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An Analysis of Cinderella: A Fairy Tale for Kindergarten Children
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An Analysis of Cinderella: A Fairy Tale for Kindergarten Children
Fairy tales still enjoy a special status within the world of children’s literature as they
engage children with their morality lessons involving magical characters in strange locations. To
start with, this article presents an analysis and assessment of the classic fairytale about Cinderella
and its relevance at an age group of kindergarten kids aged 3–6. The essay takes a
multidimensional approach towards exploring different characterizations of the story such as
plot, themes, setting, style, language, and reader’s response. Moreover, it applies Foucault’s
critical eye in analyzing gender representation. The paper will therefore probe into the tale’s
relevance and significance in shaping young impressionable minds by analyzing Cinderella using
the three vantage points.
The Characters, Plot, Theme, and Setting
In the traditional tale of “Cinderella”, Cinderella personifies strength, compassion, and
the victory of virtue against odds. The central figure in the book reflects traits that most
preschoolers can identify with or admire, which makes her character attractive to children
between ages 3 and 6. Her lasting patience and perpetual kindliness towards her malicious
stepmother and stepsisters make it obvious that she is one of the good ones amidst the evil crowd
(Perrault, 2016). The sharp distinctions enable kindergarten children develop their sense of good
and bad and they easily grasp the story. The intervention of the Fairy Godmother leads to the
transformation of Cinderella from a meek figure to a beautiful and radiant one, making the story
more fascinating for the children (Perrault, 2016). The fairy dust is a magic element that invokes
curiosity and excitement among children, transporting them into the fantastic realm of the
story. Therefore, the depiction of Cinderella’s character contributes towards sending important
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messages into the mind of children and making an easy narrative with which kids will connect
well.
Cinderella’s plot follows the traditional and universal format common in fairy tales which
captures well kids between 3 and 6 years. The narrative holds a strong message that even when
faced with harsh realities, goodness triumphs over evil and results in happiness (Gangi,
2004). The moral lesson is simple and clear in the eyes of young readers, which makes it
extremely valuable for them. By seeing how kind Cinderella treats other characters, they feel
what it means from their early understanding of the concept of kindness. Additionally, magic,
which is an interesting part for a child, being attracted by uncommon and abnormal things,
becomes present in the story. The introduction of Cinderella’s magic changes and a fairy
godmother who creates a wonderful carriage, add to the story its special touch of mystery and
excitement. Apart from stimulating their minds, this aspect of magic gives credence a notion that
good deeds attract the best results in life (Gangi, 2004). Indeed, Cinderella’s plot, which
emphasizes friendship, transformation, and touch of magic, suits the tastes and development
level of the young listeners.
The theme from the story of Cinderella that targets transformation resonates so much to
children between 3 and 6 years. The theme has a dual focus on Cinderella’s personality
transformation coupled with Cinderella’s overall state of being. The message for young readers
who are developing fast and learning quickly is crucial because it tells them that change is both
realizable and deeply good (Perrault, 2016). A rags to riches story of Cinderella who transformed
from an abused and despised child to a beautiful, brave, and hopeful young woman has an
inspirational effect. There is a message in this story which says that even though one may face
difficulties, kindness and inner goodness prevail for improvements (Lynch-Brown, Tomlinson, &
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Short, 2011). The theme ensures that there is hope as well as strength for young people who may
stumble upon hurdles and unfairness during their course in life. In essence, this means that
despite facing difficulties, a brighter future is possible, with the added information that one may
have unforeseen allies helping them along their journey.
Like a typical fairy tale kingdom, the setting of Cinderella is characterized by a
magnificent palace and a royal ball. Richly furnished with luxury, pomp and elegancy, this
backdrop would be an enchanting proposition to children of that age (3-6 years). The show easily
transfers them in a magical world with spectacular sightseeing experience. It also involves
magical attributes like the transformation of Cinderella, her horse-drawn carriage, the glamorous
dresses, which all contribute to the memorization of the location (Anderson, 2002). Magic makes
this tale even more appealing by introducing young readers into the land of the unbelievable. The
story becomes the land of smiles, where good deeds are compensated for, and a story unfolds the
joy and optimism. The impossible is made possible in this setup and thus young children’
imagination is triggered drawing them in a unique world (Lynch-Brown, Tomlinson, & Short,
2011). The background events in the story are set on the grand palace and royal ball where the
young readers can get immerse into the world of wonders and beauty making Cinderella an
enjoyable narrative for kids that leaves them fascinated by the stunning scenery.
