The Lilac Fairy Book E-Book

Andrew Lang

• Herausgeber: Jazzybee Verlag
• Kategorie: Fantasy und Science-Fiction
• Sprache: Englisch
• Veröffentlichungsjahr: 2012

Seitenzahl: 514

Beschreibung

First and foremost, always and forever, among tales for children come the fairy tales. What were childhood without the fairy tale? That child who has never wandered through the magic gardens of Fairyland is unfortunate indeed. But that child does not exist, for the mind and heart of every child, even all unaided, will make for itself a fairyland out of anything and nothing. But the art of writing fairy tales seems to be another thing that has vanished with the vanished childhood of the race. The best fairy tales are always the old ones, stories that were never really written, but just grew in the telling as they passed down through generations of fireside evenings. They were told or enjoyed by grown men and women in an earlier, more naive age, and they never lose their appeal to the child in us as to the children around us now. As to new fairy stories, well, Mr. Andrew Lang, the untiring editor, who makes it possible to unearth new-old stories every year and dress them out in a new colour of raiment for the Christmas tree, says some very unkind things of them in his latest offering, The Lilac Fairy Book . "The three hundred and sixty-five authors who try to write new fairy tales are very tiresome," he says. "Their fairies try to be funny and fail, or they try to preach and succeed. Real fairies never preach or talk slang-nobody can write a new fairy tale; the thing is impossible." The tenor of Mr. Lang's reproach of modern writers of fairy tales is that they attempt to write just for children and therefore fail. Possibly he may be right! But we will forgive him his feeling against the writers who prefer to write rather than to edit, for the sake of the fine new-old stories he has found for us here. It is really astonishing how Mr. Lang goes on unearthing so many new stories-new-old is what we mean- every year. Some of the stories in this new book have come from Ireland, some from the Highlands of Scotland, some from wild Wales.

Leseprobe

The Lilac Fairy Book

Andrew Lang

Contents:

Andrew Lang (1844-1912)

The Lilac Fairy Book

Preface

The Shifty Lad

The False Prince And The True

The Jogi's Punishment

The Heart Of A Monkey

The Fairy Nurse

A Lost Paradise

How Brave Walter Hunted Wolves

The King Of The Waterfalls

A French Puck

The Three Crowns

The Story Of A Very Bad Boy

The Brown Bear Of Norway

Little Lasse

'Moti'

The Enchanted Deer

A Fish Story

The Wonderful Tune

The Rich Brother And The Poor Brother

The One-Handed Girl

The Bones Of Djulung

The Sea King's Gift

The Raspberry Worm

The Stones Of Plouhinec

The Castle Of Kerglas

The Battle Of The Birds

The Lady Of The Fountain

The Four Gifts

The Groac'h Of The Isle Of Lok

The Escape Of The Mouse

The Believing Husbands

The Hoodie-Crow

The Brownie Of The Lake

The Winning Of Olwen

The Lilac Fairy Book, A. Lang

Jazzybee Verlag Jürgen Beck

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ISBN: 9783849609368

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"How the King found the girl playing at ball in the orchard."

ANDREW LANG (1844-1912)

Biographical Sketch from "Portraits And Sketches" by Edmund Gosse

INVITED to note down some of my recollections of Andrew Lang, I find myself suspended between the sudden blow of his death and the slow development of memory, now extending in unbroken friendship over thirty-five years. The magnitude and multitude of Lang's performances, public and private, during that considerable length of time almost paralyse expression; it is difficult to know where to begin or where to stop. Just as his written works are so extremely numerous as to make a pathway through them a formidable task in bibliography, no one book standing out predominant, so his character, intellectual and moral, was full of so many apparent inconsistencies, so many pitfalls for rash assertion, so many queer caprices of impulse, that in a whole volume of analysis, which would be tedious, one could scarcely do justice to them all. I will venture to put down, almost at haphazard, what I remember that seems to me to have been overlooked, or inexactly stated, by those who wrote, often very sympathetically, at the moment of his death, always premising that I speak rather of a Lang of from 1877 to 1890, when I saw him very frequently, than of a Lang whom younger people met chiefly in Scotland.

When he died, all the newspapers were loud in proclaiming his "versatility." But I am not sure that he was not the very opposite of versatile. I take "versatile" to mean changeable, fickle, constantly ready to alter direction with the weather-cock. The great instance of versatility in literature is Ruskin, who adopted diametrically different views of the same subject at different times of his life, and defended them with equal ardour. To be versatile seems to be unsteady, variable. But Lang was through his long career singularly unaltered; he never changed his point of view; what he liked and admired as a youth he liked and admired as an elderly man. It is true that his interests and knowledge were vividly drawn along a surprisingly large number of channels, but while there was abundance there does not seem to me to have been versatility. If a huge body of water boils up from a crater, it may pour down a dozen paths, but these will always be the same; unless there is an earthquake, new cascades will not form nor old rivulets run dry. In some authors earthquakes do take place as in Tolstoy, for instance, and in S. T. Coleridge but nothing of this kind was ever manifest in Lang, who was extraordinarily multiform, yet in his varieties strictly consistent from Oxford to the grave. As this is not generally perceived, I will take the liberty of expanding my view of his intellectual development.

To a superficial observer in late life the genius of Andrew Lang had the characteristics which we are in the habit of identifying with precocity. Yet he had not been, as a writer, precocious in his youth. One slender volume of verses represents all that he published in book-form before his thirty-fifth year. No doubt we shall learn in good time what he was doing before he flashed upon the world of journalism in all his panoply of graces, in 1876, at the close of his Merton fellowship. He was then, at all events, the finest finished product of his age, with the bright armour of Oxford burnished on his body to such a brilliance that humdrum eyes could hardly bear the radiance of it. Of the terms behind, of the fifteen years then dividing him from St. Andrews, we know as yet but little; they were years of insatiable acquirement, incessant reading, and talking, and observing gay preparation for a life to be devoted, as no other life in our time has been, to the stimulation of other people's observation and talk and reading. There was no cloistered virtue about the bright and petulant Merton don. He was already flouting and jesting, laughing with Ariosto in the sunshine, performing with a snap of his fingers tasks which might break the back of a pedant, and concealing under an affectation of carelessness a literary ambition which knew no definite bounds.

