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Katie Hetherman
250467615
ProIessor Romayne Smith-Fullerton
MIT 3210
Monday February 7
th
, 2011
Cinderella: Revised Rationale
Cinderella: Revised is a Choose-Your-Own-Adventure style story written in rhyme
Iormat. The reader initially has three choices: reading the traditional tale, Cinderella`s version or
the Prince`s version. Choosing Cinderella`s version, the reader decides whether Cinderella Ialls
Ior the prince or Ialls in love with a woman. In the Prince`s version, the reader chooses between
Cinderella satisIying the Prince`s needs or the Prince taking up a lover. Each version oI the story
reveals an underlying Ieminist critique oI the traditional story while playIully entertaining the
reader with a more modern approach to the tale. This critique will outline the various messages
the reader receives and how humour can be used to communicate a message oI breaking down
stereotypical gender roles through use oI power, lust and sexuality.
The traditional tale is simply the Charles Perrault version adapted into rhyme Iormat.
While early versions oI the story oIten contain dark imagery and vivid detail, this account was
kept to the simple Iamiliar version Ior the intended purposes. Every woman in the land is called
to a ball to compete Ior the aIIection oI the Prince in an attempt to gain status based on their
beauty. Cinderella`s evil stepsisters go to the ball and leave her at home where they insist she
belongs. When the Iairy godmother appears and transIorms Cinderella into a beautiIul woman,
she goes to the ball on the condition that she must return by midnight. In an eIIort to get away in
time, Cinderella drops one oI her shoes, providing a clue Ior the Prince to later be able to Iind
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her. As he tries the shoe on every woman he can Iind, he ultimately Iinds Cinderella and they oI
course live happily ever aIter.
Several problems arise in this account. The monarchical structure oI the region suggests
that the Prince has a signiIicant amount oI power; so much so that his name is never mentioned.
He is deIined by his status as prince, the heir to the throne so long as he can Iind a wiIe. It
appears as though the Prince is given his choice oI all the women in his ruling inIluence, though
courtship is not discussed. It is assumed that every woman desires the Prince and he must simply
choose one based on exterior appearances and perhaps dancing ability. The women oI the land
are portrayed as desperate beings unable to sustain themselves. Marriage is the only viable
option Ior success. The Prince is charmed by Cinderella and longs to Iind her. Had Cinderella not
had a Iairytale makeover however, the Prince would assumedly never have taken a second
glance.
The tale is governed by the concept oI physical beauty, though it masks itselI well as a
story oI inner beauty. Readers are made to believe that Cinderella was chosen because there was
something diIIerent about her. Something about her liIe makes the audience want to cheer Ior the
underdog. Truth be told though, without the help oI the Iairy godmother, she would not have
even attended the ball because she was not attractive enough.
Further problems arise in the character oI the Iairy godmother herselI. The reader is told
that it is okay iI you are not an attractive person on the outside because one day an old lady with
a magic wand will come and make it all better. Myths oI make-up, cosmetic surgery, hair dye
and Iad diet plans are all based on this concept. Women have been taught that they are not stuck
in their bodies. Rather, they have the opportunity to change them iI they can aIIord to. The Iairy
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godmother teaches girls to work with what they have and then pay to get something new. AIter
all, the only way to Iind a man is to be beautiIul.
Once beauty is achieved, women should Ilaunt themselves Ior men, according to
Perrault`s tale. Stand in a line-up and behave however he desires. Wear push-up bras and make
sure he knows your underwear is lace. Curl your eyelashes and use a corset to bring in your
waistline. II a woman is lucky enough to attract a man`s attention, she is deemed worthy oI a liIe
oI keeping her man comIortable while he gets the job done. By marrying a prince, a woman
becomes a princess, but Perrault does not deal with the Iact that Cinderella is now a powerIul
woman. Status is paraded, but power is said to belong in the hands oI the man.
In Cinderella`s version oI the story, she does not even go to the ball. She is disinterested.