Stylistic-Linguistic Approach
The Cinderella uses careful linguistic design for pre-school readers. Simple and
uncomplicated terms are used to ensure that the audience understands and enjoys the story
completely. It is necessary for this linguistic simplicity because it brings together the story and its
young readers to make the tale interesting to them. The story of Cinderella too is enhanced by a
repeated wording, e.g., in the ticking of the clock at midnight (Perrault, 2016). Repetition is a
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pedagogical useful device designed for involving schoolchild readers. Besides strengthening the
main plot, the game encourages children’s interaction with the story, turning their participation
into a real and direct experience (Lynch-Brown, Tomlinson, & Short, 2011). The repetitive
elements set up a tense atmosphere that makes children engage with the story. It enhances their
understanding of the plot and its pleasure. Basically, Cinderella’s linguistic strategy is highly
crafted to keep the interest of younger readers and promote their comprehension of the storyline.
Cinderella’s emotion is one of its central aspects that emotionally touch children within
this age group (3-6 years). The story captures the emotions that characterizes the main character
Cinderella in a manner that makes it easy for kids to associate with them. This creates an affinity
for Cinderella as she starts off sad before reaching happiness, which fosters powerful emotional
attachment between the young reader and the story itself (El Shaban, 2017). It is through this
emotional attachment that children can begin to feel like they know and understand the character,
identifying her almost as an extension themselves. Cinderella, in this case, utilizes emotions that
surpass storytelling, enabling young kids to discover and process their own feelings (Perrault,
2016). Through watching Cinderella’s emotional ride, they will learn by experiencing that
sadness is what comes before happiness, and good-heartedness and persistence are virtues that
should be rewarded. Through this process, Cinderella ceases to become merely a story, but also
serves as a significant resource in emotional development of young readers.
Reader Response
Engagement of a child in Cinderella is largely influenced by the related cultural concepts,
as well as the predisposition towards other social attitudinal issues a child could entertain. They
read the story using their own personal experiences and beliefs as filters or lenses. In many cases,
young readers tend to draw similarities between how Cinderella is treated and their experience in
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being subjected to unjust or uncanny treatment. It creates the deepest and most intense
involvement in the story, because it prompts them on an emotional level feel for and sympathize
with the hero or heroine. It becomes an opportunity for children to express themselves, learn
more about their own existence in the world, and make sense of everything that they experience
in life (Lynch-Brown, Tomlinson, & Short, 2011). Cinderella’s relatability goes beyond its fairy
tale aspects, making it a story that generates thinking on society issues such as fairness, and
goodness between young readers and their parents.
Reader response involves the understanding of the nature of various textual formats
which include fairy tales. As such, Cinderella is a well-known traditional fairy story depicting a
paradigm for young readers. For that reason, by means of this tale children are familiarized with
the genre’s conventions exposing him/her to the structural and substantive components
characteristic for fairy tales (Gangi, 2004). They understand that repeated cycle of good paying
while bad suffer. Such fundamental knowledge deepens their experience with Cinderella but also
allows them to fully engage in other fabulous stories. As a result, the story’s genre relevant
parameters make the entry into the fairytales’ world natural enough to kindle true affection
towards the type of stories with fairytale in young persons.
Foucault's Criticism
The analysis of Cinderella can be applied using a critical lens of Foucault to the
representation of women in society. It starts with Cinderella representing a passive virtue that
followed the common pattern for women in the time when it was created. She embodies the
modest obedient woman who faces hardships with poise and mirrors expectations society
demands of women (Gangi, 2004). On the other hand, the sisters portrayed as scheming ladies
who fit negative clichés of a woman’s vanity and rivalry with each other through their speaking,
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7
doing and interchanging between them. They are driven by a desire for external beauty and
social status, and they make fun of Cinderella’s natural simplicity, thus making them superfluous
in comparison with her humble and beautiful soul.
