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The Pink Fairy Book E-Book

Andrew Lang

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

Beschreibung

With "The Pink Fairy Book" Mr. Lang has exhausted the primary colors without coming to an end of his store of fairytales. This time he has gone further afield, though without finding much that is new. Japan yields a few; and other sources which we do not remember in the earlier books have been drawn upon. Generally, however, it is from the folklore of European nations, and from that most admirable of story-tellers, Hans Christian Andersen, that we get the best things. It is true that, as Mr. Lang remarks, Andersen " wants to ' point a moral' as well as "adorn a tale," whereas the true fairy-story should not have any more intelligible moral than that it is a great virtue to be the youngest son of three, and a still greater to be the youngest of seven. Not the less, however, is it true that, on the whole, these stories are on the side of goodness and kindness. It is difficult to make a choice among these good things. But perhaps, " How the Hermit Helped to Win the King's Daughter," is as good as any. Among the few outlandish stories, "Wischimataro and the Turtle " may be mentioned. This book is fully illustrated and annotated with a rare extensive biographical sketch of the author, Andrew Lang, written by Sir Edmund Gosse, CB, a contemporary poet and writer.

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Leseprobe

The Pink Fairy Book

Andrew Lang

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 PINK FAIRY BOOK

Preface

All people in the world tell nursery tales to their children. The Japanese tell them, the Chinese, the Red Indians by their camp fires, the Eskimo in their dark dirty winter huts. The Kaffirs of South Africa tell them, and the modern Greeks, just as the old Egyptians did, when Moses had not been many years rescued out of the bulrushes. The Germans, French, Spanish, Italians, Danes, Highlanders tell them also, and the stories are apt to be like each other everywhere. A child who has read the Blue and Red and Yellow Fairy Books will find some old friends with new faces in the Pink Fairy Book, if he examines and compares. But the Japanese tales will probably be new to the young student; the Tanuki is a creature whose acquaintance he may not have made before. He may remark that Andersen wants to 'point a moral,' as well as to 'adorn a tale; ' that he is trying to make fun of the follies of mankind, as they exist in civilised countries. The Danish story of 'The Princess in the Chest' need not be read to a very nervous child, as it rather borders on a ghost story. It has been altered, and is really much more horrid in the language of the Danes, who, as history tells us, were not a nervous or timid people. I am quite sure that this story is not true. The other Danish and Swedish stories are not alarming. They are translated by Mr. W. A. Craigie. Those from the Sicilian (through the German) are translated, like the African tales (through the French) and the Catalan tales, and the Japanese stories (the latter through the German), and an old French story, by Mrs. Lang. Miss Alma Alleyne did the stories from Andersen, out of the German. Mr. Ford, as usual, has drawn the monsters and mermaids, the princes and giants, and the beautiful princesses, who, the Editor thinks, are, if possible, prettier than ever. Here, then, are fancies brought from all quarters: we see that black, white, and yellow peoples are fond of just the same kinds of adventures. Courage, youth, beauty, kindness, have many trials, but they always win the battle; while witches, giants, unfriendly cruel people, are on the losing hand. So it ought to be, and so, on the whole, it is and will be; and that is all the moral of fairy tales. We cannot all be young, alas! and pretty, and strong; but nothing prevents us from being kind, and no kind man, woman, or beast or bird, ever comes to anything but good in these oldest fables of the world. So far all the tales are true, and no further.

The Cat's Elopement

[From the Japanische Marchen und Sagen, von David Brauns (Leipzig: Wilhelm Friedrich).]

Once upon a time there lived a cat of marvellous beauty, with a skin as soft and shining as silk, and wise green eyes, that could see even in the dark. His name was Gon, and he belonged to a music teacher, who was so fond and proud of him that he would not have parted with him for anything in the world.

Now not far from the music master's house there dwelt a lady who possessed a most lovely little pussy cat called Koma. She was such a little dear altogether, and blinked her eyes so daintily, and ate her supper so tidily, and when she had finished she licked her pink nose so delicately with her little tongue, that her mistress was never tired of saying, 'Koma, Koma, what should I do without you?'

