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Petrosinella: A Neapolitan Rapunzel
In this version of Rapunzel, the heroine breaks the enchantment put on her by the ogress who keeps her prisoner with the aid of three acorns
32 pages, Hardcover
First published January 1, 1636
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About the author
Giambattista Basile
135 books57 followersBorn to a Neapolitan middle-class family, Basile was, during his career, a courtier and soldier to various Italian princes, including the doge of Venice. According to Benedetto Croce he was born in 1575, while other sources have February 1566. In Venice he began to write poetry. Later he returned to Naples to serve as a courtier under the patronage of Don Marino II Caracciolo, prince of Avellino, to whom he dedicated his idyll L’Aretusa (1618). By the time of his death he had reached the rank of "count" Conte di Torrone.
Basile's earliest known literary production is from 1604 in the form of a preface to the Vaiasseide of his friend the Neapolitan writer Giulio Cesare Cortese. The following year his villanella Smorza crudel amore was set to music and in 1608 he publish his poem Il Pianto della Vergine.
He is chiefly remembered for writing the collection of Neapolitan fairy tales titled Lo cunto de li cunti overo lo trattenemiento de peccerille (Neapolitan for The Tale of Tales, or Entertainment for Little Ones), also known as Il Pentamerone published posthumously in two volumes by his sister Adriana in Naples, Italy in 1634 and 1636 under the pseudonym Gian Alesio Abbatutis. It later became known as the Pentamerone. Although neglected for some time, the work received a great deal of attention after the Brothers Grimm praised it highly as the first national collection of fairy tales. Many of these fairy tales are the oldest known variants in existence. They include the earliest known versions of "Rapunzel" and "Cinderella".
Basile's earliest known literary production is from 1604 in the form of a preface to the Vaiasseide of his friend the Neapolitan writer Giulio Cesare Cortese. The following year his villanella Smorza crudel amore was set to music and in 1608 he publish his poem Il Pianto della Vergine.
He is chiefly remembered for writing the collection of Neapolitan fairy tales titled Lo cunto de li cunti overo lo trattenemiento de peccerille (Neapolitan for The Tale of Tales, or Entertainment for Little Ones), also known as Il Pentamerone published posthumously in two volumes by his sister Adriana in Naples, Italy in 1634 and 1636 under the pseudonym Gian Alesio Abbatutis. It later became known as the Pentamerone. Although neglected for some time, the work received a great deal of attention after the Brothers Grimm praised it highly as the first national collection of fairy tales. Many of these fairy tales are the oldest known variants in existence. They include the earliest known versions of "Rapunzel" and "Cinderella".
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Displaying 1 - 30 of 36 reviews
May 5, 2020
By this point I have determined that I really like the Rapunzel fairytale.
I liked this one in particular because rather than getting the husband to get what she wants, the wife in the beginning of this story does it herself and therefore has to take ownership of her own actions, and what it leads to. I liked it more than having the husband make choices about the child.
I also found it very interesting that we have had a woman, fairy and ogre as the different people who lock up or monitor Rapunzel in the tower. As this one is the ogre story we can clearly see there is an appointed villain.
I also loved that Rapunzel saves herself in this one, mostly. Not quite the damsel in distress that she is represented as in the other versions. She uses her wit and takes action. You go girl!
I liked this one in particular because rather than getting the husband to get what she wants, the wife in the beginning of this story does it herself and therefore has to take ownership of her own actions, and what it leads to. I liked it more than having the husband make choices about the child.
I also found it very interesting that we have had a woman, fairy and ogre as the different people who lock up or monitor Rapunzel in the tower. As this one is the ogre story we can clearly see there is an appointed villain.
I also loved that Rapunzel saves herself in this one, mostly. Not quite the damsel in distress that she is represented as in the other versions. She uses her wit and takes action. You go girl!
September 15, 2016
Now that see the illustrations (which are very nice) I think I read this one as a child. It's an earlier version of Rapunzel story, from Italy, with the same basic set-up (the stolen salad greens, the tower, the long hair) but a lot of differences, including omitting the pregnancy and blinding, and instead having the prince and prisoner make their escape together.
