THE FULL PROJECT GUTENBERG LICENSE
by Henry W. Hewet · from Cinderella
Adapted Version
Once upon a time, there was a kind girl named Cinderella. She lived in a big house. Cinderella worked very hard every day. She cleaned the big rooms. She cleaned the fireplace too. She washed all the dishes. She cooked the family's food. Her stepsisters, Javotte and Anastasia, did not help her. They played games all day. Cinderella wore old, torn clothes. She was often very tired. Her stepsisters were not kind to her. They made her work a lot. Cinderella felt sad sometimes. She wished for a happy life. She was a good girl.
One day, news came to the house. The Prince would have a big party. It was a special ball at the palace. Javotte and Anastasia were very happy. They planned their new dresses. They talked about the party for days. Cinderella wanted to go to the ball. She asked, "Can I go too, please?" The stepsisters laughed at her. "You cannot go," they said. "You must stay and work." Cinderella felt sad again.
Cinderella cried softly in the garden. A kind Fairy Godmother appeared to her. "Do not cry, my dear girl," she said. The Fairy Godmother had a magic wand. She saw a big pumpkin. She touched it with her wand. The pumpkin turned into a beautiful coach. She saw some little mice. She touched them too. The mice became strong horses. Cinderella wore old, torn clothes. The Fairy Godmother touched her dress. It changed into a lovely gown. Cinderella had shiny glass slippers on her feet. "You can go to the ball," said the Fairy Godmother. "But you must come home by midnight. When the clock strikes twelve, the magic will end."
Cinderella went to the palace. The Prince saw her. He thought she was very beautiful. He asked her to dance. They danced all evening. Cinderella was very happy. The clock started to strike twelve. Cinderella remembered the warning. She ran out of the palace. She ran very fast. Cinderella was home in her old clothes. Her stepsisters came home. "Oh, a beautiful girl was there!" said Javotte. "The Prince danced only with her!" said Anastasia. They did not know it was Cinderella.
The next night, there was another ball. The Fairy Godmother helped Cinderella again. She looked even more beautiful. The Prince was very happy to see her. They danced and danced. Cinderella forgot the time. She did not watch the clock. The clock began to strike twelve! Cinderella remembered. She ran very fast. She ran down the palace stairs. One of her glass slippers fell off. She did not stop. Her beautiful gown turned back to old clothes. She was home again.
The Prince found the small glass slipper. He was sad. He wanted to find the beautiful girl. "I will marry the girl whose foot fits this shoe," he said. He sent his men to find her. The Prince's men went to every house. Many girls tried the glass shoe. It was too small for them. Javotte tried the shoe. Her foot was too big. Anastasia tried the shoe. Her foot was too big too. The shoe did not fit them.
The men came to Cinderella's house. The stepsisters tried the shoe. It did not fit. Cinderella asked, "Can I try the shoe, please?" Javotte and Anastasia laughed. "You cannot try it!" they said. But the Prince's man said, "Everyone must try." Cinderella sat down. She put her foot into the glass slipper. It fit perfectly! Then Cinderella showed them her other glass slipper. She took it from her pocket. Everyone was surprised. They saw she was the beautiful girl from the ball. The kind Fairy Godmother appeared. She smiled at Cinderella. Cinderella's old clothes turned into a beautiful dress again. Now everyone knew she was a true princess.
The Prince heard the news. He came to Cinderella's house. He was very happy. Cinderella married the Prince. They lived in the palace. They were very happy together. Cinderella was always kind. She was kind even to her stepsisters. They lived happily ever after.
Original Story
fluttered through the crowd, and each was fain to exclaim, "How surpassingly lovely she is!" The ladies were all busy examining her head-dress and her clothes, in order to get similar ones the very next day, if, indeed, they could meet with stuffs of such rich patterns, and find workwomen clever enough to make them up. "What a lovely creature! so fair!—so beautiful!—What a handsome figure!—how elegantly she is dressed!" Even the prince's father, old as he was, could not behold her with indifference, but wiped his eye-glass and used it very much, and said very often to the queen, that he had never seen so sweet a being.
CINDERELLA IS PRESENTED BY THE PRINCE TO THE KING AND QUEEN, WHO WELCOME HER WITH THE HONORS DUE TO A GREAT PRINCESS, AND IS THEN LED INTO THE ROYAL BALL-ROOM.