Well, it happened one day that these two, when out for an evening stroll, met under a cherry tree, and in one moment fell madly in love with each other. Gon had long felt that it was time for him to find a wife, for all the ladies in the neighbourhood paid him so much attention that it made him quite shy; but he was not easy to please, and did not care about any of them. Now, before he had time to think, Cupid had entangled him in his net, and he was filled with love towards Koma. She fully returned his passion, but, like a woman, she saw the difficulties in the way, and consulted sadly with Gon as to the means of overcoming them. Gon entreated his master to set matters right by buying Koma, but her mistress would not part from her. Then the music master was asked to sell Gon to the lady, but he declined to listen to any such suggestion, so everything remained as before.

At length the love of the couple grew to such a pitch that they determined to please themselves, and to seek their fortunes together. So one moonlight night they stole away, and ventured out into an unknown world. All day long they marched bravely on through the sunshine, till they had left their homes far behind them, and towards evening they found themselves in a large park. The wanderers by this time were very hot and tired, and the grass looked very soft and inviting, and the trees cast cool deep shadows, when suddenly an ogre appeared in this Paradise, in the shape of a big, big dog! He came springing towards them showing all his teeth, and Koma shrieked, and rushed up a cherry tree. Gon, however, stood his ground boldly, and prepared to give battle, for he felt that Koma's eyes were upon him, and that he must not run away. But, alas! his courage would have availed him nothing had his enemy once touched him, for he was large and powerful, and very fierce. From her perch in the tree Koma saw it all, and screamed with all her might, hoping that some one would hear, and come to help. Luckily a servant of the princess to whom the park belonged was walking by, and he drove off the dog, and picking up the trembling Gon in his arms, carried him to his mistress.

So poor little Koma was left alone, while Gon was borne away full of trouble, not in the least knowing what to do. Even the attention paid him by the princess, who was delighted with his beauty and pretty ways, did not console him, but there was no use in fighting against fate, and he could only wait and see what would turn up.

The princess, Gon's new mistress, was so good and kind that everybody loved her, and she would have led a happy life, had it not been for a serpent who had fallen in love with her, and was constantly annoying her by his presence. Her servants had orders to drive him away as often as he appeared; but as they were careless, and the serpent very sly, it sometimes happened that he was able to slip past them, and to frighten the princess by appearing before her. One day she was seated in her room, playing on her favourite musical instrument, when she felt something gliding up her sash, and saw her enemy making his way to kiss her cheek. She shrieked and threw herself backwards, and Gon, who had been curled up on a stool at her feet, understood her terror, and with one bound seized the snake by his neck. He gave him one bite and one shake, and flung him on the ground, where he lay, never to worry the princess any more. Then she took Gon in her arms, and praised and caressed him, and saw that he had the nicest bits to eat, and the softest mats to lie on; and he would have had nothing in the world to wish for if only he could have seen Koma again.

Time passed on, and one morning Gon lay before the house door, basking in the sun. He looked lazily at the world stretched out before him, and saw in the distance a big ruffian of a cat teasing and ill-treating quite a little one. He jumped up, full of rage, and chased away the big cat, and then he turned to comfort the little one, when his heart nearly burst with joy to find that it was Koma. At first Koma did not know him again, he had grown so large and stately; but when it dawned upon her who it was, her happiness knew no bounds. And they rubbed their heads and their noses again and again, while their purring might have been heard a mile off.

Paw in paw they appeared before the princess, and told her the story of their life and its sorrows. The princess wept for sympathy, and promised that they should never more be parted, but should live with her to the end of their days. By-and-bye the princess herself got married, and brought a prince to dwell in the palace in the park. And she told him all about her two cats, and how brave Gon had been, and how he had delivered her from her enemy the serpent.

And when the prince heard, he swore they should never leave them, but should go with the princess wherever she went. So it all fell out as the princess wished; and Gon and Koma had many children, and so had the princess, and they all played together, and were friends to the end of their lives.

How the Dragon Was Tricked

From Griechtsche und Albanesische Marchen, von J. G. von Hahn. (Leipzig: Engelmann. 1864.)

Once upon a time there lived a man who had two sons but they did not get on at all well together, for the younger was much handsomer than his elder brother who was very jealous of him. When they grew older, things became worse and worse, and at last one day as they were walking through a wood the elder youth seized hold of the other, tied him to a tree, and went on his way hoping that the boy might starve to death.