Here a not-so-dumb Petrosinella is eavesdropping on the ogress as she discussed magic with her friend.
Here a not-so-dumb Petrosinella is eavesdropping on the ogress as she discussed magic with her friend.
September 17, 2024
REVIEW OF THE 1981 EDITION
Well, the folktale (fairy tale) of Rapunzel is more often than not (and even amongst a goodly number academics, it seems) considered to primarily be of German origin (collected by Jakob and Wilhelm Grimm in the early 19th century and then included in their Kinder- und Hausmärchen). However, the Brothers Grimm's Rapunzel is actually gleaned from a loose German translation of a French offering and which in turn comes from Gianbattista Basile's Petrosinella, from a Neapolitan Baroque fairy tale of the 17th century where the expectant (and also seemingly single) mother craves her ogress neighbour's parsley (instead of Rapunzel or rampion, as is of course the case in Rapunzel). And in the late 18th century, a French translation of Basile's Petrosinella (titled Persinette) was then rendered into German by one Joachim Christoph Friedrich Schulz (who actually not simply translated the tale, but also freely adapted it, adding for example the referrals to the girl's tight clothing to indicate her pregnancy and changing the herb from parsley to the above mentioned rampion, to Rapunzel, all of which do in fact not appear in Basile's Petrosinella, and that yes, the Brothers Grimm most definitely based their Rapunzel on Schulz' translation).
Thus and considering the interesting backstory regarding Rapunzel, I am indeed more than a bit annoyed and frustrated that for her 1981 Petrosinella: A Neapolitan Rapunzel, illustrator and adaptor Diane Stanley does not provide a more extensive introduction than she does, as the details which are featured on the flaps of the dust jacket for Petrosinella: A Neapolitan Rapunzel are sort of adequate, show that Stanley's text is an adaptation of John Edward Taylor's 1847 translation of Petrosinella, of Basile's original Neapolitan (Italian) text, but are at least for me and in my opinion not really extensive enough in particular with regard to folkloric origins etc. And furthermore, since library books often have their dust jackets removed, having the introduction to Petrosinella: A Neapolitan Rapunzel appear there means, that potential readers checking Petrosinella: A Neapolitan Rapunzel out of the library might well not be receiving Stanley's opening words at all, and I really do therefore wish that Petrosinella: A Neapolitan Rapunzel would have Diane Stanley's introduction (even if I do find it a trifle lacking) appear in the book proper and not on the dust jacket flaps (although I am of course not sure whether the 1995 edition has changed this, as I have only read the one from 1981).
Now regarding text and images for the 1981 edition of Petrosinella: A Neapolitan Rapunzel, yes, I have really enjoyed both of them and I do very much appreciate that Stanley's adaptation of Taylor's translation of Basile's story has kept contents and flow of Petrosinella: A Neapolitan Rapunzel delightfully and nicely old-fashioned. And while some reviews seem to claim that the 1995 edition of Petrosinella: A Neapolitan Rapunzel supposedly feels less contrived and more modern sounding (and is thus somehow superior), for me, Petrosinella is a tale from the 17th century and I for one do find it hugely enchanting and wonderful that Petrosinella: A Neapolitan Rapunzel (from 1981) does not sound modern, does not sound contemporary, sounds quite 17th century, but with me also totally adoring and smiling at how Gianbattista Basile's Petrosinella is actually a much more active and less passive heroine than Jakob and Wilhelm Grimm's Rapunzel is (and that in Petrosinella: A Neapolitan Rapunzel, Petrosinella saves both herself and the prince with those three magical acorns and also by using cleverness and wits to both escape from and also to finally kill the pursuing ogress).