In those days, and when he appeared for the first time in London, the poet was paramount in him. Jowett is said to have predicted that he would be greatly famous in this line, but I know not what evidence Jowett had before him. Unless I am much mistaken, it was not until Lang left Balliol that his peculiar bent became obvious. Up to that time he had been a promiscuous browser upon books, much occupied, moreover, in the struggle with ancient Greek, and immersed in Aristotle and Homer. But in the early days of his settlement at Merton he began to concentrate his powers, and I think there were certain influences which were instant and far-reaching. Among them one was pre-eminent. When Andrew Lang came up from St. Andrews he had found Matthew Arnold occupying the ancient chair of poetry at Oxford. He was a listener at some at least of the famous lectures which, in 1865, were collected as "Essays in Criticism"; while one of his latest experiences as a Balliol undergraduate was hearing Matthew Arnold lecture on the study of Celtic literature. His conscience was profoundly stirred by "Culture and Anarchy" (1869); his sense of prose-form largely determined by "Friendship's Garland" (1871). I have no hesitation in saying that the teaching and example of Matthew Arnold prevailed over all other Oxford influences upon the intellectual nature of Lang, while, although I think that his personal acquaintance with Arnold was very slight, yet in his social manner there was, in early days, not a little imitation of Arnold's aloofness and superfine delicacy of address. It was unconscious, of course, and nothing would have enraged Lang more than to have been accused of "imitating Uncle Matt."

The structure which his own individuality now began to build on the basis supplied by the learning of Oxford, and in particular by the study of the Greeks, and "dressed" by courses of Matthew Arnold, was from the first eclectic. Lang eschewed as completely what was not sympathetic to him as he assimilated what was attractive to him. Those who speak of his "versatility" should recollect what large tracts of the literature of the world, and even of England, existed outside the dimmest apprehension of Andrew Lang. It is, however, more useful to consider what he did apprehend; and there were two English books, published in his Oxford days, which permanently impressed him: one of these was "The Earthly Paradise," the other D. G. Rossetti's " Poems." In after years he tried to divest himself of the traces of these volumes, but he had fed upon their honey-dew and it had permeated his veins.

Not less important an element in the garnishing of a mind already prepared for it by academic and aesthetic studies was the absorption of the romantic part of French literature. Andrew Lang in this, as in everything else, was selective. He dipped into the wonderful lucky-bag of France wherever he saw the glitter of romance. Hence his approach, in the early seventies, was threefold: towards the mediaeval lais and chansons, towards the sixteenth-century Pleiade, and towards the school of which Victor Hugo was the leader in the nineteenth century. For a long time Ronsard was Lang's poet of intensest predilection; and I think that his definite ambition was to be the Ronsard of modern England, introducing a new poetical dexterity founded on a revival of pure humanism. He had in those days what he lost, or at least dispersed, in the weariness and growing melancholia of later years a splendid belief in poetry as a part of the renown of England, as a heritage to be received in reverence from our fathers, and to be passed on, if possible, in a brighter flame. This honest and beautiful ambition to shine as one of the permanent benefactors to national verse, in the attitude so nobly sustained four hundred years ago by Du Bellay and Ronsard, was unquestionably felt by Andrew Lang through his bright intellectual April, and supported him from Oxford times until 1882, when he published " Helen of Troy." The cool reception of that epic by the principal judges of poetry caused him acute disappointment, and from that time forth he became less eager and less serious as a poet, more and more petulantly expending his wonderful technical gift on fugitive subjects. And here again, when one comes to think of it, the whole history repeated itself, since in " Helen of Troy " Lang simply suffered as Ronsard had done in the "Franciade." But the fact that 1882 was his year of crisis, and the tomb of his brightest ambition, must be recognised by every one who closely followed his fortunes at that time. Lang's habit of picking out of literature and of life the plums of romance, and these alone, comes to be, to the dazzled observer of his extraordinarily vivid intellectual career, the principal guiding line. This determination to dwell, to the exclusion of all other sides of any question, on its romantic side is alone enough to rebut the charge of versatility. Lang was in a sense encyclopaedic; but the vast dictionary of his knowledge had blank pages, or pages pasted down, on which he would not, or could not, read what experience had printed. Absurd as it sounds, there was always something maidenly about his mind, and he glossed over ugly matters, sordid and dull conditions, so that they made no impression whatever upon him. He had a trick, which often exasperated his acquaintances, of declaring that he had " never heard " of things that everybody else was very well aware of. He had " never heard the name " of people he disliked, of books that he thought tiresome, of events that bored him; but, more than this, he used the formula for things and persons whom he did not wish to discuss. I remember meeting in the street a famous professor, who advanced with uplifted hands, and greeted me with " What do you think Lang says now? That he has never heard of Pascal! " This merely signified that Lang, not interested (at all events for the moment) in Pascal nor in the professor, thus closed at once all possibility of discussion.

