Cinderela supports everything, therefore ' ' it did not dare to complain to the father, would have reprehended who it because she was its woman who gave the orders in casa.' ' (Tatar, 2004-p.39) the stepmother could give the orders, but who took care of was Cinderela. One more time we see Cinderela to present the traces of ' ' good-me' ' , that, for the society (mainly of Perrault) era/ that one that takes care of of the house. The stepmother does not occupy no place in the life of Cinderela as ' ' good me' ' , either in the affective field? ' ' she did not tolerate the good qualities of enteada' ' (they ibidem, p.39) – or in the domestic cares? ' ' She puted in charge it (Cinderela) coarser services to them of casa.' ' (they ibidem, p.39) Gonalves (1998) makes a linking with the paper of ' ' good me' ' before very desired for the women and what today they long for: If in ' ' Cinderela' ' the heroine passes of the condition of bred for queen, the women had also passed for this transformation: of unsatisfied owners of house for well-succeeded professionals. But this change also placed the women front to an ambivalence: on the other hand they desire to disentail the domestic tasks of the paper of ' ' good me' ' , for another one they charge themselves for not obtaining cumpriz it total. The Cinderela of stories of fairies also is thus. On the other hand it yearns for the recognition for the tasks that it plays in the house, for another one wants to become a pretty queen who it will have created to play this role. (p.98; 99) Although all badness of the stepmother, Cinderela finishes for pardoning it and the stocking-sisters. This capacity to pardon above of any badness proves that Perrault defined the ideological use in fairy stories. .