Finally and illustratively speaking, Diane Stanley's artwork for Petrosinella: A Neapolitan Rapunzel is aesthetically, is visually marvellous, that against her richly hued backgrounds Stanley shows gracefully depicted characters (and indeed, even the nasty ogress and her gossiping and equally horrid friends) almost floating over stone pavements (and that the ogress's gruesome death is concealed around a bend in the road, is not visible and is also counterweighted by a cute little bunny rabbit creeping cautiously out from under a tree), how Petrosinella: A Neapolitan Rapunzel is an absolutely lovely and wonderful reading and illustrative experience and that I most definitely like Basile's tale of Petrosinella much more and much better that the Brothers Grimm's story of Rapunzel (and yes indeed, that even with me wanting and also kind of needing a more extensive introduction for Petrosinella: A Neapolitan Rapunzel and not relegated to the dust jacket, well, for me, both Diane Stanley's illustrations and her retelling in Petrosinella: A Neapolitan Rapunzel are solidly five stars and make me both textually and visually really and truly happy).
Well, the folktale (fairy tale) of Rapunzel is more often than not (and even amongst a goodly number academics, it seems) considered to primarily be of German origin (collected by Jakob and Wilhelm Grimm in the early 19th century and then included in their Kinder- und Hausmärchen). However, the Brothers Grimm's Rapunzel is actually gleaned from a loose German translation of a French offering and which in turn comes from Gianbattista Basile's Petrosinella, from a Neapolitan Baroque fairy tale of the 17th century where the expectant (and also seemingly single) mother craves her ogress neighbour's parsley (instead of Rapunzel or rampion, as is of course the case in Rapunzel). And in the late 18th century, a French translation of Basile's Petrosinella (titled Persinette) was then rendered into German by one Joachim Christoph Friedrich Schulz (who actually not simply translated the tale, but also freely adapted it, adding for example the referrals to the girl's tight clothing to indicate her pregnancy and changing the herb from parsley to the above mentioned rampion, to Rapunzel, all of which do in fact not appear in Basile's Petrosinella, and that yes, the Brothers Grimm most definitely based their Rapunzel on Schulz' translation).
Thus and considering the interesting backstory regarding Rapunzel, I am indeed more than a bit annoyed and frustrated that for her 1981 Petrosinella: A Neapolitan Rapunzel, illustrator and adaptor Diane Stanley does not provide a more extensive introduction than she does, as the details which are featured on the flaps of the dust jacket for Petrosinella: A Neapolitan Rapunzel are sort of adequate, show that Stanley's text is an adaptation of John Edward Taylor's 1847 translation of Petrosinella, of Basile's original Neapolitan (Italian) text, but are at least for me and in my opinion not really extensive enough in particular with regard to folkloric origins etc. And furthermore, since library books often have their dust jackets removed, having the introduction to Petrosinella: A Neapolitan Rapunzel appear there means, that potential readers checking Petrosinella: A Neapolitan Rapunzel out of the library might well not be receiving Stanley's opening words at all, and I really do therefore wish that Petrosinella: A Neapolitan Rapunzel would have Diane Stanley's introduction (even if I do find it a trifle lacking) appear in the book proper and not on the dust jacket flaps (although I am of course not sure whether the 1995 edition has changed this, as I have only read the one from 1981).
Now regarding text and images for the 1981 edition of Petrosinella: A Neapolitan Rapunzel, yes, I have really enjoyed both of them and I do very much appreciate that Stanley's adaptation of Taylor's translation of Basile's story has kept contents and flow of Petrosinella: A Neapolitan Rapunzel delightfully and nicely old-fashioned. And while some reviews seem to claim that the 1995 edition of Petrosinella: A Neapolitan Rapunzel supposedly feels less contrived and more modern sounding (and is thus somehow superior), for me, Petrosinella is a tale from the 17th century and I for one do find it hugely enchanting and wonderful that Petrosinella: A Neapolitan Rapunzel (from 1981) does not sound modern, does not sound contemporary, sounds quite 17th century, but with me also totally adoring and smiling at how Gianbattista Basile's Petrosinella is actually a much more active and less passive heroine than Jakob and Wilhelm Grimm's Rapunzel is (and that in Petrosinella: A Neapolitan Rapunzel, Petrosinella saves both herself and the prince with those three magical acorns and also by using cleverness and wits to both escape from and also to finally kill the pursuing ogress).
