This volume contains forty-three English folk stories and tales. Many of the tales in this volume, as in similar collections from other European countries, are what the folklorists call Drolls. They serve to justify the title of Merrie England, a title which used to be given to England, indicating the unsuspected capacity for fun and humour among the English. The story of Tom Tit Tot, which opens the collection, is unequalled among all other folk-tales, for its combined sense of humour and dramatic power.

This volume contains forty-three English folk stories and tales. Many of the tales in this volume, as in similar collections from other European countries, are what the folklorists call Drolls. They serve to justify the title of Merrie England, a title which used to be given to England, indicating the unsuspected capacity for fun and humour among the English. The story of Tom Tit Tot, which opens the collection, is unequalled among all other folk-tales, for its combined sense of humour and dramatic power.

This volume contains forty-three English folk stories and tales. Many of the tales in this volume, as in similar collections from other European countries, are what the folklorists call Drolls. They serve to justify the title of Merrie England, a title which used to be given to England, indicating the unsuspected capacity for fun and humour among the English. The story of Tom Tit Tot, which opens the collection, is unequalled among all other folk-tales, for its combined sense of humour and dramatic power.

This volume contains forty-three English folk stories and tales. Many of the tales in this volume, as in similar collections from other European countries, are what the folklorists call Drolls. They serve to justify the title of Merrie England, a title which used to be given to England, indicating the unsuspected capacity for fun and humour among the English. The story of Tom Tit Tot, which opens the collection, is unequalled among all other folk-tales, for its combined sense of humour and dramatic power.

This volume contains forty-three English folk stories and tales. Many of the tales in this volume, as in similar collections from other European countries, are what the folklorists call Drolls. They serve to justify the title of Merrie England, a title which used to be given to England, indicating the unsuspected capacity for fun and humour among the English. The story of Tom Tit Tot, which opens the collection, is unequalled among all other folk-tales, for its combined sense of humour and dramatic power.

This volume contains forty-three English folk stories and tales. But why call them FAIRY STORIES? One cannot imagine a child saying, 'Tell me a folk-tale', or 'Another nursery tale, please, grandma'. Fairy tales are stories in which occurs something 'fairy', something extraordinary--fairies, giants, dwarfs, speaking animals, or the remarkable stupidity of some of the characters. Many of the tales in this volume are what folklorists call Drolls (a humorous story in which there is a jester or a wag) . They justify the title of "Merrie England", a phrase which once indicated the underlying capacity for fun and humour of the English. The story of Tom Tit Tot, for example, is unequalled among all other folk-tales for its combined humorousness and dramatic power. So take some time out and travel back to a period before television and radio, a time when families would gather around a crackling and spitting hearth and granddad or grandma or uncle or auntie would delight and captivate the gathering with sto

This volume contains forty-three English folk stories and tales. But why call them FAIRY STORIES? One cannot imagine a child saying, 'Tell me a folk-tale', or 'Another nursery tale, please, grandma'. Fairy tales are stories in which occurs something 'fairy', something extraordinary--fairies, giants, dwarfs, speaking animals, or the remarkable stupidity of some of the characters. Many of the tales in this volume are what folklorists call Drolls (a humorous story in which there is a jester or a wag) . They justify the title of "Merrie England", a phrase which once indicated the underlying capacity for fun and humour of the English. The story of Tom Tit Tot, for example, is unequalled among all other folk-tales for its combined humorousness and dramatic power. So take some time out and travel back to a period before television and radio, a time when families would gather around a crackling and spitting hearth and granddad or grandma or uncle or auntie would delight and captivate the gathering with sto

This volume contains forty-three English folk stories and tales. But why call them FAIRY STORIES? One cannot imagine a child saying, 'Tell me a folk-tale', or 'Another nursery tale, please, grandma'. Fairy tales are stories in which occurs something 'fairy', something extraordinary--fairies, giants, dwarfs, speaking animals, or the remarkable stupidity of some of the characters. Many of the tales in this volume are what folklorists call Drolls (a humorous story in which there is a jester or a wag) . They justify the title of "Merrie England", a phrase which once indicated the underlying capacity for fun and humour of the English. The story of Tom Tit Tot, for example, is unequalled among all other folk-tales for its combined humorousness and dramatic power. So take some time out and travel back to a period before television and radio, a time when families would gather around a crackling and spitting hearth and granddad or grandma or uncle or auntie would delight and captivate the gathering with sto

