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He's like a brother to me. This proved popular enough for a second volume to follow in — New Fairy Tales from Brentano — from the same publisher. Both volumes were illustrated by F. Carruthers Gould , who had only recently changed career from working on the stock exchange to being a cartoonist and caricaturist. They enjoyed a number of reprints: Fairy Tales in , and , New Fairy Tales in The fairytales she translated are as follows:. Likewise, the Grimms did not approve of what Brentano did in his fanciful reworkings of traditional material. They themselves were first and foremost scholars, while Brentano was a poet and creative writer.

Basile kept close to the pattern of traditional tales as regards plot and length, but he used all the rhetorical devices of a master of Baroque prose and verse to make the tales appeal to the cultivated taste of his day, despite declaring them to be written for children. He composed the Pentameron in the Neapolitan dialect, and it circulated mainly in Neapolitan editions until the mid eighteenth century, when editions in Bolognese and Italian began to be produced. A fuller selection of thirty tales appeared in a new translation by John Edward Taylor in He writes, in fact, with two different readerships in mind — children for the basic story in terms of its plot, adults for his contemporary references, use of names, ironic asides and amplificatory details.

A king has a serious daughter whom he attempts to make laugh by organizing a variety of amusements. The princess sets out on the quest and gains three nuts from three fairies old women which are to be broken open only in situations of great need. She finds the prince in a marble tomb and has to weep sufficient tears to fill a vessel in order to restore him to life.


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Exhausted by her efforts to do this, she falls asleep and is thwarted by a black female slave, who fills the vessel and marries the resurrected prince. The slave threatens her husband with damaging the baby in her womb, if he does not turn away from the princess. The latter breaks open each of her three nuts in turn, and the magic devices that they contain are instantly coveted and acquired by the slave.

The last of these devices is a golden doll, which sparks in her the desire to hear fairytales, for which the prince has to call together ten women, each of whom tells a story on five successive days. She also often looks for English equivalents for descriptions of specifically German characteristics and habits, especially those to do with eating, drinking and clothes.

Occasionally things will be omitted where, for example, something taken for granted in Germany might give offence in England. Sometimes this is a song, but often it is simply part of the narrative, and as Brentano was a skilful versifier it reads fluently and with considerable charm. These passages, generally in rhyming couplets, present awkward problems for the translator, and while she conveys their surface meaning well enough, her versions often appear banal or clumsy where Brentano has a light and easy touch.

When the king wants to remove his baby daughter from the old woman who is feeding her, he has to promise to pardon the first criminal to offend him and to nourish him as best he can.

Writing Fairy Tales in Dialect: Giambattista Basile’s Il Pentameron | kaderspuja.tk

The first part of this clearly caused no second thoughts at the time, since Kroeker translates: When Gockel has transported the two white mice across a river, he meets three old men who want to buy his old cock in exchange for an old billy-goat, knowing that the cock has in its crop a jewel from the magic ring of King Solomon. Its most famous member was Mayer Amschel Rothschild , the founder of the great banking house, who financed the war against Napoleon. The Amsterdam Jew shares a suggestive first syllable with Amschel Rothschild.

We have to keep in mind that she was attempting to make Brentano accessible to English children, not to provide an accurate translation faithful in all details. When the king wants to remove his baby daughter from the old woman who is feeding her, he has to promise to pardon the first criminal to offend him and to nourish him as best he can. When Gockel has transported the two white mice across a river, he meets three old men who want to buy his old cock in exchange for an old billy-goat, knowing that the cock has in its crop a jewel from the magic ring of King Solomon. Its most famous member was Mayer Amschel Rothschild , the founder of the great banking house, who financed the war against Napoleon.

The Amsterdam Jew shares a suggestive first syllable with Amschel Rothschild. We have to keep in mind that she was attempting to make Brentano accessible to English children, not to provide an accurate translation faithful in all details. Children would have been baffled by many of the German names that Brentano uses and that would have been noted more by his adult readers.

For the most part Kroeker removes the names of petty German states and cities, replacing them with English counterparts. The king who is obsessed with eggs king of the real town of Gelnhausen in the German inhabits Eggville and is called Egg-Gorgius in Kroeker the German is Eifrassius. The German language would have allowed Brentano the same pun, but he did not make it. Perhaps he expected his readers to make it for themselves since it is so obvious.

Basile and Brentano, too, have a donkey that provides gold and jewels, but Kroeker changes this to a goose that lays golden eggs. Kroeker omits these matters entirely. Naturally enough, Kroeker leaves such things out. But even with her omissions of some verse passages and other details the story remains a very long one. These were tales that Brentano composed early and did not rework and embellish.

However, Frisky Wisky is rather too much a nursery tale name in English cf. Henny Penny, Cocky Locky and loses the connotations of clever cunning that the German Witzenspitzel conjures up.

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This is a comic tale involving a series of incredible tricks, at the end of which the hero wins a bride. However, the story is one of the very few by Brentano of which another translation was made. The German original gives symbolic names to the human and animal figures in the story. Only at the end of the tale does Brentano take up his source in the Pentameron and describe how Komanditchen, dissatisfied with all those who sue for her hand in marriage, makes and bakes herself an artificial prince out of all kinds of sweet and delicious ingredients.

The German tale breaks off before the actual conclusion, but Kroeker provides the ending inherent in the premisses of the plot. It is a rather rambling narrative based on the popular legend of Bishop Hatto of Mainz, whose cruelty towards his own people in time of famine was punished by his being eaten alive by mice which pursued him to a tower on an island in the middle of the Rhine, where he thought he could escape them.

Das Pentameron - Buch Zum Film Ger by Giambattista Basile

Brentano substituted a King of Mainz for the Bishop and incorporated the story into a feud between the King of Mainz and the Queen of Trier and a love-story involving a miller and Ameleya, the daughter of the King of Mainz. Heckethorn London: J.

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Hogg, [] , a separate rendering of the long Tale of Gockel, Hinkel und Gakeleia. Penzer ed.

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Das Pentameron - Das Märchen der Märchen

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