The story, about a “thumb-sized” girl who goes on an adventure involving toads, birds, and a mole, and who then meets a miniature prince, wasn’t well-received at the time because it didn’t teach any morals.
The first English translation of the book was completed by Mary Howitt in the 1840s.
Usually omitted from English versions of the story, Andersen’s original featured a bluebird telling the story to Andersen himself. The bird had been in love with Thumbelina, and was heartbroken when she married the prince.
I’m not sure how I missed this, but a new adaptation of Vanity Fair was released in 2018, and I just watched the first episode last night. It has some great casting, captures the Regency world wonderfully, and has an amazing depiction of the (in)famous Vauxhall Pleasure Gardens!
I’m hoping to watch the rest of the miniseries over the next few days.
“…After all, writers have always turned to each other for creative and moral support. The alliance between Samuel Taylor Coleridge and William Wordsworth is enshrined in literary lore. A mention of Lord Byron immediately brings to mind Percy Bysshe Shelley. And biographies of F. Scott Fitzgerald are incomplete without reference to Ernest Hemingway.
But where are the women in this roster of legendary friendships? Jane Austen is mythologised as a shy and sheltered spinster; the Brontё sisters, lonely wanderers of windswept moors; George Eliot, an aloof intellectual; and Virginia Woolf, a melancholic genius.
Skeptical of such images of isolation, we set out to investigate. We soon discovered that behind each of these celebrated authors was a close alliance with another female writer. But, to this day, these literary bonds have been systematically forgotten, distorted or downright suppressed…”