Finally and illustratively speaking, Diane Stanley's artwork for Petrosinella: A Neapolitan Rapunzel is aesthetically, is visually marvellous, that against her richly hued backgrounds Stanley shows gracefully depicted characters (and indeed, even the nasty ogress and her gossiping and equally horrid friends) almost floating over stone pavements (and that the ogress's gruesome death is concealed around a bend in the road, is not visible and is also counterweighted by a cute little bunny rabbit creeping cautiously out from under a tree), how Petrosinella: A Neapolitan Rapunzel is an absolutely lovely and wonderful reading and illustrative experience and that I most definitely like Basile's tale of Petrosinella much more and much better that the Brothers Grimm's story of Rapunzel (and yes indeed, that even with me wanting and also kind of needing a more extensive introduction for Petrosinella: A Neapolitan Rapunzel and not relegated to the dust jacket, well, for me, both Diane Stanley's illustrations and her retelling in Petrosinella: A Neapolitan Rapunzel are solidly five stars and make me both textually and visually really and truly happy).
January 4, 2021
PETROSINELLA o PREZZEMOLINA de Giambattista Basile
Este cuento es claramente el antecedente de Rapunzel. Se trata de una mujer embarazada llamada Pascadozia quien durante su embarazo tuvo un antojo terrible por comer perejil, pues su vecina que era una ogra tenía un huerto donde habían muchos. Cumplió su antojo pero en una de esas veces fue sorprendida por la ogra quien acusándola de ladrona le hizo jurar del miedo que le daría el hijo que llevaba en el vientre. Nació una niña muy guapa y le puso de nombre Petrosinella (diminutivo de perejil).
Cuando la niña ya era mayor e iba al colegio la madre se cansó de los reclamos de la ogra y se la dio. La ogra la encerró en una torre en lo profundo del bosque. Lo que sigue es bastante conocido. Me gustó lo simple y un poco emocionante del final.
Este cuento es claramente el antecedente de Rapunzel. Se trata de una mujer embarazada llamada Pascadozia quien durante su embarazo tuvo un antojo terrible por comer perejil, pues su vecina que era una ogra tenía un huerto donde habían muchos. Cumplió su antojo pero en una de esas veces fue sorprendida por la ogra quien acusándola de ladrona le hizo jurar del miedo que le daría el hijo que llevaba en el vientre. Nació una niña muy guapa y le puso de nombre Petrosinella (diminutivo de perejil).
Cuando la niña ya era mayor e iba al colegio la madre se cansó de los reclamos de la ogra y se la dio. La ogra la encerró en una torre en lo profundo del bosque. Lo que sigue es bastante conocido. Me gustó lo simple y un poco emocionante del final.
July 6, 2019
When a pregnant woman is caught stealing parsley from her ogress-neighbor's garden in this classic fairy-tale from Naples, the unfortunate lady is forced to promise her unborn child as payment, in order to avoid death. Taking the child into the forest, the ogress imprisons her in a tall tower, where she grows to womanhood. When a handsome prince (naturally) happens by and discovers Petrosinella, the two fall in love, eventually escaping. But can they outrun the ogress...?
Recorded some two hundred years before the more famous Rapunzel , from the Brothers Grimm - it was contained in Giambattista Basile's 1637 Pentamerone , often considered the first collection of European fairy-tales - this Neapolitan variant of the classic tale has always been a favorite of mine. I owned this edition as a girl, and must have read it a hundred times! The story here is engaging, exciting, and ultimately heart-satisfying. Rereading as an adult, I particularly liked the inclusion of the three magic acorns, which give Petrosinella more agency than her fairy-tale "sister" Rapunzel. The artwork from Diane Stanley is simply gorgeous - like Evelyn Andreas' Cinderella , I pored over this book as a child - perfectly capturing Petrosinella's beauty and the ogress' malice. Highly recommended to all fairy-tale lovers, and to anyone who appreciate lovely picture-book art.
