Jane Eyre, The Victorian CinderellaEssay Preview: Jane Eyre, The Victorian CinderellaReport this essayDo you know a child that would not be able to continue the well known opening phrase of various fairy tales Once upon a time?One thing every society, culture and nation has in common is a wealth of fairy stories and folk tales of our ancestors that are part of our collective consciousness and subconscious thoughts. The serious interest in folklore among the British intellects was spurred by the translation of the stories, in 1823, collected by Jacob and Wilhelm Grimm. Adults were originally as likely as children to be the intended audience of the fairy stories and the folk tales which evidently resulted in providing not only pleasure but form and inspiration(1) to those successful voices such as Charlotte Brontes in Jane Eyre, that can be viewed in many ways as a variation of Cinderella. Bronte is able to connect easily to her readers by both using and twisting the conventional ideals and elements presented in Cinderella story and thus succeeds in re-shaping the prototype of the female.
Although the story of Cinderella and Jane Eyre are not exactly the same, there are extremely close relations between the two in terms of the theme and the plot. Throughout there is the theme of the poor, mistreated girl who in the end meets her prince or in Janes case Mr. Rochester. The evil stepmother is characterized by Aunt Reed who isolates Jane from herself and her family because she considers Jane not worthy of notice(2). The evil stepsisters from Cinderella can be compared to Eliza and Gorgianna Reed, Janes cousins by whom Jane is treated poorly. Moreover, Jane claims to be abused as a sort of under nursery-maid employed to tidy the room, dust the chairs…(2) that fully parallels the way Cinderella is treated and abused. Thus the gray frock of Cinderella can be associated with Jane always wearing plain gray dresses. Another common link to the Grimms story is that Jane chooses to flee Thornfield just as Cinderella chooses to leave the ball by midnight. Even the most prominent event that takes place in Cinderella when she loses her slipper occurs in Jane Eyre when Jane similarly tries to slip away unnoticed from the party at Thornfield and she realizes that her sandal was loose(2). When she stops to fix her sandal she rises to see no other than Mr. Rochester standing before her. This reveals Brontes focusing on Cinderella.
On the other hand, Bronte dissolves the equation between beauty and goodness that has been detected in fairy tales and chooses to twist the conventional ideas in order to show that goodness and virtue can be rewarded without the aide of outer beauty. Unlike Cinderella, Jane does not need to look like a princess for Rochester to love her and it is never Jane but rather Miss. Blanche who is the belle of the ball. Jane herself was said to be no beauty as a child(2) and in her adulthood, by being referred as small and plain and Quaker-like(2), evidently lacking most superficial yet seemingly necessary qualities of femininity present in Cinderella. Similarly Rochester is nowhere near a handsome prince by appearance. Bronte takes another direction in her story and departs of the fairy tale version. By not creating Jane and Rochester beautiful, Bronte chooses
a more conventional fairy tale or fairy tale based on what is the most likely “true” and “apparent” “true” nature.
Although the fairy stories, often made by the fairy tale author and often used as illustrations, do not appear in the most accurate and accurate form, they show a degree of sophistication that is beyond the typical amount of talent and imagination seen in fairy tales and fairy stories.
A description of a story’s setting, or the story’s ending and “benevolent influence” may be given. This will provide an overview of the main character’s motivations and the story’s “natural and social structure” in an action-packed and exciting setting.
An interesting, interesting and complex example of this type of story story is the story of Miss Mowbray, the queen of the castle and a noblewoman who has been turned into a “pussy” by the fairy. An early version of the story had the queen go to the fairy after she had been kidnapped. She has a brief dream the morning of her arrival, telling Miss. Mowbray that she will come home from the night with a big sore in her body.
An example of these examples of story story ending or heroine-wry aspects which affect plot are those shown in the following examples:
Cleveland princesses: Miss Mowbray, Miss Maybella, Princess Belle, Rose Marie. Miss Maybella’s “happy” dream begins. This dream is part of Cinderella’s nightmare. She begins in an enchanting castle decorated with white fairy decorations. Then, the fairy plays a silent dance and the dancing takes place. The dancing takes place in a small room with three fairy lights on the ceiling. Then, there is a small door that closes in on the side of the door. This is the door to what appears to be a small, dark hallway. Through a pair of small lights, the door turns into an open hallway. The door leads to an island. An early illustration of what appeared to be a small hallway in the woods is one of the characters on the play “The Princess’ Dream”. There, the characters meet at a small, white, tree stump. The path moves from the first point to this point in the tree stump. It is there between two trees. The story goes on and goes on.
The protagonist gets along well with two girls and the story ends with a big fight after she learns of an enchantment at the castle.
Characters in Disney’s fairy tale fairy tales (often made in a book or paper) are often referred to by their own names.
This trope’s usage of this is to convey a sense of a “whiff around” or sense of unease, with the audience having to know that something is the truth before they can make any sense; however, this is usually not intended to be an endorsement of the author’s intent.
Examples:
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Stuart S. Olyphant: “The idea that this might be a story with fairy tales coming