The Galoshes of Fortune have the power of carrying the person who wears them instantly to any time and place they desire – but is this really a good thing? Hans Christian Andersen (1805-1875) was a Danish author, poet and artist. Celebrated for children’s literature, his most cherished fairy tales include "The Emperor's New Clothes", "The Little Mermaid", "The Nightingale", "The Steadfast Tin Soldier", "The Snow Queen", "The Ugly Duckling" and "The Little Match Girl". His books have been translated into every living language, and today there is no child or adult that has not met Andersen's whimsical characters. His fairy tales have been adapted to stage and screen countless times, most notably by Disney with the animated films "The Little Mermaid" in 1989 and "Frozen", which is loosely based on "The Snow Queen", in 2013. Thanks to Andersen's contribution to children's literature, his birth date, April 2, is celebrated as International Children's Book Day.

Classic tales of fairies and princesses, ducklings and dancing shoes from the master storyteller Hans Christian Andersen. All the best-loved fairy tales of Hans Christian Andersen, including “The Ugly Duckling,” “Thumbelina,” “The Red Shoes,” “The Princess on the Pea,” and “The Emperor’s New Clothes,” fill the pages of this beautiful edition. Also included is “The Tallow Candle”—one of the earliest stories written by Andersen, just discovered recently! A great book of bedtime stories or for rainy day reading, as there are both short and long anecdotes included. Curl up with this collection of classics and lose yourself in childhood memories.

Twenty-four tales with reproductions of the original illustrations by Vilhelm Pedersen and Lorenz Frolich.

This full collection of legendary fairy tales by Christian Andersen includes The Little Mermaid, The Ugly Duckling, and Thumbelina.

Reprint of the original, first published in 1869.

“It doesn't matter if you're born in a duck yard, so long as you are hatched from a swan's egg!”—Hans Christian Andersen, “The Ugly Duckling.” Fairy tales are timeless treasures passed from generation to generation, and few are as beloved as those of Danish author, Hans Christian Andersen. From the princess so sensitive she is discomforted by a single pea beneath a tower of mattresses to the unfortunate-looking duckling who matures into a stunning swan, these are the stories that stay with us long after we leave childhood behind. First published in 1835, Andersen’s tales continue to delight the modern audience. Now part of the Word Cloud Classics series, Hans Christian Andersen Tales is a chic and affordable collection of these wonderful stories, complete with classics like “Thumbelina” and “The Little Mermaid,” plus some wonderful lesser-known gems to discover anew.

This is the first collaborative international reading of irony as a major phenomenon in Romantic art and thought. The volume identifies key predecessor moments that excited Romantic authors and the emergence of a distinctly Romantic theory and practice of irony spreading to all literary genres. Not only the influential pioneer German, British, and French varieties, but also manifestations in northern, eastern, and southern parts of Europe as well as in North America, are considered. A set of concluding “syntheses” treat the shaping power of Romantic irony in narrative modes, music, the fine arts, and theater – innovations that will deeply influence Modernism. Thus the cross-cultural and interdisciplinary approach elaborated in the twenty chapters of Romantic Irony, as lead volume in the five-volume Romanticism series, establishes a significant new range for comparative literature studies in dealing with a complex literary movement. SPECIAL OFFER: 30% discount for a complete set order (5 vols.).The Romanticism series in the Comparative History of Literatures in European Languages is the result of a remarkable international collaboration. The editorial team coordinated the efforts of over 100 experts from more than two dozen countries to produce five independently conceived, yet interrelated volumes that show not only how Romanticism developed and spread in its principal European homelands and throughout the New World, but also the ways in which the affected literatures in reaction to Romanticism have redefined themselves on into Modernism. A glance at the index of each volume quickly reveals the extraordinary richness of the series' total contents. Romantic Irony sets the broader experimental parameters of comparison by concentrating on the myriad expressions of “irony” as one of the major impulses in the Romantic philosophical and artistic revolution, and by combining cross-cultural and interdisciplinary studies with special attention also to literatures in less widely diffused language streams. Romantic Drama traces creative innovations that deeply altered the understanding of genre at large, fed popular imagination through vehicles like the opera, and laid the foundations for a modernist theater of the absurd. Romantic Poetry demonstrates deep patterns and a sharing of crucial themes of the revolutionary age which underlie the lyrical expression that flourished in so many languages and environments. Nonfictional Romantic Prose assists us in coping with the vast array of writings from the personal and intimate sphere to modes of public discourse, including Romanticism's own self-commentary in theoretical statements on the arts, society, life, the sciences, and more. Nor are the discursive dimensions of imaginative literature neglected in the closing volume, Romantic Prose Fiction, where the basic Romantic themes and story types (the romance, novel, novella, short story, and other narrative forms) are considered throughout Europe and the New World. This enormous realm is seen not just in terms of Romantic theorizing, but in the light of the impact of Romantic ideas and narration on later generations. As an aid to readers, the introduction to Romantic Prose Fiction explains the relationships among the volumes in the series and carries a listing of their tables of contents in an appendix. No other series exists comparable to these volumes which treat the entirety of Romanticism as a cultural happening across the whole breadth of the “Old” and “New” Worlds and thus render a complex picture of European spiritual strivings in the late eighteenth and the nineteenth centuries, a heritage still very close to our age.