The Red Romance Book E-Book

Andrew Lang

• Herausgeber: Jazzybee Verlag
• Kategorie: Gesellschafts- und Liebesromane
• Sprache: Englisch
• Veröffentlichungsjahr: 2012

Seitenzahl: 521

Beschreibung

The preface of the book gives credit to Mrs.Lang for these beautful stories which she did out of old romances, the editing being the work of Andrew Lang. Which ever one may deserve the "lion's share" of the authorship we welcome this charming collection of tales which are worthy the author from whom we have been accustomed, for many years, to expect the most beautiful of modern fairy tales. There is no danger of being forced to take the editor's advice: if we do not like one story to try another. From the moment we fell under the spell of William and the Werwolf there was not a doubt in our minds that every one of these classic romances must be read in regular order from beginning to end. A book of such rare literary merit, so exquisitely bound and illustrated is a valuable addition to young people's libraries. 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. Contents: Preface How William Of Palermo Was Carried Off By The Werwolf The Disenchantment Of The Werwolf The Slaying Of Hallgerda's Husbands The Death Of Gunnar Njal's Burning The Lady Of Solace Una And The Lion How The Red Cross Knight Slew The Dragon Amys And Amyle The Tale Of The Cid The Knight Of The Sorrowful Countenance The Adventure Of The Two Armies Who Turned Out To Be Flocks Of Sheep The Adventure Of The Bobbing Lights The Helmet Of Mambrino How Don Quixote Was Enchanted While Guarding The Castle Don Quixote's Home-Coming The Meeting Of Huon And Oberon, King Of The Fairies How Oberon Saved Huon Havelok And Goldborough Cupid And Psyche Sir Bevis The Strong Ogier The Dane How The Ass Became A Man Again Guy Of Warwick How Bradamante Conquered The Wizard The Ring Of Bradamante The Fulfilling Of The Prophecy The Knight Of The Sun How The Knight Of The Sun Rescued His Father

Leseprobe

The Red Romance Book

Andrew Lang

Contents:

The Red Romance Book

Andrew Lang (1844-1912)

Preface

How William Of Palermo Was Carried Off By The Werwolf

The Disenchantment Of The Werwolf

The Slaying Of Hallgerda’s Husbands

The Death Of Gunnar

Njal’s Burning

The Lady Of Solace

Una And The Lion

How The Red Cross Knight Slew The Dragon

Amys And Amyle

The Tale Of The Cid

The Knight Of The Sorrowful Countenance

The Adventure Of The Two Armies Who Turned Out To Be Flocks Of Sheep

The Adventure Of The Bobbing Lights

The Helmet Of Mambrino

How Don Quixote Was Enchanted While Guarding The Castle

Don Quixote’s Home-Coming

The Meeting Of Huon And Oberon, King Of The Fairies

How Oberon Saved Huon

Havelok And Goldborough

Cupid And Psyche

Sir Bevis The Strong

Ogier The Dane

How The Ass Became A Man Again

Guy Of Warwick

How Bradamante Conquered The Wizard

The Ring Of Bradamante

The Fulfilling Of The Prophecy

The Knight Of The Sun

How The Knight Of The Sun Rescued His Father

The Red Romance Book, A. Lang

Jazzybee Verlag Jürgen Beck

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ISBN: 9783849609979

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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 Red Romance Book

PREFACE

WHAT ROMANCES ARE

(To Children and Others)

I once read a book about a poor little lonely boy in a great house with a large library. This boy was pale, dull, and moping. Nobody knew what was the matter with him. But somebody tracked him into the library and saw him take a huge thick black book, half as tall as himself, out of a bookcase, and sit down and read it. The name of the book was Polexander. So he sat and sobbed over Polexander, because it was so very dull and so very long. There were 800 pages, and he had only read sixty-seven. But some very stupid grown-up person had told him that he must always begin a book at the beginning, and, if he once began, he must read every word of it, and read nothing else till he had finished every word of it.