Recorded some two hundred years before the more famous Rapunzel , from the Brothers Grimm - it was contained in Giambattista Basile's 1637 Pentamerone , often considered the first collection of European fairy-tales - this Neapolitan variant of the classic tale has always been a favorite of mine. I owned this edition as a girl, and must have read it a hundred times! The story here is engaging, exciting, and ultimately heart-satisfying. Rereading as an adult, I particularly liked the inclusion of the three magic acorns, which give Petrosinella more agency than her fairy-tale "sister" Rapunzel. The artwork from Diane Stanley is simply gorgeous - like Evelyn Andreas' Cinderella , I pored over this book as a child - perfectly capturing Petrosinella's beauty and the ogress' malice. Highly recommended to all fairy-tale lovers, and to anyone who appreciate lovely picture-book art.
September 12, 2020
Me gusta más esta versión que la de los hermanos Grimm. Es mucho menos angst y Petrosinella (Rapunzel/Ruiponce) sale mejor librada porque es ella misma quien resuelve sus desdichas, en lugar de esperar que venga un hombre a rescatarla.
¡Mejor aún ver a Petrosinella como invocadora de bestias!
¡Mejor aún ver a Petrosinella como invocadora de bestias!
September 24, 2015
Petrosinella is a version of the popular "Rapunzel" story, made popular by the Brother's Grimm. This version precedes the Brothers Grimm story by almost 200 years, according to the author, Diane Stanley, resulting in a rich look into the stories and traditions from earlier times.
In the story, a woman is caught stealing enticing parsley from an ogress' garden, resulting in the loss of the women's first born child to the witch. Locking up the girl, appropriately named Petrosinella, meaning parsley, in a stone tower. For years, the girl lives isolated, until a handsome prince helps her escape. Through the protection of magic acorns and a touch of bravery, Petrosinella lives "happily ever after" with her prince as the princess of the nation.
The illustrations in the story are beautiful, elaborate, and well detailed, which is quite different from some of the more interpretive contemporary art found in children's literature today. The story line followed the damsel in distress archetype, yet was still interesting with the twists in plot with Petrosinella attempting to battle the ogress with her own magic tools.
I would recommend this book to advanced readers, due to its lengthy pages and classical vernacular. Overall, great read!
In the story, a woman is caught stealing enticing parsley from an ogress' garden, resulting in the loss of the women's first born child to the witch. Locking up the girl, appropriately named Petrosinella, meaning parsley, in a stone tower. For years, the girl lives isolated, until a handsome prince helps her escape. Through the protection of magic acorns and a touch of bravery, Petrosinella lives "happily ever after" with her prince as the princess of the nation.
The illustrations in the story are beautiful, elaborate, and well detailed, which is quite different from some of the more interpretive contemporary art found in children's literature today. The story line followed the damsel in distress archetype, yet was still interesting with the twists in plot with Petrosinella attempting to battle the ogress with her own magic tools.
I would recommend this book to advanced readers, due to its lengthy pages and classical vernacular. Overall, great read!
March 10, 2017
This is the earliest version that became the base for the Grimm's fairy tale (that predates the Grimms by 200 years) written by Giambatista Basile in 1637.
Here heroine's name comes from "petrosine" for parsley. Petrosinella is quite different from the Grimm's Rapunzel. Here the women take a more active part in the plot. Petrosinella birth mother, the ogress - the witch in the later English version and Petrosinella is a more strong, active character not just a girl who needs to be rescued. The end is quite different and refreshing than the familiar end. It's interesting to see how much the story has altered through out the time.
Recommend.
Here heroine's name comes from "petrosine" for parsley. Petrosinella is quite different from the Grimm's Rapunzel. Here the women take a more active part in the plot. Petrosinella birth mother, the ogress - the witch in the later English version and Petrosinella is a more strong, active character not just a girl who needs to be rescued. The end is quite different and refreshing than the familiar end. It's interesting to see how much the story has altered through out the time.
Recommend.
July 19, 2016
Diane Stanley's author's note is interesting, as is the story. The whole bit about the blind prince, the desert, the twins, is missing, as is the girl's father. I loved the pictures, though some might find them just a bit too pretty. Highly recommended to anyone who explores older folklore and fairy tales. But I wonder if children like it? Sentimental girls, but anyone else?
