Giambattista Basile’s "The Tale of Tales, or Entertainment for Little Ones" is a modern translation that preserves the distinctive character of Basile’s original. Working directly from the original Neopolitan version, translator Nancy L. Canepa takes pains to maintain the idiosyncratic tone of The Tale of Tales as well as the work’s unpredictable structure. This edition keeps the repetition, experimental syntax, and inventive metaphors of the original version intact, bringing Basile’s words directly to twenty-first-century readers for the first time. This volume is also fully annotated, so as to elucidate any unfamiliar cultural references alongside the text. Giambattista Basile’s "The Tale of Tales, or Entertainment for Little Ones" is also lushly illustrated and includes a foreword, an introduction, an illustrator’s note, and a complete bibliography.
The publication of The Tale of Tales marked not only a culmination of the interest in the popular culture and folk traditions of the Renaissance period but also the beginning of the era of the artful and sophisticated "authored" fairy tale that inspired and influenced later writers like Charles Perrault and the Brothers Grimm. Giambattista Basile’s "The Tale of Tales, or Entertainment for Little Ones" offers an excellent point of departure for reflection about what constitutes Italian culture, as well as for discussion of the relevance that forms of early modern culture like fairy tales still hold for us today. This volume is vital reading for fairy-tale scholars and anyone interested in cultural history.
Before the Brothers Grimm, before Charles Perrault, before Hans Christian Andersen, there was Giambattista Basile, a seventeenth-century poet from Naples, Italy, whom the Grimms credit with recording the first national collection of fairy tales. The Tale of Tales—also known as The Pentamerone—opens with Princess Zoza, unable to laugh no matter how funny the joke. Her father, the king, attempts to make her smile; instead he leaves her cursed, whereupon the prince she is destined to marry is snatched up by another woman. To expose this impostor and win back her rightful husband, Zoza contrives a storytelling extravaganza: fifty fairy tales to be told by ten sharp-tongued women (including Zoza in disguise) over five days.
Funny and scary, romantic and gruesome—and featuring a childless queen who devours the heart of a sea monster cooked by a virgin, and who then gives birth the very next day; a lecherous king aroused by the voice of a woman, whom he courts unaware of her physical grotesqueness; and a king who raises a flea to monstrous size on his own blood, sparking a contest in which an ogre vies with men for the hand of the king’s daughter—The Tale of Tales is a fairy-tale treasure that prefigures Game of Thrones and other touchstones of worldwide fantasy literature.
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Before Perrault and the Brothers Grimm, Basile penned the first modern literary transcription of the Cinderella fairytale. It is the story of Zezolla, the daughter of an Italian Prince, who is betrayed by her governess and forced to live the life of a servant - that is until the King announces a feast. With assistance from a date tree given to her by the Fairies of Sardinia, Zezolla is able to attend the feast and her life is forever changed.
[Folklore Type: ATU-510A (Persecuted Heroine)]
In a new retelling of the classic Sleeping Beauty fairytale, the author draws on the Perrault and Basile's versions to tell the story of Talia, a Princess, who is cursed by a slighted Fairy to die of a wound from a spindle. However, her destiny is re-imagined by another Fairy to sleep until woken by the son of a King, a Prince who will have to deal with an enchanted wood and an ogre before he can live in peace with Talia, and their two children, Moon and Sun...
[Folklore Type: ATU-410 (The Sleeping Beauty)]
This book offers new, often unexpected, but always intriguing portraits of the writers of classic fairy tales. For years these authors, who wrote from the sixteenth to the nineteenth centuries, have been either little known or known through skewed, frequently sentimentalized biographical information. Jacob and Wilhelm Grimm were cast as exemplars of national virtues; Hans Christian Andersen’s life became—with his participation—a fairy tale in itself. Jeanne-Marie Leprince de Beaumont, the prim governess who wrote moral tales for girls, had a more colorful past than her readers would have imagined, and few people knew that nineteen-year-old Marie-Catherine d’Aulnoy conspired to kill her much-older husband. Important figures about whom little is known, such as Giovan Francesco Straparola and Giambattista Basile, are rendered more completely than ever before. Uncovering what was obscured for years and with newly discovered evidence, contributors to this fascinating and much-needed volume provide a historical context for Europe’s fairy tales.
Entre otras enseñanzas, Rapunzel nos aporta los valores de la autonomía y la libertad; además, nos muestra que, ante las dificultades, nunca debe perderse la esperanza.
This fascination with the marvellous also extended to the worlds of science, medicine, philosophy, and religion, and many treatises from the period focused on discussions of monsters, demons, magic, and witchcraft. In Fairy-Tale Science Suzanne Magnanini looks at these 'science fictions' and explores the birth and evolution of the literary fairy tale in the context of early modern discourses on the monstrous. She demonstrates how both the normative literary theories of the Italian intellectual establishment and the emerging New Science limited the genre's success on its native soil. Natural philosophers, physicians, and clergymen positioned the fairy tale in opposition in opposition to science, fixing it as a negative pole in a binary system, one which came to define both a new type of scientific inquiry and the nascent literary genre. Magnanini also suggests that, by identifying their literary production with the monstrous and the feminine, Straparola and Basile contributed to the marginalization of the new genre.
A wide-ranging yet carefully crafted study, Fairy-Tale Science investigates the complex interplay between scientific discourse and an emerging literary genre, and expands our understanding of the early modern European imagination.
