Reproduction of the original. The publishing house Megali specialises in reproducing historical works in large print to make reading easier for people with impaired vision.

We are going into Fairy Land for a little while, to see what we can find there to amuse and instruct us this Christmas time. Does anybody know the way? There are no maps or guidebooks, and the places we meet with in our workaday world do not seem like the homes of the Fairies. Yet we have only to put on our Wishing Caps, and we can get into Fairy Land in a moment. The house-walls fade away, the winter sky brightens, the sun shines out, the weather grows warm and pleasant; flowers spring up, great trees cast a friendly shade, streams murmur cheerfully over their pebbly beds, jewelled fruits are to be had for the trouble of gathering them; invisible hands set out well-covered dinner-tables, brilliant and graceful forms flit in and out across our path, and we all at once find ourselves in the midst of a company of dear old friends whom we have known and loved ever since we knew anything. There is Fortunatus with his magic purse, and the square of carpet that carries him anywhere; and Aladdin with his wonderful lamp; and Sindbad with the diamonds he has picked up in the Valley of Serpents; and the Invisible Prince, who uses the fairy cat to get his dinner for him; and the Sleeping Beauty in the Wood, just awakened by the young Prince, after her long sleep of a hundred years; and Puss in Boots curling his whiskers after having eaten up the ogre who foolishly changed himself into a mouse; and Beauty and the Beast; and the Blue Bird; and Little Red Riding Hood, and Jack the Giant Killer, and Jack and the Bean Stalk; and the Yellow Dwarf; and Cinderella and her fairy godmother; and great numbers besides, of whom we haven't time to say anything now.

Reproduction of the original. The publishing house Megali specialises in reproducing historical works in large print to make reading easier for people with impaired vision.

Examines pantomime and theatricality in nineteenth-century histories of folklore and the fairy tale. In nineteenth-century Britain, the spectacular and highly profitable theatrical form known as "pantomime" was part of a shared cultural repertoire and a significant medium for the transmission of stories. Rowdy, comedic, and slightly risqué, pantomime productions were situated in dynamic relationship with various forms of print and material culture. Popular fairy-tale theater also informed the production and reception of folklore research in ways that are often overlooked. In Staging Fairyland: Folklore, Children's Entertainment, and Nineteenth-Century Pantomime, Jennifer Schacker reclaims the place of theatrical performance in this history, developing a model for the intermedial and cross-disciplinary study of narrative cultures. The case studies that punctuate each chapter move between the realms of print and performance, scholarship and popular culture. Schacker examines pantomime productions of such well-known tales as "Cinderella," "Little Red Riding Hood," and "Jack and the Beanstalk," as well as others whose popularity has waned—such as, "Daniel O'Rourke" and "The Yellow Dwarf." These productions resonate with traditions of impersonation, cross-dressing, literary imposture, masquerade, and the social practice of "fancy dress." Schacker also traces the complex histories of Mother Goose and Mother Bunch, who were often cast as the embodiments of both tale-telling and stage magic and who move through various genres of narrative and forms of print culture. These examinations push at the limits of prevailing approaches to the fairy tale across media. They also demonstrate the degree to which perspectives on the fairy tale as children's entertainment often obscure the complex histories and ideological underpinnings of specific tales. Mapping the histories of tales requires a fundamental reconfiguration of our thinking about early folklore study and about "fairy tales": their bearing on questions of genre and ideology but also their signifying possibilities—past, present, and future. Readers interested in folklore, fairy-tale studies, children's literature, and performance studies will embrace this informative monograph.

This book traces the origins and the evolutions of many popular children stories; the history and hidden meaning of the world's greatest fairy tales. There are tales we heard as children that we tell to our children, but where did they come from. More importantly what do they mean? An excellent resource for anyone interested in children's literature or world folklore.