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Fairy Tales of Charles Perrault: [Complete & Illustrated]

Fairy Tales of Charles Perrault: [Complete & Illustrated]

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Fairy Tales of Charles Perrault: [Complete & Illustrated]

ratings:
4/5 (8 ratings)
Length:
156 pages
1 hour
Publisher:
Released:
Jun 24, 2015
ISBN:
9789635274635
Format:
Book

Description

Charles Perrault was born more than 300 years ago, in 1628. He wrote many books, but he will be remembered forever for just one: Stories or Tales from Times Past, with Morals: Tales of Mother Goose. The book contained only eight fairy tales, and they have become classics around the world. You have probably heard some of these stories in your own life!


- Sleeping Beauty
- Little Red Riding Hood
- Blue Beard
- Puss In Boots
- The Fairies
- Cinderella
- Ricky With The Tuft
- Little Tom Thumb


Many of these stories were already well-known to people even in Charles Perrault’s time, but they had never been written down. They were stories told orally (which means spoken out loud), around the fire or at bedtime, to entertain and teach children. Some stories that Perrault wrote down were popular all over Europe, and some were also written down later in Germany as Grimm Fairy Tales.


Cinderilla; or, The Little Glass Slipper:


"ONCE there was a gentleman who married, for his se-cond wife, the proudest and most haughty woman that was ever seen. She had, by a former husband, two daughters of her own humour and they were indeed exactly like her in all things. He had likewise, by another wife, a young daughter, but of unparalleled goodness and sweetness of temper, which she took from her mother, who was the best creature in the world.."

Publisher:
Released:
Jun 24, 2015
ISBN:
9789635274635
Format:
Book

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Fairy Tales of Charles Perrault - J. E. Mansion

Fairy Tales of Charles Perrault

[Complete & Illustrated]

By

Charles Perrault

Translated by Robert Samber and J. E. Mansion,

Illustrated by Harry Clarke

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ISBN: 978-9635274635

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About Author:

Charles Perrault (1628 – 1703) was a French author and member of the Académie française. He laid the foundations for a new literary genre, the fairy tale, with his works derived from pre-existing folk tales. The best known of his tales include Le Petit Chaperon rouge (Little Red Riding Hood), Cendrillon (Cinderella), Le Chat Botté (Puss in Boots), La Belle au bois dormant (The Sleeping Beauty) and La Barbe bleue (Bluebeard). Some of Perrault's versions of old stories may have influenced the German versions published by the Brothers Grimm 200 years later. The stories continue to be printed and have been adapted to opera, ballet (such asTchaikovsky's The Sleeping Beauty), theatre, and film. Perrault was an influential figure in the 17th-century French literary scene, and was the leader of the Modern faction during the Quarrel of the Ancients and the Moderns.

About Author:

INTRODUCTION

Little Red Riding-Hood

The Fairy

Blue Beard

The Sleeping Beauty in the Wood

The Master Cat; or, Puss in Boots

Cinderilla; or, The Little Glass Slipper

Riquet with the Tuft

Little Thumb

The Ridiculous Wishes

Donkey-skin

First published August 1922

INTRODUCTION

Avec ardeur il aima les beaux arts.

Griselidis

harles Perrault must have been as charming a fellow as a man could meet. He was one of the best-liked personages of his own great age, and he has remained ever since a prime favourite of mankind. We are fortunate in knowing a great deal about his varied life, deriving our knowledge mainly from D'Alembert's history of the French Academy and from his own memoirs, which were written for his grandchildren, but not published till sixty-six years after his death. We should, I think, be more fortunate still if the memoirs had not ceased in mid-career, or if their author had permitted himself to write of his family affairs without reserve or restraint, in the approved manner of modern autobiography. We should like, for example, to know much more than we do about the wife and the two sons to whom he was so devoted.