The king's son handed Cinderella to one of the most distinguished seats on the daïs at the top of the Hall, and begged she would allow him to hand her some refreshments. Cinderella received them with great grace. When this was over, the prince requested to have the honour of dancing with her. Cinderella smiled consent; and the delighted prince immediately led her out to the head of the dance, just about to commence. The eyes of the whole company were fixed upon the beautiful pair.
The trumpets sounded and the music struck up, and the dance commenced; but if Cinderella's beauty, elegant figure, and the splendor of her dress, had before drawn the attention of the whole room, the astonishment at her dancing was still greater.
Gracefulness seemed to play in all her motions; the airy lightness with which she floated along—as buoyant as thistle-down—drew forth a general murmur of admiration. The hall rang with the loudest acclamations of applause, and the company, all in one voice, pronounced her the most elegant creature that had ever been seen. And this was the little girl who had passed a great part of her life in the kitchen, and had always been called a "Cinder-wench."
When the dance was ended, a magnificent feast was served up, consisting of all delicacies: so much was the young prince engaged with Cinderella, that he did not eat one morsel of the supper.
Cinderella drew near her sisters, and frequently spoke to them; and in her goodness of heart she offered them the delicacies which she had received from the prince: but they did not know she was their sister.
When Cinderella heard the clock strike three-quarters past eleven, she made a low courtesy to the whole assembly and retired in haste.
You see how fortune befriends the good-hearted, and even out of such unpromising material as a pumpkin and mice, can make a coach and six, with which to honor her worthy favorite. So Cinderella goes to the ball; but to teach her to be diligent and faithful in her engagements, her faëry godmother enjoins upon her that she return home at twelve. Native beauty and grace attract the princely heart; and while the king's son pays no heed to her pretentious sisters, he is all grace and condescension to little Cinderella. Obedient to her engagement with her godmother, she returns in all the splendor and honor of the coach and six.
On reaching home, she found her godmother; and after thanking her for the treat she had enjoyed, she ventured to express a wish to return to the ball on the following evening, as the prince had requested her to do.
She was still relating to her godmother all that had happened at court, when her two sisters knocked at the door. Cinderella went and let them in, pretending to yawn and stretch herself, and rub her eyes, and saying, "How late you are!" just as if she was waked up out of a nap, though, truth to say, she had never felt less disposed to sleep in her life. "If you had been to the ball," said one of the sisters, "you would not have thought it late. There came the most beautiful princess ever seen, who loaded us with polite attentions, and gave us oranges and citrons."
Cinderella could scarcely contain her delight, and inquired the name of the princess. But they replied that nobody knew her name, and that the king's son was in great trouble about her, and would give the world to know who she could be. "Is she, then, so very beautiful?" said Cinderella, smiling. "Oh, my! how I should like to see her! Oh, do, my Lady Javotte, lend me the yellow dress you wear every day, that I may go to the ball and have a peep at this wonderful princess." "A likely story, indeed!" cried Javotte, tossing her head disdainfully, "that I should lend my clothes to a dirty Cinderella like you!"
Cinderella expected to be refused, and was not sorry for it, as she would have been puzzled what to do, had her sister really lent her the dress she begged to have.
On the following evening the sisters again went to the court ball, and so did Cinderella, dressed even more magnificently than before. The king's son never left her side, and kept paying her the most flattering attentions. The young lady was nothing loth to listen to him; so it came to pass that she forgot her godmother's injunctions, and, indeed, lost her reckoning so completely, that before she deemed it could be eleven o'clock, she was startled at hearing the first stroke of midnight. She rose hastily, and flew away like a startled fawn. The prince attempted to follow her, but she was too swift for him; only, as she flew she dropped one of her glass slippers, which he picked up very eagerly. Cinderella reached home quite out of breath, without either coach or footmen, and with only her shabby clothes on her back; nothing, in short, remained of her recent magnificence, save a little glass slipper, the fellow to the one she had lost.
CINDERELLA DANCING WITH THE PRINCE IS ADMIRED FOR HER GRACEFULNESS. THE CLOCK STRIKES TWELVE: SHE HAVING FORGOT HER GOD-MOTHER'S INSTRUCTIONS, IS ALARMED, FLIES OUT OF THE BALL-ROOM--HER GORGEOUS APPAREL IS CHANGED INTO THE DRESS OF A CINDER-WENCH, AND HER SPLENDID EQUIPAGE INTO A PUMPKIN, RATS, MICE AND LIZARDS.
