Grimm's Fairy Tales: Retold in One-Syllable Words

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Irische Elfenmärchen—Grimms' translation of Thomas Crofton Croker's Fairy Legends and Traditions of the South of Ireland, 1826 Joosen, Vanessa (2006). The Oxford Encyclopaedia of Children's Literature. Oxford: Oxford University Press. ISBN 978-0-19-514656-1. The only thing to do, it seems to me, is to try for clarity, and stop worrying about it. Telling these stories is a delight it would be a pity to spoil by anxiety. An enormous relief and pleasure, like the mild air that refreshes the young count when he lies down to rest in "The Goose Girl at the Spring", comes over the writer who realises that it's not necessary to invent: the substance of the tale is there already, just as the sequence of chords in a song is there ready for the jazz musician, and our task is to step from chord to chord, from event to event, with all the lightness and swing we can. Like jazz, storytelling is an art of performance, and writing is performance too. Hyman's illustrations are really beautiful. After reading and loving Hyman's versions of " The Sleeping Beauty" and " Snow White", I was very excited to find this one. I'm planning to read " L The facts of the Grimm brothers' lives are not remarkable. Jacob (1785–1863) and Wilhelm (1786–1859) were the eldest surviving sons of Philipp Wilhelm Grimm, a prosperous lawyer of Hanau in the principality of Hesse, and his wife Dorothea. They received a classical education and were brought up in the Reformed Calvinist Church. Clever, diligent and serious-minded, they aimed to follow their father into the legal profession, in which they would no doubt have distinguished themselves; but his sudden death in 1796 meant that the family, which now included six children, had to depend on the support of their mother's relatives. Their aunt Henriette Zimmer, a lady-in-waiting at the prince's court in Kassel, helped Jacob and Wilhelm to find places at the Lyzeum or high school, where they each graduated at the head of their class. But there was little money, and when they attended the University of Marburg they had to live very frugally.

But their tales were complex and their morals ambiguous. Their intended audiences were not children but educated adults. Their stories were long, like novellas, and incorporated character development, dialogue and complicated plots. And they digressed, embroidering an extravagant tapestry of miniature, marvellous detail. And this was, perhaps, their downfall.Although the Brothers Grimm did include a similar tale in their collection, it’s crucial to recognize that Charles Perrault’s version of „Puss in Boots“ is the most famous and influential version of the story. Interpretations to fairy tale „Puss in Boots“ The young man provides the cat with boots, and the cat sets off on a series of clever schemes to secure his master’s future. The cat catches rabbits and birds, presenting them as gifts from his master, whom he calls the „Marquis of Carabas,“ to the king. One day, the cat learns that the king and his daughter will be taking a ride along the river. The cat convinces his master to undress and jump into the water as if he were bathing, while the cat hides his clothes. When the king’s carriage approaches, the cat claims that his master’s clothes have been stolen. The king sends his servants to fetch fine clothes for the „Marquis of Carabas.“

Simpson, Jacqueline; Roud, Steve (2000). A Dictionary of English Folklore. Oxford University Press. ISBN 978-0-19-210019-1.From 1807 onwards, the brothers added to the collection. Jacob established the framework, maintained through many iterations; from 1815 until his death, Wilhelm assumed sole responsibility for editing and rewriting the tales. He made the tales stylistically similar, added dialogue, removed pieces "that might detract from a rustic tone", improved the plots, and incorporated psychological motifs. [23] Ronald Murphy writes in The Owl, the Raven, and the Dove that the brothers, and in particular Wilhelm, also added religious and spiritual motifs to the tales. He believes that Wilhelm "gleaned" bits from old Germanic faiths, Norse mythology, Roman and Greek mythology, and biblical stories that he reshaped. [19]