However, it happened that an old and humpbacked shepherd passed the tree with his flock, and seeing the prisoner, he stopped and said to him, 'Tell me, my son why are you tied to that tree?'

'Because I was so crooked,' answered the young man; 'but it has quite cured me, and now my back is as straight as can be.'

'I wish you would bind me to a tree,' exclaimed the shepherd, 'so that my back would get straight.'

'With all the pleasure in life,' replied the youth. 'If you will loosen these cords I will tie you up with them as firmly as I can.'

This was soon done, and then the young man drove off the sheep, leaving their real shepherd to repent of his folly; and before he had gone very far he met with a horse boy and a driver of oxen, and he persuaded them to turn with him and to seek for adventures.

By these and many other tricks he soon became so celebrated that his fame reached the king's ears, and his majesty was filled with curiosity to see the man who had managed to outwit everybody. So he commanded his guards to capture the young man and bring him before him.

And when the young man stood before the king, the king spoke to him and said, 'By your tricks and the pranks that you have played on other people, you have, in the eye of the law, forfeited your life. But on one condition I will spare you, and that is, if you will bring me the flying horse that belongs to the great dragon. Fail in this, and you shall be hewn in a thousand pieces.'

'If that is all,' said the youth, 'you shall soon have it.'

So he went out and made his way straight to the stable where the flying horse was tethered. He stretched his hand cautiously out to seize the bridle, when the horse suddenly began to neigh as loud as he could. Now the room in which the dragon slept was just above the stable, and at the sound of the neighing he woke and cried to the horse, 'What is the matter, my treasure? is anything hurting you?' After waiting a little while the young man tried again to loose the horse, but a second time it neighed so loudly that the dragon woke up in a hurry and called out to know why the horse was making such a noise. But when the same thing happened the third time, the dragon lost his temper, and went down into the stable and took a whip and gave the horse a good beating. This offended the horse and made him angry, and when the young man stretched out his hand to untie his head, he made no further fuss, but suffered himself to be led quietly away. Once clear of the stable the young man sprang on his back and galloped off, calling over his shoulder, 'Hi! dragon! dragon! if anyone asks you what has become of your horse, you can say that I have got him!'

But the king said, 'The flying horse is all very well, but I want something more. You must bring me the covering with the little bells that lies on the bed of the dragon, or I will have you hewn into a thousand pieces.'

'Is that all?' answered the youth. 'That is easily done.'

And when night came he went away to the dragon's house and climbed up on to the roof. Then he opened a little window in the roof and let down the chain from which the kettle usually hung, and tried to hook the bed covering and to draw it up. But the little bells all began to ring, and the dragon woke and said to his wife, 'Wife, you have pulled off all the bed-clothes!' and drew the covering towards him, pulling, as he did so, the young man into the room. Then the dragon flung himself on the youth and bound him fast with cords saying as he tied the last knot, 'To-morrow when I go to church you must stay at home and kill him and cook him, and when I get back we will eat him together.'

So the following morning the dragoness took hold of the young man and reached down from the shelf a sharp knife with which to kill him. But as she untied the cords the better to get hold of him, the prisoner caught her by the legs, threw her to the ground, seized her and speedily cut her throat, just as she had been about to do for him, and put her body in the oven. Then he snatched up the covering and carried it to the king.

The king was seated on his throne when the youth appeared before him and spread out the covering with a deep bow. 'That is not enough,' said his majesty; 'you must bring me the dragon himself, or I will have you hewn into a thousand pieces.'

'It shall be done,' answered the youth; 'but you must give me two years to manage it, for my beard must grow so that he may not know me.'

'So be it,' said the king.

And the first thing the young man did when his beard was grown was to take the road to the dragon's house and on the way he met a beggar, whom he persuaded to change clothes with him, and in the beggar's garments he went fearlessly forth to the dragon.

He found his enemy before his house, very busy making a box, and addressed him politely, 'Good morning, your worship. Have you a morsel of bread?'

'You must wait,' replied the dragon, 'till I have finished my box, and then I will see if I can find one.'

'What will you do with the box when it is made?' inquired the beggar.

'It is for the young man who killed my wife, and stole my flying horse and my bed covering,' said the dragon.