It must not be forgotten that we have lived to see him, always wonderful indeed, and always passionately devoted to perfection and purity, but worn, tired, harassed by the unceasing struggle, the lifelong slinging of sentences from that inexhaustible ink-pot. In one of the most perfect of his poems, " Natural Theology," Lang speaks of Cagn, the great hunter, who once was kind and good, but who was spoiled by fighting many things. Lang was never " spoiled," but he was injured; the surface of the radiant coin was rubbed by the vast and interminable handling of journalism. He was jaded by the toil of writing many things. Hence it is not possible but that those who knew him intimately in his later youth and early middle-age should prefer to look back at those years when he was the freshest, the most exhilarating figure in living literature, when a star seemed to dance upon the crest of his already silvering hair. Baudelaire exclaimed of Theophile Gautier: " Homme heureux! homme digne d'envie! il n'a jamais aimé que le Beau!" and of Andrew Lang in those brilliant days the same might have been said. As long as he had confidence in beauty he was safe and strong; and much that, with all affection and all respect, we must admit was rasping and disappointing in his attitude to literature in his later years, seems to have been due to a decreasing sense of confidence in the intellectual sources of beauty. It is dangerous, in the end it must be fatal, to sustain the entire structure of life and thought on the illusions of romance. But that was what Lang did he built his house upon the rainbow.

The charm of Andrew Lang's person and company was founded upon a certain lightness, an essential gentleness and elegance which were relieved by a sharp touch; just as a very dainty fruit may be preserved from mawkishness by something delicately acid in the rind of it. His nature was slightly inhuman; it was unwise to count upon its sympathy beyond a point which was very easily reached in social intercourse. If any simple soul showed an inclination, in eighteenth-century phrase, to " repose on the bosom " of Lang, that support was immediately withdrawn, and the confiding one fell among thorns. Lang was like an Angora cat, whose gentleness and soft fur, and general aspect of pure amenity, invite to caresses, which are suddenly met by the outspread paw with claws awake. This uncertain and freakish humour was the embarrassment of his friends, who, however, were preserved from despair by the fact that no malice was meant, and that the weapons were instantly sheathed again in velvet. Only, the instinct to give a sudden slap, half in play, half in fretful caprice, was incorrigible. No one among Lang's intimate friends but had suffered from this feline impulse, which did not spare even the serenity of Robert Louis Stevenson. But, tiresome as it sometimes was, this irritable humour seldom cost Lang a friend who was worth preserving. Those who really knew him recognised that he was always shy and usually tired.

His own swift spirit never brooded upon an offence, and could not conceive that any one else should mind what he himself minded so little and forgot so soon. Impressions swept over him very rapidly, and injuries passed completely out of his memory. Indeed, all his emotions were too fleeting, and in this there was something fairy-like; quick and keen and blithe as he was, he did not seem altogether like an ordinary mortal, nor could the appeal to gross human experience be made to him with much chance of success. This, doubtless, is why almost all imaginative literature which is founded upon the darker parts of life, all squalid and painful tragedy, all stories that " don't end well" all religious experiences, all that is not superficial and romantic, was irksome to him. He tried sometimes to reconcile his mind to the consideration of real life; he concentrated his matchless powers on it; but he always disliked it. He could persuade himself to be partly just to Ibsen or Hardy or Dostoieffsky, but what he really enjoyed was Dumas pêre, because that fertile romance-writer rose serene above the phenomena of actual human experience. We have seen more of this type in English literature than the Continental nations have in theirs, but even we have seen no instance of its strength and weakness so eminent as Andrew Lang. He was the fairy in our midst, the wonder-working, incorporeal, and tricksy fay of letters, who paid for all his wonderful gifts and charms by being not quite a man of like passions with the rest of us. In some verses which he scribbled to R.L.S. and threw away, twenty years ago, he acknowledged this unearthly character, and, speaking of the depredations of his kin, he said:

Faith, they might steal me, w? ma will,

And, ken'd I ony fairy hill

I#d lay me down there, snod and still,

Their land to win;

For, man, I maistly had my fill

O' this world's din

His wit had something disconcerting in its impishness. Its rapidity and sparkle were dazzling, but it was not quite human; that is to say, it conceded too little to the exigencies of flesh and blood. If we can conceive a seraph being fanny, it would be in the manner of Andrew Lang. Moreover, his wit usually danced over the surface of things, and rarely penetrated them. In verbal parry, in ironic misunderstanding, in breathless agility of topsy-turvy movement, Lang was like one of Milton's " yellow-skirted fays," sporting with the helpless, moon-bewildered traveller. His wit often had a depressing, a humiliating effect, against which one's mind presently revolted. I recollect an instance which may be thought to be apposite: I was passing through a phase of enthusiasm for Emerson, whom Lang very characteristically detested, and I was so ill-advised as to show him the famous epigram called " Brahma." Lang read it with a snort of derision (it appeared to be new to him), and immediately he improvised this parody:

If the wild bowler thinks he bowls,

Or if the batsman thinks he's bowled,

They know not, poor misguided souls,

They, too, shall perish unconsoled.

I am the batsman and the bat,

I am the bowler and the ball,

The umpire, the pavilion cat,

The roller, pitch and stumps, and all

This would make a pavilion cat laugh, and I felt that Emerson was done for. But when Lang had left me, and I was once more master of my mind, I reflected that the parody was but a parody, wonderful for its neatness and quickness, and for its seizure of what was awkward in the roll of Emerson's diction, but essentially superficial. However, what would wit be if it were profound? I must leave it there, feeling that I have not explained why Lang's extraordinary drollery in conversation so often left on the memory a certain sensation of distress.

But this was not the characteristic of his humour at its best, as it was displayed throughout the happiest period of his work. If, as seems possible, it is as an essayist that he will ultimately take his place in English literature, this element will continue to delight fresh generations of enchanted readers. I cannot imagine that the preface to his translation of " Theocritus," "Letters to Dead Authors," "In the Wrong Paradise," " Old Friends," and " Essays in Little " will ever lose their charm; but future admirers will have to pick their way to them through a tangle of history and anthropology and mythology, where there may be left no perfume and no sweetness. I am impatient to see this vast mass of writing reduced to the limits of its author's delicate, true, but somewhat evasive and ephemeral. genius. However, as far as the circumstances of his temperament permitted, Andrew Lang has left with us the memory of one of our most surprising contemporaries, a man of letters who laboured without cessation from boyhood to the grave, who pursued his ideal with indomitable activity and perseverance, and who was never betrayed except by the loftiness of his own endeavour. Lang's only misfortune was not to be completely in contact with life, and his work will survive exactly where he was most faithful to his innermost illusions.

