Mendes (2000) affirms that ' ' patience and honesty were, for the bourgeois noblemen and of the Old Regimen, the maximum virtues of mulher' ' (p.55). still: ' ' But it is evident also that, how much bigger the encantamento provoked for the work of art, more easy is the transmission of the ideology that gave origin. Therefore the social values of stories of fada.' cannot be ignored; ' (p.45) Fairy: goddess, mother, master Already were said that the stepmother represents the part me of the mother. Then the fairy godmother of Cinderela is the arquetpica image of the mother with its good side. It has the paper to dress Cinderela to provide the happiness to it.
The fairy fulfills this paper in the story of Perrault because the mother alone is cited in the start of the story. Bettelheim (2007) declares: ' ' In Good-looking Borralheira' ' , nothing it is said in them regarding the true mother, who is mentioned in the majority of histories of? Cinderela? ; is not a symbolic representation of the original mother who provides to the damaged son the ways to find its prince, but a fairy in form of tamareira.' ' (p.335) In the great literary halls ' ' preciosas' ' they believed that the fairies represented the feminine power in the society. The fairy godmother of ' ' Cinderela' ' also it seems to direct the life of the protagonist for a destination repleto of wealth and happiness, total different of its life in the house of the stepmother. The fairy seems to have three papers in history: goddess, mother and master. Goddess for having to be able (the belief of ' ' preciosas' '), mother for taking care of of Cinderela and master for guiding it knot certain way. Important to emphasize the paper of mother of the fairy. In the dialogue that has with Cinderela on the gone one to the ball, it she emphasizes: ' ' then, if to promise to be a good girl will make I it to go to baile' ' (Tatar, 2004-p.42).