'He deserves nothing better,' answered the beggar, 'for it was an ill deed. Still that box is too small for him, for he is a big man.'

'You are wrong,' said the dragon. 'The box is large enough even for me.'

'Well, the rogue is nearly as tall as you,' replied the beggar, 'and, of course, if you can get in, he can. But I am sure you would find it a tight fit.'

'No, there is plenty of room,' said the dragon, tucking himself carefully inside.

But no sooner was he well in, than the young man clapped on the lid and called out, 'Now press hard, just to see if he will be able to get out.'

The dragon pressed as hard as he could, but the lid never moved.

'It is all right,' he cried; 'now you can open it.'

But instead of opening it, the young man drove in long nails to make it tighter still; then he took the box on his back and brought it to the king. And when the king heard that the dragon was inside, he was so excited that he would not wait one moment, but broke the lock and lifted the lid just a little way to make sure he was really there. He was very careful not to leave enough space for the dragon to jump out, but unluckily there was just room for his great mouth, and with one snap the king vanished down his wide red jaws. Then the young man married the king's daughter and ruled over the land, but what he did with the dragon nobody knows.

The Goblin and the Grocer

Translated from the German of Hans Andersen.

There was once a hard-working student who lived in an attic, and he had nothing in the world of his own. There was also a hard-working grocer who lived on the first floor, and he had the whole house for his own.

The Goblin belonged to him, for every Christmas Eve there was waiting for him at the grocer's a dish of jam with a large lump of butter in the middle.

The grocer could afford this, so the Goblin stayed in the grocer's shop; and this teaches us a good deal. One evening the student came in by the back door to buy a candle and some cheese; he had no one to send, so he came himself.

He got what he wanted, paid for it, and nodded a good evening to the grocer and his wife (she was a woman who could do more than nod; she could talk).

When the student had said good night he suddenly stood still, reading the sheet of paper in which the cheese had been wrapped.

It was a leaf torn out of an old book—a book of poetry

'There's more of that over there!' said the grocer 'I gave an old woman some coffee for the book. If you like to give me twopence you can have the rest.'

'Yes,' said the student, 'give me the book instead of the cheese. I can eat my bread without cheese. It would be a shame to leave the book to be torn up. You are a clever and practical man, but about poetry you understand as much as that old tub over there!'

And that sounded rude as far as the tub was concerned, but the grocer laughed, and so did the student. It was only said in fun.

But the Goblin was angry that anyone should dare to say such a thing to a grocer who owned the house and sold the best butter.

When it was night and the shop was shut, and everyone was in bed except the student, the Goblin went upstairs and took the grocer's wife's tongue. She did not use it when she was asleep, and on whatever object in the room he put it that thing began to speak, and spoke out its thoughts and feelings just as well as the lady to whom it belonged. But only one thing at a time could use it, and that was a good thing, or they would have all spoken together.

The Goblin laid the tongue on the tub in which were the old newspapers.

'Is it true,' he asked, ' that you know nothing about poetry?'

'Certainly not!' answered the tub. 'Poetry is something that is in the papers, and that is frequently cut out. I have a great deal more in me than the student has, and yet I am only a small tub in the grocer's shop.'

And the Goblin put the tongue on the coffee-mill, and how it began to grind! He put it on the butter-cask, and on the till, and all were of the same opinion as the waste-paper tub. and one must believe the majority.

'Now I will tell the student!' and with these words he crept softly up the stairs to the attic where the student lived.

There was a light burning, and the Goblin peeped through the key-hole and saw that he was reading the torn book that he had bought in the shop.

But how bright it was! Out of the book shot a streak of light which grew into a large tree and spread its branches far above the student. Every leaf was alive, and every flower was a beautiful girl's head, some with dark and shining eyes, others with wonderful blue ones. Every fruit was a glittering star, and there was a marvellous music in the student's room. The little Goblin had never even dreamt of such a splendid sight, much less seen it.

He stood on tiptoe gazing and gazing, till the candle in the attic was put out; the student had blown it out and had gone to bed, but the Goblin remained standing outside listening to the music, which very softly and sweetly was now singing the student a lullaby.

'I have never seen anything like this!' said the Goblin. 'I never expected this! I must stay with the student.'