This volume contains forty-three English folk stories and tales. But why call them FAIRY STORIES? One cannot imagine a child saying, 'Tell me a folk-tale', or 'Another nursery tale, please, grandma'. Fairy tales are stories in which occurs something 'fairy', something extraordinary--fairies, giants, dwarfs, speaking animals, or the remarkable stupidity of some of the characters. Many of the tales in this volume are what folklorists call Drolls (a humorous story in which there is a jester or a wag) . They justify the title of "Merrie England", a phrase which once indicated the underlying capacity for fun and humour of the English. The story of Tom Tit Tot, for example, is unequalled among all other folk-tales for its combined humorousness and dramatic power. So take some time out and travel back to a period before television and radio, a time when families would gather around a crackling and spitting hearth and granddad or grandma or uncle or auntie would delight and captivate the gathering with sto

This volume contains forty-three English folk stories and tales. But why call them FAIRY STORIES? One cannot imagine a child saying, 'Tell me a folk-tale', or 'Another nursery tale, please, grandma'. Fairy tales are stories in which occurs something 'fairy', something extraordinary--fairies, giants, dwarfs, speaking animals, or the remarkable stupidity of some of the characters. Many of the tales in this volume are what folklorists call Drolls (a humorous story in which there is a jester or a wag) . They justify the title of "Merrie England", a phrase which once indicated the underlying capacity for fun and humour of the English. The story of Tom Tit Tot, for example, is unequalled among all other folk-tales for its combined humorousness and dramatic power. So take some time out and travel back to a period before television and radio, a time when families would gather around a crackling and spitting hearth and granddad or grandma or uncle or auntie would delight and captivate the gathering with sto

Joseph Jacob's first volume-English Fairy Tales [1890]-did not exhaust the scanty remains of traditional English folktales. Most of the forty-four tales that appear in More English Fairy Tales had never before appeared in print. In compiling More English Fairy Tales [1894], Joseph Jacobs flouted the Florklorist's creed, choosing to present stories that would fill children's imaginations "with bright trains of images". Vividly painted princesses, Pied Pipers, pots of gold, giants, speaking cats, Kings, Hoybahs, wise men, washerwomen, and more overflow from the pages of this volume, all bound by the common threads of basic moral lessons. Many of the tales were recorded verbatim from storytellers. They are by no means in an authorised form, and even touch on the "vulgar" using archaic and colloquial English. In the times following Jacob's original printing, the literary establishment objected to the use of such archaic colloquialisms. These tales were told for generations in a form that used these dia

Joseph Jacob's first volume-English Fairy Tales [1890]-did not exhaust the scanty remains of traditional English folktales. Most of the forty-four tales that appear in More English Fairy Tales had never before appeared in print. In compiling More English Fairy Tales [1894], Joseph Jacobs flouted the Florklorist's creed, choosing to present stories that would fill children's imaginations "with bright trains of images". Vividly painted princesses, Pied Pipers, pots of gold, giants, speaking cats, Kings, Hoybahs, wise men, washerwomen, and more overflow from the pages of this volume, all bound by the common threads of basic moral lessons. Many of the tales were recorded verbatim from storytellers. They are by no means in an authorised form, and even touch on the "vulgar" using archaic and colloquial English. In the times following Jacob's original printing, the literary establishment objected to the use of such archaic colloquialisms. These tales were told for generations in a form that used these dia

Joseph Jacob's first volume-English Fairy Tales [1890]-did not exhaust the scanty remains of traditional English folktales. Most of the forty-four tales that appear in More English Fairy Tales had never before appeared in print. In compiling More English Fairy Tales [1894], Joseph Jacobs flouted the Florklorist's creed, choosing to present stories that would fill children's imaginations "with bright trains of images". Vividly painted princesses, Pied Pipers, pots of gold, giants, speaking cats, Kings, Hoybahs, wise men, washerwomen, and more overflow from the pages of this volume, all bound by the common threads of basic moral lessons. Many of the tales were recorded verbatim from storytellers. They are by no means in an authorised form, and even touch on the "vulgar" using archaic and colloquial English. In the times following Jacob's original printing, the literary establishment objected to the use of such archaic colloquialisms. These tales were told for generations in a form that used these dia

Joseph Jacob's first volume-English Fairy Tales [1890]-did not exhaust the scanty remains of traditional English folktales. Most of the forty-four tales that appear in More English Fairy Tales had never before appeared in print. In compiling More English Fairy Tales [1894], Joseph Jacobs flouted the Florklorist's creed, choosing to present stories that would fill children's imaginations "with bright trains of images". Vividly painted princesses, Pied Pipers, pots of gold, giants, speaking cats, Kings, Hoybahs, wise men, washerwomen, and more overflow from the pages of this volume, all bound by the common threads of basic moral lessons. Many of the tales were recorded verbatim from storytellers. They are by no means in an authorised form, and even touch on the "vulgar" using archaic and colloquial English. In the times following Jacob's original printing, the literary establishment objected to the use of such archaic colloquialisms. These tales were told for generations in a form that used these dia

