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The Bear Tricked by the. Fox by Ion Creangă. 1. Page 2. 2. Page 3. Once upon a time there was a cunning and tricky fox, as all foxes are. She was looking all.
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I like the story you read. I did not send a message because I was born in but now I listen to loads of stories happy birthday.

Ursul păcălit de vulpe

I play mine craft PE they update and now there are wolfs and villagers but i will leave that surprise to you to diamond dragon bye. Really long story.


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Some people would get bored waiting to hear a story ten minutes long. Maybe it needs to be interesting enough to keep others interested. It stops some reason in the middle of the story too. Theses stories are so boring.


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    6. Stories like that. This book is so cooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooLllllllll. The wolf considers himself clever especially ehrn he is hungry. The clever fox outsmart the wolf to save himself. Wolf is really gullible. Now I know how to get to sleep. So they all went to the forest god and asked for speed and balance and the god gave them all a tail.

    I think Story Nory is great and important to the world. The stories are great and educates children. Children should listen more to Story Nory. I think there should be thousands of people commenting here while in reality there is only two hundred! I think we should let everybody know about Story Nory.


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      5. Thanks for all your work. Bertie — March 25, I loved it! But I also hope the wolf gets back up. But the wolf was dumb, I kind of do not want him to get backup at the same time. Home Storynory. All Stories. Leave a reply Cancel comment Did you like this story? Please write in English.

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      Comments are moderated. It is really a wonderful and useful site. Many thanks God bless you. Here we learn that we never should trick somebody.

      The bear tricked by the fox

      Thank you, I loved this story. The fine, shaded ethics of sedate adults, the relativism of the modern man, is strange to them and whoever forces it upon them anticipates and achieves nothing but the opposite of his goal. They can still hate and honour, vilify and applaud, balancing between positive and negative inclinations — for them there is an immediate connection between sin and punishment, the idea that deeds are worth more than thoughts and that one is obliged to choose consistency above opportunism. And their form does not differ much from the form of the medieval jugglers: a sober and direct word, loaded with sentiment, is more familiar to them than the phrases of the modern, fashionable and talkative man.

      Daalder , p. Daalder mingled the metaphorical use of the child as the physical and psychological representation of a developing society with the glorification of societies from the past, which brings about a convincing argument to inspire adult mediators to get children to read medieval stories for both the possibility of identifying with and learning from them.

      In the narrative itself, rewriters transformed the satirical character, wordplay and original structure of Reynard the Fox into a story in which the fact that the main characters are animals prevailed over all the other aspects. This was accomplished by creating animals that did not occur in the original story and by putting in new scenes that emphasised the setting of the story in an animal world. It is most clearly seen in versions written in the first half of the twentieth century, for example in the adaptation of Kuhfus In this version all sorts of animals are added to the story.

      The story opens with animals that are close to the world of experience of young readers. At court, more animals appear, this time animals not to be found in the world directly surrounding the child readers, but encountered by them only at places such as the zoo or the circus, like a tiger, an elephant and a giraffe.

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      The story contains many elements that nineteenth- and early twentieth-century society did not regard as educationally appropriate. Deleting references to sex, violence and indecencies seems to have been relatively easy for the rewriters. Footnote 10 Also, political clues and the mockery of religion were avoided without changing the frame of the narrative. Reynard the villain. From De oude vos [The old fox] by Henry Interestingly enough, the results turned out to be gender-specific: women detested Reynard and the creator of this story, while men felt sympathy for the fox and admired him without feelings of uneasiness.

      He did not answer his question with children in mind, however, and judging from the adaptations, the rewriters of the English versions for children did not consider defending the villain a proper solution.

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      In his adaptation of the Reynard story, The pleasant history of Reynard the Fox , Felix Summerly changed the ending radically. Instead of rewarding Reynard, Summerly let him be hanged because he considered it unsuitable for children to read that a villain like Reynard might triumph. Summerly , p. Apparently Summerly did not consider hanging inappropriate for children to read about. The adaptation is a strongly abbreviated version of the Reynard story, which relies mainly on the republished illustrations of Aldert van Everdingen. Footnote 11 It presents Reynard as undeniably bad and along with the altered ending, it censures every reference to sexuality and religion.

      Vedder , p. If we consider all the English versions of Reynard the Fox that were adapted for children, a clear distinction with regard to the ending of the story can be seen. Ploucquet and Robber Kitten steered a middle course by not letting Reynard be rewarded, but nevertheless let him remain free. From onwards, however, the strategy to deal with the red rascal changed. Holloway , Cartwright , Evans , Drinkwater and Brown kept the end of the story intact, but presented it as a warning for unsavoury characters like Reynard.

      Through Reynard, she encouraged child readers to develop their own wisdom in order to earn honour:. One of the few rewriters who actually allowed Reynard to be the villainous villain he was born to be, is Selina Hastings She even increased the suspense in her descriptions by creating a dark atmosphere:. The shadow of Reynard the Fox had fallen across the lives of all the animals.

      It was a lithe, narrow shadow, a shadow that moved fast and dangerously. Hastings , p. As Froude praised this quality in Reynard, the authors of the adaptations call on their readers to develop this themselves in order to be successful in life. The Netherlands had a rich tradition of publishing and republishing the Reynard story, Footnote 12 but they struggled with the evil main character as well. In the adaptations, however, the story was much less drastically changed.

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      Although some Dutch rewriters changed the fate of the fox cf. Agatha ; Anonymous ; Louwerse , most of them kept the original ending, more often without than with an explicit warning for human beings who behaved like Reynard. Footnote 13 This perception assumed that a national character would reveal itself in language; in language the spirit of a nation would be reflected.

      Thus in literature the spiritual development of the people could be recovered. This applied primarily to collective myths and folklore that, it was argued, could reveal the traditions of a national culture. The folkloristic origins of Reynard the Fox perfectly fit into this perception of literature as the purest expression of a national culture. Grimbard the Badger on his way to fetch Reynard.

      Illustration by W.