Cover image for Cinderella : a fairy tale
Cinderella : a fairy tale
Perrault, Charles, 1628-1703.
Uniform Title:
Cinderella das Aschenputtel. English
Publication Information:
New York : North-South Books, [1999]

Physical Description:
1 volume (unpaged) : color illustrations ; 30 cm
With the help of her fairy godmother, a beautiful young woman mistreated by her stepmother and stepsisters attends the palace ball where she meets the prince whom she marries.

Format :


Call Number
Material Type
Home Location
Central Library PZ8.P426 CI 1999 Juvenile Non-Fiction Childrens Area
Clearfield Library PZ8.P426 CI 1999 Juvenile Non-Fiction Fairy Tales
Concord Library PZ8.P426 CI 1999 Juvenile Non-Fiction Open Shelf
Kenmore Library PZ8.P426 CI 1999 Juvenile Non-Fiction Open Shelf
Anna M. Reinstein Library PZ8.P426 CI 1999 Juvenile Non-Fiction Fairy Tales
Julia Boyer Reinstein Library PZ8.P426 CI 1999 Juvenile Non-Fiction Fairy Tales
Audubon Library PZ8.P426 CI 1999 Juvenile Non-Fiction Fairy Tales

On Order



Translated by Anthea Bell, this Perrault's classic tale is still timeless today. Sweet, beautiful Cinderella, cruelly mistreated by her evil stepmother and stepsisters, is helped by her magical fairy godmother, who turns Cinderella's rags into a sumptuous ball gown and sends her off to win the heart of a handsome prince.

Author Notes

Charles Perrault was born in Paris on January 12, 1628. He was the son of an upper-class burgeois family and attended the best schools, becoming a lawyer in 1651. After being a lawyer for some time, he was appointed chief clerk in the king's building, superintendent's office in 1664. While there, he induced Colbert to establish a fund called Liste des Bienfaits du Roi, to give pensions to writers and savants not only in France but in Europe. He took part in the creation of the Academy of Sciences as well as the restoration of the Academy of Painting. When the Academy of Inscriptions and Belles-Lettres was founded by Colbert in 1663, Perrault was made secretary for life. Having written but a few popular poems, he was elected to the French Academy in 1671, and on the day of his inauguration he invited the public to be admitted to the meeting, a privilege that has ever since been continued.

Perrault laid the foundations for a new literary genre, the fairy tale, with his works derived from pre-existing folk tales. The best known of his tales include Le Petit Chaperon rouge (Little Red Riding Hood), Cendrillon (Cinderella), Le Chat Botté (Puss in Boots), La Belle au bois dormant (The Sleeping Beauty) and La Barbe bleue (Bluebeard). His stories continue to be printed and have been adapted to opera, ballet (for example, Tchaikovsky's Sleeping Beauty), theatre, and film. He also wrote Parallèles des Anciens et des Modernes (the Parallels between the Ancients and the Moderns), from 1688 to 1697, which compared the authors of antiquity unfavorably to more modern writers, and caused a debate that lasted for years.

Charles Perrault died on May 16, 1703.

(Bowker Author Biography)

Reviews 3

Booklist Review

Gr. 9^-12. High-school art students are the likely audience for these handsome new picture-book editions. The mostly straightforward text veers into the archaic and convoluted in parts: "Cinderella, would you not be glad to go to the ball?" ask the stepsisters. "You only jeer me; it is not for such as I am to go thither," she replies. It is both volumes' artwork that is noteworthy. Roberto Innocenti sets Cinderella in the 1920s, illustrating the clothes, cars, households, and boozy decadence of the era in intricate spreads. High-school students reading The Great Gatsby or looking for visual representations of the flapper era will pore over these pages. Etienne Delessert's Beauty takes a more symbolic approach. A fairly representational blond Beauty and Georgia O'Keefe^-like flowers blend with startling compositions of abstracted claws and toothy snouts representing the beast. For older design students, both titles offer intriguing examples of how such familiar material can be visually reinterpreted. --Gillian Engberg

Publisher's Weekly Review

Long before Gutenberg and since his time, storytellers have enjoyed the privilege of adapting, retelling tales rooted in widely different cultures. Perrault's ``Cinderella,'' for example, was an established heroine in folklore around the world, centuries before the French writer wrote about the abused maiden. Ehrlich's retelling differs from others' but it's absorbing, easily grasped and no less rewarding than the many versions available, except in one instance. There is no mention of the mean stepmother after Ehrlich introduces her. Gazing at the beautiful, ingenious, color-rich paintings, one forgets such quibbles. The illustrations display Jeffers's gifts at their dazzling best, particularly when she shows the noble steeds prancing and tossing their heads as they carry Cinderella to the ball. The author and the artist have been praised for their previous adaptations of classic tales, but this surpasses them all. (48) (c) Copyright PWxyz, LLC. All rights reserved

School Library Journal Review

PreS-Gr 3 To justify the production of another picture book version of a classic fairy tale, one expects either a magical new telling adequately illustrated, or a sturdy authentic telling magically illustrated. One hardly dares hope for both. Here, we have neither. Ehrlich's retelling of Perrault's Cinderella is scaled down, devoid of a number of details that add richness to the imagery and depth to the characters. Lost, for example, is the elder step-sister's ``cherry velvet with the English trim'' (from Marcia Brown's retelling Scribners, 1954) as well as the small but significant detail that the stepmother cannot abide Cinderella because her goodness makes her own daughters seem even more hateful. Nor is the lackluster retelling redeemed by the illustrations. While Jeffers has an eye for nature, investing flora and fauna with a proper fairy tale shimmer, she is less successful with interiors and faces. Pale blank ovals, like so many puddings, dot the pages, one face indistinguishable from the next. Rackham's black silhouettes (Penguin, 1978), innocent of features altogether, are yet a hundred times more expressive. All in all, a forgettable version of a not-to-be-forgotten tale: gifty, glittery and slick. Kristi Thomas Beavin, Arlington County Public Library, Va. (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.



Once upon a time there was a gentleman. After the death of his first wife, he married again. His new wife was proud and haughty, as were her two daughters. His now daughter, however, was exceptionally gentle and kind.  All too soon, after the wedding the stepmother revealed her true nature. She couldn't stand the kindness of her husband's daughter. Nor could her two daughters.  The stepmother made the poor girl do all the housework and sent her to sleep on a straw mattress in the attic. When she finished her work, she would sit in the corner next to the fireplace, among the ashes and cinders. So her stepsisters, to make fun o her, called her Cinderella. But their laughter meant nothing, for Cinderella's beauty and good nature shone through even her ragged clothing.  One day, the son of the kind announced a grand ball. Many young ladies were invited, including the two stepsisters. The house buzzed with their excitement--they could speak of nothing else!  "I," said the older daughter, "will wear my red velvet dress and my lace collar."  "I," said the younger daughter, "will wear my regular skirt, but with my gown of golden flowers over it, and my diamond barrette."  Cinderella had to work even harder than usual She prepared the clothes, cleaned them and ironed the. As kind as always, she advised her two sisters about their dresses and offered to do their hair.  The two mean girls accepted her offer and teased her.   "Cinderella, would you like to go to the ball?"  "Oh I can't," the young girls answered.  "You're right. Everyone will laugh at a Cinderella at the ball!" Excerpted from Cinderella by Charles Perrault All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.

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