The sentinels at the palace gate were closely questioned as to whether they had not seen a princess coming out; but they answered they had seen no one except a shabbily dressed girl, who appeared to be a peasant rather than a young lady.
On this second night, as you have taken notice, dazzled by worldly show and the pleasing flattery of her royal lover, Cinderella over-stays her time, and is compelled to make her way back to her father's house on foot and in rags—an everlasting lesson to all the pretty little Cinderellas in the world to keep their word, and to act in good faith by such as befriend them. Never mind—her heart is in the right place—she is a charming good creature; and although virtue goes home in rags, it will leave some token behind—some foot-print by which it can be known and traced wherever it has once walked. We shall hear from that little lost glass slipper again!
CINDERELLA RETURNED SHABBILY DRESSED.
When the two sisters returned from the ball, Cinderella asked them whether they had been well entertained; and whether the beautiful lady was there? They replied, that she was; but that she had run away as soon as midnight had struck, and so quickly as to drop one of her dainty glass slippers, which the king's son had picked up, and was looking at most fondly during the remainder of the ball; indeed, it seemed beyond a doubt that he was deeply enamored of the beautiful creature to whom it belonged.
They spoke truly enough; for, a few days afterwards, the king's son caused a proclamation to be made, by sound of trumpet all over the kingdom, to the effect that he would marry her whose foot should be found to fit the slipper exactly. So the slipper was first tried on by all the princesses; then by all the duchesses; and next by all the persons belonging to the court; but in vain. It was then carried to the two sisters, who tried with all their might to force their feet into its delicate proportions, but with no better success. Cinderella, who was present, and recognized her slipper, now laughed, and said, "Suppose I were to try?" Her sisters ridiculed such an idea; but the gentleman who was appointed to try the slipper, having looked attentively at Cinderella, and perceived how beautiful she was, said that it was but fair she should do so, as he had orders to try it on every young maiden in the kingdom. Accordingly, having requested Cinderella to sit down, she no sooner put her little foot to the slipper, than she drew it on, and it fitted like wax. The sisters were quite amazed; but their astonishment increased tenfold when Cinderella drew the fellow slipper out of her pocket, and put it on. Her godmother then made her appearance; and, having touched Cinderella's clothes with her wand, made them still more magnificent than those she had previously worn.
THE HERALDS OF THE COURT ANNOUNCE THE PROCLAMATION THAT THE PRINCE WOULD MARRY THE LADY WHOM THE GLASS SLIPPER FITTED. CINDERELLA TRIES ON THE SLIPPER, WHICH FITS HER DELICATE FOOT, TO THE GREAT ASTONISHMENT OF HER FAMILY.
Her two sisters now recognized her for the beautiful stranger they had seen at the ball; and, falling at her feet, implored her forgiveness for their unworthy treatment, and all the insults they had heaped upon her head. Cinderella raised them, saying, as she embraced them, that she not only forgave them with all her heart, but wished for their affection. She was then taken to the palace of the young prince, in whose eyes she appeared yet more lovely than before, and who married her shortly after.
Cinderella, who was as good as she was beautiful, allowed her sisters to lodge in the palace, and gave them in marriage, that same day, to two lords belonging to the court.
MARRIAGE OF THE PRINCE AND CINDERELLA.
The amiable qualities of Cinderella were as conspicuous after as they had been before marriage.
This series of FAIRY STORIES has for generations been listened to and read by Children with an inexpressible delight, which other books have failed to afford them.
The extravagance of the Stories—the attractive manner of telling them—the picturesque scenery described—the marvellous deeds related—the reward of virtue and punishment of vice, upon principles strictly in accordance with ethical laws, as applied to the formation of character, render them peculiarly adapted to induce children to acquire a love for reading, and to aid them to cultivate the affections, sympathies, fancy, and imagination.
The principle, that good examples only should be imitated, has been lost sight of in the Pictorial embellishment of these standard Fairy Stories, upon the assumption that indifferent pictures are good enough to give first impressions of Art to Children. If this holds true then language and morals of a questionable cast will subserve the same ends; but the fallacy of this dogma notwithstanding, no one upon reflection will deny.
That this edition of these Stories may be more perfect than any other extant, the publisher has embellished it with exquisite specimens of high Pictorial Art, from which Children may derive those correct ideas that will mature into the beautiful and grand.
*** END OF THE PROJECT GUTENBERG EBOOK CINDERELLA ***
Updated editions will replace the previous one—the old editions will be renamed.
Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution.
THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg™ License available with this file or online at www.gutenberg.org/license.
Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works
1.A. By reading or using any part of this Project Gutenberg™ electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg™ electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg™ electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8.
1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg™ electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg™ electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg™ electronic works. See paragraph 1.E below.
1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg™ electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg™ mission of promoting free access to electronic works by freely sharing Project Gutenberg™ works in compliance with the terms of this agreement for keeping the Project Gutenberg™ name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg™ License when you share it without charge with others.
1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg™ work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States.
1.E. Unless you have removed all references to Project Gutenberg:
1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg™ License must appear prominently whenever any copy of a Project Gutenberg™ work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed:
This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.
1.E.2. If an individual Project Gutenberg™ electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9.
1.E.3. If an individual Project Gutenberg™ electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg™ License for all works posted with the permission of the copyright holder found at the beginning of this work.
1.E.4. Do not unlink or detach or remove the full Project Gutenberg™ License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg™.
1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg™ License.
1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg™ work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg™ website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg™ License as specified in paragraph 1.E.1.
1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg™ works unless you comply with paragraph 1.E.8 or 1.E.9.
1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg™ electronic works provided that:
• You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.”
• You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works.
• You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work.
• You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works.
1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below.
1.F.
1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment.
1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.
1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem.
1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.
1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions.
1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg™ work, (b) alteration, modification, or additions or deletions to any Project Gutenberg™ work, and (c) any Defect you cause.
Section 2. Information about the Mission of Project Gutenberg™
Project Gutenberg™ is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life.
Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg™’s goals and ensuring that the Project Gutenberg™ collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg™ and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org.
Section 3. Information about the Project Gutenberg Literary Archive Foundation
The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws.
The Foundation’s business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact
Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation
Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS.
The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate.
While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate.
International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff.
Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate.
Section 5. General Information About Project Gutenberg™ electronic works
Professor Michael S. Hart was the originator of the Project Gutenberg™ concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg™ eBooks with only a loose network of volunteer support.
Project Gutenberg™ eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition.
Most people start at our website which has the main PG search facility: www.gutenberg.org.
This website includes information about Project Gutenberg™, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.
Story DNA
Moral
Goodness of heart and virtue will eventually be rewarded, despite adversity.
Plot Summary
Cinderella, a kind girl, is cruelly treated by her stepmother and stepsisters. With the help of her fairy godmother, she attends a royal ball, enchanting the Prince, but must leave by midnight, losing a glass slipper. The Prince searches the kingdom for the slipper's owner. Despite her stepfamily's attempts to prevent her, Cinderella tries on the slipper, revealing her true identity. She then marries the Prince and lives happily ever after.
Themes
Emotional Arc
suffering to triumph
Writing Style
Narrative Elements
Cultural Context
This version is based on Charles Perrault's 'Cendrillon', which introduced elements like the pumpkin, fairy godmother, and glass slippers, distinguishing it from earlier folk versions.
Plot Beats (13)
- Cinderella is mistreated by her stepmother and stepsisters, forced to do chores and live in squalor.
- A royal ball is announced, and the stepsisters prepare to attend, mocking Cinderella's desire to go.
- Cinderella's fairy godmother appears and transforms her into a beautiful princess with a coach, horses, and a gown, warning her to return by midnight.
- Cinderella attends the first ball, where she is the most admired, and the Prince falls in love with her, but she leaves promptly at midnight.
- Cinderella returns home, and her stepsisters recount the ball, unknowingly praising Cinderella's disguised self.
- Cinderella attends a second ball, even more splendidly dressed, and again captivates the Prince, but she forgets the time.
- At the stroke of midnight, Cinderella flees in haste, losing one of her glass slippers, and her magical attire reverts to rags.
- The Prince finds the glass slipper and declares he will marry the woman whose foot it fits.
- The slipper is tried on by all the ladies of the kingdom, including the stepsisters, who try in vain to force their feet into it.
- Cinderella asks to try on the slipper, much to her stepsisters' scorn.
- The slipper fits Cinderella perfectly, and she produces its mate, revealing her true identity.
- Cinderella's fairy godmother appears, confirming her identity and restoring her magnificent attire.
- Cinderella marries the Prince and lives happily ever after, forgiving her stepsisters.
Characters
Cinderella ★ protagonist
Slender and graceful figure, described as 'fair' and 'beautiful'. Her movements are light and airy, like 'thistle-down'.