I will look for more by Stanley, for both her art and her voice in this adaptation.
I will look for more by Stanley, for both her art and her voice in this adaptation.
October 30, 2022
now this was crazy
December 15, 2021
Un cuento clásico y muy conocido por todos contado en su versión más antigua escrita. Las ilustraciones me han gustado mucho, conocer la historia del autor del cuento también.
February 17, 2012
An old-forgotten fairy tale and the basis of the story of Rapunzel. Beautiful illustrations.
May 28, 2025
I love the poetic opening to this book in the inner flap: "A woman who longs for rampion from a witchs's garden; a promise given in fear; a beautiful girl shut up in a tower; a ladder of golden hair; a handsome prince."
The inner flap goes on to note that Petrosinella is a less well-known and much earlier version of the Brother Grimm's Rapunzel. This version was popular in the Mediterranean area nearly 200 years before the Grimms were published. It appeared in a collection of 50 folk tales called Il Petamerone which Giambattista Basile compiled around 1600. John Edward Taylor translated it from the Neapolitan into English in 1847.
Petrosinella means "parsley". This publication is adapted from the Taylor translation and has wash-and-ink illustrations by Diane Stanley which reflect the values of 16th century art.
The inner flap goes on to note that Petrosinella is a less well-known and much earlier version of the Brother Grimm's Rapunzel. This version was popular in the Mediterranean area nearly 200 years before the Grimms were published. It appeared in a collection of 50 folk tales called Il Petamerone which Giambattista Basile compiled around 1600. John Edward Taylor translated it from the Neapolitan into English in 1847.
Petrosinella means "parsley". This publication is adapted from the Taylor translation and has wash-and-ink illustrations by Diane Stanley which reflect the values of 16th century art.
April 29, 2020
This was my favorite book as a child. If you ask my parents, they said I drug it out every night for the bedtime story. I still have a copy, and read it periodically.
This is an Italian retelling of Rapunzel, and it is creative, imaginative and heartwarming. This tale, in my view, has a depth of emotion that a lot of fairy tales lack. I love the added, different elements in this version.
The illustrations are beautiful as well. Intricate detail, vibrant colors, they bring the story to life.
A wonderful version of a classic tale.
This is an Italian retelling of Rapunzel, and it is creative, imaginative and heartwarming. This tale, in my view, has a depth of emotion that a lot of fairy tales lack. I love the added, different elements in this version.
The illustrations are beautiful as well. Intricate detail, vibrant colors, they bring the story to life.
A wonderful version of a classic tale.
February 7, 2018
This was such an interesting version of Rapunzel. She takes control of her own fate much more than in the other three versions I read. She defeats her captor herself. I am really enjoying Basile's tales, both for their dark humor and satire and for their differences from the other versions. He makes me laugh out loud.
This entire review has been hidden because of spoilers.
May 20, 2025
Was looking for the original "Rapunzel" story as a reference for a twisted fairytale/fairytale inspired piece I would like to write. It's a quick read and fun classic that I'd like to have on my shelf. Though, I wish I could find the original translation that was referenced in this one, but for the life of me, Google resists.
February 22, 2018
If only intellectual honesty was common among contemporary writers...
January 14, 2022
Beautiful story, gorgeous illustrations
December 15, 2023
Easily bumped to 5 stars for the illustrations.
September 8, 2025
Ricordo questo libro da quando sono bambina. Le illustrazioni sono un’immagine vivida nella mia mente da decenni, e questo fa capire che grande artista è la Abbatiello.
September 22, 2025
3 stars. Hmmm, not sure how I feel about this one. It was way too short and the story feels like it never really got off of the ground.
February 25, 2019
I thought this was a great retelling of the Rapunzel story. Like Sugar Cane, it gives a way for students to observe other cultures while comparing it to their own original telling of the story. I would keep it in my classroom for that reason.
May 30, 2019
This book is amazing. An adaptation of the Basile fairy-tale I was most disappointed (along with Sun, Moon, and Talia) didn't make it into the "Tale of Tales" movie.
