Cinderella and the Admen Live Happily Ever After

East of the sun or west of the moon, Cinderella is probably the best known fairy tale in the world and her story has been co-opted by shrewd businessmen eager to sell products.  Three creative examples of advertising ephemera from the collection which exploit the cinder wench are highlighted here.

Ida Rentoul Outhwaite (1888-1960)  is not a household name in America, but she is one of the Southern hemisphere’s most beloved children’s book illustrators.  Famous for having created distinctly Australian fairies and elves, Outhwaite was not above drawing pictures for advertising brochures. “Cinderella’s Dream and What it Taught Her” (ca 1931; Cotsen 86877) is one of her rarest works.  A Fairy Queen visits Cinderella’s dreary room late one night, saying sweetly,  ‘I am here to cheer you dear, / For you work like a drudge all day: / But listen to me, and you soon will see / How your work will become mere play,” as soon as she purchases all the versatile germ-killing products manufactured locally in Melbourne by J. Kitchen & Sons.  (Several will be essential in cementing her power as princess.) No longer will her ugly, fault-finding sisters complain of shrunken woolens once they are washed in Kitchen’s Merino.   Her glass slippers, filthy from running home from the palace through the streets, can be disinfected like the drains and sinks with Kitchen’s strong Phenyle, a deadly poison sold in  glass bottles marked with molded Xes  Her dressing table in the palace will have bottles of Kitchen’s Velvet Salts, talc for the bath, and medicated soap to keeping the fair complexion fresh.  The flame of the prince’s love will burn true as long as she discreetly stocks Kitchen’s Velvet Shaving Stick.What must it have taken for mild-mannered Will Keith Kellogg to break away from his brother Dr. John Harvey Kellogg, of Battle Creek Sanatorium fame, and start his own cereal company in 1906? After improving the recipe for their flavorless corn flakes by sweetening them with malt syrup. There being few things to distinguish one breakfast cereal from another, Will set out to vanquish his competitors through the stream of premiums designed to create customer loyalty.  Between 1910 and 1940, Kellogg Co. produced lines of blotters, paper dolls, radio shows, souvenir postcards, and pamphlets mostly aimed at children.

A 4-volume set of Story Game Books featuring characters famous in children’s literature copyrighted in 1931 are now collectibles.  The “Sunshine Fairy” offered general instructions for play and noted that each one in the volume would have individual directions that would need to be learned. The first story in the first volume was Cinderella’s rise from dirty rags to silken gowns (Cotsen 22579).  The prosaic retelling was accompanied by a board game designed by Bess Devine Jewell, a commercial artist who also illustrated Pansy Eyes: A Maid of Japan (c.1922).  This twelve-square adaptation of the classic game of the goose sets players on a quest to find the maiden whose foot will slide into the glass slipper, which cannot be stretched to fit.  The back cover was covered with information from Kellogg’s Home Economics Department on meal planning for growing children.  Mothers were advised that if their little ones did not like milk,  “Cereals are especially helpful in getting milk into the diet.”  A box top from any of Kellogg’s five nutritious cereals and 10 cents glued to the inside of the letter mailed to the company would send a copy of Cinderella and friends to anywhere in the US except for Wisconsin, Washington, Nevada, and Kansas.

Mrs. Cinderella  (Cotsen 21954) has a very complicated origin story, compared to the previous two pamphlets.  For its pavilion in the 1939 World’s Fair, General Electric commissioned William Duncan and Edward Mabley, co-principals of the famous puppet troupe Tatterman Marionettes, to write and perform a piece promoting the wonders of electricity. After the exposition, the show was taken on the road and performed hundreds of times across the country.  Programs for the original production have survived, but this colorful pamphlet illustrated by North Carolina artist Corydon Bell seems to have been printed  for distribution in retail outlets: the name of Herr’s Garage in Landisville, Pennsylvania is stamped on the rear cover.