The little fellow thought it over, for he was a sensible Goblin. Then he sighed, 'The student has no jam!'

And on that he went down to the grocer again. And it was a good thing that he did go back, for the tub had nearly worn out the tongue. It had read everything that was inside it, on the one side, and was just going to turn itself round and read from the other side when the Goblin came in and returned the tongue to its owner.

But the whole shop, from the till down to the shavings, from that night changed their opinion of the tub, and they looked up to it, and had such faith in it that they were under the impression that when the grocer read the art and drama critiques out of the paper in the evenings, it all came from the tub.

But the Goblin could no longer sit quietly listening to the wisdom and intellect downstairs. No, as soon as the light shone in the evening from the attic it seemed to him as though its beams were strong ropes dragging him up, and he had to go and peep through the key-hole. There he felt the sort of feeling we have looking at the great rolling sea in a storm, and he burst into tears. He could not himself say why he wept, but in spite of his tears he felt quite happy. How beautiful it must be to sit under that tree with the student, but that he could not do; he had to content himself with the key-hole and be happy there!

There he stood out on the cold landing, the autumn wind blowing through the cracks of the floor. It was cold—very cold, but he first found it out when the light in the attic was put out and the music in the wood died away. Ah! then it froze him, and he crept down again into his warm corner; there it was comfortable and cosy.

When Christmas came, and with it the jam with the large lump of butter, ah! then the grocer was first with him.

But in the middle of the night the Goblin awoke, hearing a great noise and knocking against the shutters—people hammering from outside. The watchman was blowing his horn: a great fire had broken out; the whole town was in flames.

Was it in the house? or was it at a neighbour's? Where was it?

The alarm increased. The grocer's wife was so terrified that she took her gold earrings out of her ears and put them in her pocket in order to save something. The grocer seized his account books. and the maid her black silk dress.

Everyone wanted to save his most valuable possession; so did the Goblin, and in a few leaps he was up the stairs and in the student's room. He was standing quietly by the open window looking at the fire that was burning in the neighbour's house just opposite. The Goblin seized the book lying on the table, put it in his red cap, and clasped it with both hands. The best treasure in the house was saved, and he climbed out on to the roof with it—on to the chimney. There he sat, lighted up by the flames from the burning house opposite, both hands holding tightly on his red cap, in which lay the treasure; and now he knew what his heart really valued most—to whom he really belonged. But when the fire was put out, and the Goblin thought it over—then—

'I will divide myself between the two,' he said. 'I cannot quite give up the grocer, because of the jam!'

And it is just the same with us. We also cannot quite give up the grocer—because of the jam.

The House in the Wood

From the German of Grimm.

A poor woodcutter lived with his wife and three daughters in a little hut on the borders of a great forest.

One morning as he was going to his work, he said to his wife, 'Let our eldest daughter bring me my lunch into the wood; and so that she shall not lose her way, I will take a bag of millet with me, and sprinkle the seed on the path.'

When the sun had risen high over the forest, the girl set out with a basin of soup. But the field and wood sparrows, the larks and finches, blackbirds and green finches had picked up the millet long ago, and the girl could not find her way.

She went on and on, till the sun set and night came on. The trees rustled in the darkness, the owls hooted, and she began to be very much frightened. Then she saw in tile distance a light that twinkled between the trees. 'There must be people living yonder,' she thought, 'who will take me in for the night,' and she began walking towards it.

Not long afterwards she came to a house with lights in the windows.

She knocked at the door, and a gruff voice called, 'Come in!'

The girl stepped into the dark entrance, and tapped at the door of the room.

'Just walk in,' cried the voice, and when she opened the door there sat an old gray-haired man at the table. His face was resting on his hands, and his white beard flowed over the table almost down to the ground.

By the stove lay three beasts, a hen, a cock, and a brindled cow. The girl told the old man her story, and asked for a night's lodging.

The man said:

Pretty cock,

Pretty hen,

And you, pretty brindled cow,

What do you say now?

'Duks,' answered the beasts; and that must have meant, 'We are quite willing,' for the old man went on, 'Here is abundance; go into the back kitchen and cook us a supper.'

The girl found plenty of everything in the kitchen, and cooked a good meal, but she did not think of the beasts.

