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Section A: Essay on Roald Dahl’s “Cinderella” Extract
Essay 1
Roald Dahl’s version of Cinderella, as found in his narrative poem Revolting Rhymes, offers a
playful, satirical, and exaggerated retelling of the classic fairy tale. This essay will explore the key
narrative and stylistic elements of the extract, followed by a discussion on how one might adapt the
story for a South African classroom context. This analysis will focus on the setting, characterisation,
point of view, plot, theme, and stylistic elements such as tone, rhyme, irony, wordplay, and literary
devices. Additionally, suggestions for adapting the narrative to an African or South African context
will be made, keeping in mind the relevance and cultural significance for young readers.
The setting in Dahl's Cinderella is similar to the traditional fairy tale, with the addition of comedic
and exaggerated details. While the palace ball and the cellar are still present, Dahl’s rendition
introduces a more vivid and gritty environment. The cellar is described as “slimy,” and Cinderella’s
situation is depicted as more desperate and unpleasant than the traditional portrayal of her as simply
downtrodden but hopeful. The magic of the fairy godmother transports her quickly to the ball, but
this is more a part of the whimsy and absurdity that pervades Dahl’s version of the tale. The story
takes place in a fairy-tale world, but the tone is modern and irreverent, reflecting Dahl's characteristic
style.
The characters in this extract differ from those in the conventional Cinderella story in terms of their
motivations and behaviour. Cinderella (Cindy), unlike the passive character often seen in traditional
versions, is portrayed as more assertive and even somewhat spoiled. She demands to go to the ball,
expressing jealousy and frustration, and her speech reflects a more modern, colloquial voice, which
contrasts with the more passive, graceful character in other renditions of the tale.
The “Ugly Sisters” are not merely cruel but appear somewhat comedic in their description, as their
actions—such as leaving Cinderella locked in a cellar—seem exaggerated for comic effect. The
Prince, in Dahl’s version, is also portrayed as somewhat less heroic and more vulnerable, being
described as “turned to pulp” and helpless in the face of Cinderella’s sudden departure.
The Fairy Godmother, another key character, is also a departure from the traditionally kind and wise
figure. In Dahl’s version, she is somewhat dismissive and quick to fulfill Cinderella’s demands, yet
still retains some magical grace, highlighted by the “mighty flick” of her wand that transports
Cinderella to the ball. This characterisation challenges the traditional nurturing and supportive image
of fairy godmothers.
The poem is narrated from a third-person omniscient perspective, allowing the reader to see both the
external actions of the characters and their internal desires and feelings. This narrative distance is
crucial in portraying the absurdity and exaggeration of the story, as Dahl’s narrator often breaks the
fourth wall and comments on the action, addressing the audience directly. The opening lines, “I
guess you think you know this story. / You don’t,” immediately position the reader as an active
participant, which creates a playful and engaging tone for the rest of the poem.
Section A: Essay on Roald Dahl’s “Cinderella” Extract
Essay 1
Roald Dahl’s version of Cinderella, as found in his narrative poem Revolting Rhymes, offers a
playful, satirical, and exaggerated retelling of the classic fairy tale. This essay will explore the key
narrative and stylistic elements of the extract, followed by a discussion on how one might adapt the
story for a South African classroom context. This analysis will focus on the setting, characterisation,
point of view, plot, theme, and stylistic elements such as tone, rhyme, irony, wordplay, and literary
devices. Additionally, suggestions for adapting the narrative to an African or South African context
will be made, keeping in mind the relevance and cultural significance for young readers.
The setting in Dahl's Cinderella is similar to the traditional fairy tale, with the addition of comedic
and exaggerated details. While the palace ball and the cellar are still present, Dahl’s rendition
introduces a more vivid and gritty environment. The cellar is described as “slimy,” and Cinderella’s
situation is depicted as more desperate and unpleasant than the traditional portrayal of her as simply
downtrodden but hopeful. The magic of the fairy godmother transports her quickly to the ball, but
this is more a part of the whimsy and absurdity that pervades Dahl’s version of the tale. The story
takes place in a fairy-tale world, but the tone is modern and irreverent, reflecting Dahl's characteristic
style.
The characters in this extract differ from those in the conventional Cinderella story in terms of their
motivations and behaviour. Cinderella (Cindy), unlike the passive character often seen in traditional
versions, is portrayed as more assertive and even somewhat spoiled. She demands to go to the ball,
expressing jealousy and frustration, and her speech reflects a more modern, colloquial voice, which
contrasts with the more passive, graceful character in other renditions of the tale.
The “Ugly Sisters” are not merely cruel but appear somewhat comedic in their description, as their
actions—such as leaving Cinderella locked in a cellar—seem exaggerated for comic effect. The
Prince, in Dahl’s version, is also portrayed as somewhat less heroic and more vulnerable, being
described as “turned to pulp” and helpless in the face of Cinderella’s sudden departure.
The Fairy Godmother, another key character, is also a departure from the traditionally kind and wise
figure. In Dahl’s version, she is somewhat dismissive and quick to fulfill Cinderella’s demands, yet
still retains some magical grace, highlighted by the “mighty flick” of her wand that transports
Cinderella to the ball. This characterisation challenges the traditional nurturing and supportive image
of fairy godmothers.
The poem is narrated from a third-person omniscient perspective, allowing the reader to see both the
external actions of the characters and their internal desires and feelings. This narrative distance is
crucial in portraying the absurdity and exaggeration of the story, as Dahl’s narrator often breaks the
fourth wall and comments on the action, addressing the audience directly. The opening lines, “I
guess you think you know this story. / You don’t,” immediately position the reader as an active
participant, which creates a playful and engaging tone for the rest of the poem.
