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Reminiscent of Scheherazade and One Thousand and One Nights, Gianni Rodari's Telephone Tales is many stories within a story. Every night, a traveling father must finish a bedtime story in the time that a single coin will buy. One night, it's a carousel that adults cannot comprehend, but whose operator must be some sort of magician, the next, it's a land filled with butter men who melt in the sunshine Awarded the Hans Christian Anderson Award in 1970, Gianni Rodari is widely considered to be Italy's most important children's author of the 20th century. Newly re-illustrated by Italian artist Valerio Vidali​ (The Forest)​, Telephone Tales​ entertains, while questioning and imagining other worlds.
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Action, intrigue, and danger follow Scarboy wherever he goes, especially in the Enchanted City, where the “imperfect” are cast away and orphans are enslaved. Scarboy manages to escape the evil Enchanter to safety in Great Park, but has yet to confront his greatest fear—and he’ll need enormous courage to conquer it! An exciting series from best-selling authors David and Karen Mains, the gold-medallion award-winning Tales of the Kingdom offers fast-paced action and exciting storytelling with a enduring Christian message. Enjoy these classic allegories teach kids and adults the importance of trusting God as they unveil fundamental truths about good and evil.
Once upon a time fairy tales weren't meant just for children, and neither is Angela Carter's Book of Fairy Tales. This stunning collection contains lyrical tales, bloody tales and hilariously funny and ripely bawdy stories from countries all around the world- from the Arctic to Asia - and no dippy princesses or soppy fairies. Instead, we have pretty maids and old crones; crafty women and bad girls; enchantresses and midwives; rascal aunts and odd sisters. This fabulous celebration of strong minds, low cunning, black arts and dirty tricks could only have been collected by the unique and much-missed Angela Carter. Illustrated throughout with original woodcuts.
In this witty spoof of fairy tales, Christian, a commoner, falls for Princess Marigold, and it's up to him to untwist an odd love triangle and foil a scheming queen who wants to take over the kingdom.
Dealing with the most translated work of German literature, the Tales of the brothers Grimm (1812-1815), this book discusses their history, notably in relation to Denmark and subsequently other nations from 1816 to 1986. The Danish intelligentsia responded enthusiastically to the tales and some were immediately translated into Danish by a nobleman and by the foremost Romantic poet. Their renditions remained in print for a century and embued the tales with high prestige. This book discusses translators, approaches, and other parameters such as copyright, and changes in target audiences. The tales’ social acceptability inspired Hans Christian Andersen to write his celebrated fairytales. Combined, the Grimm and Andersen tales came to constitute the ‘international fairytale’.This genre was born in processes of translation and, today, it is rooted more firmly in the world of translation than in national literatures. This book thus addresses issues of interest to literary, cross-cultural studies and translation.
The Tales of Elveron: Book One is a sword-and-sorrcery fantasy set in the magical world of Elveron. The high preistess Lady Clair Everrose and her childhood friend Valin Hawkwing embark on an epic quest pursuing a race against time as the evil tyrant King Velro Othrom seeks to restore his powers... But are his plans deeper than that, or is there something else in the shadows awaiting to reveal itself? The perils of their quest are filled with dangers of all sorts hidden around every corner. Journey through the mountains, forests, and the vast lands in the world of Elveron as Lady Clair and Valin forge countless friendships, discover many relics and treasures of untold power, are faced with the greatest challenges of their lives. Will they become our heroes and rise to become legends for all of time? Or will the tyrant king prevail against our “heroes”? But with a fall of one evil, another always rises in its place. With new horizons, the “heroes,” having attained new powers, now face a mysterious group of necromancers with plans to unleash an evil unlike anything seen before in the world of Elveron. Will the new threat be more than what the heroes can handle? If they are, will the outcome be without loss on both sides? Mystic visions have been foretold of a time when Lady Clair would become queen and bring hope of everlasting peace to the world of Elveron. Lady Clair hopes it is so...but doubts such a peace can last as the fate of two worlds may be intertwined together in a mystery waiting to be revealed. In a land of adventure, full of tales and wonder of unending stories. That is the Epic Saga of The Tales of Elveron...
An oddly diverse group of twenty-nine people meet at an inn. Each of them is on a pilgrimage to a martyr's shrine in Canterbury. The Host suggests the strange bunch journey together and tell stories to pass the time. The group heads off, including a Knight, a Miller, a Wife, a Cook, a Shipman, and a Nun, among others, telling stories that range from bawdy exploits to foolish workers to the lives of saints. A classic of English literature, this unabridged version of Geoffrey Chaucer's The Canterbury Tales was first published in the early 1400s and edited into modern English by D. Laing Purves in 1879. Purves's collection of Chaucer's works also contains Troilus and Cressida and additional poems and prose.
Since the beginning of the nineteenth century folklorists, and the general public in their wake, have assumed the orality of fairy tales. Only lately have more and more specialists been arguing in favour of at least an interdependence between oral and printed distribution of stories. This book takes an extreme position in that debate: as far as Tales of magic is concerned, the initial transmission proceded exclusively through prints. From a historical perspective, this is the only viable approach; the opposite assumption of a vast unrecorded and thus inaccessible reservoir of oral stories, presents a horror vacui. Only in the course of the nineteenth century, when folklorists started collecting in the field and asked their informants for fairy tales, was this particular genre incorporated into a then feeble oral tradition. Even then story tellers regularly reverted to printed texts. Every recorded fairy tale can be shown to be dependent on previous publications, or to be a new composition, constructed on the basis of fragments of stories already in existence. Tales of magic, tales in print traces the textual history of a number of fairy tale clusters, linking the findings of literary historians on the sixteenth to eighteenth centuries to the material collected by nineteenth- and twentieth-century field workers. While it places fairy tales as a genre firmly in a European context, it also follows particular stories in their dispersion over the rest of the world.