissive to stern orders. Others are called Cinderella if they tend to complain quietly. For example, a girl from a wealthy household who has been ordered to wash the dishes as a fulfilment of her once-a-month chores would be deemed a Cinderella; a fallen princess who has finally met with tough reality.
Cinderella, along with the more general "princess", are shorthand for a particular approach to wedding and Western wedding attire, especially the white dress. A bride with the Cinderella mindset believes that the dress and the occasion exist in order that she may be transformed for the day into a beautiful princess. Detractors of such princess brides argue that the wedding is not solely about the bride; nevertheless, many wedding gown retailers appeal, directly or indirectly, to the Cinderella ideal.
The Cinderella story is much criticised for what many perceive to be a negative, traditionalistic approach to women.^[14] From the point of view of these critics Cinderella is oppressed, and does nothing about it; a magical event takes her to a powerful prince who is so taken with her appearance that he chooses her as his consort (it is assumed that she will accede), decorative, but existing only as an adjunct to him. They believe that she has no personality or character of her own; she is simply pretty and good-natured and mindlessly obedient, and advances because of this. Little girls in Western society are told the story: they can infer that if they are obedient and take care of their appearance they will live Happily Ever After.
On the other hand, others claim that the story should be taken on its own merit, to them Cinderella is not meant to be read into and critiqued as some complex academic social manifesto, but to be enjoyed as a fairy tale and its simple powerful message that good can come to decent people.
Going even further, many do not see Cinderella's personality or actions in a negative light. Simply that she has come under criticism because more confrontational headstrong heroines have become perceived as the new ideal of what a women is expected to be in Disney and American culture in general. To them, Cinderella has many admirable qualities, taking a more calm and discreet approach in fulfilling her wishes, and chooses to be kind even to those who mistreat her. In Perrault's own moral, he notes it is not enough to be pretty, but graciousness is what earned Cinderella her happy ending. He goes on to say that her intelligence, kindness, good breeding were not enough alone to assist Cinderella; the Godmother assisted her and the Prince was won over by her because of her graciousness. The reader is to take this lesson when applying the tale.

Adaptations

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

Opera

★ ''Cendrillon'' by Jean-Louis Larouette

★ ''La Cenerentola'' by Gioacchino Rossini

★ ''Cendrillon'' by Jules Massenet

★ ''La Cenicienta'' by Jorge Peña Hen

★ ''Cinderella'' by Peter Maxwell Davies

Dance

★ ''Aschenbroedel'' by Johann Strauss II

★ ''Cinderella'' by Sergei Prokofiev

★ ''Cinderella'' by Sergei Prokofiev, with choreography by Frederick Ashton (a ballet version similar to the "Cinderella" pantomime)

★ ''Cinderella'' by Ryan Casey, with choreography by Casey Frey sponsored by happy birthday productions''

★ A ''Cinderella on Ice'' was staged in Brisbane, Queensland, Australia.

Pantomime

Cinderella is a common subject for British and Australian pantomime, though not the most popular due to the cost involved.
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 Rossini's opera (''La Cenerentola''). Cinderella mistakes Dandini for the Prince and the Prince for Dandini.
Her father, known as Baron Hardup, is under the thumb of his two step-daughters 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) and 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 at it is then that the spell ceases.

Musical Comedy

★ ''Cinderella'' by Rodgers and Hammerstein, was produced for television three times:

★
★ ''Cinderella'' (1957) featuring Julie Andrews, Jon Cypher, Kaye Ballard, Alice Ghostley and Edie Adams (broadcast in colour, but only black-and-white kinescopes exist today).

★
★ ''Cinderella'' (1965) featuring Lesley Ann Warren, Stuart Damon, Ginger Rogers, Walter Pidgeon, and Celeste Holm.

★
★ ''Cinderella'' (1997) featuring Brandy, Paolo Montalban, Whitney Houston, Whoopi Goldberg, Victor Garber, Bernadette Peters, and Jason Alexander.

★ The Rodgers and Hammerstein has also been staged times, including a 2005 version that, like the 1997 TV version, featured Paolo Montalban and an ethnically diverse cast.

★ ''Mister Cinders'', which was 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. The Cinderella here is of the Grimm Brothers version, including the enchanted birds, mother's grave, three balls, and mutilation and blinding of the step-sisters.

★ ''The Return of The Glass Slipper'' by Mary Donelly

Films

Over the decades since the invention of motion pictures, literally hundreds of films have been made that are either direct adaptations from or have plots loosely based on the story of Cinderella. 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''.