THE LILAC FAIRY BOOK

"How the King found the girl playing at ball in the orchard."

PREFACE

'What cases are you engaged in at present?' 'Are you stopping many teeth just now?' 'What people have you converted lately?' Do ladies put these questions to the men—lawyers, dentists, clergymen, and so forth—who happen to sit next them at dinner parties?

I do not know whether ladies thus indicate their interest in the occupations of their casual neighbours at the hospitable board. But if they do not know me, or do not know me well, they generally ask 'Are you writing anything now?' (as if they should ask a painter 'Are you painting anything now?' or a lawyer 'Have you any cases at present?'). Sometimes they are more definite and inquire 'What are you writing now?' as if I must be writing something—which, indeed, is the case, though I dislike being reminded of it. It is an awkward question, because the fair being does not care a bawbee what I am writing; nor would she be much enlightened if I replied 'Madam, I am engaged on a treatise intended to prove that Normal is prior to Conceptional Totemism'—though that answer would be as true in fact as obscure in significance. The best plan seems to be to answer that I have entirely abandoned mere literature, and am contemplating a book on 'The Causes of Early Blight in the Potato,' a melancholy circumstance which threatens to deprive us of our chief esculent root. The inquirer would never be undeceived. One nymph who, like the rest, could not keep off the horrid topic of my occupation, said 'You never write anything but fairy books, do you?' A French gentleman, too, an educationist and expert in portraits of Queen Mary, once sent me a newspaper article in which he had written that I was exclusively devoted to the composition of fairy books, and nothing else. He then came to England, visited me, and found that I knew rather more about portraits of Queen Mary than he did.

In truth I never did write any fairy books in my life, except 'Prince Prigio,' 'Prince Ricardo,' and 'Tales from a Fairy Court'—that of the aforesaid Prigio. I take this opportunity of recommending these fairy books—poor things, but my own—to parents and guardians who may never have heard of them. They are rich in romantic adventure, and the Princes always marry the right Princesses and live happy ever afterwards; while the wicked witches, stepmothers, tutors and governesses are never cruelly punished, but retire to the country on ample pensions. I hate cruelty: I never put a wicked stepmother in a barrel and send her tobogganing down a hill. It is true that Prince Ricardo did kill the Yellow Dwarf; but that was in fair fight, sword in hand, and the dwarf, peace to his ashes! died in harness.

The object of these confessions is not only that of advertising my own fairy books (which are not 'out of print'; if your bookseller says so, the truth is not in him), but of giving credit where credit is due. The fairy books have been almost wholly the work of Mrs. Lang, who has translated and adapted them from the French, German, Portuguese, Italian, Spanish, Catalan, and other languages.

My part has been that of Adam, according to Mark Twain, in the Garden of Eden. Eve worked, Adam superintended. I also superintend. I find out where the stories are, and advise, and, in short, superintend. I do not write the stories out of my own head. The reputation of having written all the fairy books (an European reputation in nurseries and the United States of America) is 'the burden of an honour unto which I was not born.' It weighs upon and is killing me, as the general fash of being the wife of the Lord of Burleigh, Burleigh House by Stamford Town, was too much for the village maiden espoused by that peer.

Nobody really wrote most of the stories. People told them in all parts of the world long before Egyptian hieroglyphics or Cretan signs or Cyprian syllabaries, or alphabets were invented. They are older than reading and writing, and arose like wild flowers before men had any education to quarrel over. The grannies told them to the grandchildren, and when the grandchildren became grannies they repeated the same old tales to the new generation. Homer knew the stories and made up the 'Odyssey' out of half a dozen of them. All the history of Greece till about 800B.C.is a string of the fairy tales, all about Theseus and Heracles and Oedipus and Minos and Perseus is a Cabinet des Fées, a collection of fairy tales. Shakespeare took them and put bits of them into 'King Lear' and other plays; he could not have made them up himself, great as he was. Let ladies and gentlemen think of this when they sit down to write fairy tales, and have them nicely typed, and send them to Messrs. Longman & Co. to be published. They think that to write a new fairy tale is easy work. They are mistaken: the thing is impossible. Nobody can write a new fairy tale; you can only mix up and dress up the old, old stories, and put the characters into new dresses, as Miss Thackeray did so well in 'Five Old Friends.' If any big girl of fourteen reads this preface, let her insist on being presented with 'Five Old Friends.'

But the three hundred and sixty-five authors who try to write new fairy tales are very tiresome. They always begin with a little boy or girl who goes out and meets the fairies of polyanthuses and gardenias and apple blossoms: 'Flowers and fruits, and other winged things.' These fairies try to be funny, and fail; or they try to preach, and succeed. Real fairies never preach or talk slang. At the end, the little boy or girl wakes up and finds that he has been dreaming.

Such are the new fairy stories. May we be preserved from all the sort of them!

Our stories are almost all old, some from Ireland, before that island was as celebrated for her wrongs as for her verdure; some from Asia, made, I dare say, before the Aryan invasion; some from Moydart, Knoydart, Morar and Ardnamurchan, where the sea streams run like great clear rivers and the saw-edged hills are blue, and men remember Prince Charlie. Some are from Portugal, where the golden fruits grow in the Garden of the Hesperides; and some are from wild Wales, and were told at Arthur's Court; and others come from the firesides of the kinsmen of the Welsh, the Bretons. There are also modern tales by a learned Scandinavian named Topelius.

