The Pentamerone, subtitled Lo cunto de li cunti ("The Tale of Tales"), is a seventeenth-century Neapolitan fairy tale collection by Italian poet and courtier Giambattista Basile. Background The stories in the Pentamerone were collected by Basile and published posthumously in two volumes by his sister Adriana in Naples, Italy, in 1634 and 1636 under the pseudonym Gian Alesio Abbatutis. These stories were later adapted by Charles Perrault and the Brothers Grimm, the latter making extensive, acknowledged use of Basile's collection. Examples of this are versions of Cinderella, Rapunzel, Puss in Boots, Sleeping Beauty, and Hansel and Gretel. While other collections of stories have included stories that would be termed fairy tales, his work is the first collection in which all the stories fit in that single category. He did not transcribe them from the oral tradition as a modern collector would, instead writing them in Neapolitan, and in many respects was the first writer to preserve oral intonations. The style of the stories is heavily Baroque, with many metaphorical usages. This has been interpreted as a satire on Baroque style, but as Basile praised the style, and used it in his other works, it appears to have no ironic intention. Influence Although the work fell into obscurity, the Brothers Grimm, in their third edition of Grimm's Fairy Tales, praised it highly as the first national collection of fairy tales, fitting their romantic nationalist views on fairy tales, and as capturing the Neapolitan voice. This drew a great deal of attention to the work. This collection (Basile's Pentamerone) was for a long time the best and richest that had been found by any nation. Not only were the traditions at that time more complete in themselves, but the author had a special talent for collecting them, and besides that an intimate knowledge of the dialect. The stories are told with hardly any break, and the tone, at least in the Neapolitan tales, is perfectly caught.... We may therefore look on this collection of fifty tales as the basis of many others; for although it was not so in actual fact, and was indeed not known beyond the country in which it appeared, and was never translated into French, it still has all the importance of a basis, owing to the coherence of its traditions. Two-thirds of them are, so far as their principal incidents are concerned, to be found in Germany,