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This collection of Japanese fairy tales is the outcome of a suggestion made to me indirectly through a friend by Mr. Andrew Lang. They have been translated from the modern version written by Sadanami Sanjin. These stories are not literal translations, and though the Japanese story and all quaint Japanese expressions have been faithfully preserved, they have been told more with the view to interest young readers of the West than the technical student of folk-lore.... In telling these stories in English I have followed my fancy in adding such touches of local color or description as they seemed to need or as pleased me, and in one or two instances I have gathered in an incident from another version. At all times, among my friends, both young and old, English or American, I have always found eager listeners to the beautiful legends and fairy tales of Japan, and in telling them I have also found that they were still unknown to the vast majority...
Two hundred and twenty tales from medieval Japan—tales that welcome us into a fabulous faraway world populated by saints, scoundrels, ghosts, magical healers, and a vast assortment of deities and demons. Stories of miracles, visions of hell, jokes, fables, and legends, these tales reflect the Japanese civilization. They ably balance the lyrical and the dramatic, the ribald and the profound, offering a window into a long-vanished culture. With black-and-white illustrations throughout Part of the Pantheon Fairy Tale and Folklore Library
A collection of 20 fairy tales from Japan including "Chin-Chin Kobakama," "The Serpent with Eight Heads," and "The Tea-Kettle."
This book examines the haunting, sad, and lively depths of the Japanese soul by interpreting some of major themes in fairy tales. A Japanese Jungian psychologist credited with founding Japanese analytical and clinical psychology and a senior professor at Kyoto University, Hayao Kawai (1928-2007) addresses here such questions as why so many Japanese fairy tales end in a "Happily ever after" marriage, and why the female figure best expresses the culture's ego and the country's possible future. Throughout the book, Kawai delicately presents the multiple layers of the Japanese psyche.The American poet and essayist Gary Snyder, who lived for years in Japan, gaining familiarity with the soul of its culture and thought, introduces Kawai's book to the reader.
A goblin with no body and a monster with no face. A resourceful samurai and a faithful daughter. A spirit of the moon and a dragon king. This collection of 15 traditional Japanese folktales transports readers to a time of adventure and enchantment. Drawn from the works of folklorists Lafcadio Hearn and Yei Theodora Ozaki, these tales are by turns terrifying, exhilarating, and poetic. • Striking illustrations by contemporary Japanese artist Kotaro Chiba • Special gift edition features an embossed, textured case with metallic gold ink, and a satin ribbon page marker • Part of the popular Tales series, featuring Nordic Tales, Celtic Tales, Tales of India, and Tales of East Africa Fans of Ghostly Tales, and Japanese Notebooks will love this book. This book is ideal for: • Fans of fairytales, folklore, ghost stories, Greek mythology, roman mythology, Chinese mythology, and Celtic mythology • Anyone interested in Japan's history books and culture studies • People of Japanese heritage • Collectors of illustrated classics
Monsters, ghosts, fantastic beings, and supernatural phenomena of all sorts haunt the folklore and popular culture of Japan. Broadly labeled yokai, these creatures come in infinite shapes and sizes, from tengu mountain goblins and kappa water spirits to shape-shifting foxes and long-tongued ceiling-lickers. Currently popular in anime, manga, film, and computer games, many yokai originated in local legends, folktales, and regional ghost stories. Drawing on years of research in Japan, Michael Dylan Foster unpacks the history and cultural context of yokai, tracing their roots, interpreting their meanings, and introducing people who have hunted them through the ages. In this delightful and accessible narrative, readers will explore the roles played by these mysterious beings within Japanese culture and will also learn of their abundance and variety through detailed entries, some with original illustrations, on more than fifty individual creatures. The Book of Yokai provides a lively excursion into Japanese folklore and its ever-expanding influence on global popular culture. It also invites readers to examine how people create, transmit, and collect folklore, and how they make sense of the mysteries in the world around them. By exploring yokai as a concept, we can better understand broader processes of tradition, innovation, storytelling, and individual and communal creativity. Ê
Eleven engaging, excellently translated tales of talking tea kettles, a monstrous goblin-spider, miniature warriors and other fanciful creatures. 21 original illustrations by Yuko Green.
