Fairy godmother


In fairy tales, a fairy godmother is a fairy with magical powers who acts as a mentor or parent to someone, in the role that an actual godparent was expected to play in many societies. In Perrault's Cinderella, he concludes the tale with the cynical moral that no personal advantages will suffice without proper connections.
The fairy godmother is a special case of the donor.

In fairy tale and legend

Actual fairy godmothers are rare in fairy tales, but became familiar figures because of the popularity of the literary fairy tales of Madame d'Aulnoy and other précieuses, and Charles Perrault. Many other supernatural patrons feature in fairy tales; these include various kinds of animals and the spirit of a dead mother. The fairy godmother has her roots in the figures of the Fates; this is especially clear in Sleeping Beauty, where they decree her fate, and are associated with spinning.
In the tales of précieuses and later successors, the fairy godmother acts in a manner atypical of fairies in actual folklore belief; they are preoccupied with the character and fortunes of their human protegees, whereas fairies in folklore had their own interests.
Typically, the fairy godmother's protégé is a prince or princess and the hero of the story, and the godparent uses her magic to help or otherwise support them. The most well-known example is probably the fairy godmother in Charles Perrault's Cinderella. Eight fairy godmothers appear in Sleeping Beauty, of Charles Perrault's and in the Grimm Brothers' version titled Little Briar Rose the thirteen so-called godmothers are called Wise Women. The popularity of these versions of these tales led to this being widely regarded as a common fairy-tale motif, although they are less common in other tales.
Indeed, the fairy godmothers were added to The Sleeping Beauty by Perrault; no such figures appeared in his source, "Sole, Luna, e Talia" by Giambattista Basile. A great variety of other figures may also take this place. She is portrayed as kind, gentle and loving.

Précieuses

In the works of the précieuses, French literary fairy tales, fairy godmothers act much as actual godmothers did among their social circles, exerting their benefits for their godchildren, but expecting respect in return.
Madame d'Aulnoy created a fairy godmother for the evil stepsister in her fairy tale The Blue Bird; in this position, the fairy godmother's attempts to bring about the marriage of her goddaughter and the hero are evil attempts to impede his marriage with the heroine. Likewise, in her The White Doe, the fairy godmother helps the evil princess get revenge on the heroine. In Finette Cendron, the fairy godmother is the heroine's, but after helping her in the early portion of the tale, she is offended when Finette Cendron does not take her advice, and Finette must work through the second part with little assistance from her.
In Henriette-Julie de Murat's Bearskin, the heroine has a fairy godmother, but she is offended that the heroine's marriage was arranged without consulting her, and refuses to assist.

In fiction

Fairy godmothers appear frequently in fairytale fantasy, especially comic versions and retellings of Cinderella and Sleeping Beauty. Mercedes Lackey presents a gently lampooned version of the concept in her Tales of the Five Hundred Kingdoms series, in which Fairy Godmothers are magically-gifted women who monitor magical forces across the kingdoms. Whenever events are right for a fairy tale to recur, the relevant Fairy Godmother steps in to make sure that the tale in question runs its course with as few fatalities as possible.