All the stories were translated or adapted by Mrs. Lang, except 'The Jogi's Punishment' and 'Moti,' done by Major Campbell out of the Pushtoo language; 'How Brave Walter hunted Wolves,' which, with 'Little Lasse' and 'The Raspberry Worm,' was done from Topelius by Miss Harding; and 'The Sea King's Gift,' by Miss Christie, from the same author.

It has been suggested to the Editor that children and parents and guardians would like 'The Grey True Ghost-Story Book.' He knows that the children would like it well, and he would gladly give it to them; but about the taste of fond anxious mothers and kind aunts he is not quite so certain. Before he was twelve the Editor knew true ghost stories enough to fill a volume. They were a pure joy till bedtime, but then, and later, were not wholly a source of unmixed pleasure. At that time the Editor was not afraid of the dark, for he thought, 'If a ghost is here, we can't see him.' But when older and better informed persons said that ghosts brought their own light with them (which is too true), then one's emotions were such as parents do not desire the young to endure. For this reason 'The Grey True Ghost-Story Book' is never likely to be illustrated by Mr. Ford.

THE SHIFTY LAD

In the land of Erin there dwelt long ago a widow who had an only son. He was a clever boy, so she saved up enough money to send him to school, and, as soon as he was old enough, to apprentice him to any trade that he would choose. But when the time came, he said he would not be bound to any trade, and that he meant to be a thief.

Now his mother was very sorrowful when she heard of this, but she knew quite well that if she tried to stop his having his own way he would only grow more determined to get it. So all the answer she made was that the end of thieves was hanging at the bridge of Dublin, and then she left him alone, hoping that when he was older he might become more sensible.

One day she was going to church to hear a sermon from a great preacher, and she begged the Shifty Lad, as the neighbours called him from the tricks he played, to come with her. But he only laughed and declared that he did not like sermons, adding:

'However, I will promise you this, that the first trade you hear named after you come out from church shall be my trade for the rest of my life.'

These words gave a little comfort to the poor woman, and her heart was lighter than before as she bade him farewell.

When the Shifty Lad thought that the hour had nearly come for the sermon to be over, he hid himself in some bushes in a little path that led straight to his mother's house, and as she passed along, thinking of all the good things she had heard, a voice shouted close to her ear 'Robbery! Robbery! Robbery!' The suddenness of it made her jump. The naughty boy had managed to change his voice, so that she did not know it for his, and he had concealed himself so well that, though she peered about all round her, she could see no one. As soon as she had turned the corner the Shifty Lad came out, and by running very fast through the wood he contrived to reach home before his mother, who found him stretched out comfortably before the fire.

'Well, have you got any news to tell me?' asked he.

'No, nothing; for I left the church at once, and did not stop to speak to anyone.'

'Oh, then no one has mentioned a trade to you?' he said in tones of disappointment.

'Ye—es,' she replied slowly. 'At least, as I walked down the path a voice cried out "Robbery! Robbery! Robbery!" but that was all.'

'And quite enough too,' answered the boy. 'What did I tell you? That is going to be my trade.'

'Then your end will be hanging at the bridge of Dublin,' said she. But there was no sleep for her that night, for she lay in the dark thinking about her son.

'If he is to be a thief at all, he had better be a good one. And who is there that can teach him?' the mother asked herself. But an idea came to her, and she arose early, before the sun was up, and set off for the home of the Black Rogue, or Gallows Bird, who was such a wonderful thief that, though all had been robbed by him, no one could catch him.

'Good-morning to you,' said the woman as she reached the place where the Black Gallows Bird lived when he was not away on his business. 'My son has a fancy to learn your trade. Will you be kind enough to teach him?'

'If he is clever, I don't mind trying,' answered the Black Gallows Bird; 'and, of course, if any one can turn him into a first-rate thief, it is I. But if he is stupid, it is no use at all; I can't bear stupid people.'

'No, he isn't stupid,' said the woman with a sigh. 'So to-night, after dark, I will send him to you.'

The Shifty Lad jumped for joy when his mother told him where she had been.

'I will become the best thief in all Erin!' he cried, and paid no heed when his mother shook her head and murmured something about 'the bridge of Dublin.'

Every evening after dark the Shifty Lad went to the home of the Black Gallows Bird, and many were the new tricks he learned. By and bye he was allowed to go out with the Bird and watch him at work, and at last there came a day when his master thought that he had grown clever enough to help in a big robbery.

'There is a rich farmer up there on the hill, who has just sold all his fat cattle for much money and has bought some lean ones which will cost him little. Now it happens that, while he has received the money for the fat cattle, he has not yet paid the price of the thin ones, which he has in the cowhouse. To-morrow he will go to the market with the money in his hand, so to-night we must get at the chest. When all is quiet we will hide in the loft.'

There was no moon, and it was the night of Hallowe'en, and everyone was burning nuts and catching apples in a tub of water with their hands tied, and playing all sorts of other games, till the Shifty Lad grew quite tired of waiting for them to get to bed. The Black Gallows Bird, who was more accustomed to the business, tucked himself up on the hay and went to sleep, telling the boy to wake him when the merry-makers had departed. But the Shifty Lad, who could keep still no longer, crept down to the cowshed and loosened the heads of the cattle which were tied, and they began to kick each other and bellow, and made such a noise that the company in the farmhouse ran out to tie them up again. Then the Shifty Lad entered the room and picked up a big handful of nuts, and returned to the loft, where the Black Rogue was still sleeping. At first the Shifty Lad shut his eyes too, but very soon he sat up, and, taking a big needle and thread from his pocket, he sewed the hem of the Black Gallows Bird's coat to a heavy piece of bullock's hide that was hanging at his back.

By this time the cattle were all tied up again, but as the people could not find their nuts they sat round the fire and began to tell stories.

'I will crack a nut,' said the Shifty Lad.

'You shall not,' cried the Black Gallows Bird; 'they will hear you.'

'I don't care,' answered the Shifty Lad. 'I never spent Hallowe'en yet without cracking a nut'; and he cracked one.

