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Colbert's death may have forced Perrault's retirement, at which point he turned to writing. Perrault wrote the work when he retired from court as secretary to Jean-Baptiste Colbert, minister to Louis XIV of France. The work became popular because it was written at a time when fairy tales were fashionable amongst aristocrats in Parisian literary salons. Faculty of Education.Histoires ou contes du temps passé, avec des moralités or Contes de ma mère l'Oye ( Stories or Tales from Past Times, with Morals or Mother Goose Tales) is a collection of literary fairy tales written by Charles Perrault, published in Paris in 1697.
Les Histoires Francais Series Of Honorary
As a young man, Perrault began writing, receiving royal attention for a series of honorary poems written for Louis XIV of France in 1660, which may have been the catalyst for his two-decade post as secretary to Minister Jean-Baptiste Colbert. His father was a lawyer and member of parliament. 17th-century portrait of Charles Perrault by Philippe LallemandCharles Perrault came from a large, well-known and respected bourgeois family. Thematically, the stories support Perrault's belief that the nobility is superior to the peasant class, and many of the stories show an adherence to Catholic beliefs, such as those in which a woman undergoes purification from sin and repentance before reintegration into society. The simple plots Perrault started with were modified, the language enhanced, and rewritten for an audience of aristocratic and noble courtiers.
Additionally, the tales may have been written as means for him to regain a place in society, particularly in the well-attended literary salons. At that point Perrault wrote his tales, that were based on the ancient but rewritten to be modern. He had become increasingly progressive while in public service, believing France and Church needed modernizing, which culminated in the Quarrel of the Ancients and the Moderns that started in 1687 and ended a decade later by Louis XIV's ruling in favor of the "ancients". Children's literature scholar Jack Zipes speculates that Perrault's fairy tales may have been written to be the last word in a decade-long literary quarrel. He retired from public duty and returned to writing on the death of Colbert.
Zipes says Perrault published in Contes stories written explicitly for his "peers in the literary salons", whereas Humphrey Carpenter believes he wrote for an audience of aristocratic children as well. The game of telling fairy stories amongst the précieuses in the then highly fashionable ladies' literary salons became popular in the late 17th century. Préciosité was reflected in fashions, conversations, art and literature that were elevated and affected with great embellishments and meant to be brilliant in an effort to separate the upper levels of society from the vulgarity and coarseness of the bourgeoise.
In February 1696, Perrault published a first story in prose, " The Sleeping Beauty", in the Mercure galant. The year 1695 saw the manuscript edition of the Contes de ma mère l'Oye ( Stories of Mother Goose), containing five of the later to be published prose tales. It was only in the late 18th century that these stories were included in editions variously named as Contes de fées, Contes des fées, or simply Contes. These three verse tales form only the prehistory of the Histoires ou Contes du temps passé. Illustration of " Puss in Boots" from the 1695 manuscript of the Contes de ma mère l'OyeBetween 16, Perrault wrote three stories in verse form, "Griselidis" (a novella, originally titled La Marquise de Salusses ou la Patience de Griselidis and read to the Académie française), " The Ridiculous Wishes" (published in the Mercure galant in 1693 ), and " Donkeyskin", that were published in a single volume in 1694 and republished a year later in a volume with a preface.
The stories assembled in the 1697 edition were "The Sleeping Beauty", " Little Red Riding Hood", " Bluebeard", " The Master Cat, or Puss in Boots", " Diamonds and Toads" ( Les Fées), " Cinderella", " Riquet with the Tuft", and " Hop o' My Thumb". Above on the wall hangs a plaque with the words Contes de ma mère l'Oye. This title was also featured in the illustrated frontispiece of the printed edition (copied from the manuscript edition), showing an old woman weaving, telling stories to children who are dressed in clothing of the higher classes. With two reprints in the same year, the volume soon came to be known by its inofficial title Contes de ma mère l'Oye, used already in the 1695 manuscript. In 1697, Claude Barbin published the classical eight stories, titled Histoires ou Contes du temps passé, avec des Moralitez ( Stories or Tales from Past Times, with Morals).
It is possible that the son's name, and the dedication to the king's niece Élisabeth Charlotte d'Orléans, was meant as a means to introduce the son to society. Almost certainly Perrault the elder was the author. However Zipes claims modern scholarship shows little evidence the son wrote the stories, nor that the volume was the result of a collaboration between father and son. Darmancour", hinting at Perrault's 19-year-old son Pierre, who was long time believed to have written the stories. The author of the volume was given as "P.
The contemporary view was that the stories originated in popular tradition, but Carpenter points out that none of the stories existed in contemporary chapbooks leading him to think Perrault took and modified them from earlier (probably literary) versions. Children's literature scholar Ruth Bottigheimer discounts as myth the story that Perrault recounted stories he heard from a household nurse. Origins and style Frontispiece of the only known copy of the first English edition, 1729 ( Houghton Library)Scholars are divided about the origins of the tales some theorize that they were original whereas others say Perrault took from earlier versions. Perrault's tales, however, continued to be sought after with four editions published in that century. With Louis XIV's death at the beginning of the 18th century the lifestyle of the précieuse faded, as did the popularity of the literary salons and the fairy tales at the beginning of the Age of Enlightenment.
The stories were not intended for children because literature for children did not exist in the late 17th century, and most likely were taken from earlier literary stories. The first edition of the volume has margin notes for "Little Red Riding Hood" telling the reader the last lines are to be read in a loud voice to scare the child, leading Carpenter to believe it was written as a children's game, though he goes on the say that the sexual connotations are impossible to ignore. Carpenter says of "Sleeping Beauty" that "it reads like a fashionable romance rather than a folk-tale." "Little Red Riding Hood" was almost certainly original, because earlier versions have not been recorded or do not seem to exist, and nothing remotely similar can be found in older literature. The intention was to present the précieux with modern retellings of stories from which the base, the common, and the rustic had been removed. Some stories such as "Sleeping Beauty" were original literary tales, divested from their (possible) folkloric roots.
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