This lavishly illustrated version of Petrosinella, or Little Parsley, follows the original Neopolitan fairy-tale to the T, except for one strange exception I noticed -- Petronsinella sings. Strangely enough, Basile's heroine did not traditionally sing as Grimm's Rapunzel later would. The singing subplot arrived on the scene with the French version, Persinette by Charlotte Rose.
An odd change, but an understandable one.
This lavishly illustrated version of Petrosinella, or Little Parsley, follows the original Neopolitan fairy-tale to the T, except for one strange exception I noticed -- Petronsinella sings. Strangely enough, Basile's heroine did not traditionally sing as Grimm's Rapunzel later would. The singing subplot arrived on the scene with the French version, Persinette by Charlotte Rose.
An odd change, but an understandable one.
December 12, 2015
A take on an old fairy tale.
It's also adapted from Basile, since Basile's high-faluting language has been cut down. (How high-faluating? Well, what this book called a forest so dark and frightening few ventured there, a more literal translation said, "a wood which the horses of the Sun never entered, not having paid the toll to the pastures of those Shades."
And it's not quite fair to call this a Neopolitan Rapunzel. Much reasonable to call Rapunzel a German Petrosinella, since Rapunzel came later. Still showing the signs that the Maiden in the Tower sprung off from The Girl Helps the Hero Flee in tale types. Indeed, one of the adaptions is to explain why they don't run off together at once.
Pictures are pleasant if not stunning.
It's also adapted from Basile, since Basile's high-faluting language has been cut down. (How high-faluating? Well, what this book called a forest so dark and frightening few ventured there, a more literal translation said, "a wood which the horses of the Sun never entered, not having paid the toll to the pastures of those Shades."
And it's not quite fair to call this a Neopolitan Rapunzel. Much reasonable to call Rapunzel a German Petrosinella, since Rapunzel came later. Still showing the signs that the Maiden in the Tower sprung off from The Girl Helps the Hero Flee in tale types. Indeed, one of the adaptions is to explain why they don't run off together at once.
Pictures are pleasant if not stunning.
January 31, 2012
This is an Italian version of Rapunzel from sometime in the late 1500s or early 1600s, republished with illustrations in 1981. This particular version is illustrated by Diane Stanley, who appears to have signed my copy of this book to myself and my sister while we were in elementary school. The illustrations are luscious - crisp and elegant, they have exquisite detail. The main character is drawn with a gorgeous Italian Renaissance Madonna face. The story itself is the usual insipid muddle of bombastic morals and superstition one tends to expect from a fairy tale, but I still adore this book for the pictures alone.
February 9, 2012
I picked this up to take to my sister's house because my niece has been a little Rapunzel obsessed lately, and it was worth the extra trip to the library. The illustrations are lovely (although not quite to the level of Paul O. Zelinsky's version), and I really enjoyed that it's a different version of the well-known story, complete with a Neopolitan setting. I'm endlessly fascinated by folk and fairy tales that have the same base story, and it was fun to have my niece realize it was a Rapunzel story even though she didn't recognize the name.
February 13, 2014
This is a cute tale of Rapunzel with a Neapolitan twist. A mother promises her child to an old ogress to spare her life. The ogress takes what is owed to her and locks the child in a tall tower in the middle of a deep forest. A young prince hears Petrosinella singing and helps to rescue her. This is a unique variation to the classic. I love the pictures throughout the book. I think this is a great book to keep in the classroom for a higher level reader.
April 2, 2015
A Neapolitan Rapunzel- I really enjoyed this unique and interesting telling of Rapunzel. There were elements to this version that are different from every other Rapunzel, and I loved it. As the introduction points out this is a version in which Rapunzel actively sets herself free. I also liked the long courtship of Rapunzel and the Prince- it wasn't your typical love-at-first-sight but a relationship on actually talking to one another. I definitely recommend this story.
September 24, 2009
A less-grusome, happier retelling of Rapunzel. I liked the illustrations and variation a lot.
January 27, 2010
I liked this book because of my own personal connection with Italy (where this version comes from), and it also has beautiful illustrations.
Displaying 1 - 30 of 36 reviews