How Cinderella Shows The Harsh Realities Of The Sexual Marketplace

By Marcus Aurelius

Shakespeare said that art is a mirror held up to nature. And thats what it is. The nature is your
nature, and all of these wonderful poetic images of mythology are referring to something in
you.
Joseph Campbell

Most of us know the rough plot of Cinderella, by virtue of Walt Disneys 1950 film: Cinderella is
an orphaned child under the care of a wicked stepmother and two even more wicked
stepsisters. Cinderella is denied a chance to go to a grand ball at which the local prince will
choose his bride, but a fairy godmother endows the girl (temporarily) with beautiful trappings,
and gets her to the ball.

While Cinderella and the Prince fall in love when they meet at the ball, circumstances intervene
and Cinderella flees home at midnight. The Prince scours the land for Cinderella, and eventually
identifies her by the glass slipper she left behind at the ball. The Prince and Cinderella marry,
and (literally) live happily ever after.

The plot of Disneys version is taken near-verbatim from a 1697 story called Cendrillon by
Charles Perrault, which Perrault describes as the retelling of a much older folktale from out of
southern Italy. The earliest known version of the story is the Greek myth of Rhodopis, recorded
in Herodotuss Histories around 700 BC.

Perrault said the moral of the story was While its good to have intelligence, good sense, and
good breeding, you likely dont get anywhere without a fairy godmother. That is, success in life
basically comes down to preparation plus a bit of luck. This is certainly a profound truth on its
own for men to absorb. Luck is a major factor in success, no matter what the American Dream
might say to us. But there are much more significant messages about gender roles and gender
relations hiding beneath the Cinderella story, ones men should understand as well as if not
better than women.

A womans sex appeal is magic

To get to the ball, Cinderella is endowed by her fairy godmotheri.e. by magicwith all the
exterior trappings, allure, and clothing needed to catch the attentions of the prince. In Disneys
film the fairy godmother is a fat old babuschka, implying the wisdom of older women is what
transforms Cinderella. But the magic that makes Cinderella into a beautiful princess is not
wisdom or fairy dust. Its a metaphor for something far more powerful and primal: the magic of
a young woman reaching adulthood and the peak of her sexual attractiveness, at age 18-25.

As all men know, this attractiveness is godlike in its potency. In the Cinderella story, the magic is
powerful enough to arrest the princes mind at first sight; powerful enough to make him search
his entire realm to find her. In the real world, sexual attractiveness has brought down
governments, as well as inspired most modern music. Cinderellas stepmother and stepsisters
(all significantly older than her) cannot achieve it despite all the artifice of poise and finelytailored clothing (and, perhaps, three years in a Gender Studies degree).

A womans sex appeal is magic that runs out

This is the most important part of the story: the magic that transforms Cinderella is strictly
limited by time. At midnight, Cinderella is returned to rags. In real life, around age 30, womens
physical attractiveness tanks. In both cases, the magic is gone, forever.

Women dont realize the magic is running out until its too late
Cinderella is too swept up in the princes eyes and the glamour of the ball to notice the passing
of time. Consequently she is caught out by the clock chiming midnight and has to flee for home,
panicking at the loss of her glamours.

Womenespecially when feminism dishonestly presents natural childbearing as practical or

possible past fortyalso dont hear the clock chiming midnight. They, too, are too swept up in a
different diversion: typically, riding the cock carousel through their most fertile years. Such
women invariably are the ones bitterly complaining they are invisible to men and bitterly
regretting their empty wombs when theyve turned 40.

The glass slipper

When the magic fades, it spares one thing: Cinderellas glass slippers. This seems to be a plot
hole given the rules of magic in the story, but makes sense symbolically. Leave aside the sexual
subtext of the princes servants going around his entire kingdom trying on every maiden to
see if the slipper fits: the glass slipper is a potent symbols of fertility, good genes, good breeding.

A slipper made of glass is beautiful but delicate one false step, one heavy footfall, and it
shatters, irreplaceable. Is childhood any less delicate, any more replaceable? And the slippers
also symbolize Cinderellas youthful beauty: again, irreplaceable, gone with one false step, one
descent into slutdom. The slippers are symbols of the prince and Cinderellas children to be.

Single fathers should not remarry

Cinderellas troubles only begin when her father, a widower, remarries. Versions of the story
differ on whether its for love or so Cinderella has a mother figure, but either way its a mistake
from Cinderellas point of view. Statistically, single fathers are better at parenting than single
mothers. Child abuse is most prevalent among the children of divorced womenand when it
does occur, its typically at the hands of a partner not biologically related to the child.

Especially not to single mothers

Cinderellas stepmother has two children of her own already, and she is never said to be a
widow implying shes either an unmarried mother or divorced. The match does not end well
for Cinderella or her father, who dies shortly after he marries the stepmother. It is wellunderstood in the manosphere that (a) you cant turn a hoe into a housewife, and (b) a bad
woman can easily shorten ones life.

Cinderellas stepsisters are vain, unfuckable bitches, ugly inside and outand willing to abuse
the traditionally feminine Cinderella. This is entirely consistent with the behaviour we see from
the daughters of single mothers. Statistically they are not competent at holding down
relationships and often have major mental issues, in no small part because their mothers never
taught them any better.

Cinderellas stepsisters are the daughters of the West at large: girls with no fathers physically,
emotionally or spiritually present in their lives.

A wise prince understands he is the prize

Cinderellas prince embodies traditional masculinity. Despite the pressure from his family and
society at large to marry, the Prince refuses to settle for just any girl: no stepmothers or
stepsisters for him. He settles only for a girl that he deems worthy, even if he has to turn over
the whole kingdom looking for her.

Men in the West have, to their disgrace, reversed this situation. Women ride the cock carousel
on the (in many cases justified) expectation that some thirsty sucker will be picking them up
after they choose to get off the ride. Women are permitted to wait for their soulmate; men
are permitted to settle.

The prince, then, embodies good advice for men: screw who you will on a casual basis, but be
selective and be careful who you marry or live with. Because the wrong choice will fuck you up
six ways to Sunday and ruin your whole kingdom.

On the other hand, if you do manage to identify a woman whos at peak sexual attractiveness
and has a good character, the prince has good counsel as well: move mountains to wife that shit
up, because such a woman is rare if not extinct, maybe only one in the entire realm, and theres
a godawfully big pack of ugly stepsisters out there looking to snare you.

A good myth, like any good story, teaches us things about human nature without us realizing it.
Myth, therefore, is worth seeking out; worth reading; worth contemplating. Never doubt that
myth is under attack from vested interests, especially in the modern era. Consider the sterility
and destructive themes of Frozen as compared to its parent fable, The Snow Queen.

Cinderella, fortunately, endures. The story has come under revisionist attack over the years, but
none of these pale, ungrateful versions have persisted in the public mind or overturned its
lessons. Even as late as 2015, Hollywood still had sufficient courage to produce the story
essentially unchanged from the 1950 version, with all of these messages intact.

The red pill, for women, is a glass slipper: an understanding that what they have is incredibly
seductive and beautifulbut fragile and only good for a limited time.