★ ''Cinderella'', the 1899 first ever film version produced in France by Georges Méliès.

★ ''Cinderella'', 1911 silent film, starring Florence La Badie.

★ ''Cinderella'', 1914 silent film, starring Mary Pickford.

★ ''Cinderella'', an animated Laugh-O-Gram produced by Walt Disney, first released on December 6, 1922. This film was about 7 minutes long.

★ ''Poor Cinderella'', a 1934 Fleischer Studio animated short, starring Betty Boop.

★ ''Cinderella Meets Fella'', a 1938 Merrie Melodies animated short.

★ ''Cinderella'' (Зо́лушка), Russian musical film of 1947, 84 min, by Lenfilm studios starring Erast Garin and Faina Ranevskaya.

★ ''Cinderella'', an animated feature released on February 15, 1950, now considered one of Disney's classics. A direct-to-video sequel, '', was released in 2002. A second direct-to-video sequel '' was released in 2007.

★ ''The Glass Slipper'', 1955, with Leslie Caron and Michael Wilding.

★ ''Hey Cinderella'', A 60 minute film produced by the Jim Henson Company in 1970. This was a comedy version featuring Jim Henson's trademark Muppets (including a small role by Kermit the Frog).

★ Cinderfella, 1960, notorious because the main character is a man, played by Jerry Lewis.

★ Tři oříšky pro Popelku/Drei Haselnüsse für Aschenbrödel (Three Nuts for Cinderella), Czech-German movie 1973

★ ''The Slipper and the Rose'', a 1976 British musical film starring Gemma Craven and Richard Chamberlain.

★ ''Cindy'', made for television, 1978

★ In 1989, an anime short film, starring Hello Kitty, titled ''Hello Kitty's Cinderella'' was released in Japan. It was released in the U.S. as part of the ''Hello Kitty and Friends'' anime series.

★ ''Cinderella'', produced by Jetlag Productions and distributed by GoodTimes Entertainment premiered on video in 1994.

★ ''Cinderella'', 1997 with Brandy and Whitney Houston

★ ''Ever After'', 1998 film starring Drew Barrymore.

★ ''Cinderella'', a 2000 British production set in mid-20th century and starring Kathleen Turner.

★ ''A Cinderella Story'', released July 16, 2004, is a modernization of the classic fairy tale featuring Hilary Duff and Chad Michael Murray.

★ ''Cinderelmo'', a Cinderella story featuring ''Sesame Street'''s Elmo and Keri Russell.

★ ''Ella Enchanted''

★ ''Happily N'ever After''

★ ''Cinderfatty'' a low-budget parody by Happy Birthday Productions featured on YouTube

★ ''Year of the Fish''

★ Cinderella was also a friend to Princess Fiona in Shrek the Third. She had a spilt personality in the film and was obsessed with cleanliness.

Television

★ ''Faerie Tale Theatre'', a television anthology that aired between 1982 to 1987, featured a traditional re-enactment of Cinderella with Jennifer Beals as the title character.

★ ''Floricienta'' or ''Floribella'' in Portugal, Brazil and Chile and ''Lola...Erase Una Vez'' in Mexico, is a telenovela is a telenovela producer by Pedro Damian which is a modern adaptation of Cinderella and The Sound of Music.

★ ''Scroogerello'', an episode of ''DuckTales''.

★ , a 26 episode TV anime made by Tatsunoko Production in 1996.

★ Nippon Animation's 1987-89 TV series ''Grimm's Fairy Tale Classics'', which included ''Cinderella''.

★ For a special pantomime episode of Coronation Street, Frankie Baldwin played Cinderella, Mike Baldwin was the prince, the evil stepfather was Jack Duckworth, the stepsisters were Roy Cropper and Norris Cole, and the fairy godmother was Bev Unwin with Fred Elliot as the godfather. In the end, Frankie and Mike got together only for Frankie to realise it was only a dream after having passed out in The Rover's Return.