She is so pleased to have the house to herselI Ior a night that she would much rather relax in
sweatpants than impress a man. This story ridicules the women who adhere to the Prince`s call
Ior all women to attend. Making use oI the critique oI the original story, Cinderella`s version is a
more realistic account oI what a working woman would enjoy doing on an evening to herselI.
She watches a movie, loads up on carbohydrates and turns oII the world.
When the Iairy godmother appears to transIorm Cinderella into a blonde goddess,
Cinderella does not even acknowledge her presence. The Iairy godmother is made out to be an
annoying stylist with an persistence reminiscent oI paparazzi. Furthermore, when the Prince
shows up to reveal his love Ior Cinderella, she slams the door in his Iace. Cinderella is not sitting
at home waiting Ior a man to appear. She is comIortable with herselI and rejects the traditional
expectation Ior all women to melt when a man is on one knee.
At this point, the reader reaches a Iork in the road where he or she can choose whether
Cinderella opens the door and goes back to the Prince or iI should be revealed that her lack oI
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interest in men is due to her attraction to women. By going back to the Prince, Cinderella takes
control. She lays out her conditions to the Prince and he agrees to them. Equality is brought upon
the kingdom as Cinderella takes the power seat. The Prince is reIlected as a man who is happy to
let a woman work with him in partnership. Educational curriculums are changed to get rid oI the
assumption that women ought to live to please a man and the general attitude oI the citizens is
more inclusionary.
Cinderella does not marry the Prince. She has her own bedroom and her own throne. This
aspect acknowledges the struggle Ior equality even women with power can experience. A strong
woman in a position oI authority continues to make less money than a man in the same position.
By putting Cinderella in a legitimately equal position without having to marry into power, the
glass ceiling Iamiliar to Iemale workers is eIIectively broken and Cinderella earns the respect oI
her peers and ruled citizens.
II the reader decides to read about Cinderella`s lesbian alter ego, she will see the
stereotype oI the stick-thin woman watching everything she eats shattered. When Cinderella`s
stepsisters throw out her popcorn, she simply takes it upon herselI to go out and get some more.
Indulgence is a priority Ior Cinderella because she Ielt that her night oII warranted a treat. She is
not portrayed as a woman altering every aspect oI her liIe to please a man. On her way to the
grocery store, dodging every male glance, she decides to go to the ice cream shop where she
meets a woman. Cinderella`s attraction to a woman is normalized. This story is not trying to
make a statement about homosexuality; it is merely putting it into view as an option Ior women.
Cinderella`s partiality to Karen is contrasted by her stepsister`s marriage to the Prince. Since the
nameless stepsister relied on beauty and settled Ior being the Prince`s second choice, she did not
get the liIe she dreamed she would have while Cinderella breaks the mould and Iinds her bliss.
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When the reader gets to the Prince`s version, he or she experiences a man`s take on the
story. Granted, the Prince`s version is problematic in itselI as it assumes certain stereotypes
about the Ilawed male character Ior the purposes oI making a point. The Prince is pictured as an
immature boy rather than a handsome, charming, regal man. Getting inside his head allows the
myths applied to women to be acknowledged. The Iemales oI the story get dressed up to the
nines in order to impress a man who could not care less. The Prince is read as a boy just trying to
please his mother, who exudes a great deal oI power in the small appearance oI her character as
the Queen.
The Prince is aware oI what he has been culturally told. He has power, he presumably has
money and he is attractive, thereIore he can have his choice oI any woman. But like many young
men, he does not want to get married yet. He wants to have a good time and play video games
until he absolutely has to grow up. When Cinderella drops her slipper, he just sees it as another
game he has to play when all he really wants to do is have sex in the most animalistic sense and
Iind a woman who will let him do so.