It has occurred to me that it would be of great interest and, for folk-lore purposes, of no little importance, to bring together these common Folk-Tales of Europe, retold in such a way as to bring out the original form from which all the variants were derived. I am, of course, aware of the difficulty and hazardous nature of such a proceeding; yet it is fundamentally the same as that by which scholars are accustomed to restore the Ur-text from the variants of different families of MSS. and still more similar to the process by which Higher Critics attempt to restore the original narratives of Holy Writ. Every one who has had to tell fairy tales to children will appreciate the conservative tendencies of the child mind; every time you vary an incident the children will cry out, That was not the way you told us before.? The Folk-Tale collections can therefore be assumed to retain the original readings with as much fidelity as most MSS. That there was such an original rendering eminating from a single folk artist no serious student of Miss Cox's volume can well doubt. When one finds practically the same ?tags? of verse in such different dialects as Danish and Romaic, German and Italian, one cannot imagine that these sprang up independently in Denmark, Greece, Germany, and Florence. The same phenomenon is shown in another field of Folk-Lore where, as the late Mr. Newell showed, the same rhymes are used to brighten up the same children?s games in Barcelona and in Boston; one cannot imagine them springing up independently in both places. So, too, when the same incidents of a fairy tale follow in the same artistic concatenation in Scotland, and in Sicily, in Brittany, and in Albania, one cannot but assume that the original form of the story was hit upon by one definite literary artist among the folk. What I have attempted to do in this book is to restore the original form, which by a sort of international selection has spread throughout all the European folks.
Often called the Scandanavian Beauty and the Beast, East of the Sun and West of the Moon tells of the journey of the daughter as she leaves everything she has ever known to accompany the White Bear to his mountain castle, then to the homes of the Four Winds as she searches for the bear and seeks to rescue him from the clutches of a troll Princess, who resides in a castle that lies east of the sun and west of the moon...
[Folklore Type: ATU-425A (Search for the Lost Husband)]
"Master Cat; or, The Booted Cat" (Italian: "Il gatto con gli stivali"; French: "Le Maître Chat, ou Le Chat Botté"); commonly known in English as "Puss in Boots", is an European literary fairy tale about a cat who uses trickery and deceit to gain power, wealth, and the hand of a princess in marriage for his penniless and low-born master. The oldest record of written history dates from Italian author Giovanni Francesco Straparola, who included it in his The Facetious Nights of Straparola (c. 1550-53) in XIV-XV. The tale was written at the close of the seventeenth century by Charles Perrault (1628–1703), a retired civil servant and member of the "Académie française". Another version was published in 1634 by Giambattista Basile with the title "Cagliuso". The tale appeared in a handwritten and illustrated manuscript two years before its 1697 publication by Barbin in a collection of eight fairy tales by Perrault called "Histoires ou contes du temps passé". The book was an instant success and remains popular. Perrault's "Histoires" has had considerable impact on world culture. The original French title was "Histoires ou contes du temps passé, avec des moralités" with the subtitle "Les Contes de ma mère l'Oye" ("Stories or Fairy Tales from Past Times with Morals", subtitled "Mother Goose Tales"). The frontispiece to the earliest English editions depicts an old woman telling tales to a group of children beneath a placard inscribed "MOTHER GOOSE'S TALES" and is credited with launching the Mother Goose legend in the English-speaking world. "Puss in Boots" has provided inspiration for composers, choreographers, and other artists over the centuries. The cat appears in the third act "pas de caractère" of Tchaikovsky's ballet "The Sleeping Beauty", for example, and makes appearances in other media.
"Der gestiefelte Kater" ist ein Märchen (ATU 545B). Es stand in den Kinder- und Hausmärchen der Brüder Grimm nur in der 1. Auflage von 1812 als Nr. 33 (KHM 33a). In der modernen, von Heinz Rölleke herausgegebenen Ausgabe findet es sich als Nr. 5 im Anhang.
"Sleeping Beauty" (French: "La Belle au bois dormant" - "The Beauty Sleeping in the Wood") by Charles Perrault or "Little Briar Rose" (German: "Dornröschen") by the Brothers Grimm is a classic fairy tale involving a beautiful princess, a sleeping enchantment, and a handsome prince. The version collected by the Grimms was an orally transmitted version of the originally literary tale published by Charles Perrault in "Histoires ou contes du temps passé" in 1697. This in turn was based on Sun, Moon, and Talia by Giambattista Basile (published posthumously in 1634), which was in turn based on one or more folk tales. The earliest known version of the story is Perceforest, composed between 1330 and 1344 and first printed in 1528.
"Dornröschen" ist ein Märchen (ATU 410). Es steht in den Kinder- und Hausmärchen der Brüder Grimm ab der 1. Auflage von 1812 an Stelle 50 (KHM 50) und geht durch mündliche Weitergabe über Marie Hassenpflug auf Charles Perraults "La belle au bois dormant" ("Die schlafende Schöne im Wald") zurück. Bei Perrault erschien es 1697 in Contes de ma Mère l’Oye und vorher 1696. Ludwig Bechstein übernahm das Märchen in sein Deutsches Märchenbuch als "Das Dornröschen" (1845 Nr. 63, 1853 Nr. 52).
Voce narrante: Noemi Medolla