Books

★ ''The Egyptian Cinderella'' by Shirley Climo (combines the Greco-Egyptian story of Rhodopis with everyday life in ancient Egypt)

★ ''Witches Abroad'' by Terry Pratchett

★ ''Ella Enchanted'' by Gail Carson Levine

★ ''Just Ella'' by Margaret Peterson Haddix

★ ''The Glass Slipper'' by Eleanor Farjeon

★ ''Phoenix and Ashes'' by Mercedes Lackey

★ ''Confessions of an Ugly Stepsister'' by Gregory Maguire

★ ''I was a Rat! or The Scarlet Slippers by Philip Pullman

★ ''The Ash Girl'' by Timberlake Wertenbaker

★ ''Cinderalla'' by Junko Mizuno

★ ''Nine Coaches Waiting'' by Mary Stewart

★ ''Bound'' by Donna Jo Napoli

★ floricienta Argentina -

Concept Albums

Cinderella Jumprope Song

There is a jumprope song for children that involves Cinderella:
Cinderella dressed in yellow, went upstairs to kiss a fellow.
By mistake, kissed a snake, how many doctors will it take?
1, 2, 3, 4, 5, 6, 7, 8, 9, etc.
The counting continues as long as the jumper doesn't miss a jump.
Variant (heard in Jackson Heights, Queens, late 1950s)
Cinderella dressed in yellow, went downtown to meet her fellow (or "went downtown to buy some mustard").
On the way, her girdle busted. Cinderella was disgusted.)

Songs

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

★ "Hey Cinderella" by Suzy Bogguss, about woman's disappointment with married life (lyrics)

★ "This Kiss" by Faith Hill (in Verse Two)

★ "Half Past Midnight" by 1960s Canadian vocal group The Staccatos, in which the narrator compares his girlfriend to Cinderella for leaving at the stroke of midnight

★ The Indian pop song "Dil Tha Yahan Abhi Abhi Selamat Bodoh", sung by Alka Yagnik and Sammer Yagnik

★ "Umbrella (Remix)", originally by Rihanna & Jay-Z but remixed by Chris Brown

★ A 4-song cycle on the 1992 Chipmunks album ''Chipmunks in Low Places'' by John Boylan transposes the story to contemporary South Central Los Angeles

★ The opening song of the magical girl anime ''Himitsu no Akko-chan'', whose original (1969) opening animation also visually references Cinderella

★ The song Mayonaka no Door, by Liu Yifei (first ending of Demashita! Powerpuff Girls Z)

Footnotes

1. Jack Zipes, ''The Great Fairy Tale Tradition: From Straparola and Basile to the Brothers Grimm'', p 444, ISBN 0-393-97636-X
2. "The Egyptian Cinderella"
3. Heidi Anne Heiner, "Tales Similar to Cinderella"
4. http://www.pitt.edu/~dash/perrault06.html
5. Heidi Anne Heiner, "Tales Similar to Donkeyskin"
6. Marina Warner, ''From the Beast to the Blonde: On Fairy Tales And Their Tellers'', p 213-4 ISBN 0-374-15901-7
7. Jane Yolen, p 23, ''Touch Magic'' ISBN 0-87483-591-7
8. Maria Tatar, The Annotated Brothers Grimm, p 116 W. W. Norton & company, London, New York, 2004 ISBN 0-393-05848-4
9. Maria Tatar, p 28, ''The Annotated Classic Fairy Tales'', ISBN 0-393-05163-3
10. Maria Tatar, The Annotated Brothers Grimm, p 126-8 W. W. Norton & company, London, New York, 2004 ISBN 0-393-05848-4
11. The book of the Thousand Nights and One Night, , Joseph-Charles, Mardrus, Routledge, , ISBN 0-415-04543-6
12. Jane Yolen, p 33, ''Touch Magic'' ISBN 0-87483-591-7
13. Maria Tatar, p 29, ''The Annotated Classic Fairy Tales'', ISBN 0-393-05163-3
14. Linda M. Scott, ''Fresh Lipstick: Redressing Fashion and Feminism'' p 165 ISBN 1-4039-6686-9

External links

★ SurLaLune Fairy Tales.com: The Annotated Cinderella including variations from around the world, illustrations, and more

★ Teaching aid to "Cinderella": many links; variations in character, setting, and plot elements, parallel versions

★ Cenerentola by Giambattista Basile (English translation)

★ Cenerentola in Pentamerone by Giambattista Basile (English translation)

★ Ahmanson Library page about Cinderella

★ Zezzolla, La Gatta Cenerentola "Cinderella" by Giambattista Basile - (original, Italian version)

★ The Disney version of Cinderella at The Encyclopedia of Disney Animated Shorts

★ Aesop fable of Rhodopis and her rose-red slippers

★ The Egyptian Cinderella

★ Disney Princess Cinderella

★ Fairyland Cinderella