It’s unclear how faithful the story in verse here is to the original script for the puppet show that played at the World’s Fair, but the outlines were probably identical.  The prince carries his bride over the threshold of their starter palace and leaves her the next morning to explore the premises.  After a morning of dusting and mopping, Cinderella discovers that the goblins in residence whose delight is undoing her work.  With a stiff upper lip and sore back, she tries to bake in the ancient kitchen and do the laundry in a wash tub while they wreak more havoc.   Surely her fairy godmother can help her with the gnome problem… She recommends calling General Electric at G-E 1939.  No sooner had she hung up the receiver when a host of elves in tip-top physical condition and dashing uniforms.  Armed with guns, they shoot at the goblins and force a retreat.The elves have just begun to work.  The inadequate kitchen and laundry room are completely modernized, from the plumbing to the cabinetry.  Within hours they install the entire range of GE labor-saving appliances–refrigerator, dishwasher, garbage disposal, toaster, coffee maker, washing machine, water heater.  The powerful new vacuum cleaner makes the disgraceful living room carpet look like new in sixty minutes.  And they thoughtfully prepared a hearty, heartwarming meal for her charming prince when he comes home.The moral is too obvious to bear repeating, but here it is anyway:

The General Electric Co. is able / To sell you, thru a plan that’s all its own, / ADDED HOURS OF FREEDOM,/ And for happiness you need them,/ Cause there’s nothing so important as your home.

Someone–a woman–who owned of this copy left a tart note inside. complaining about a woman of her acquaintance who swallowed the message whole before learning that “all men are rats.”

Made by a Child: A Deck of Cards ca. 1790 Illustrated with Characters from Famous Plays

Strange things are shelved in the Cotsen manuscripts section.  It’s unclear what  exactly they are, why they were made, and who made them.   When the object has no obvious clues that might set off a chase, some of their secrets will always be impenetrable.  Others can be cracked with some research, like this set of illustrated cards drawn on the blanks of a standard set of playing cards. Most of them have a tab on the back so they can be stood up on a flat surface, suggesting that they are not intended to be dealt out to players of a game.  The primitive style of the artwork and awkward printing of the captions look like the work of a child.Two of the cards conveniently date them between 1760 and 1820, the reign of King George III.  Here he is, with his consort Charlotte.  They seem to be the only portraits of real people.Whoever made them was familiar with the cast list of Shakespeare’s Henry IV, pt. 1 because Falstaff’s gang is well represented.  The child maker also seems to have known other plays. To the right of plump Jack Falstaff is Sergeant Kite, a character in George Farquahar’s comedy The Recruiting Officer, which opened in Drury Lane in 1706 and was one of the most popular plays of the 1700s.  It opens with Sergeant Kite haranguing the crowd, trying to sign up recruits for the army:

If any gentlemen soldiers, or others, have a mind to serve Her Majesty, and pull down the French king; if any prentices have severe masters, any children have unnatural parents; if any servants have too little wages, or any husband too much wife; let them repair to the noble Sergeant Kite, at the Sign of the Raven, in this good town of Shrewsbury, and they shall receive present relief and entertainment.

These two cards represent the hero and one of the rivals for his affections from the stage or reading versions of Henry Fielding’s updated adventures of Tom Thumb, incredibly popular The Tragedy of Tragedies, or The Life and Death of Tom Thumb (1731). Fielding’s satire on the abuses of language on the contemporary stage was probably of less interest to the card maker than the running joke about the impossibility of congress between the little fellow and his gigantic panting lady loves.

The presence of certain other characters is much less unexpected.  “Mother Midnight,” supposedly the midwife behind the magazine The Midwife (1751) was one of poet Christopher Smart’s alter egos.  In the satirical review Mother Midnight’s Oratory, he played her in drag, as well as singing, dancing, and collaborating on writing the buffoonery.  The famous comedian Samuel Foote was also involved and the drag role of Lady Pentweazel in his play Taste turns up in the deck.

King Arthur and Merlin make appearances.  As tempting as it is to jump to the conclusion the child was immersed in Arthurian legends, given all the characters from plays in the card set, it may be just as likely that the drawings were inspired by  John Dryden’s libretto for Henry Purcell’s opera 1691 opera King Arthur with a libretto by John Dryden, which had been revived  in different revised versionsin 1736, 1763, 1770, and 1784.The child’s imagination was so engaged with the popular culture of the day that it makes me wonder if the card maker was stage-struck or was a member of a play-going family.  Until the identities of the characters drawn are untangled, it’s easy to dismiss the deck of cards as a curiosity or an amusing example of children’s artwork and fail to recognize it can also serve as a window into the mentalities of late eighteenth century childhood.