She placed the full dishes on the table, sat down opposite the gray-haired man, and ate till her hunger was appeased.

When she was satisfied, she said, 'But now I am so tired, where is a bed in which I can sleep? '

The beasts answered:

You have eaten with him,

You have drunk with him,

Of us you have not thought,

Sleep then as you ought!

Then the old man said, 'Go upstairs, and there you will find a bedroom; shake the bed, and put clean sheets on, and go to sleep.'

The maiden went upstairs, and when she had made the bed, she lay down.

After some time the gray-haired man came, looked at her by the light of his candle, and shook his head. And when he saw that she was sound asleep, he opened a trapdoor and let her fall into the cellar.

The woodcutter came home late in the evening, and reproached his wife for leaving him all day without food.

'No, I did not,' she answered; 'the girl went off with your dinner. She must have lost her way, but will no doubt come back to-morrow.'

But at daybreak the woodcutter started off into the wood, and this time asked his second daughter to bring his food.

'I will take a bag of lentils,' said he; 'they are larger than millet, and the girl will see them better and be sure to find her way.'

At midday the maiden took the food, but the lentils had all gone; as on the previous day, the wood birds had eaten them all.

The maiden wandered about the wood till nightfall, when she came in the same way to the old man's house, and asked for food and a night's lodging.

The man with the white hair again asked the beasts:

Pretty cock,

Pretty hen,

And you, pretty brindled cow,

What do you say now?

The beasts answered, 'Duks,' and everything happened as on the former day.

The girl cooked a good meal, ate and drank with the old man, and did not trouble herself about the animals.

And when she asked for a bed, they replied:

You have eaten with him

You have drunk with him,

Of us you have not thought,

Now sleep as you ought!

And when she was asleep, the old man shook his head over her, and let her fall into the cellar.

On the third morning the woodcutter said to his wife, 'Send our youngest child to-day with my dinner. She is always good and obedient, and will keep to the right path, and not wander away like her sisters, idle drones!'

But the mother said, 'Must I lose my dearest child too?'

'Do not fear,' he answered; 'she is too clever and intelligent to lose her way. I will take plenty of peas with me and strew them along; they are even larger than lentils, and will show her the way.'

But when the maiden started off with the basket on her arm, the wood pigeons had eaten up the peas, and she did not know which way to go. She was much distressed, and thought constantly of her poor hungry father and her anxious mother. At last, when it grew dark, she saw the little light, and came to the house in the wood. She asked prettily if she might stay there for the night, and the man with the white beard asked his beasts again:

Pretty cock,

Pretty hen,

And you, pretty brindled cow,

What do you say now?

'Duks,' they said. Then the maiden stepped up to the stove where the animals were lying, and stroked the cock and the hen, and scratched the brindled cow between its horns.

And when at the bidding of the old man she had prepared a good supper, and the dishes were standing on the table, she said, 'Shall I have plenty while the good beasts have nothing? There is food to spare outside; I will attend to them first.'

Then she went out and fetched barley and strewed it before the cock and hen, and brought the cow an armful of sweet-smelling hay.

'Eat that, dear beasts,' she said,' and when you are thirsty you shall have a good drink.'

Then she fetched a bowl of water, and the cock and hen flew on to the edge, put their beaks in, and then held up their heads as birds do when they drink, and the brindled cow also drank her fill. When the beasts were satisfied, the maiden sat down beside the old man at the table and ate what was left for her. Soon the cock and hen began to tuck their heads under their wings, and the brindled cow blinked its eyes, so the maiden said, 'Shall we not go to rest now?'

Pretty cock,

Pretty hen,

And you, pretty brindled cow,

What do you say now?

The animals said, 'Duks:

You have eaten with us,

You have drunk with us,

You have tended us right,

So we wish you good night.'