Attire: Initially wears 'shabby clothes' of a 'Cinder-wench'. At the ball, she wears a 'splendid dress' of rich patterns, described as magnificent, implying fine European fabrics like silk or satin, possibly embroidered, in a ball gown style of the 18th or early 19th century. She also wears 'glass slippers'.
Wants: To experience joy and escape her life of servitude, to obey her godmother's instructions, and to find happiness.
Flaw: Her obedience to her godmother's strictures (the midnight deadline) and her momentary forgetfulness when enchanted by the prince's attention, which leads to her hasty departure.
Transforms from a humble, overlooked servant into a celebrated beauty, gaining confidence and the prince's affection, ultimately finding her true place.
Good-hearted, kind, obedient (initially), humble, diligent, and outwardly submissive but inwardly resilient. She shows politeness and generosity even to her unkind sisters.
Image Prompt & Upload
A young European woman standing upright, facing forward, full body visible from head to toe. She has a slender, graceful figure, fair skin, and a kind, gentle expression. Her hair is elegantly styled in an updo. She wears a magnificent ball gown made of shimmering silk in a pale blue color, with delicate silver embroidery and a wide, flowing skirt. On her feet are delicate, clear glass slippers. She holds one glass slipper in her left hand. Plain white background, full body visible head to toe, single figure, no watermark, no text, no signature.
The Prince ◆ supporting
A handsome figure, described as 'king's son'. He is attentive and graceful in his interactions.
Attire: Wears formal, regal attire suitable for a European prince attending a ball, likely made of fine fabrics like velvet or brocade, possibly with embroidery and jewels, in a style common for the 18th or early 19th century.
Wants: To find a suitable partner, and specifically, to discover the identity of the beautiful princess who captivated him.
Flaw: His intense infatuation with Cinderella makes him overlook other guests and causes him distress when she disappears.
Becomes deeply enamored with Cinderella, leading him on a quest to find her after her mysterious disappearance.
Charming, attentive, persistent, smitten, and discerning (he ignores the pretentious sisters).
Image Prompt & Upload
A young European man standing upright, facing forward, full body visible from head to toe. He has a handsome, regal face with a determined yet hopeful expression. His hair is dark and neatly styled. He wears a formal court suit of deep blue velvet with gold embroidery, a white ruffled shirt, and knee breeches, with polished black leather shoes. He holds a delicate, clear glass slipper carefully in his hands. Plain white background, full body visible head to toe, single figure, no watermark, no text, no signature.
The King ○ minor
An old man, who needs an eye-glass to see clearly.
Attire: Wears royal attire suitable for a European monarch, likely rich fabrics and possibly a crown or other regalia, in the style of the 18th or early 19th century.
Wants: To witness the festivities and perhaps see his son find a suitable partner.
Flaw: His age, which requires him to use an eye-glass.
Remains consistent, expressing admiration for Cinderella.
Observant, appreciative of beauty, and expressive in his admiration.
Image Prompt & Upload
An elderly European man standing upright, facing forward, full body visible from head to toe. He has a kind, wrinkled face and a discerning expression. He wears a regal robe of deep crimson velvet trimmed with ermine, over a gold-embroidered tunic, with a small golden crown on his head. He holds a polished silver eye-glass to his eye. Plain white background, full body visible head to toe, single figure, no watermark, no text, no signature.
The Queen ○ minor
Not explicitly described, but as the King's wife, she is likely of similar age.
Attire: Wears royal attire suitable for a European monarch, likely rich fabrics, possibly with jewels, in the style of the 18th or early 19th century.
Wants: To attend the ball and observe the guests, particularly her son's potential bride.
Flaw: None explicitly stated.
Remains consistent, observing the events of the ball.
Observant, receptive to her husband's remarks.
Image Prompt & Upload
An elderly European woman standing upright, facing forward, full body visible from head to toe. She has a dignified, serene expression. Her hair is styled elegantly and covered by a delicate lace cap. She wears a magnificent gown of deep emerald green silk with intricate gold brocade patterns, a wide skirt, and a pearl necklace. Plain white background, full body visible head to toe, single figure, no watermark, no text, no signature.
Lady Javotte ⚔ antagonist
Not explicitly described, but her disdainful attitude suggests a haughty demeanor. She is one of Cinderella's two sisters.
Attire: Wears a 'yellow dress' described as her 'every day' wear, implying it is not as grand as her ball gown, but still better than Cinderella's rags. At the ball, she wears 'pretentious' attire, likely fashionable but lacking true elegance.
