Pantomime: “Cinderella and the Ugly Sisters”

The Liberalism which Dickens and nearly all of his contemporaries professed had begun in the American and the French Revolutions. Almost all modern English criticism upon those revolutions has been vitiated by the assumption that those revolutions burst upon a world which was unprepared for their ideas -- a world ignorant of the possibility of such ideas. Somewhat the same mistake is made by those who suggest that Christianity was adopted by a world incapable of criticising it; whereas obviously it was adopted by a world that was tired of criticising everything. The vital mistake that is made about the French Revolution is merely this -- that everyone talks about it as the introduction of a new idea. It was not the introduction of a new idea; there are no new ideas. Or if there are new ideas, they would not cause the least irritation if they were introduced into political society; because the world having never got used to them there would be no mass of men ready to fight for them at a moment's notice. That which was irritating about the French Revolution was this -- that it was not the introduction of a new ideal, but the practical fulfilment of an old one. From the time of the first fairy tales men had always believed ideally in equality; they had always thought that something ought to be done, if anything could be done, to redress the balance between Cinderella and the ugly sisters. The irritating thing about the French was not that they said this ought to be done; everybody said that. The irritating thing about the French was that they did it. They proposed to carry out into a positive scheme what had been the vision of humanity; and humanity was naturally annoyed. The kings of Europe did not make war upon the Revolution because it was a blasphemy, but because it was a copy-book maxim which had been just too accurately copied. It was a platitude which they had always held in theory unexpectedly put into practice. The tyrants did not hate democracy because it was a paradox; they hated it because it was a truism which seemed in some danger of coming true.

Cinderella and The Ugly Sisters

Ronnie Barker on Cinderella and the Ugly Sisters

Cinderella and the Ugly Sisters Giclee Print

In the afternoon the children had their own private parade in the garden. We invited three very special vistors to our Parade - Cinderella and the Ugly Sisters (three members of staff!) it was great fun.

The Real Story of Cinderella and the Ugly Sisters ..

But after life and love, yes, freedom. Which is why it's important that those who offer to act in freedom's name don't take that name in vain. If freedom today is a diminished entity, that is not the fault only of tyrants. Freedom fighters who are themselves no more than tyrants in waiting demean freedom; privacy advocates who would rather a plane go down than its passengers be searched to within an inch of modesty demean freedom; civil rights activists, when they reduce all relations between the citizen and state to a pantomime – Cinderella and the Ugly Sisters – demean freedom. Civil rights, human rights! – half the time what we call "human rights" are nothing but a travesty of that nexus of obligation and entitlement that makes us human.

Research relationships between the South and the North: Cinderella and the ugly sisters
The Real Story of Cinderella and the Ugly Sisters by Liz Pichon starting at $10.99

Babs Just A Babblin': Cinderella and the Ugly Sisters

These particularly Bald Eagles I have labeled "Cinderella and the Ugly Sisters" They were all on one power pole but it was a bit of an awkward angle so I had to move off to one side to get the third bird.

Get this from a library! The real story of Cinderella and the ugly sisters. [Liz Pichon]

Cinderella and the ugly step sister..

climax could be a huge argument between a husband and wife, or a playground fight between children, or Cinderella and the Ugly Sisters trying on the glass slipper.

Pantomime: “Cinderella and the Ugly Sisters”

(Think Cinderella and the Ugly Sisters)

Basil Blackaller was an artist for several D.C. Thomson comics from the late 1930s throughout the 1940s. His best known work was on 's 'Pansy Potter', a character with which he made war-themed stories for The Beano during World War II. His other comic strips for Beano include 'Hairy Dan' (1938), 'Deep-Down Daddy Neptune' (1939), 'Cinderella and the Ugly Sisters' (1940), 'Big Heep' (1940) and 'Smart Alec' (1945). Blackaller was present in Dandy with 'Castor Oil Craddock' (1948) and in Magic with 'Dick Turpentine' (1940).