Dreams, Myths and Fairy Tales in Japan addresses Japanese culture insightfully, exploring the depths of the psyche from both Eastern and Western perspectives, an endeavor the author is uniquely suited to undertake. The present volume is based upon five lectures originally delivered at the prestigious round-table Eranos Conferences in Ascona, Switzerland. Readers interested in Japanese myth and religion, comparative cultural studies, depth psychology or clinical psychology will all find Professor Kawai’s offerings to be remarkably insightful while at the same time practical for their own daily work. From the contents: –Interpenetration: Dreams in Medieval Japan –Bodies in the Dream Diary of Myôe –Japanese Mythology: Balancing the Gods –Japanese Fairy Tales: The Aesthetic Solution –Torikaebaya: A Tale of Changing Sexual Roles
Varla Ventura, fan favorite on Huffington Post’s Weird News, frequent guest on Coast to Coast, and bestselling author of The Book of the Bizarre and Beyond Bizarre, introduces a new Weiser Books Collection of forgotten crypto-classics. Magical Creatures is a hair-raising herd of affordable digital editions, curated with Varla’s affectionate and unerring eye for the fantastic. The warrior's sword and the village heroes are no match for the ogres and goblins that gnash their teeth and wreck havoc in early 20th century Japan.
Little golden cloudlets, like winged living creatures, were hanging high up in the rosy glow above Santa Maria della Salute, and all along the Grand Canal the crowded gondolas were floating in a golden haze, and all the westward-facing palace windows flashed and shone with an illumination which the lamps and lanterns that were to be lighted after sundown could never equal, burnt they never so merrily. It was Shrove Tuesday in Venice, Carnival time. The sun had been shining on the city and on the lagunes all day long. It was one of those Shrove Tuesdays which recall the familiar proverb— “Sunshine at Carnival, Fireside at Easter.” But who cares about the chance of cold and gloom six weeks hence when to-day is fair and balmy? A hum of joyous, foolish voices echoed from those palace façades, and floated out seaward, and rang along the narrow Calle, and drifted on the winding water-ways, and resounded under the innumerable bridges; for everywhere in the City by the Sea men, women, and children were making merry, and had given themselves up to a wild and childish rapture of unreasoning mirth, ready to explode into loud laughter at the sorriest jokes. An old man tapped upon the shoulder by a swinging paper lantern—a boy whose hat had been knocked off—a woman calling to her husband or her lover across the gay flotilla—anything was food for mirth on this holiday evening, while the great gold orb sank in the silvery lagoon, and all the sky yonder towards Chioggia was dyed with the crimson afterglow, and the Chioggian fishing-boats were moving westward in all the splendour of their painted sails. At Danieli’s the hall and staircase, reading-room, smoking-room, and saloons were crowded with people; English and American for the most part, but with a sprinkling of French and German. Shrewd Yankees were bargaining on the sea-washed steps below the hall-door with gondoliers almost as shrewd. Quanto per la notte—tutte la notte, sul canale? To-night the gondoliers would have it all their own way, for every one wanted a gondola to row up and down the Grand Canal, with gaudy Chinese lanterns, and singing men, twanging guitar or tinkling mandoline to that tune which is almost the national melody of Venice fin de siècle—“Funicoli, funicola.” The dining-rooms at Danieli’s are capacious enough for all ordinary occasions, but to-night there was not space for half the number who wanted to dine. The waiters were flying about wildly, trying to appease the hungry crowd with promises of tables subito, subito. But travellers in Italy know what subito means in an Italian restaurant, and were not comforted by these assurances. Amiable Signor Campi moved about among his men, and his very presence gave comfort somehow, and finally everybody had food and wine, and a din of jovial voices rose up from the table d’hôte to the grand old rooms above, on that upper story which is called the noble floor, a place of strange histories, perhaps, in those stern days when these hotels were palaces.