The resolution of the story, where they failed to win the Prince’s favor as well as their
fumbles to squeeze themselves in the glass-slipper reaffirm the message that being good on the
inside is more important (inner good and kind nature) personified by Cinderella Foucault’s
criticism shows that Cinderalla’s story does not deviate, but rather emphasizes gender roles and
stereotypes (El Shaban, 2017). By doing so, discussions about historical and modern-day gender
roles, as well as how society views a woman, can be initiated through this prism for
children. Therefore, Cinderella can be used as an entry point for discussions which foster and
motivate such young readers to think and counter those stereotyped gender roles.
When related to its historical roots, Cinderella can be used as an avenue for discussing the
development of gender roles to young children. That period was dominated by traditional values
of gender roles and they are mirrored in the story. Through recognizing this historical
perspective, carers or instructors will involve youngsters into the dialogues concerning the shifts
in gender roles that have taken place throughout the course of times (Lynch-Brown, Tomlinson,
& Short, 2011). The critical perspective pushes young readers to think beyond stereotypes. This
offers an opportunity to teach the children that women can also achieve greater things and hence
are equal partners in life. Through contrasting the depiction of women in the tale against modern
ideas of equal gender rights, Cinderella may become an educational instrument that will make
children aware of the need to build the fairer world to everyone.
Conclusion
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Cinderella has that classic factor and carries many valuable life lessons and it is an
excellent idea involving the young kinder gardens learners in the realm of literature through the
ages of three to six years old. The story has clearly defined characters, a classical plot structure,
along with themes of kindness and transformation making it very applicable to this age
bracket. The stylistic-linguistic approach makes the Cinderella story accessible and relevant and
enables young readers to establish an emotional connection with it. In turn, the concept of reader
response enables young readers to relate the story to their own experiences. The criticism by
Foucault also provides room for questioning of what is considered to be normal within the
society with respect to gender roles. With Cinderella, young minds are not just entertained but
also acquire knowledge about ethics, sympathy and human change.
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References
Anderson, N. A. (2002). Elementary Children’s Literature: The basics for teachers and parents.
Boston: Allyn & Bacon/ Pearson.
El Shaban, A. (2017). Gender stereotypes in fantasy fairy tales: Cinderella.
AWEJ for
Translation & Literary Studies, Volume
,
1
.
Gangi, J. M. (2004). Encountering children’s literature: An arts approach. Boston: Allyn &
Bacon/ Pearson.
Lynch-Brown, C., Tomlinson, C. M. & Short, K. G. (2011). Essentials of children’s literature
(7th ed.). Boston: Pearson.
Perrault, C. (2016).
Cinderella: Fairy tale for children
. Createspace Independent Publishing
Platform.
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Appendix 1: Cinderella Fairy Tale ~ English Story for Kids
This is the Fairy Tale story of Cinderella. It is brought to you by Stories to Grow by.
Once upon time a girl named Cinderella lived with her stepmother and two stepsisters.
Poor
Cinderella had to work hard all day long so the others could rest. It was she who had to wake up
each morning when it was still dark and cold to start the fire.
It was she who cooked the meals.
It was she who kept the fire going. The poor girl could not stay clean, from all the ashes and
cinders by the fire. “What a mess!” her two stepsisters laughed.
And that is why they called her
“Cinderella.”
One day, big news came to town.
The King and Queen were going to have a ball!
It was time for the Prince to find a bride. All of the young ladies in the land were invited to come.
They were wild with joy! They would wear their most beautiful gown and fix their hair extra
nice. Maybe the prince would like them!
One day, big news came to town.
At Cinderella’s house, she now had extra work to do.
She had to make two brand-new gowns for
her step-sisters.
“Faster!” shouted one step-sister.
“You call that a dress?” screamed the other.