'Some one is cracking nuts up there,' said one of the merry-makers in the farmhouse. 'Come quickly, and we will see who it is.'

He spoke loudly, and the Black Gallows Bird heard, and ran out of the loft, dragging the big leather hide after him which the Shifty Lad had sewed to his coat.

'He is stealing my hide!' shouted the farmer, and they all darted after him; but he was too swift for them, and at last he managed to tear the hide from his coat, and then he flew like a hare till he reached his old hiding-place. But all this took a long time, and meanwhile the Shifty Lad got down from the loft, and searched the house till he found the chest with the gold and silver in it, concealed behind a load of straw and covered with loaves of bread and a great cheese. The Shifty Lad slung the money bags round his shoulders and took the bread and the cheese under his arm, then set out quietly for the Black Rogue's house.

'Here you are at last, you villain!' cried his master in great wrath. 'But I will be revenged on you.'

'It is all right,' replied the Shifty Lad calmly. 'I have brought what you wanted'; and he laid the things he was carrying down on the ground.

'Ah! you are the better thief,' said the Black Rogue's wife; and the Black Rogue added:

'Yes, it is you who are the clever boy'; and they divided the spoil, and the Black Gallows Bird had one half and the Shifty Lad the other half.

A few weeks after that the Black Gallows Bird had news of a wedding that was to be held near the town; and the bridegroom had many friends and everybody sent him a present. Now a rich farmer who lived up near the moor thought that nothing was so useful to a young couple when they first began to keep house as a fine fat sheep, so he bade his shepherd go off to the mountain where the flock were feeding, and bring him back the best he could find. And the shepherd chose out the largest and fattest of the sheep and the one with the whitest fleece; then he tied its feet together and put it across his shoulder, for he had a long way to go.

That day the Shifty Lad happened to be wandering over the moor, when he saw the man with the sheep on his shoulder walking along the road which led past the Black Rogue's house. The sheep was heavy and the man was in no hurry, so he came slowly and the boy knew that he himself could easily get back to his master before the shepherd was even in sight.

'I will wager,' he cried, as he pushed quickly through the bushes which hid the cabin—'I will wager that I will steal the sheep from the man that is coming before he passes here.'

'Will you indeed?' said the Gallows Bird. 'I will wager you a hundred silver pieces that you can do nothing of the sort.'

'Well, I will try it, anyway,' replied the boy, and disappeared in the bushes. He ran fast till he entered a wood through which the shepherd must go, and then he stopped, and taking off one of his shoes smeared it with mud and set it in the path. When this was done he slipped behind a rock and waited.

Very soon the man came up, and, seeing the shoe lying there, he stopped and looked at it.

'It is a good shoe,' he said to himself, 'but very dirty. Still, if I had the fellow, I would be at the trouble of cleaning it'; so he threw the shoe down again and went on.

The Shifty Lad smiled as he heard him, and, picking up the shoe, he crept round by a short way and laid the other shoe on the path. A few minutes after the shepherd arrived, and beheld the second shoe lying on the path.

'Why, that is the fellow of the dirty shoe!' he exclaimed when he saw it. 'I will go back and pick up the other one, and then I shall have a pair of good shoes,' and he put the sheep on the grass and returned to fetch the shoe. Then the Shifty Lad put on his shoes, and, picking up the sheep, carried it home. And the Black Rogue paid him the hundred marks of his wager.

When the shepherd reached the farmhouse that night he told his tale to his master, who scolded him for being stupid and careless, and bade him go the next day to the mountain and fetch him a kid, and he would send that as a wedding gift. But the Shifty Lad was on the lookout, and hid himself in the wood, and the moment the man drew near with the kid on his shoulders began to bleat like a sheep, and no one, not even the sheep's own mother, could have told the difference.

'Why, it must have got its feet loose, and have strayed after all,' thought the man; and he put the kid on the grass and hurried off in the direction of the bleating. Then the boy ran back and picked up the kid, and took it to the Black Gallows Bird.

The shepherd could hardly believe his eyes when he returned from seeking the sheep and found that the kid had vanished. He was afraid to go home and tell the same tale that he had told yesterday; so he searched the wood through and through till night was nearly come. Then he felt that there was no help for it, and he must go home and confess to his master.

Of course, the farmer was very angry at this second misfortune; but this time he told him to drive one of the big bulls from the mountain, and warned him that if he lost that he would lose his place also. Again the Shifty Lad, who was on the watch, perceived him pass by, and when he saw the man returning with the great bull he cried to the Black Rogue:

'Be quick and come into the wood, and we will try and get the bull also.'

'But how can we do that?' asked the Black Rogue.

'Oh, quite easily! You hide yourself out there and baa like a sheep, and I will go in the other direction and bleat like a kid. It will be all right, I assure you.'

The shepherd was walking slowly, driving the bull before him, when he suddenly heard a loud baa amongst the bushes far away on one side of the path, and a feeble bleat answering it from the other side.

'Why, it must be the sheep and the kid that I lost,' said he. 'Yes, surely it must'; and tying the bull hastily to a tree, he went off after the sheep and the kid, and searched the wood till he was tired. Of course by the time he came back the two thieves had driven the bull home and killed him for meat, so the man was obliged to go to his master and confess that he had been tricked again.

After this the Black Rogue and the Shifty Lad grew bolder and bolder, and stole great quantities of cattle and sold them and grew quite rich. One day they were returning from the market with a large sum of money in their pockets when they passed a gallows erected on the top of a hill.

'Let us stop and look at that gallows,' exclaimed the Shifty Lad. 'I have never seen one so close before. Yet some say that it is the end of all thieves.'

There was no one in sight, and they carefully examined every part of it.

'I wonder how it feels to be hung,' said the Shifty Lad. 'I should like to know, in case they ever catch me. I'll try first, and then you can do so.'