The boy saw that he would die of weariness long before he reached the end of Polexander, but he stuck to it like the other boy who stood by the burning deck long after it was ‘time for him to go.’ So Polexander was taken away from him and locked up, and so his life was saved.

Now, in the first place Polexander was a romance, but it was not like the romances in this book, for it was dreadfully long, and mainly about the sorrows of lovers who cannot get married. That could not amuse a small boy. In the second place, every boy should stop reading a book as soon as he finds that he does not like it, just as you are not expected to eat more mutton than you want to eat. Lesson books are another thing; you have to read them, and if you do not you will get into trouble. They are not meant to be amusing, but to teach Latin grammar, or geography, or arithmetic, which are not gay. As to this book of Romances, if you do not like one story, give it up and try another. If you do not like any of them, read something else that you do like.

Now what are romances? They are grown-up people’s fairy tales or story-books, but they are the kind of story-books that grown-up people read long ago, when there were castles and knights, and tournaments, and the chief business of gentlemen was to ride about in full armour, fighting, while ladies sat at home doing embroidery work, or going to see the men tilt at tournaments, just as they go to see cricket matches now. But they liked tournaments better, because they understood the rules of the game. Anybody could see when one knight knocked another down, horse and all, but many ladies do not understand leg before wicket, or stumping.

The stories that they read were called ‘romances,’ but were in prose. Before people could read they were not in prose but in poetry, and were recited by minstrels. Mrs. Lang, who did the stories in this book, says: ‘Many hundreds of years ago, when most of these stories were told in the halls of great castles, the lives of children were very different from what they are now. The little girls were taught by their mothers’ maidens to spin and embroider, or make simple medicines from the common herbs, and the boys learnt to ride and tilt, and shoot with bows and arrows; but their tasks done, no one paid any further heed to them. They had very few games, and in the long winter evenings the man who went from house to house, telling or singing the tales of brave deeds, must have been welcome indeed. From him the children, who early became men and women, heard of the evil fate that awaited cowardice and treachery, and grew to understand that it was their duty through life to help those that were weaker than themselves.’ That was long, long ago, when nobody but priests and a very few gentlemen could read and write. They just listened to stories in rhyme, which the minstrels sang, striking their harps at the end of each verse.

The stories were really fairy tales, dressed up and spun out, and instead of ‘a boy’ or ‘a king’ or ‘a princess’ with no name, the old fairy adventures were said to have happened to people with names: King Arthur, or Charlemagne, or Bertha Broadfoot. A little real history came in, but altered, and mixed up with fairy tales, and done into rhyme.

Later, more and more people learned to read, and now the long poems were done into prose, and written in books, not printed but written books; and these were the Romances, very long indeed, all about fighting, and love-making, and giants, and dwarfs, and magicians, and enchanted castles, and dragons and flying horses. These romances were the novels of the people of the Middle Ages, about whom you can read in the History Books of Mrs. Markham. They were not much like the novels which come from the library for your dear mothers and aunts. There is not much fighting in them, though there is any amount of love-making, and there are no giants; and if there is a knight, he is usually a grocer or a doctor, quite the wrong sort of knight.

Here is the beginning of a celebrated novel: ‘Comedy is a game played to throw reflections upon social life, and it deals with human nature in the drawing-rooms of civilised men and women.’ You do not want to read any more of that novel. It is not at all like a good old romance of knights and dragons and enchanted princesses and strong wars. The knights and ladies would not have looked at such a book, all about drawing-rooms.

Now, in this book, we have made the old romances much shorter, keeping the liveliest parts, in which curious things happen. Some of the tales were first told in Iceland eight hundred years ago, and are mostly true and about real people. Some are from the ancient French romances of the adventures of Charlemagne, and his peers and paladins. Some are from later Italian poems of the same kind. ‘Cupid and Psyche’ is older, and so is the story of the man who was changed into a donkey. These are from an old Latin romance, written when people were still heathens, most of them. Some are about the Danes in England (of whom you may have heard), but there is not much history in them.

