Bringing together the incredible talents of award-winning illustrator and Booktrust Time to Read favourite, Marta Altés and author and poet, Elli Woollard, this unique collection of Grimms' Fairy Tales is a fresh and funny take on the iconic original tales by the brothers Grimm. Richly illustrated by the author of Little Monkey and New in Town, this is perfect for new and younger readers and will delight children and adults alike. If you will do as I tell you,“ said Puss to his master, „your fortune is made. You have only to go and bathe in the river at the spot which 1 shall point out to you. Leave the rest to me.“ The marquis of Carabas had no idea what plan was afoot, but did as the cat had directed. While he was bathing the king drew near, and Puss at once began to cry out at the top of his voice: „Help! help! the marquis of Carabas is drowning!“ At these shouts the king put his head out of the carriage window. David Almond introduces his new picture book, A Way to the Stars, a story about perseverance and finding a way to make dreams come true. The university library at the Humboldt University of Berlin is housed in the Jacob and Wilhelm Grimm Center ( Jakob-und-Wilhelm-Grimm-Zentrum); [62] among its collections is a large portion of the Grimms' private library. [63] Collaborative works [ edit ]

The Brothers Grimm were German folklorists and linguists, whose most well-known work Kinder – und Hausmärchen (1812 -22), or Grimm’s Fairy Tales, was phenomenally influential on the modern study of folklore. The tales were taken largely from oral sources, though some from printed. The Twelve Brothers first appeared in this collection, alongside 200 other stories, though it was rewritten in the second edition. It is one of many stories of the ‘Brothers Who Were Turned Into Birds’ type, which is found across Europe. The dwarf carried in the ravens’ dinner on seven little plates, and in seven little cups.” Illustration by Albert Weisgerber, published in Kinder-und, publication date unknown. Originally published in German. One-Eye, Two-Eyes, and Three-Eyes Operas and ballets: The story of „Puss in Boots“ has been adapted into several operas and ballets, including the opera „Der gestiefelte Kater“ by César Cui (1915) and the ballet „Le Chat botté“ by Marius Petipa and Cesare Pugni (1868).The most fitting pictorial representation of fairy-tale characters seems to me to be found not in any of the beautifully illustrated editions of Grimm that have been published over the years, but in the little cardboard cut-out figures that come with a toy theatre. They are flat, not round. Only one side of them is visible to the audience, but that is the only side we need: the other side is blank. They are depicted in poses of intense activity or passion, so that their part in the drama can be easily read from a distance. A timeless gift with sumptuous details including textured foil cover and full colour illustrations throughout. A book to treasure, to share and enjoy again and again. Scholars of literature and folklore, of cultural and political history, theorists of a Freudian, Jungian, Christian, Marxist, structuralist, post-structuralist, feminist, postmodernist and every other kind of tendency have found immense riches for study in these 210 tales. Murphy, Ronald G. (2000). The Owl, the Raven, and the Dove. Oxford University Press. ISBN 978-0-19-515169-5. Puss in Boots,“ also known as „The Master Cat“ or „Le Maître Chat“ in French, is a classic European fairy tale. The story was first recorded by Giovanni Francesco Straparola in his Italian collection „The Facetious Nights“ in the 16th century. Later, Charles Perrault included it in his book „Histoires ou Contes du Temps Passé“ (Stories or Tales of Olden Times), published in 1697. The version by the Brothers Grimm, known as „Der gestiefelte Kater,“ is based on Perrault’s story but with some modifications. Although the Brothers Grimm version of „Puss in Boots“ is less well-known than Charles Perrault’s version, the story itself has inspired numerous adaptations across various forms of media. Here are some specific examples of adaptations that have drawn inspiration from the tale:

Celerity: swiftness is a great virtue in the fairy tale. A good tale moves with a dreamlike speed from event to event, pausing only to say as much as is needed and no more. The best tales are perfect examples of what you do need and what you don't: in Rudyard Kipling's image, fires that blaze brightly because all the ashes have been raked out. The importance of appearances: The story of „Puss in Boots“ emphasizes the significance of appearances in society. The cat carefully crafts a new identity for its master, transforming him into the „Marquis of Carabas“ to win the favor of the king and his daughter. This highlights the idea that social standing and success often depend on how one is perceived by others. „Puss in Boots“ highlights the significance of appearance in society. The cat uses the Marquis’s appearance, through fine clothes and a grand castle, to convince others of his wealth and status. This theme serves as a reminder that appearances can be deceiving and that people often judge others based on their outward appearance rather than their true character. The story opens on a familiar note for a Grimm fairy tale: poverty. I mention this largely because reading so many fairy tales for this project has reminded me of how much they tend to deal with the extremes: royalty and paupers. Oh, certainly, the occasional middle class sneaks in for some retellings of Beauty and the Beast, and Cinderella’s stepmother is only well-to-do, not royal—but generally, most fairy tales are about the very very poor or the very very rich, or both. This story ends up including both. The opening also contains a second familiar note for the opening of a fairy tale: the birth of a child, and the need to find godparents for that child.