Joseph Jacob's first volume-English Fairy Tales [1890]-did not exhaust the scanty remains of traditional English folktales. Most of the forty-four tales that appear in More English Fairy Tales had never before appeared in print. In compiling More English Fairy Tales [1894], Joseph Jacobs flouted the Florklorist's creed, choosing to present stories that would fill children's imaginations "with bright trains of images". Vividly painted princesses, Pied Pipers, pots of gold, giants, speaking cats, Kings, Hoybahs, wise men, washerwomen, and more overflow from the pages of this volume, all bound by the common threads of basic moral lessons. Many of the tales were recorded verbatim from storytellers. They are by no means in an authorised form, and even touch on the "vulgar" using archaic and colloquial English. In the times following Jacob's original printing, the literary establishment objected to the use of such archaic colloquialisms. These tales were told for generations in a form that used these dia

Within this unique volume of Brazilian Fairy Tales, you will find 18 stories from that vast and amazing country - the land of the 2016 Rio Olympics. Tales like HOW NIGHT CAME, HOW THE RABBIT LOST HIS TAIL, HOW THE TOAD GOT HIS BRUISES, WHY THE LAMB IS MEEK and many more.

Within this unique volume of Brazilian Fairy Tales, you will find 18 stories from that vast and amazing country - the land of the 2016 Rio Olympics. Tales like HOW NIGHT CAME, HOW THE RABBIT LOST HIS TAIL, HOW THE TOAD GOT HIS BRUISES, WHY THE LAMB IS MEEK and many more.

Within this unique volume of Brazilian Fairy Tales, you will find 18 stories from that vast and amazing country - the land of the 2016 Rio Olympics. Tales like HOW NIGHT CAME, HOW THE RABBIT LOST HIS TAIL, HOW THE TOAD GOT HIS BRUISES, WHY THE LAMB IS MEEK and many more.

Within this unique volume of Brazilian Fairy Tales, you will find 18 stories from that vast and amazing country - the land of the 2016 Rio Olympics. Tales like HOW NIGHT CAME, HOW THE RABBIT LOST HIS TAIL, HOW THE TOAD GOT HIS BRUISES, WHY THE LAMB IS MEEK and many more.

Within this unique volume of Brazilian Fairy Tales, you will find 18 stories from that vast and amazing country - the land of the 2016 Rio Olympics. Tales like HOW NIGHT CAME, HOW THE RABBIT LOST HIS TAIL, HOW THE TOAD GOT HIS BRUISES, WHY THE LAMB IS MEEK and many more.

In compiling More English Fairy Tales [1894], Joseph Jacobs flouted the Florklorists creed, choosing to present stories that would fill children's imaginations with bright trains of images, Vividly Painted Princesses, Pied Pipers, Pots of Gold, Giants, Speaking Cats, Kings, Hoybahs, Wise Men, Washerwomen, and more overflow from this volume; all bound by the common threads of basic moral lessons. These tales are further embellished by the illustrations of the equally famous John D. Batten.

In compiling More English Fairy Tales [1894], Joseph Jacobs flouted the Florklorists creed, choosing to present stories that would fill children's imaginations with bright trains of images, Vividly Painted Princesses, Pied Pipers, Pots of Gold, Giants, Speaking Cats, Kings, Hoybahs, Wise Men, Washerwomen, and more overflow from this volume; all bound by the common threads of basic moral lessons. These tales are further embellished by the illustrations of the equally famous John D. Batten.

In compiling More English Fairy Tales [1894], Joseph Jacobs flouted the Florklorists creed, choosing to present stories that would fill children's imaginations with bright trains of images, Vividly Painted Princesses, Pied Pipers, Pots of Gold, Giants, Speaking Cats, Kings, Hoybahs, Wise Men, Washerwomen, and more overflow from this volume; all bound by the common threads of basic moral lessons. These tales are further embellished by the illustrations of the equally famous John D. Batten.

In compiling More English Fairy Tales [1894], Joseph Jacobs flouted the Florklorists creed, choosing to present stories that would fill children's imaginations with bright trains of images, Vividly Painted Princesses, Pied Pipers, Pots of Gold, Giants, Speaking Cats, Kings, Hoybahs, Wise Men, Washerwomen, and more overflow from this volume; all bound by the common threads of basic moral lessons. These tales are further embellished by the illustrations of the equally famous John D. Batten.