The Little Mermaid: The Classic Edition

by Hans Christian Andersen, Charles Santore (Illustrator)

Overview

Relive the timeless tale of The Little Mermaid in this illustrated classic edition sure to delight young readers and old. Follow the Little Mermaid as she goes on a journey to discover her humanity and find her soul.

The adventures of the young mermaid princess splash life across the pages of a story full of belonging, hope, love and sacrifice. This classic tale from Hans Christian Anderson will engage readers with a whole new world full of gorgeous illustrations.

This Classic Edition of The Little Mermaid features:

• A beautifully designed hardcover
• A child-friendly retelling of the original text
• Illustrations by renowned artist Charles Santore, the critically-acclaimed illustrator of multiple classic tales, including The Night Before Christmas, The Velveteen Rabbit, The Classic Tale of Peter Rabbit, and Aesop's Fables
• Is a wonderful gift for young readers for birthdays, holidays, or a Christmas gift

Charles Santore’s works has been widely exhibited in museums and celebrated with recognitions such as the prestigious Hamilton King Award, the Society of Illustrators Award of Excellence, and the Original Art 2000 Gold Medal from the Society of Illustrators. He is best known for his luminous interpretations of classic children’s stories, including Snow White, Alice's Adventures in Wonderland, and The Wizard of Oz.

Product Details

ISBN-13:	9781604333770
Publisher:	Applesauce Press
Publication date:	10/08/2013
Series:	Charles Santore Children's Classics
Edition description:	Reprint
Pages:	48
Product dimensions:	11.10(w) x 10.60(h) x 0.50(d)
Age Range:	3 - 12 Years

About the Author

The work of New York Times bestselling children’s book illustrator Charles Santore has been widely exhibited in museums and celebrated with recognitions such as the prestigious Hamilton King Award, the Society of Illustrators Award of Excellence, and the Original Art 2000 Gold Medal from the Society of Illustrators. He is best known for his luminous interpretations of classic children’s stories, including The Little Mermaid, Alice's Adventures in Wonderland, Snow White, and The Wizard of Oz.

Date of Birth:

April 2, 1805

Date of Death:

August 4, 1875

Place of Birth:

Odense, Denmark

Place of Death:

Copenhagen, Denmark

Read an Excerpt

Far out at sea, the water is as blue as cornflower petals and as clear as the purest glass. Yet it’s very deep—
deeper than the reach of any anchor rope. You’d have to stack a lot of steeples on top of each other to reach from the bottom to the surface. And down at the bottom is where the sea folk live.
Now, you mustn’t think that the sea floor is only bare white sand—no, because the most marvellous trees and plants grow there. Their leaves and stems are so flexible,
the smallest movement of water makes them sway as if they were dancing. All the fish, big and small, flit through their branches, just like birds in the air up here. In the deepest spot of all stands the palace of the Sea King. Its walls are coral and its high pointed windows the clearest amber, while the roof is made of clamshells that open and close with the current. It looks magnificent, because in each shell there are glistening pearls, and any one of them would be the pride of a queen’s crown.
The Sea King had been widowed for many years,
and his old mother ran the royal household. She was a wise mermaid, though proud of her high rank; so she paraded about with twelve oysters on her tail, while the other mermaids at court could only have six. But she was admirable in all other things, especially her affection for the young sea princesses—her granddaughters. There were six of these lovely princesses, but the youngest was the most beautiful of all. Her skin glowed like a rose petal and her eyes were as blue as the deepest sea. And just like her sisters, she had no feet, for her body ended in a fish’s tail.
All day long they played in the great palace halls, where living flowers grew from the walls. When they threw open the tall amber windows, the fish would swim inside, just as swallows fly through our windows when we open them.
But these fish swam right over to the little princesses, ate from their hands and let themselves be petted.
Outside the palace lay a large garden with trees that were fiery red and navy blue. The fruit shone like gold and the flowers looked like burning flames, their stems and leaves forever flickering. The ground was the finest sand, but it was the blue colour of sulphur when it burns.
Everything was bathed in a wonderful azure glow, so that you might imagine you were high in the air, gazing only at the sky above and below you, rather than at the ocean floor. When the sea was calm, you could glimpse the crimson flower that all the light seemed to be streaming from—the sun.

Table of Contents

Daughters Of Triton

Fathoms Below

Kiss The Girl

Les Poissons

Part Of Your World

Part Of Your World (Reprise)

Poor Unfortunate Souls

Under The Sea

Editorial Reviews

ger for reading aloud. This fine translation of Andersen's fairy tale first appeared in "Michael Hague's Favorite Hans Christian Andersen Fairy Tales" (1981). Hague's picture-book version is a colorful collection of undersea life--glittering fish, sparkling ocean flora, and merpeople with pearly tails float from page to page as the Little Mermaid pursues her impossible love. That the pictures do not always accurately reflect the text and that the faces of the characters are less graceful than their forms will go unnoticed by young readers captured by the romance of the subject at hand. The Little Mermaid's ultimate tragedy is foreshadowed by dark stormy seas and Andersen's own telling language. Parents may have to be warned that this is the antithesis of Disney, with a sad, if foregone, conclusion.

Janice Del Negro

"Denmark's greatest writer" - Independent

From the Publisher

2020-06-03
New illustrations accompany a 19th-century translation of Andersen’s text.

The decision to reprint Paull’s full 1872 English translation of Andersen’s story in picture-book form will likely alienate many readers. The length of the text, unartfully presented in overwhelming blocks of small, serif type, could intimidate readers, but outdated and objectionable content may present other barriers, exacerbated by illustration choices. Repeated use of the word “dumb,” for instance, to describe the mermaid’s inability to speak when she becomes human is insensitive at best. Before this point in the story, the blond, pink-skinned mermaid saves the drowning prince and leaves him onshore by a palace with architectural features that suggest a generic, exotic East, with arched doorways, onion domes, minarets, etc., and populated by characters in robes, veils, and saris. When the mermaid returns to the palace as a human, she watches “beautiful female slaves, dressed in silk and gold, [who] stepped forward and sang before the prince and his parents [and] performed some pretty fairylike dances to the sound of beautiful music.” Watts does not depict these enslaved people, but the book’s uncritical inclusion of this passage and its ultimate reiteration of the moralistic conclusion of the tale undermine ways the pretty, pastel- and jewel-toned pictures might have served a 21st-century audience.

Leave this one in the deeps. (Picture book/fairy tale. 5-8)

Kirkus Reviews