“Oh, dear!” said Cinderella.
“When can I–“
The stepmother marched into the room.
“When can you WHAT?”
“Well,” said the girl, “when will I have time to make my own dress for the ball?”
“You?” yelled the stepmother.
“Who said YOU were going to the ball?”
“What a laugh!” said one step-sister.
“YOU?” yelled the stepmother.
“Who said YOU were going to the ball?”
“Such a mess!” They pointed at Cinderella.
All of them laughed.
Cinderella said to herself, “When they look at me, maybe they see a mess.
But I am not that
way.
And if I could, I WOULD go to the ball.”
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Soon the time came for the stepmother and step-sisters to leave for the big party.
Their fine
carriage came to the door. The stepmother and step-sisters hopped inside.
And they were off.
“Good-bye!” called Cinderella.
“Have a good time!” But her stepmother and step-sisters did not
turn around to see her.
“Ah, me!” said Cinderella sadly.
The carriage rode down the street.
She said aloud, “I wish I
could go to the ball, too!” Then - Poof!
All of a sudden, in front of her was a fairy.
“I wish I could go to the ball, too!”
“You called?” said the fairy.
“Did I?” said Cinderella.
“Who are you?”
“Why, your Fairy Godmother, of course!
I know your wish.
And I have come to grant it.”
“But…” said Cinderella, “my wish is impossible.”
“Excuse me!” said the Fairy Godmother in a huff.
“Did I not just show up out of thin
air?” “Yes, you did,” said Cinderella.
“Then let me be the one to say what is possible or not!”
“Excuse me!” said the Fairy Godmother in a huff.
“Did I not just show up out of thin air?”
“Well, I think you know I want to go to the ball, too.” She looked down at her dirty clothes.
“But
look at me.”
“You do look a bit of a mess, child,” said the Fairy Godmother.
“Even if I had something nice to wear," said the girl, "I would have no way to get there."
“Dear me, all of that is possible,” said the Fairy. With that, she tapped her wand on Cinderella’s
head.
At once, Cinderella was all clean.
She was dressed in a beautiful blue gown.
Her hair was set up
high on her head inside a golden band.
“This is wonderful!” said Cinderella.
“Dear me, all of that is possible,” said the Fairy Godmother.
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“Who said I was done?” said the Fairy Godmother.
She tapped her wand again. At once, a
beautiful carriage came to be, with a driver and four white horses.
“Am I dreaming?” said Cinderella, looking around her.
“It is as real, as real can be,” said the Fairy Godmother.
“But there is one thing you must know.”
“What is that?”
“All of this lasts only to midnight.
Tonight, at the stroke of midnight, it will all be over.
Everything will go back to how it was before.”
“Then I must be sure to leave the ball before midnight!” said Cinderella.
“Good idea,” said the Fairy Godmother.
She stepped back. “My work is done.” And with that,
the Fairy Godmother was gone.
“All of this will last only to midnight.”
Cinderella looked around her.
"Did that even happen?"
But there she stood in a fine gown, and
with a golden band in her hair.
And there were her driver and four horses before her, waiting.
“Coming?” called the driver.
She stepped into the carriage.
And they were off.
Over at the ball, the Prince did not know what to think.
“Why do you have that sad look on your
face?” the Queen said to her son.
“Look around you! You could not ask for finer maidens than
these.”
“I know, Mother,” said the Prince.
Yet he knew something was wrong. He had met many of the
young women.
Yet after he said “hello,” one by one, he could find nothing more to say.
"Look!"
Someone pointed to the front door.
“Who is that?”
All heads turned.
Who was that lovely maiden stepping down the stairs?
She held her head tall
and looked as if she belonged. But no one knew her.
"Look!"
Someone pointed to the front door.
“Who is that?”
“There is something about her,” said the Prince to himself.
“I will ask her to dance.” And he
walked over to Cinderella.
“Have we met?” said the Prince.
“I am pleased to meet you now,” said Cinderella with a bow.
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“I feel as if I know you,” said the Prince.
“But of course, that is impossible.”
