-Caveat Lector-
Liddy may have been using a code; this may be the book June had listed
in the following item - it states the story was meant more for adults
than children, but I remember this story when I was a child.
UNIVERSITY OF DELAWARE LIBRARY
WORLD OF THE CHILD
Fables and Fairy Tales
Fables
Probably the earliest written stories known to children were Aesop's
Fables. The tales were collected and written down as early as the fourth
century B.C. The Fables were one of the first books printed; an Italian
edition of 1474 still exists. While not specifically written for
children, their brevity and wit quickly captured the imagination, and
their morals made adults view them as appropriate for young people.
Sir Roger L'Estrange, 1616-1704.
Fables, of Æsop: and other eminent mythologists: with morals and
reflexions. London: R. Sare, 1694.
In addition to the fables and the morals, L'Estrange added "reflections"
which further discussed the moral issues involved in the stories.
The Fables of Aesop, and others. Newcastle: Printed by E. Walter, for T.
Bewick and son. Sold by them, Longman and Co., London, 1818.
The illustrations for this edition were done by Thomas Bewick, the great
English wood-engraver. Bewick was particularly known for his images of
animals.
The Childs Illuminated Fable-book. London: William Smith, 1847.
The use of chromolithography and the pseudo-mediaeval design reflects
the craze at the middle of the nineteenth century for ornate gift books.
Improvements in color printing technology made it possible to produce
multicolored plates inexpensively.
Fairy Tales
Fairy tales, which had been passed down from generation to generation
through oral tradition, were first collected and published in France in
the seventeenth century. The stories that are most familiar to us
today--"Cinderella," "Sleeping Beauty," "Red Riding Hood," and "Puss in
Boots," are derived from the Histoires ou contes du temps passé (Tales
of long ago) collected by Charles Perault in 1697.
The frontispiece of the early editions which pictured an old woman
telling stories to a group of children was entitled "Contes de mère
l'oye" (tales of mother goose), a folk expression meaning an "old wives
tale." Even after being collected and published, fairy tales contined to
evolve: sometimes appearing as a horror story, others as a cautionary
tales; sometimes clearly for adults, other times edited for children.
The Pleasant and Delightful History of Jack and the Giants.
Nottingham: Printed for the Running Stationers, 1790.
An early chapbook version of the fairy tale.
Cinderella or the Little Glass Slipper. Baltimore: Wm. Raine, 1840.
This inexpensive edition of the classic story has been crudely
hand-colored.
George Cruikshank, 1792-1878.
Fairy Library, London: David Bogue and George Routledge and Sons, 1853.
The four tales in Fairy Library: "Hop O' My Thumb and the Seven League
Boots," "Jack and the Beanstalk," "Cinderella," and "Puss in Boots,"
were rewritten by Cruikshank to reflect his strong feelings against
alcohol. For example, the Giant in "Jack and the Beanstalk" owes his
ruin to drink.
Charles Perrault, 1628-1703.
Les contes de Perrault; dessins par Gustave Dore. Paris: J. Hetzel,
1862.
The illustrations for Perrault's Tales by Gustave Doré are the best
known of all the nineteenth century fairy tale illustrations. The
frontispiece of the early editions, picturing an old woman telling
stories to a group of children, was entitled "Contes de Ma Mère l'Oye"
(Tales of Mother Goose), a folk expression meaning an "old wives tale."
Lydia Louisa Anna Very, 1823-1901.
Red Riding Hood. Boston, Mass.: L. Prang, 1863.
An early example of a shape book, the entire book is cut into the shape
of Red Riding Hood.
Jacob Grimm, 1785-1863.
German Popular Stories. Illustrated by George Cruikshank. London: J.C.
Hotten, 1868.
The Brothers Grimm who collected and published this collection of
European folktales between 1812 and 1822, also created the first
scientific studies of the German language, mythology, and law.
For German Popular Stories, they collected over two hundred stories from
friends, storytellers, and old books as a way of holding onto the myths
and folklore of the Germanic people. Although the stories generally
ended happily, they were filled with violence and trickery which have
delighted children but disturbed many moralists and educators up to the
present day.
Andrew Lang, 1844-1912.
The Princess Nobody: a Tale of Fairy Land. after the drawings by Richard
Doyle; printed in colours by Edmund Evans. New York: E. P. Dutton, 1884.
Lang wrote The Princess Nobody at the request of a publisher who wanted
a new text for the pictures Richard Doyle had done for In Fairyland
(1869). Working with the images in mind, Lang wove together motifs from
traditional and literary fairytales. A folklorist as well as a writer he
believed, "Nobody can write a new fairy tale; you can only mix up and
dress the old stories and put characters into new dresses."
Howard Pyle, 1853-1911.
The Wonder Clock, or, Four & Twenty marvelous Tales: being one for each
hour of the day. New York: Harper, 1887.
"I put on my dream-cap one day and stepped into Wonderland." Thus begins
this collection of fairy tales and verse by Howard Pyle--artist, writer,
teacher, and Delawarean--who wrote and illustrated adventure stories
enjoyed by both children and adults for generations. Pyle's
illustrations are full of excitment and vitality; his stories retain an
old-fashioned quality, yet are clearly written and easy to follow.
Katharine Pyle, 1863-1938.
Where the Wind Blows; being ten fairy-tales from ten nations. New York:
R.H. Russell, 1902.
Katharine Pyle wrote a series of books based on tales and myths from
around the world. Where the Wind Blows was illustrated by Bertha Corson
Day, a Delawarean and student of Howard Pyle, Katharine's elder brother.
Sir Arthur Thomas Quiller-Couch, 1863-1944.
The Sleeping Beauty and other Fairy Tales from the old French.
illustrated by Edmund Dulac. London: Hodder & Stoughton, 1910.
Edmund Dulac (1882-1953), emphasized a subtle use of color rather than
line and often used Oriental or other exotic motifs to bring a sense of
romanticism to his illustrations. He was also a successful stage
designer.
Jacob Grimm, 1785-1863.
Little Brother & Little Sister and Other Tales by the Brothers Grimm;
illustrated by Arthur Rackham. New York: Dodd, Mead, 1917.
Arthur Rackham (1867-1939) was the most successful of the early
twentieth-century English fantasy artists. Sixteenth-century German
artists, Albrecht Dürer and Albrecht Altdorfer inspired Rackham, as
did the Pre-Raphaelites and Art Nouveau. Rackham illustrated over ninety
books, primarily classics and fairy tales; but he is best known for his
illustrations for Peter Pan.
*******************************************
Peter Christen Asbjornsen, 1812-1885.
East of the Sun and West of the Moon;
Old Tales from the North, illustrated by Kay Nielsen. New York: G. H.
Doran Company, 1922.
This Norwegian fairy tale, collected and first published by Peter
Asbjornsen in English in 1849, has a plot similar to that of "Beauty and
the Beast." Kay Nielsen (1886-1957) illustrated the story in an art
nouveau style which, while atmospheric and evocative, is aimed more at
adult readers than children.
During the last quarter of the nineteenth century, advances in color
printing technology made possible the production of deluxe picture books
with multicolor illustrations on glossy paper tipped into the book.
These were considered to be "gift" books, to be collected and admired,
but not handled and read by young children.
IntroductionEarly WorksBooks of Instruction PrimersPoetryPopup and
Movable BooksStories before 1850Stories after 1850
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