Damsels In Address Essay, Research Paper

It is clearly evident that many fairy tales of childhood tend to shape the

reader. Certain moral codes and ideals are tightly woven into the text of many

fairy tales, promoting or denoting a character?s actions. In the Grimm?s

fairy tales Cinderella, Brier Rose, and Rapunzel, the heroines of these tales

exhibit strong behavioral codes, thus providing opportunity for the young female

reader to relate to the damsel, or to model herself to behave in a similar

fashion. In accordance with Marcia R. Lieberman?s essay, ? ?Some Day My

Prince Will Come?: Female Acculturation Through the Fairy Tale,? I agree

with the assertion that positive traits in fairy tale indicate reward, while the

negative characteristics bring misfortune. A heroine in a fairy tale is to be

seen as a mentor, a model to easily portray what is right, and what is

inherently wrong. For instance, a passive heroine proves to bring eventual

reward through pain and suffering, while a female who is assertive, either

mentally or physically, is shunned. Suggestions integrated throughout the text

of the three tales provide strong evidence as to the desired morals and values

of the society in which the tales were written. Through the examination of

tales, their inherent messages surface. Children?s perceptions of fairytales

can go a long way towards shaping social interactions among said children.

Passivity is a major player in the personalities of Rapunzel, Cinderella, and

Sleeping Beauty. Rapunzel relies completely on a determined prince to escape her

imprisonment; Cinderella uses a fairy godmother to help her cause and Sleeping

Beauty waits until Prince Charming wakes her. Children could see these

characterizations of women and begin to intertwine them with their own budding

personalities. Boys begin to see women as weak and Girls may interpret these

behavior traits as indicative of their being the lesser part of relationships

with men. Sexual roles, although not overtly discussed within the pages of

fairytales, becomes the focus for these young people. Marcia Lieberman

reiterates the idea of inherent roles stating, ?a picture of sexual roles,

behavior psychology, and a way of predicting outcome or fate according to

sex?(Lieberman, 384). As they grow older, the children may begin to fall into

the roles they discovered in the fairytales; boys begin to act out the

?hero? role and girls become passive, receptive to the male?s ideas before

their own. Throughout Cinderella, the jealous sisters are constantly oppressing

the heroine of the tale. The sisters, who enslave Cinderella to complete chores

around the palace, portray strong, ill natured, and above all, jealous

characters. In contrast, Cinderella represents a relatively passive, young, and

beautiful woman. However, in contrast with Lieberman (389), Cinderella is not

passive in completing her tasks about the house. Stating, ?the system for

rewards in fairy tales [?] equates these three factors: being beautiful, being

chosen, and getting rich,? Lieberman acknowledges the relationship between

beauty and eventual success (386). Beauty, however, hides within Cinderella?s

actions. The words, ?After leaving her slipper at the ball she has nothing

more to do but stay home and wait,? expressions of description, Lieberman

suggests that Cinderella exhibits at the core of her emotions, meekness (389).

Cinderella?s submissiveness is rewarded with the introduction of the prince

and her eventual happily ever after status. Rewards only pertain to those who

have struggled, and therefore prove worthy. In Brier Rose, the heroine of the

tale suffers through a great sleep to be eventually rejuvenated and rewarded for

her passivity by the prince. Upon her birth, the heroine receives four gifts

from fairies: virtue, beauty, wealth, and the curse of a seemingly endless

sleep. Three of the four gifts bring lifelong success and happiness, while the

latter handicaps her maturation process. Proclaiming, ?the prettiest is

invariably singled out and designated for reward,? Lieberman identifies the

tendency for fairy tales to equate beauty with success (384). Once again, the

beauty of the heroine arrives as a result of her state of passivity, her intense

sleep. The statement, ? she does not have to show pluck, resourcefulness, or

wit; she is chosen because she is beautiful,? Lieberman explains the heroines

ability to attract the eye of others (386). For it is merely the heroine?s

immense beauty that persuades the prince to ride through the forest of thorns in

order to reach the heroine and to rejuvenate her from her sleep. Once again, as

a direct result of her beauty, the heroine is rewarded for her beauty and all of

the obstacles it brings. Throughout the tale Rapunzel, the heroine is portrayed

as the classic fairy tale character, a damsel in distress. In this case,

Rapunzel depends upon others to bring her happiness and in that, freedom.

Awaiting the assistance of others, Rapunzel helplessly serves to further

institute the notion that success only comes with being passive, specifically,

being imprisoned by a cruel witch. Revealing, ?so many heroines [?] are

locked up in towers, imprisoned by giants, or otherwise enslaved,? Lieberman

asserts the prominence of an imprisoned maiden in fairy tales (389). As

previously stated, Rapunzel depends on her rescuer in order to escape the tower

and the wrath of the witch keeping her in custody. Declaring, ?The sexes of

the rescuer and the person in danger are almost as constantly predictable; men

come along to rescue woman who are in danger of death,? Lieberman concludes

that in most cases, the damsel in distress is in fact distressed as a result of

her imprisonment (391). Whether mentally or physically imprisoned, the heroine

of Rapunzel strongly relies on others, specifically and initially; she relies on

a handsome prince driven by beauty. In fairy tales marriage is not without its

great rewards. Proclaiming, ?good, poor and pretty girls always win rich and

handsome princes,? Lieberman presents marriage as a reward (386). This not

without its drawbacks in the development of young children?s perceptions of

marriage; Lieberman points out that ?Since girls are chosen for their beauty,

it is easy for a child to infer that beauty leads to wealth? (386). Children

see the opportunity to profit and run with the concept that the only way to be

happy is to live a life that ?equates these three factors: being beautiful,

being chosen, and getting rich?(Lieberman, 387). Woe to the little girl raised

on stories of women only able to marry or be loved if they are pretty. The girls

can develop a trait of caring much more for their appearance and if ever they

are spurned from marriage it may not be taken on its merits, instead seen as a

sign that the girl is ugly, not chosen, not rich and consequently not happy.

Boys also see this and become obsessed with money; not willing to conclude the

accumulation of wealth is so they can get a pretty girl. Without a doubt

children can internalize many of the actions, roles, behaviors and psychology

presented to them in fairy tales. Passive heroines are beautiful. In return for

such beauty, the maiden is chosen, married, and loved by the hero. This process

leads not only to beauty by means of passivity, but also to security and

happiness. Assertion equates not only with beauty, but ugliness and misfortune

as well. Boys in turn develop a sense of responsibility and see themselves in

the dominant role. In other words, they must save the day by getting the girl

and then of course spreading wealth. For the young girls of the fairy tale

audience to acknowledge that they must act out roles similar to the behavior of

the heroines in the three tales under examination, thus guaranteeing eternal

wealth and happiness. Boys will see the same roles played out and revert to the

breadwinning hero role. Lessons portrayed throughout the story are epitomized by

Marcia Lieberman to support the notion of love, success, and failure.

Grimm, Jacob and Wilhelm Grimm. The Complete Fairy Tales of the Brothers

Grimm. Trans. and with an introduction by Jack Zipes. 2 vols. Toronto: Bantam

Books, 1988. Lieberman, Marcia R. ? ?Some Day My Prince Will Come?: Female

Acculturation Through the Fairy Tale.? College English 34 (1972/73): 383-395.