As he spoke he fastened the loose cord about his neck, and when it was quite secure he told the Black Rogue to take the other end of the rope and draw him up from the ground.

'When I am tired of it I will shake my legs, and then you must let me down,' said he.

The Black Rogue drew up the rope, but in half a minute the Shifty Lad's legs began to shake, and he quickly let it down again.

'You can't imagine what a funny feeling hanging gives you,' murmured the Shifty Lad, who looked rather purple in the face and spoke in an odd voice. 'I don't think you have ever tried it, or you wouldn't have let me go up first. Why, it is the pleasantest thing, I have ever done. I was shaking my legs from sheer delight, and if you had been there you would have shaken your legs too.'

'Well, let me try, if it is so nice,' answered the Black Rogue. 'But be sure you tie the knot securely, for I don't want to fall down and break my neck.'

'Oh, I will see to that!' replied the Shifty Lad. 'When you are tired, just whistle, and I'll let you down.'

So the Black Rogue was drawn up, and as soon as he was as high as the rope would allow him to go the Shifty Lad called to him:

'Don't forget to whistle when you want to come down; but if you are enjoying yourself as I did, shake your legs.'

And in a moment the Black Rogue's legs began to shake and to kick, and the Shifty Lad stood below, watching him and laughing heartily.

'Oh, how funny you are! If you could only see yourself! Oh, you are funny! But when you have had enough, whistle and you shall be let down'; and he rocked again with laughter.

But no whistle came, and soon the legs ceased to shake and to kick, for the Black Gallows Bird was dead, as the Shifty Lad intended he should be.

Then he went home to the Black Rogue's wife, and told her that her husband was dead, and that he was ready to marry her if she liked. But the woman had been fond of the Black Rogue, thief though he was, and she shrank from the Shifty Lad in horror, and set the people after him, and he had to fly to another part of the country where none knew of his doings.

Perhaps if the Shifty Lad's mother knew anything of all this, she may have thought that by this time her son might be tired of stealing, and ready to try some honest trade. But in reality he loved the tricks and danger, and life would have seemed very dull without them. So he went on just as before, and made friends whom he taught to be as wicked as himself, till they took to robbing the king's storehouses, and by the advice of the Wise Man the king sent out soldiers to catch the band of thieves.

For a long while they tried in vain to lay hands on them. The Shifty Lad was too clever for them all, and if they laid traps he laid better ones. At last one night he stole upon some soldiers while they were asleep in a barn and killed them, and persuaded the villagers that if they did not kill the other soldiers before morning they would certainly be killed themselves. Thus it happened that when the sun rose not a single soldier was alive in the village.

Of course this news soon reached the king's ears, and he was very angry, and summoned the Wise Man to take counsel with him. And this was the counsel of the Wise Man—that he should invite all the people in the countryside to a ball, and among them the bold and impudent thief would be sure to come, and would be sure to ask the king's daughter to dance with him.

'Your counsel is good,' said the king, who made his feast and prepared for his ball; and all the people of the countryside were present, and the Shifty Lad came with them.

When everyone had eaten and drunk as much as they wanted they went into the ballroom. There was a great throng, and while they were pressing through the doorway the Wise Man, who had a bottle of black ointment hidden in his robes, placed a tiny dot on the cheek of the Shifty Lad near his ear. The Shifty Lad felt nothing, but as he approached the king's daughter to ask her to be his partner he caught sight of the black dot in a silver mirror. Instantly he guessed who had put it there and why, but he said nothing, and danced so beautifully that the princess was quite delighted with him. At the end of the dance he bowed low to his partner and left her, to mingle with the crowd that was filling the doorway. As he passed the Wise Man he contrived not only to steal the bottle, but to place two black dots on his face, and one on the faces of twenty other men. Then he slipped the bottle back in the Wise Man's robe.

By and bye he went up to the king's daughter again, and begged for the honour of another dance. She consented, and while he was stooping to tie the ribbons on his shoe she took out from her pocket another bottle, which the Wizard had given her, and put a black dot on his cheek. But she was not as skilful as the Wise Man, and the Shifty Lad felt the touch of her fingers; so as soon as the dance was over he contrived to place a second black dot on the faces of the twenty men and two more on the Wizard, after which he slipped the bottle into her pocket.

At length the ball came to an end, and then the king ordered all the doors to be shut, and search made for a man with two black dots on his cheek. The chamberlain went among the guests, and soon found such a man, but just as he was going to arrest him and bring him before the king his eye fell on another with the same mark, and another, and another, till he had counted twenty—besides the Wise Man—on whose face were found spots.

Not knowing what to do, the chamberlain hurried back with his tale to the king, who immediately sent for the Wise Man, and then for his daughter.

'The thief must have stolen your bottle,' said the king to the Wizard.

'No, my lord, it is here,' answered the Wise Man, holding it out.

'Then he must have got yours,' he cried, turning to his daughter.

'Indeed, father, it is safe in my pocket,' replied she, taking it out as she spoke; and they all three looked at each other and remained silent.

'Well,' said the king at last, 'the man who has done this is cleverer than most men, and if he will make himself known to me he shall marry the princess and govern half my kingdom while I am alive, and the whole of it when I am dead. Go and announce this in the ballroom,' he added to an attendant, 'and bring the fellow hither.'

So the attendant went into the ballroom and did as the king had bidden him, when, to his surprise, not one man, but twenty, stepped forward, all with black dots on their faces.

'I am the person you want,' they all exclaimed at once, and the attendant, as much bewildered as the chamberlain had been, desired them to follow him into the king's presence.

But the question was too difficult for the king to decide, so he called together his council. For hours they talked, but to no purpose, and in the end they hit upon a plan which they might just as well have thought of at the beginning.