“Many things are possible,” said Cinderella, “if you wish them to be true.”
The Prince felt a leap in his heart.
He and Cinderella danced. When the song was over, they
danced again.
And then they danced again, and yet again. Soon the other maidens at the ball
grew jealous.
“Why is he dancing all the time with her?” they said. “How rude!”
“Many things are possible,” said Cinderella, “if you wish it to be true.”
But all the Prince could see was Cinderella.
They laughed and talked, and they danced some
more.
In fact, they danced for so long that Cinderella did not see the clock.
“Dong!” said the clock.
Cinderella looked up.
“Dong!” went the clock again.
She looked up again.
“Oh, my!” she cried out.
“It is almost midnight!”
“Dong!” rung the clock.
“Why does that matter?” said the Prince.
“Dong!” called the clock.
“I must go!” said Cinderella.
“Dong!” went the clock.
“Oh my!” she cried out.
“It’s almost midnight!”
“But we just met!” said the Prince.
“Why leave now?”
“Dong!” rung the clock.
“I must GO!” said Cinderella.
She ran to the steps.
“Dong!” said the clock.
“I cannot hear you,” said the Prince.
“The clock is too loud!”
“Dong!” rung the clock.
“Goodbye!” said Cinderella. Up, up the stairs she ran.
“Dong!” went the clock.
“Please, stop for a moment!” said the Prince.
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“Dong!” rung the clock.
“Oh, dear!” she said as one glass slipper fell off her foot on the stair.
But Cinderella kept
running up.
“Dong!” said the clock.
“Please wait a moment!” said the Prince.
“Dong!” rung the clock.
“Goodbye!” Cinderella turned one last time.
Then she rushed out the door.
“Dong!”
The clock was quiet. It was midnight.
“Wait!” called the Prince.
He picked up her glass slipper and rushed out the door.
He looked
around but could not see her blue dress anywhere.
“This is all I have left from her,” he said,
looking down at the glass slipper.
He saw that it was made in a special way, to fit a foot like
none other. “Somewhere there is the other glass slipper,” he said.
“And when I find it, I will find
her, too.
Then I will ask her to be my bride!”
“This is all I have left from her,” he said, looking down at the glass slipper.
From hut to hut, from house to house, went the Prince.
One young woman after another tried to
fit her foot inside the glass slipper.
But none could fit. And so the Prince moved on.
At last the Prince came to Cinderella’s house.
“He is coming!” called one step-sister as she looked out the window.
“At the door!” screamed the other step-sister.
“Quick!” yelled the stepmother.
“Get ready! One of you must be the one to fit your foot in that
slipper.
No matter what!”
The Prince knocked.
The stepmother flew open the door.
“Come in!” she said. “I have two
lovely daughters for you to see.”
The first step-sister tried to place her foot in the glass slipper.
She tried hard, but it just would
not fit. Then the second step-sister tried to fit her foot inside.
She tried and tried with all her
might, too. But no dice.
“Come in!” she said.
“I have two lovely daughters for you to see.”
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“Are there no other young women in the house?” said the Prince.
“None,” said the stepmother.
“Then I must go,” said the Prince.
“Maybe there is one more,” said Cinderella, stepping into the room.
“I thought you said there were no other young women here,” said the Prince.
“None who matter!” said the stepmother in a hiss.
“Come here,” said the Prince.
“Maybe there is one more," said Cinderella, stepping into the room.
Cinderella stepped up to him.
The Prince got down on one knee and tried the glass slipper on her
foot.
It fit perfectly! Then, from her pocket Cinderella took out something. It was the other glass
slipper!
“I knew it!” he cried.
“You are the one!”
“WHAT?” shouted a step-sister.
“Not HER!” screamed the other step-sister.
“This cannot BE!” yelled the stepmother.
But it was too late.
The prince knew that Cinderella was the one.
He looked into her eyes. He
did not see the cinders in her hair or the ashes on her face.
“I have found you!” he said.
“And I have found you,” said Cinderella.
And so Cinderella and the Prince were married, and they lived happily ever after.
End
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