Maria Tartar argues that “Cinderellla” and “Donkeyskin” stories should be read together. I agree and think that engaging with different texts allows the reader to develop depth in their understanding of these stories. Original understandings of “Cinderella” for children who were raised on the 20th century Disney version of the story learn that there are different morals, different values, and different understandings of stories that developed out of the same context. This realization helps readers assess their own temporal and geographical biases while also learning about the values of other places in different time periods. For example, Walt Disney’s adaptation of Cinderella fit the “basic moral intent” of values of American society during the early part of the 20th century. Disney presumes that these morals and values are easily discernable and virtually undisputable and include that there are always going to be clearly defined good and bad guys, heroes and heroines, good and evil and ultimately a happy ending where the good guys live richly. But Disney’s version of Cinderella departs from the perverted realities of life that are addressed in other versions of the story such as Perrault’s.
In The Green Knight (Denmark) by Svendt Grundtvig we see a demanding wife on her deathbed, a committed husband who honors his wife’s wish to fulfill his daughters every desire. The daughter is “spoiled,” “moody,” “melancholy” and a “loner.” As more female characters are introduced into the story, more negative attributes are used to describe women. For example, the Step-mother and her daughters are described as vain, selfish, hard-hearted and pleasure seeking. There are several similarities between this telling of the Cinderella story and Walt Disney’s adaptation. Among these similarities are unambiguous gender roles where men are ascribed all attributes that are positive and neutral and women are left with those traits negative. For further example of the negative female associations Cinderella is the cause behind the King marrying the conniving countess. Women are again portrayed as manipulative in two more ways. First, because the countess deceives Cinderella into thinking that she truly wants to “cheer” her. Secondly because Cinderella demands that her father marries the countess.
Eventually, “The Green Knight” departs from the Walt Disney version.
The tale turns into a story that fits the cliché “be careful what you wish for.” Cinderella is punished for the demands she placed upon her obeying father. The wicked and malicious Step-mother and step daughter engage in behavior that is entirely deceitful, misery inducing, and torment causing. The king goes through great trouble to appease his daughters’ wish to deliver a message to the Green Knight. Even though Cinderella’s father has no idea who the Green Knight is or where to find him. Nevertheless Cinderella’s father goes through great lengths, riding day through the great forest to find this Green Knight all because his daughter asked him to. Even though the story line changes, the general formula for positive male, negative female remains in tact, especially when a secret relationship between the Green Knight and Cinderella develops which causes Cinderella to grow more beautiful that Cinderella’s step mother becomes jealous of.
The positive-male and negative-female sexism continues throughout this section. Here, Cinderella is plagued by negative and melancholy thoughts until here beloved Green Knight comes every night to bring her happiness. Cinderella’s Step-mother is so vain that her jealousy of Cinderella’s growing beauty compels her to act suspiciously and hire spies to monitor Cinderella’s behavior.
In the end Cinderella and the Green Knight lived happily ever after, just like in the Disney version, which speaks to the 20th century western cultures attachment to actualization a lifetime of happiness through finding true love.
