The Birthday Of The Infanta And Other Tales

The birthday of the infanta -- The selfish giant -- The nightingale and the rose -- The young king -- The happy prince.

Wilde's tales are adapted into a comic book format and use fairy tale elements and Christian symbolism.

The master of wit and irony Published here alongside their evocative original illustrations, these fairy tales, as Oscar Wilde himself explained, were written “partly for children, and partly for those who have kept the childlike faculties of wonder and joy.”

A grotesque dwarf falls in love with the beautiful Infanta.

When the Selfish Giant decides to build a wall around his garden to prevent the children from playing in it, it becomes barren and stuck in perpetual winter. It takes a wonderful event and the heart of a young boy for him to realize the error of his ways. A classic tale for children, ‘The Selfish Giant’ is presented here with all of Oscar Wilde’s other fairy stories – ‘The Happy Prince’, ‘The Nightingale and the Rose’, ‘The Devoted Friend’, ‘The Remarkable Rocket’, ‘The Young King’, ‘The Birthday of the Infanta’, ‘The Fisherman and His Soul’ and ‘The Star-Child’ – brought to life by Philip Waechter’s bright and imaginative illustrations.

Oscar Wilde's two collections of children's literature, The Happy Prince and Other Stories (1888) and A House of Pomegranates (1891), have often been marginalised in critical accounts as their apparently conservative didacticism appears at odds with the characterisation of Wilde as an amoral aesthete. In this, the first full-length study of Wilde's fairy tales for children, Jarlath Killeen argues that Wilde's stories are neither uniformly conservative nor subversive, but a blend of both. Killeen contends that while they should be read in relation to a literary tradition of fairy tales that emerged in nineteenth century Europe; Irish issues heavily influenced the work. These issues were powerfully shaped by the 'folk Catholicism' Wilde encountered in the west of Ireland. By resituating the fairy tales in a complex nexus of theological, political, social, and national concerns, Killeen restores the tales to their proper place in the Wilde canon.

Wilde's tales are adapted into a comic book format and use fairy tale elements and Christian symbolism.

This book explores Wilde's works from the hypothesis that they call upon the active participation of the reader in the production of meaning. It has a twofold objective: first, it shows that Wilde's emphasis on the creative role of the audience in his critical writings makes him conceive the reader as a co-creator in the construction of meaning. Second, it analyses the strategies which Wilde employs to impel the reader to collaborate in the creation of meaning of his literary works and casts light upon the social criticism derived from these. The examination of Wilde’s writings reveals how he gradually combined more sophisticated techniques that encouraged the reader's dynamic role with the progressive exploitation of self-advertising strategies for professional purposes. These allowed the ‘commercial’ Oscar to make his works successful among the Victorian public without betraying the ‘literary’ Wilde’s aesthetic principles. The present study re-evaluates Wilde as a critic and as a writer. It demonstrates that, while Wilde the ‘myth’ was ahead of his time in many ways, Wilde the ‘ARTIST’ anticipated in his aesthetic theory various themes which occupy contemporary literary theoreticians. Thus, it may contribute to give him the status he rightly deserves in the history of literature.