The Prince`s desire Ior sex without the commitment oI marriage reIlects a generation oI
young men who have grown up being told they are better than women. By simply sporting a
penis, the man is powerIul and holds dominance over the women he is Iaced with. He does not
see the need to work Ior his status because it exists inherently. The Prince is not looking Ior a
princess on his own accord. He just wants a Iaceless woman with sexual organs that Iit his. Men
are able to think this way because oI the way some women have behaved sexually. By giving in
to the illusion that sex can be separate Irom love, women are allowing men to continually exert
their power over them.
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At this particular Iork in the road, the reader must decide whether Cinderella gives into
the aIorementioned illusion or once again breaks the mould by not satisIying the Prince. II the
reader chooses to have Cinderella satisIy the Prince, he or she will read about marrying Ior sex.
The Prince only views Cinderella as a sexual object and deIines her as a good wiIe because she
pleasures him oIten. She relinquishes any power she would have had in her position and allows
him to take over the kingdom. She continues to serve his basic animal needs by Ieeding him,
pleasuring him and making sure he is happy. The Prince`s happiness is determined by his wiIe`s
adherence to his needs.
This aspect oI the story dives into the sad realization oI what liIe is like Ior a woman who
gives up everything to please her man. Cinderella has a real opportunity to aIIect change in the
kingdom but she lets it all go when she allows the Prince to use her. The Prince is getting
married to please his parents` wishes, but he sees it as a Iree pass to nightly sex. Sex in this sense
is not seen as intimate. It is pictured as a duty which a woman must perIorm in order to keep her
man. Though Cinderella does not have much status in her position, she knows she will lose the
Prince iI she Iails to meet his physical needs.
Should the reader choose to have Cinderella 349 satisIy the Prince, he or she will discover
the Prince enters into a series oI aIIairs. Cinderella takes power oI the kingdom and the immature
Prince is more than happy with the exchange oI responsibility. By marrying Cinderella, the
Prince could wash his hands oI his duties and essentially ignore her once he realized he would
not be sexually satisIied by her. The reader enters into a paradox. Cinderella is able to gain
power by withholding sex, but the Prince gives up. The key aspect oI this story is that the Prince
,48 Cinderella to take over, reIlecting the overarching theme oI the man holding power
regardless oI what he decides to do with it.
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The Prince goes out in search oI sexual satisIaction as his only goal. He uses Cinderella
as a tool to keep the kingdom running smoothly. She notices, but does not care when he uses his
title to get women to appease his desires. Cinderella did all oI the work and did not complain; a
reIlection oI a behind-the-scenes look at power. The Prince appears to be running the kingdom to
the outside world. No one but Cinderella and the Prince are aware oI her inIluence. Meanwhile,
the Prince is having sex and does not care about anything outside oI that.
In each version oI this story, the line 'happily ever aIter is challenged. The deIinition oI
this cliche is not clear. 'Happily ever aIter means diIIerent things Ior diIIerent people. The
traditional tale exudes superIicial happiness derived Irom power, status and the illusion oI love.
For Cinderella, she is happy when she breaks all oI the stereotypes oI the women in her village
and Ialls in love with a woman or reaches a level oI equality in ruling the kingdom. The Prince is
happy when he is having sex with physically attractive women and ridding himselI oI
accountability, sacriIicing depth and an emotional connection in order to meet carnal needs. The
stepsister who ends up with the Prince in one story marries Ior superIicial reasons and enters a
loveless marriage with no happiness.
The moral oI these stories is to challenge the images set up Ior women. Through an
analysis oI the traditional Cinderella story, the reader experiences power struggles, superIicial
beauty myths, body image issues, traditional gender role expectations, bullying, sexual
promiscuity and many other sensitive but important themes. Each version oI the story bursts one
oI those myths to pieces, leaving the reader questioning why he or she would accept it as a norm
in the Iirst place.
Cinderella can be said to be one oI the most popular and well-reIerenced stories oI the
past several generations. Every girl wishes to be the one the traditional Prince chooses at some
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point in her liIe, but the reality oI male culture means men like him do not exist. For a woman to
live happily ever aIter, she must shatter the glass slipper and Iind her way on her own terms.