Cinderella -Analysis
Rhetorical Analysis: Cinderella
Cinderella’s story is undoubtedly the most popular fairy tale all over the world. Her fairy tale is one of the best read and emotion filled story that we all enjoyed as young and adults. In Elizabeth Pantajja’s analysis, Cinderella’s story still continues to evoke emotions but not as a love story but a contradiction of what we some of us believe. Pantajja chose Cinderella’s story to enlighten the readers that being good and piety are not the reason for Cinderella’s envious fairy tale. The author’s criticism and forthright analysis through her use of pathos, ethos, and logos made the readers doubt Cinderella’s character and question the real reason behind her marrying the prince. Pantajja claims that Cinderella isn’t really motherless and helpless as the old fairy tale wanted the readers to believe. Her mother played a vital role in her success in rising to a position of power and influence. (Pantajja, 1993, p. 644)
Portrayed as motherless in the post-Freudian world, Panttaja claimed it wasn’t true by using logos in her analysis. The old fairy tale wants us to feel sorry for her because her mother is not around to guide and take care of her. Her mother in fact, played a major role in her success to rise in a position of power and influence. (Panttaja, 1993, p. 644). Her mother’s magical power helped her in so many ways. The twig that she plants on her mother’s grave grows in to a tree that takes care of her. It also gives her the dresses that she needs to attend the ball. Panttaja narrates that, it was thru her mother’s magical influence that Cinderella manages to overcome all the barriers in her chance of meeting the prince and in the end she succeeds in bringing about her daughter’s advantageous marriage to the prince. (Panttaja, 1993, p. 645) Panttaja made a strong point that Cinderella’s mother maybe physically absent but her spirit and thru magical powers was able to continue to influence her daughter’s life.
Cinderella’s story is undoubtedly the most popular fairy tale all over the world. Her fairy tale is one of the best read and emotion filled story that we all enjoyed as young and adults. In Elizabeth Pantajja’s analysis, Cinderella’s story still continues to evoke emotions but not as a love story but a contradiction of what we some of us believe. Pantajja chose Cinderella’s story to enlighten the readers that being good and piety are not the reason for Cinderella’s envious fairy tale. The author’s criticism and forthright analysis through her use of pathos, ethos, and logos made the readers doubt Cinderella’s character and question the real reason behind her marrying the prince. Pantajja claims that Cinderella isn’t really motherless and helpless as the old fairy tale wanted the readers to believe. Her mother played a vital role in her success in rising to a position of power and influence. (Pantajja, 1993, p. 644)
Portrayed as motherless in the post-Freudian world, Panttaja claimed it wasn’t true by using logos in her analysis. The old fairy tale wants us to feel sorry for her because her mother is not around to guide and take care of her. Her mother in fact, played a major role in her success to rise in a position of power and influence. (Panttaja, 1993, p. 644). Her mother’s magical power helped her in so many ways. The twig that she plants on her mother’s grave grows in to a tree that takes care of her. It also gives her the dresses that she needs to attend the ball. Panttaja narrates that, it was thru her mother’s magical influence that Cinderella manages to overcome all the barriers in her chance of meeting the prince and in the end she succeeds in bringing about her daughter’s advantageous marriage to the prince. (Panttaja, 1993, p. 645) Panttaja made a strong point that Cinderella’s mother maybe physically absent but her spirit and thru magical powers was able to continue to influence her daughter’s life.
References: Behrens, L., & Rosen, L. J. (2008). Fairy tales: A closer look at Cinderella. Writing and reading across the curriculum (10th ed., pp. 644-647). New York: Pearson Longman.