Mrs. Lang says: ‘In this book you will read of men who, like Don Quixote, were often mistaken but never mean, and of women, such as Una and Bradamante, who kept patient and true, in spite of fierce trials and temptations. I have only related a few of their adventures, but when you grow older you can read them for yourselves, in the languages in which they were written.’

‘Don Quixote’ was written by a Spaniard, Cervantes, in the time of James I. of England, to show what would happen if a man tried to behave like a knight of old, after people had become more civilised and less interesting. Don Quixote was laughed at, because he came too late into too old a world. But he was as brave and good a knight as the best paladin of them all. So about the knights and ladies and dwarfs and giants, I hope you will think like Sir Walter Scott, when he was a boy, and read the old romances. He says: ‘Heaven only knows how glad I was to find myself in such company.’

If you like the kind of company, then read ‘Ivanhoe,’ by Sir Walter Scott, for that is the best romance in the world.

All the stories in this book were done by Mrs. Lang, out of the old romances.

Andrew Lang.

HOW WILLIAM OF PALERMO WAS CARRIED OFF BY THE WERWOLF

Many hundreds of years ago there lived in the beautiful city of Palermo a little prince who was thought, not only by his parents but by everyone who saw him, to be the handsomest child in the whole world. When he was four years old, his mother, the queen, made up her mind that it was time to take him away from his nurses, so she chose out two ladies of the court who had been friends of her own youth, and to them she entrusted her little son. He was to be taught to read and write, and to talk Greek, the language of his mother’s country, and Latin, which all princes ought to know, while the Great Chamberlain would see that he learned to ride and shoot, and, when he grew bigger, how to wield a sword.

For a while everything went on as well as the king and queen could wish. Prince William was quick, and, besides, he could not bear to be beaten in anything he tried to do, whether it was making out the sense of a roll of parchment written in strange black letters, which was his reading-book, or mastering a pony which wanted to kick him off. And the people of Palermo looked on, and whispered to each other:

‘Ah! what a king he will make!’

But soon a terrible end came to all these hopes!

William’s father, king Embrons, had a brother who would have been the heir to the throne but for the little prince. He was a wicked man, and hated his nephew, but when the boy was born he was away at the wars, and did not return till five years later. Then he lost no time in making friends with the two ladies who took care of William, and slowly managed to gain their confidence. By-and-by he worked upon them with his promises and gifts, till they became as wicked as he was, and even agreed to kill not only the child, but the king his father.

Now adjoining the palace at Palermo was a large park, planted with flowering trees and filled with wild beasts. The royal family loved to roam about the park, and often held jousts and sports on the green grass, while William played with his dogs or picked flowers.

One day—it was a festival—the whole court went into the park at noon, after they had finished dining, and the queen and her ladies busied themselves with embroidering a quilt for the royal bed, while the king and his courtiers shot at a mark. Suddenly there leapt from a bush a huge grey wolf with his mouth open and his tongue hanging out. Before anyone had time to recover from his surprise, the great beast had caught up the child, and was bounding with him through the park, and over the wall into the plain by the sea. When the courtiers had regained their senses, both the wolf and boy were out of sight.

Oh! what weeping and wailing burst forth from the king and queen when they understood that their little son was gone from them for ever, only, as they supposed, to die a cruel death! For of course they did not know that one far worse had awaited him at home.

After the first shock, William did not very much mind what was happening to him. The wolf jerked him on to his back, and told him to hold fast by his ears, and the boy sat comfortably among the thick hair, and did not even get his feet wet as they swam across the Straits of Messina. On the other side, not far from Rome, was a forest of tall trees, and as by this time it was getting dark, the wolf placed William on a bed of soft fern, and broke off a branch of delicious fruits, which he gave him for supper. Then he scooped out a deep pit with his paws, and lined it with moss and feathery grasses, and there they both lay down and slept till morning; in spite of missing his mother, in all his life William had never been so happy.

For eight days they stayed in the forest, and it seemed to the boy as if he had never dwelt anywhere else. There was so much to see and to do, and when he was tired of playing the wolf told him stories.

