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Slowly ... the truth is dawning upon women, and still more slowly upon men, that woman is no stepchild of nature, no Cinderella of fate to be dowered only by fairies and the Prince; but that for her and in her, as truly as for and in man, life has wrought its great experiences, its master attainments, its supreme human revelations of the stuff of which worlds are made.
(Anna Garlin Spencer (1851-1931), U.S. educator, author, feminist, and Unitarian minister. Woman's Share in Social Culture, Introduction (1913).)
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Anna Garlin Spencer
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Much more frequent in Hollywood than the emergence of Cinderella is her sudden vanishing. At our party, even in those glowing days, the clock was always striking twelve for someone at the height of greatness; and there was never a prince to fetch her back to the happy scene.
(Ben Hecht (1893-1964), U.S. journalist, author, screenwriter. "My Poverty Row," bk. 5, A Child of the Century (1954).)
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Ben Hecht
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Much more frequent in Hollywood than the emergence of Cinderella is her sudden vanishing. At our party, even in those glowing days, the clock was always striking twelve for someone at the height of greatness; and there was never a prince to fetch her back to the happy scene.
(Ben Hecht (1893-1964), U.S. journalist, author, screenwriter. "My Poverty Row," bk. 5, A Child of the Century (1954).
Writing of Hollywood 1925-1945.)
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Ben Hecht
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4
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Ah, there should be a young man, ein schone Junge carrying Blumen, a bouquet of roses. There should be cold Rhine wine and Strauss waltzes, and on the long way home kisses in the shadow of an archway, like a Cinderella.
(Laurence Stallings (1894-1968), U.S. screenwriter, and John Ford. Herman Felsburg (Ludwig Stossel), The Sun Shines Bright, an old man's musings on the delights of a romantic evening (1953).
Based on stories "The Sun Shines Bright," "The Mob from Massac," "The Lord Provides" by Irwin S. Cobb.)
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Laurence Stallings
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5
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The prince was getting tired.
He began to feel like a shoe salesman.
But he gave it one last try.
This time Cinderella fit into the shoe
like a love letter into its envelope.
(Anne Sexton (1928-1974), U.S. poet. "Cinderella.")
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Anne Sexton
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Cinderella and the prince
lived, they say, happily ever after,
like two dolls in a museum case
never bothered by diapers or dust,
never arguing over the timing of an egg,
never telling the same story twice....
(Anne Sexton (1928-1974), U.S. poet. "Cinderella.")
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Anne Sexton
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7
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Much more frequent in Hollywood than the emergence of Cinderella is her sudden vanishing. At our party, even in those glowing days, the clock was always striking twelve for someone at the height of greatness; and there was never a prince to fetch her back to the happy scene.
(Ben Hecht (1893-1964), U.S. journalist, author, screenwriter. "My Poverty Row," bk. 5, A Child of the Century (1954).)
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Ben Hecht
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The fairytale is irresponsible; it is frankly imaginary, and its purpose is to gratify wishes, "as a dream doth flatter." It heroes and heroines, though of delightfully high station, wealth, beauty, etc., are simply individuals; "certain prince," "a lovely princess." The end of the story is always satisfying, though by no means always moral; the hero's heroism may be slyness or luck quite as readily as integrity or valor. The theme is generally the triumph of an unfortunate one—an enchanted maiden, a youngest son, a poor Cinderella, an alleged fool—over his or her superiors.... In short, the fairytale is a form of "wishful thinking," and the Freudian analysis of it fully explains why it is perennially attractive, yet never believed by adults even in the telling. Myth, on the other hand, whether literally believed or not, is taken with religious seriousness, either as a historic fact or as a "mystic" truth. Its typical theme is tragic, not utopian; and its personages tend to fuse into stable personalities of supernatural character.
(Susanne K. Langer (1895-1985), U.S. philosopher. "Life-Symbols: The Roots of Myth," Philosophy in a New Key, Harvard University Press (1951).)
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Susanne K Langer
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