This 1920 collection includes five timeless French fairy tales written by Comtesse De Segur and illustrated by the 19 year old Virginia Sterrett.

Love is a key ingredient in the stereotypical fairy-tale ending in which everyone lives happily ever after. This romantic formula continues to influence contemporary ideas about love and marriage, but it ignores the history of love as an emotion that shapes and is shaped by hierarchies of power including gender, class, education, and social status. This interdisciplinary study questions the idealization of love as the ultimate happy ending by showing how the conteuses, the women writers who dominated the first French fairy-tale vogue in the 1690s, used the fairy-tale genre to critique the power dynamics of courtship and marriage. Their tales do not sit comfortably in the fairy-tale canon as they explore the good, the bad, and the ugly effects of love and marriage on the lives of their heroines. Bronwyn Reddan argues that the conteuses' scripts for love emphasize the importance of gender in determining the "right" way to love in seventeenth-century France. Their version of fairy-tale love is historical and contingent rather than universal and timeless. This conversation about love compels revision of the happily-ever-after narrative and offers incisive commentary on the gendered scripts for the performance of love in courtship and marriage in seventeenth-century France.

The White Cat helps the youngest prince win his father's throne.

‘A Fairy Garland – Being Fairy Tales from the Old French’ contains a collection of stories, written by Charles Perrault, Madame D’Aulnoy and Count Anthony Hamilton. These individuals were among the first writers to bring magical children’s stories into the literary mainstream, proving to their original seventeenth century readers that such works were important, enjoyable, as well as thought-provoking. The stories in this particular text encompass favourites such as Perrault’s ‘Puss in Boots’ and ‘Riquet with the Tuft’ as well as other less well-known classics such as D’Aulnoy’s ‘The Green Dragon’, ‘Princess Rosetta’ and ‘The Blue Bird’ and Count Antony Hamilton’s dazzling ‘Mayblossom’. This edition of ‘A Fairy Garland’ further contains a set of dazzling coloured illustrations by a true master of the ‘Golden Age'; Edmund Dulac (1882 – 1953). A French artist himself, Dulac had a particular affinity with these Old French tales as well as a rigorously painterly background. The end result was beautifully coloured images which further refined the wonderful stories of Perrault, D’Aulnoy and Hamilton – all presented together in this book. Pook Press celebrates the great ‘Golden Age of Illustration‘ in children’s literature – a period of unparalleled excellence in book illustration. We publish rare and vintage Golden Age illustrated books, in high-quality colour editions, so that the masterful artwork and story-telling can continue to delight both young and old.

Mother Goose Refigured presents annotated translations of Charles Perrault’s 1697 fairy tales that attend to the irony and ambiguity in the original French and provide a fresh take on heroines and heroes that have become household names in North America. Charles Perrault published Histoires ou Contes du temps passé ("Stories or Tales of the Past") in France in 1697 during what scholars call the first "vogue" of tales produced by learned French writers. The genre that we now know so well was new and an uncommon kind of literature in the epic world of Louis XIV's court. This inaugural collection of French fairy tales features characters like Sleeping Beauty, Cinderella, and Puss in Boots that over the course of the eighteenth century became icons of social history in France and abroad. Translating the original Histoires ou Contes means grappling not only with the strangeness of seventeenth-century French but also with the ubiquity and familiarity of plots and heroines in their famous English personae. From its very first translation in 1729, Histoires ou Contes has depended heavily on its English translations for the genesis of character names and enduring recognition. This dependability makes new, innovative translation challenging. For example, can Perrault's invented name "Cendrillon" be retranslated into anything other than "Cinderella"? And what would happen to our understanding of the tale if it were? Is it possible to sidestep the Anglophone tradition and view the seventeenth-century French anew? Why not leave Cinderella alone, as she is deeply ingrained in cultural lore and beloved the way she is? Such questions inspired the translations of these tales in Mother Goose Refigured, which aim to generate new critical interest in heroines and heroes that seem frozen in time. The book offers introductory essays on the history of interpretation and translation, before retranslating each of the Histoires ou Conteswith the aim to prove that if Perrault's is a classical frame of reference, these tales nonetheless exhibit strikingly modern strategies. Designed for scholars, their classrooms, and other adult readers of fairy tales, Mother Goose Refigured promises to inspire new academic interpretations of the Mother Goose tales, particularly among readers who do not have access to the original French and have relied for their critical inquiries on traditional renderings of the tales.

"The present volume contains thirty-five fairy tales by nineteen writers, presented chronologically by author"--Introduction.

Create lovely new "once upon a time" keepsakes with these 44 cross stitch patterns, blending the traditional style of France with a charming contemporary simplicity. The designs are eye-catchingly lovely with their subtle colors, gentle humor, and delicate lines. They're all here: wily foxes, big bad wolves, city mice and country mice . . . not to mention princesses, enchanted worlds, and fun rhymes. Many include multiple scenes and motifs, offering you dozens more components to use in a myriad of ways. Along with the patterns, enjoy instructions for 22 projects to show off your stitchwork: luggage tags, mobiles, cookie tins, quilts, a cuddly toy with its own sleeping bag, and more.

Thirteen tales are unspun from the deeply familiar, and woven anew into a collection of fairy tales that wind back through time. Acclaimed Irish author Emma Donoghue reveals heroines young and old in unexpected alliances--sometimes treacherous, sometimes erotic, but always courageous. Told with luminous voices that shimmer with sensuality and truth, these age-old characters shed their antiquated cloaks to travel a seductive new landscape, radiantly transformed.Cinderella forsakes the handsome prince and runs off with the fairy godmother; Beauty discovers the Beast behind the mask is not so very different from the face she sees in the mirror; Snow White is awakened from slumber by the bittersweet fruit of an unnamed desire. Acclaimed writer Emma Donoghue spins new tales out of old in a magical web of thirteen interconnected stories about power and transformation and choosing one's own path in the world. In these fairy tales, women young and old tell their own stories of love and hate, honor and revenge, passion and deception. Using the intricate patterns and oral rhythms of traditional fairy tales, Emma Donoghue wraps age-old characters in a dazzling new skin. 2000 List of Popular Paperbacks for YA

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Old French Fairy Tales is a collection of french folklore and fairytales, penned by Sophie Rostopchine, Countess of Ségur (1799 – 1874). Ségur was a French writer of Russian birth, best known today for her novel Les Malheurs de Sophie (Sophie’s misfortunes), intended for children. The anthology contains stories split into four categories: ‘Blondine, Bonne-Biche, and Beau-Minon’, ‘Good Little Henry’, ‘Princess Rosette’, ‘Little Gay Mouse’ and ‘Ourson’. The stories in Old French Fairy Tales are accompanied by the truly beautiful illustrations of Virginia Frances Sterrett (1900 – 1931). Presented alongside the text, her illustrations further refine and elucidate Ségur’s masterful storytelling. Sterrett was an American artist and illustrator – one of the most talented, though also most tragic, of the ‘Golden Age’ illustrators. Sterrett’s illustrations are delicate yet powerful, inspired by the tradition of Art Nouveaux with its light washes of colour and sinuous black lines. She only completed three works in her lifetime, due to her early death from tuberculosis at the age of thirty-one. These include Old French Fairy Tales (1920), Tanglewood Tales (1921) and Arabian Nights (1928). Pook Press celebrates the great ‘Golden Age of Illustration‘ in children’s literature – a period of unparalleled excellence in book illustration. We publish rare and vintage Golden Age illustrated books, in high-quality colour editions, so that the masterful artwork and story-telling can continue to delight both young and old.