Grimm, two by Rudolphi, one by Hauff and one by Ernst von Houwald. However, none of Grimm’s work was published later than the mid-century book form of The Playmate.ĥ The Christmas Roses was a miscellany containing six stories by A. Other tales were included in miscellaneous collections and The Playmate, a monthly periodical issued by Cundall and later by David Bogue, which also appeared in book form. Grimm, but he published The Water Fairy’s Gift and Other Tales and The Miller’s Son (both 1846) without any indication of Grimm’s name, though they had earlier been credited to him in The Christmas Roses, and Other Tales, chiefly translated from the German (London: Joseph Cundall, 1845). Joseph Cundall, who published many German works during the 1840s, also published separately in 1846 The Two Talismans, one of the four tales contained in Tales from the Eastern-Land. Grimm, with illustrations by Cruikshank (London: Charles Tilt, 1827), and Mährchen aus dem Morgenlande appeared as Tales from the Eastern-Land, translated from the German by H.V. Of these Lina’s Mährchenbuch was translated into English as Fairy Tales, from the German of A. 1830) and Mährchen aus dem Morgenlande für die Jugend (1843). In addition to the volume of Kindermährchen published in 1809, which reached a fifth edition by 1869, his books for children included Lina’s Mährchenbuch (Lina’s Fairytale Book) (1816), five volumes of Mährchen der Tausend und Einen Nacht (Fairytales from the Thousand and One Nights) (1820-24), Christblumen (Christmas Roses) (c. From 1829 to 1838 he was mayor of Weinheim and was a deputy to the Baden Diet from 1831. Grimm spent most of his life as head of the grammar school in Weinheim, being appointed in 1806. He was not alone in his criticisms, and indeed the Grimms’ second edition of 1819 underwent considerable alterations in content and linguistic style in response to them.ĤA. Grimm in his turn criticized the unpolished form of the tales in the Brothers Grimm’s first edition of 1812-15. The Brothers Grimm did not believe his tales had turned out very well, and A. Grimm, like many educated people of the day, believed that one could not reproduce a folktale just as it was presented by its oral narrator, but that it needed some judicious literary improvement. He thus formed part of the Romantics’ fascination with folksongs and folktales, but as far as the latter were concerned his attitude towards publication was distinctly different from that of Jacob and Wilhelm Grimm.ģA. Firstly, he collaborated with Brentano in collecting material for Des Knaben Wunderhorn and, secondly, he himself produced a collection of Kindermährchen (Heidelberg: Mohr und Zimmer, 1809) that antedated the Kinder- und Hausmärchen of his more famous namesakes. Rudolphi and Richard von Volkmann-Leander.ĢThe first of these, Albert Ludwig Grimm (1786-1872), is significant on several counts. The authors that will be considered here are A. Their names are nowadays scarcely known, but at different periods in the nineteenth century individual tales and even some whole books were translated into English and gained a modest readership. These writers frequently enjoyed considerable popularity in Germany, but were not so successful in Britain. The boundaries between these genres were, in any case, blurred. They did not necessarily confine themselves to fairytales, but wrote fables, animal tales, moral tales and children’s verse as well. In addition, though, there were several writers whose work was recognized as being aimed exclusively at children. Hoffmann, Brentano and Hauff, gained considerable literary renown, and their fairytales figured prominently in works translated for the educated English reader. But there were also many writers who composed fairytales of their own, sometimes adapting traditional material, but often creating their own tales. Their work is dealt with in another chapter. While the Grimms and Bechstein dominated the field as far as national collections of traditional tales were concerned, many others devoted their efforts to particular regions of Germany. 1Nineteenth-century Germany experienced a virtual industry in the collecting and writing of fairytales.
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