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The Crimson Fairy Book contains thirty-six stories collected from around the world and edited by Andrew Lang. Many tales in this book are translated, or adapted, from those told by mothers and nurses in Hungary; others are familiar to Russian nurseries; the Servians are responsible for some; a rather peculiarly fanciful set of stories are adapted from the Roumanians; others are from the Baltic shores; others from sunny Sicily; a few are from Finland, and Iceland, and Japan, and Tunis, and Portugal.
No doubt many children will like to look out these places on the map, and study their mountains, rivers, soil, products, and fiscal policies, in the geography books. The peoples who tell the stories differ in colour; language, religion, and almost everything else; but they all love a nursery tale.
'Then I beg your Highness to ask Lucky Luck this question: Why is it that though I and directly he got to the other side he told his story as he had promised. The Crimson Fairy Lucky Luck and Other Stories by Andrew Lang. It is almost impossible to envision what childhood would be like without the enchanting world.
But Zipes is mistaken, for they also appear in other genres, such as the Gothic story. No fairy tale fan wants to read a story like that.
The intelligence at work behind these stories is generally apparent, but this fact outpaces creativity more often than not. Their existence seems contingent on Merz the movement Schwitters founded in —and his pseudonym during his life—that paralleled many of the ideas of Berlin Dada , rather than a strong contribution to its corpus.
The language lacks distinction, the plots are sometimes nonexistent and more often overly didactic, and the symbols are tired. For an idiosyncratic artist who created his own genre of art, Schwitters brought disappointingly little to the literary table with his fairy tales. Not surprisingly, the highlight of the book is visual rather than literary.