Perrault was born in Paris in 1628, the fifth son of Pierre Perrault, a prosperous parliamentary lawyer; and, at the age of nine, was sent to a day-school—the Collège de Beauvais. His father helped him with his lessons at home, as he himself, later on, was accustomed to help his own children. He can never have been a model schoolboy, though he was always first in his class, and he ended his school career prematurely by quarrelling with his master and bidding him a formal farewell.

The cause of this quarrel throws a bright light on Perraults subsequent career. He refused to accept his teacher's philosophical tenets on the mere ground of their traditional authority. He claimed that novelty was in itself a merit, and on this they parted. He did not go alone. One of his friends, a boy called Beaurain, espoused his cause, and for the next three or four years the two read together, haphazard, in the Luxembourg Gardens. This plan of study had almost certainly a bad effect on Beaurain, for we hear no more of him. It certainly prevented Perrault from being a thorough scholar, though it made him a man of taste, a sincere independent, and an undaunted amateur.

In 1651 he took his degree at the University of Orléans, where degrees were given with scandalous readiness, payment of fees being the only essential preliminary. In the mean-time he had walked the hospitals with some vague notion of following his brother Claude into the profession of medicine, and had played a small part as a theological controversialist in the quarrel then raging, about the nature of grace, between the Jesuits and the Jansenists. Having abandoned medicine and theology he got called to the Bar, practised for a while with distinct success, and coquetted with a notion of codifying the laws of the realm. The Bar proved too arid a profession to engage for long his attention; so he next sought and found a place in the office of another brother, Pierre, who was Chief Commissioner of Taxes in Paris. Here Perrault had little to do save to read at large in the excellent library which his brother had formed.

For want of further occupation he returned to the writing of verse, one of the chief pleasures of his boyhood. His first sustained literary effort had been a parody of the sixth book of the Æneid; which, perhaps fortunately for his reputation, was never published and has not survived. Beaurain and his brother Nicholas, a doctor of the Sorbonne, assisted him in this perpetration, and Claude made the pen-and-ink sketches with which it was illustrated. In the few years that had elapsed since the writing of this burlesque Perrault had acquired more sense and taste, and his new poems—in particular the Portrait d'Iris and the Dialogue entre l'Amour et l'Amitié—were found charming by his contemporaries. They were issued anonymously, and Quinault, himself a poet of established reputation, used some of them to forward his suit with a young lady, allowing her to think that they were his own. Perrault, when told of Quinault's pretensions, deemed it necessary to disclose his authorship; but, on hearing of the use to which his work had been put, he gallantly remained in the background, forgave the fraud, and made a friend of the culprit.

Architecture next engaged his attention, and in 1657 he designed a house at Viry for his brother and supervised its construction. Colbert approved so much of this performance that he employed him in the superintendence of the royal buildings and put him in special charge of Versailles, which was then in process of erection. Perrault flung himself with ardour into this work, though not to the exclusion of his other activities. He wrote odes in honour of the King; he planned designs for Gobelin tapestries and decorative paintings; he became a member of the select little Academy of Medals and Inscriptions which Colbert brought into being to devise suitable legends for the royal palaces and monuments; he encouraged musicians and fought the cause of Lulli; he joined with Claude in a successful effort to found the Academy of Science.

Claude Perrault had something of his brother's versatility and shared his love for architecture, and the two now became deeply interested in the various schemes which were mooted for the completion of the Louvre. Bernini was summoned by the King from Rome, and entrusted with the task; but the brothers Perrault intervened. Charles conceived the idea of the great east front and communicated it to Claude, who drew the plans and was commissioned to carry them out. The work was finished in 1671, and is still popularly known as Perrault's Colonnade.

In the same year Charles was elected to the Academy without any personal canvas on his part for the honour. His inaugural address was heard with such approval that he ventured to suggest that the inauguration of future members should be a public function. The suggestion was adopted, and these addresses became the most famous feature of the Academy's proceedings and are so to the present day. This was not his only service to the Academy, for he carried a motion to the effect that future elections should be by ballot; and invented and provided, at his own expense, a ballot-box which, though he does not describe it, was probably the model of those in use in all modern clubs and societies.