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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. The tale is retold in an episode of Grimm's Fairy Tale Classics under the title King Grizzlebeard. In this version, the princess' name is Elena. In addition, her father decrees that Elena will be married to the man with the lowest standing who comes to the castle the next day. One day, the cat learns that the king and his beautiful daughter will be traveling by the river. He instructs his master to bathe in the river, while the cat hides his clothes and cries for help, claiming that the Marquis of Carabas is drowning. The king sends his guards to save the young man and provides him with fine clothes. The princess becomes smitten with the Marquis, and the king invites him to join them on their journey.

But it was the Kinder- und Hausmärchen for which their names are mostly remembered. Their first edition was published in 1812, and the collection went through six further editions (Wilhelm, by this stage, doing most of the editorial work) till the seventh and final one of 1857, by which time it was immensely popular. It shares its eminence with The Arabian Nights: the two of them are the most important and influential collections of folk tales ever published. Not only did the collection grow bigger, the tales themselves changed as the 19th century went past, becoming in Wilhelm's hands a little longer, in some cases more elaborate, occasionally more prudish, certainly more pious than they were to begin with. Bringing together the incredible talents of award-winning illustrator and Booktrust Time to Read favourite, Marta Altés and author and poet, Elli Woollard, this unique collection of Grimms' Fairy Tales is a fresh and funny take on the iconic original tales by the brothers Grimm. Richly illustrated throughout by Marta Altés, author of Little Monkey and New in Town, this is perfect for new and younger readers and will delight children and adults alike.The Grimms considered the tales to have origins in traditional Germanic folklore, which they thought had been "contaminated" by later literary tradition. [17] In the shift from the oral tradition to the printed book, tales were translated from regional dialects to Standard German ( Hochdeutsch or High German). [43] Over the course of the many modifications and revisions, however, the Grimms sought to reintroduce regionalisms, dialects, and Low German to the tales—to re-introduce the language of the original form of the oral tale. [44]

Kinder- und Hausmärchen ( Children's and Household Tales)—seven editions, between 1812 and 1857 [64] A perfect companion title to Aesop’s Fables and Just So Stories, retold by Elli Woollard, created by the same winning team. The Grimm Library". Humboldt University of Berlin. Archived from the original on 4 January 2012 . Retrieved 20 December 2012. 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.Simpson, Jacqueline; Roud, Steve (2000). A Dictionary of English Folklore. Oxford University Press. ISBN 978-0-19-210019-1. When Jacob returned to Marburg from Paris in 1806, their friend Brentano sought the brothers' help in adding to his collection of folk tales, at which time the brothers began to gather tales in an organized fashion. [1] By 1810 they had produced a manuscript collection of several dozen tales, written after inviting storytellers to their home and transcribing what they heard. These tales were heavily modified in transcription; many had roots in previously written sources. [20] At Brentano's request, they printed and sent him copies of the 53 tales that they collected for inclusion in his third volume of Des Knaben Wunderhorn. [2] Brentano either ignored or forgot about the tales, leaving the copies in a church in Alsace where they were found in 1920 and became known as the Ölenberg manuscript. It is the earliest extant version of the Grimms' collection and has become a valuable source to scholars studying the development of the Grimms' collection from the time of its inception. The manuscript was published in 1927 and again in 1975. [21] After the eighth month had gone, she called her husband and said to him, weeping, 'If I die, bury me under the juniper tree.' In the United States the 1937 release of Walt Disney's Snow White and the Seven Dwarfs shows the triumph of good over evil, innocence over oppression, according to Zipes. [58] The Grimms' tales have provided much of the early foundation on which Disney built an empire. [13] In film, the Cinderella motif, the story of a poor girl finding love and success, has been repeated in movies such as Pretty Woman, Ever After, Maid in Manhattan, and Ella Enchanted. [59]