Wants: To attract the prince and secure a high-status marriage, to maintain her perceived superiority over Cinderella.
Flaw: Her vanity and cruelty, which blind her to Cinderella's true worth and make her unattractive to the prince.
Remains consistent in her unkindness and pretentiousness, ultimately failing to win the prince's attention.
Haughty, disdainful, unkind, selfish, and pretentious.
Image Prompt & Upload
A young European woman standing upright, facing forward, full body visible from head to toe. She has a sharp, haughty expression, with her chin slightly raised and a disdainful look. Her hair is dark and elaborately styled with ribbons. She wears a fashionable but somewhat gaudy yellow silk gown with a tight bodice and wide skirt, adorned with excessive lace trim. Plain white background, full body visible head to toe, single figure, no watermark, no text, no signature.
The Unnamed Sister ⚔ antagonist
Not explicitly described, but as one of Cinderella's two sisters, she shares the same social standing and likely similar physical characteristics to Lady Javotte.
Attire: Wears 'pretentious' attire at the ball, likely fashionable but lacking true elegance, similar to her sister.
Wants: To attract the prince and secure a high-status marriage.
Flaw: Her vanity and cruelty.
Remains consistent in her unkindness and pretentiousness.
Haughty, unkind, and pretentious, echoing her sister's traits.
Image Prompt & Upload
A young European woman standing upright, facing forward, full body visible from head to toe. She has a somewhat smug and self-important expression. Her hair is light brown and styled in elaborate curls. She wears a fashionable gown of bright pink satin with a ruffled neckline and a wide, embellished skirt. Plain white background, full body visible head to toe, single figure, no watermark, no text, no signature.
Fairy Godmother ◆ supporting
Not explicitly described, but as a magical being, she likely appears benevolent and wise.
Attire: Not explicitly described, but as a fairy godmother, her attire would likely be magical and shimmering, perhaps in soft, ethereal colors, befitting a benevolent magical being.
Wants: To help Cinderella achieve her dreams and find happiness, while also teaching her diligence and faithfulness.
Flaw: Her magic has limitations (the midnight deadline).
Remains consistent, acting as Cinderella's magical benefactor and guide.
Benevolent, magical, wise, and firm (enforcing the midnight deadline).
Image Prompt & Upload
An ageless, benevolent European woman standing upright, facing forward, full body visible from head to toe. She has a kind, wise face with a gentle smile. Her long, flowing silver hair cascades down her back. She wears a shimmering gown of iridescent white fabric that seems to glow, with wide, flowing sleeves. She holds a delicate, star-tipped wand in her right hand. Plain white background, full body visible head to toe, single figure, no watermark, no text, no signature.
Locations
Royal Ball-room
A grand and spacious hall within a European-style palace, likely with high ceilings, large windows, and an elevated daïs for distinguished guests. The atmosphere is one of opulence and celebration, filled with music and the movement of dancers.
Mood: Festive, elegant, awe-inspiring, bustling with activity
Cinderella's grand entrance, her dance with the Prince, and her hasty departure at midnight.
Image Prompt & Upload
A vast, opulent European Baroque ballroom, with soaring vaulted ceilings adorned with intricate frescoes and gilded stucco. Crystal chandeliers hang low, casting a warm, sparkling light across the polished marble floor where couples in elaborate gowns and suits dance. Tall, arched windows draped with heavy velvet overlook a moonlit garden, and a raised daïs with velvet-upholstered chairs is visible at one end. no border, no frame, no watermark, no text, no signature, edge-to-edge illustration.
Cinderella's Humble Home
A modest, likely rustic European cottage, contrasting sharply with the palace. It features a simple door and an interior where Cinderella's godmother awaits. The overall impression is one of domesticity, but also of Cinderella's reduced circumstances.
Mood: Humble, safe, a place of transformation and reflection, slightly melancholic after the ball's magic fades.
Cinderella's return from the ball, her conversation with her godmother, and the arrival of her stepsisters.
Image Prompt & Upload
A cozy, dimly lit interior of a rustic European cottage, with rough-hewn timber beams supporting a low ceiling. A simple wooden door stands ajar, revealing the dark night outside. A small, flickering hearth casts warm shadows on the plain plaster walls, and a worn wooden table with a single candle sits in the center. Scattered, simple domestic items are visible, suggesting a humble existence. no border, no frame, no watermark, no text, no signature, edge-to-edge illustration.