The novelty of his views did not always commend them to his brother 'Immortals.' Those expressed in his poem

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3.9
8 ratings / 7 Reviews
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  • (5/5)
    The stories are beautiful enough, but the Dore illustrations are breathtaking...
  • (4/5)
    This is a brilliant book, with amazing but terrifying engravings by Dore. This edition of Perrault's fairy tales also include morals which read like rhyming verse, my favourite was the LRRH moral. This book is well worth the money if you are interested in fairy tales and the associated illustrations.
  • (5/5)
    i didn't realize that perrault had written so few stories. anderson and grimm have huge volumes. it's interesting to see the differences in stories. an interesting history by betts. i chose this book because it was illustrated by dore. we saw his great summer exhibition at the nag this past summer.
  • (3/5)
    This contains not only the regular tales, but also three summaries of poems, one of which (Donkey's Skin) was the basis of a recent fantasy. Of the original stories, my personal favorite is Puss in Boots. Some of the others e.g. Hop o;my thumb, are rather grisly.
  • (5/5)
    I actually read these while I was in France, but I reread a couple of them this week while my online group was discussing them. The online discussion reminded me how dark these stories were, full of violence and terror and unpredictability. The things we face in life, in other words. The things we seek out in books.
  • (5/5)
    Charles Perrault, a minor government official in 17th century France, is best remembered today for the collection of fairy tales he published in 1697, just six years before his death. Perrault, however, was not the author of any of the tales collected in his book. Rather, he rewrote various folk tales, tales of unknown origin snatched from the oral tradition of his time, and published those stories in the versions that most closely resemble the ones children grow up on today.This new Christopher Betts translation of Perrault’s work presents a few of the stories in simple verse, the rest in prose, and it includes an all-star list of fairy tales. Among the stories in “The Complete Fairy Tales” are: “Little Red Riding-Hood,” “Sleeping Beauty,” “Bluebeard,” “Puss in Boots,” “Cinderella,” and a story very similar to that of ”Hansel and Gretel.” But make no mistake about it – these are not the fairy tales you heard from your mother and they are, most definitely, not the ones made famous by Mr. Disney. Nevertheless, Perrault did intend that his stories be read to small children by their parents. For that reason, his versions of the folk tales are shorter than the stories with which adults of the period would have been more familiar, they encompass a limited number of characters and motivations, and much of the most obvious sexual content has been removed or, at the least, disguised. In addition, within his stories, Perrault emphasizes lessons and warnings about the process of growing up and he attaches at least one moral to the end of each tale. The attached morals, however, do seem to be aimed more at the parent/reader than at the listening children.Adult readers will be intrigued by the editing process to which Perrault subjected his chosen tales and probably a little shocked by some of the details he excluded. Perrault clearly felt it necessary to clean up the old folk tales before publishing them as children’s entertainment. Who might have imagined, for instance, that Snow White would be raped by her prince and would give birth to twins before she was awakened? Or that Little Red Riding-Hood would be forced by the wolf to eat part of her dismembered grandmother? Or that incest would play a prominent role in some of the tales?“The Complete Fairy Tales” includes twenty-six remarkable illustrations by 19th century French literary illustrator Gustave Doré (including the book’s cover and the “Cinderella” illustration shown here) and it is amply footnoted. Most intriguing, though, is the book’s presentation of alternate versions of several of today’s most beloved fairy tales, versions that make it obvious why Perrault felt obliged to edit the tales to fit his intended audience. Readers preferring their history in unexpurgated form will much appreciate “The Complete Fairy Tales” as translated by Christopher Betts.Rated at: 5.0
  • (3/5)
    Not the most enchanting edition (Clarion, 1993) of these tales I would have thought, but it gets the job done.