And this was the plan. A child was to be brought to the palace, and next the king's daughter would give her an apple. Then the child was to take the apple and be led into a room where the twenty men with the black dots were sitting in a ring. And to whomsoever the child gave the apple, that man should marry the king's daughter.

'Of course,' said the king, 'it may not be the right man, after all, but then again it may be. Anyhow, it is the best we can do.'

The princess herself led the child into the room where the twenty men were now seated. She stood in the centre of the ring for a moment, looking at one man after another, and then held out the apple to the Shifty Lad, who was twisting a shaving of wood round his finger, and had the mouthpiece of a bagpipe hanging from his neck.

'You ought not to have anything which the others have not got,' said the chamberlain, who had accompanied the princess; and he bade the child stand outside for a minute, while he took away the shaving and the mouthpiece, and made the Shifty Lad change his place. Then he called the child in, but the little girl knew him again, and went straight up to him with the apple.

'This is the man whom the child has twice chosen,' said the chamberlain, signing to the Shifty Lad to kneel before the king. 'It was all quite fair; we tried it twice over.' In this way the Shifty Lad won the king's daughter, and they were married the next day.

A few days later the bride and bridegroom were taking a walk together, and the path led down to the river, and over the river was a bridge.

'And what bridge may this be?' asked the Shifty Lad; and the princess told him that this was the bridge of Dublin.

'Is it indeed?' cried he. 'Well, now, many is the time that my mother has said, when I played her a trick that my end would be that I should hang on the bridge of Dublin.'

'Oh, if you want to fulfil her prophecies,' laughed the princess, 'you have only to let me tie my handkerchief round your ankle, and I will hold you as you hang over the wall of the bridge.'

'That would be fine fun,' said he; 'but you are not strong enough to hold me up.'

'Oh yes, I am,' said the princess; 'just try.' So at last he let her bind the handkerchief round his ankle and hang him over the wall, and they both laughed and jested at the strength of the princess.

'Now pull me up again,' called he; but as he spoke a great cry arose that the palace was burning. The princess turned round with a start, and let go her handkerchief, and the Shifty Lad fell, and struck his head on a stone, and died in an instant.

So his mother's prophecy had come true, after all.

West Highland Tales.

THE FALSE PRINCE AND THE TRUE

The king had just awakened from his midday sleep, for it was summer, and everyone rose early and rested from twelve to three, as they do in hot countries. He had dressed himself in cool white clothes, and was passing through the hall on his way to the council chamber, when a number of young nobles suddenly appeared before him, and one amongst them stepped forward and spoke.

'Sire, this morning we were all playing tennis in the court, the prince and this gentleman with the rest, when there broke out some dispute about the game. The prince lost his temper, and said many insulting things to the other, who was playing against him, till at length the gentleman whom you see there struck him violently in the face, so that the blood ran from his mouth and nose. We were all so horrified at the sight, that we should most likely have killed the man then and there, for daring to lay hands on the prince, had not his grandfather the duke stepped between and commanded us to lay the affair before you.'

The king had listened attentively to the story, and when it was ended he said:

'I suppose the prince had no arms with him, or else he would have used them?'

'Yes, sire, he had arms; he always carries a dagger in his belt. But when he saw the blood pouring from his face, he went to a corner of the court and began to cry, which was the strangest thing of all.'

On hearing this the king walked to the window and stood for a few minutes with his back to the room, where the company of young men remained silent. Then he came back, his face white and stern.

'I tell you,' he said, 'and it is the solemn truth, that I would rather you had told me that the prince was dead, though he is my only son, than know that he would suffer such an injury without attempting to avenge it. As for the gentleman who struck him, he will be brought before my judges, and will plead his own cause, but I hardly think he can escape death, after having assaulted the heir to the crown.'

The young man raised his head as if to reply, but the king would not listen, and commanded his guards to put him under arrest, adding, however, that if the prisoner wished to visit any part of the city, he was at liberty to do so properly guarded, and in fifteen days he would be brought to trial before the highest judges in the land.

The young man left the king's presence, surrounded by soldiers, and accompanied by many of his friends, for he was a great favourite. By their advice he spent the fourteen days that remained to him going about to seek counsel from wise men of all sorts, as to how he might escape death, but no one could help him, for none could find any excuse for the blow he had given to the prince.

The fourteenth night had come, and in despair the prisoner went out to take his last walk through the city. He wandered on hardly knowing where he went, and his face was so white and desperate that none of his companions dared speak to him. The sad little procession had passed some hours in this manner, when, near the gate of a monastery, an old woman appeared round a corner, and suddenly stood before the young man. She was bent almost double, and was so wizened and wrinkled that she looked at least ninety; only her eyes were bright and quick as those of a girl.

'Sir,' she said, 'I know all that has happened to you, and how you are seeking if in any wise you can save your life. But there is none that can answer that question save only I myself, if you will promise to do all I ask.'

At her words the prisoner felt as if a load had all at once been rolled off him.

'Oh, save me, and I will do anything!' he cried. 'It is so hard to leave the world and go out into the darkness.'

'You will not need to do that,' answered the old woman, 'you have only got to marry me, and you will soon be free.'

'Marry you?' exclaimed he, 'but—but—I am not yet twenty, and you—why, you must be a hundred at least! Oh, no, it is quite impossible.'

He spoke without thinking, but the flash of anger which darted from her eyes made him feel uncomfortable. However, all she said was:

'As you like; since you reject me, let the crows have you,' and hurried away down the street.

Left to himself, the full horror of his coming death rushed upon the young man, and he understood that he had thrown away his sole chance of life. Well, if he must, he must, he said to himself, and began to run as fast as he could after the old crone, who by this time could scarcely be seen, even in the moonlight. Who would have believed a woman past ninety could walk with such speed? It seemed more like flying! But at length, breathless and exhausted, he reached her side, and gasped out:

'Madam, pardon me for my hasty words just now; I was wrong, and will thankfully accept the offer you made me.'