The maiden therefore went upstairs, made the bed and put on clean sheets and fell asleep. She slept peacefully till midnight, when there was such a noise in the house that she awoke. Everything trembled and shook; the animals sprang up and dashed themselves in terror against the wall; the beams swayed as if they would be torn from their foundations, it seemed as if the stairs were tumbling down, and then the roof fell in with a crash. Then all became still, and as no harm came to the maiden she lay down again and fell asleep. But when she awoke again in broad daylight, what a sight met her eyes! She was lying in a splendid room furnished with royal splendour; the walls were covered with golden flowers on a green ground; the bed was of ivory and the counterpane of velvet, and on a stool near by lay a pair of slippers studded with pearls. The maiden thought she must be dreaming, but in came three servants richly dressed, who asked what were her commands. 'Go,' said the maiden, 'I will get up at once and cook the old man's supper for him, and then I will feed the pretty cock and hen and the brindled cow.'

But the door opened and in came a handsome young man, who said, 'I am a king's son, and was condemned by a wicked witch to live as an old man in this wood with no company but that of my three servants, who were transformed into a cock, a hen, and a brindled cow. The spell could only be broken by the arrival of a maiden who should show herself kind not only to men but to beasts. You are that maiden, and last night at midnight we were freed, and this poor house was again transformed into my royal palace.

As they stood there the king's son told his three servants to go and fetch the maiden's parents to be present at the wedding feast.

'But where are my two sisters?' asked the maid.

'I shut them up in the cellar, but in the morning they shall be led forth into the forest and shall serve a charcoal burner until they have improved, and will never again suffer poor animals to go hungry.'

Uraschimataro and the Turtle

From the Japanische Marchen und Sagen, von David Brauns (Leipzig: Wilhelm Friedrich).

There was once a worthy old couple who lived on the coast, and supported themselves by fishing. They had only one child, a son, who was their pride and joy, and for his sake they were ready to work hard all day long, and never felt tired or discontented with their lot. This son's name was Uraschimataro, which means in Japanese, 'Son of the island,' and he was a fine well-grown youth and a good fisherman, minding neither wind nor weather. Not the bravest sailor in the whole village dared venture so far out to sea as Uraschimataro, and many a time the neighbours used to shake their heads and say to his parents, 'If your son goes on being so rash, one day he will try his luck once too often, and the waves will end by swallowing him up.' But Uraschimataro paid no heed to these remarks, and as he was really very clever in managing a boat, the old people were very seldom anxious about him.

One beautiful bright morning, as he was hauling his well-filled nets into the boat, he saw lying among the fishes a tiny little turtle. He was delighted with his prize, and threw it into a wooden vessel to keep till he got home, when suddenly the turtle found its voice, and tremblingly begged for its life. 'After all,' it said, 'what good can I do you? I am so young and small, and I would so gladly live a little longer. Be merciful and set me free, and I shall know how to prove my gratitude.'

Now Uraschimataro was very good-natured, and besides, he could never bear to say no, so he picked up the turtle, and put it back into the sea.

Years flew by, and every morning Uraschimataro sailed his boat into the deep sea. But one day as he was making for a little bay between some rocks, there arose a fierce whirlwind, which shattered his boat to pieces, and she was sucked under by the waves. Uraschimataro himself very nearly shared the same fate. But he was a powerful swimmer, and struggled hard to reach the shore. Then he saw a large turtle coming towards him, and above the howling of the storm he heard what it said: 'I am the turtle whose life you once saved. I will now pay my debt and show my gratitude. The land is still far distant, and without my help you would never get there. Climb on my back, and I will take you where you will.' Uraschimataro did not wait to be asked twice, and thankfully accepted his friend's help. But scarcely was he seated firmly on the shell, when the turtle proposed that they should not return to the shore at once, but go under the sea, and look at some of the wonders that lay hidden there.

Uraschimataro agreed willingly, and in another moment they were deep, deep down, with fathoms of blue water above their heads. Oh, how quickly they darted through the still, warm sea! The young man held tight, and marvelled where they were going and how long they were to travel, but for three days they rushed on, till at last the turtle stopped before a splendid palace, shining with gold and silver, crystal and precious stones, and decked here and there with branches of pale pink coral and glittering pearls. But if Uraschimataro was astonished at the beauty of the outside, he was struck dumb at the sight of the hall within, which was lighted by the blaze of fish scales.

'Where have you brought me?' he asked his guide in a low voice.

'To the palace of Ringu, the house of the sea god, whose subjects we all are,' answered the turtle. 'I am the first waiting maid of his daughter, the lovely princess Otohime, whom you will shortly see.'