Madeline will be investigating how in Perrault’s variant of the oral folk tale, the fairy godmother plays a crucial role in developing and progressing the story. Throughout time, depending on the technology, different types of mediums such as film, text, illustration have represented the fairy godmother figure accordingly and though there may be some necessary alterations to go along with the evolving times, the job of the fairy godmother remains the same. Furthermore, Perrault’s variant has become the most adapted and commonly known version of the story and if one looks hard enough they would be able to discern the same archetypes in popular western films. As the audiences for fairytales transitioned away from adults and became solely for children, Cinderella followed suit and Errol Le Cain illustrated Perrault’s translated text into a picture book, which got published by Faber and Faber limited in 1972. It wasn’t until the late 18 th century when the story was filtered down into English chapbooks, did children become part of the target demographic (Cullen 57). This 17 thcentury French writer, known for putting popular oral folk tales on paper first published Cendrillon ou la Petite Pentoufle de Verre in 1698 for a well-bred adult audience.
If ever categorized she would be considered a reflection of 3 rd generation fairies (Bottigheimer 3). One of the most recognized of fairies today originates from Charles Perrault’s classic version of the fairytale Cinderella also known as The Little Glass Slipper – the fairy godmother (Ohmer 232). Throughout time, fairies have found their way into many oral folk tales the term taking on a variety of meanings to the audiences these stories are told to.
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