But one morning, before he was properly awake, he felt himself gently shaken by a paw, and he sat up, and looked about him. ‘Listen to me,’ said the wolf. ‘I have to go right over to the other side of the wood, on some business of a friend’s, and I shall not be back till sunset. Be careful not to stray out of sight of this pit, for you may easily lose yourself. You will find plenty of fruit and nuts piled up under that cherry tree.’

So the wolf went away, and the child curled himself up for another sleep, and when the sun was high and its beams awakened him, he got up and had his breakfast. While he was eating, birds with blue and green feathers came and hopped on his shoulder and pecked at the fruit he was putting into his mouth, and William made friends with them all, and they suffered him to stroke their heads.

Now there dwelt in the forest an old cowherd, who happened that morning to have work to do not far from the pit where William lived with the wolf. He took with him a big dog, which helped him to collect the cows when they wandered, and to keep off any strange beasts that threatened to attack them. On this particular morning there were no cows, so the dog ran hither and thither as he would, enjoying himself mightily, when suddenly he set up a loud barking, as if he had found a prey, and the noise caused the old man to hasten his steps.

When he reached the spot from which the noise came, the dog was standing at the edge of a pit, out of which came a frightened cry. The old man looked in, and there he saw a child clad in garments that shone like gold, shrinking timidly into the farthest corner.

‘Fear nothing, my boy,’ said the cowherd; ‘he will never hurt you, and even if he wished I would not let him;’ and as he spoke he held out his hand. At this William took courage. He was not really a coward, but he felt lonely and it seemed a long time since the wolf had gone away. Would he really ever come back? This old man looked kind, and there could be no harm in speaking to him. So he took the outstretched hand and scrambled out of the pit, and the cowherd gathered apples for him, and other fruits that grew on the tops of trees too high for the wolf to reach. And all the day they wandered on and on, till they came to the cowherd’s cottage, before which an old woman was standing.

‘I have brought you a little boy,’ he said, ‘whom I found in the forest.’

‘Ah, a lucky star was shining when you got up to-day,’ answered she. ‘And what is your name, my little man? And will you stay and live with me?’

‘My name is William, and you look kind like my grandmother, and I will stay with you,’ said the boy; and the old people were very glad, and they milked a cow, and gave him warm milk for his supper.

When the wolf returned—he was not a wolf at all, but the son of the king of Spain, who had been enchanted by his stepmother—he was very unhappy at finding the pit empty. Indeed, his first thought was that a lion must have carried off the boy and eaten him, or that an eagle must have pounced on him from the sky, and borne him away to his young ones for supper. But after he had cried till he could cry no more, it occurred to him that before he gave up the boy for dead it would be well to make a search, as perchance there might be some sign of his whereabouts. So he dried his eyes with his tail and jumped up quite cheerfully.

He began by looking to see if the bushes round about were broken and torn as if some great beast had crashed through them. But they were all just as he had left them in the morning, with the creepers still knotting tree to tree. No, it was clear that no lion had been near the spot. Then he examined the ground carefully for a bird’s feather or a shred of a child’s dress; he did not find these either, but the marks of a man’s foot were quite plain, and these he followed.

The track turned and twisted for about two miles, and then stopped at a little cottage with roses climbing up the walls. The wolf did not want to show himself, so he crept quietly round to the back, where there was a hole in the door just big enough for the cats to come in and out of. The wolf peeped through this hole and saw William eating his supper, and chattering away to the old woman as if he had known her all his life, for he was a friendly little boy, and purred like a pussy-cat when he was pleased. And when the wolf saw that all was well with the child, he was glad and went his way.

‘William will be safer with them than with me,’ he said to himself.

Many years went by, and William had grown a big boy, and was very useful to the cowherd and his wife. He could shoot now with his bow and arrow in a manner which would have pleased his first teacher, and he and his playfellows—the sons of charcoal-burners and woodmen—were wont to keep the pots supplied at home with the game they found in the forest. Besides this, he filled the pails full of water from the stream, and chopped wood for the fire, and, sometimes, was even trusted to cook the dinner. And when this happened William was a very proud boy indeed.

One day the emperor planned a great hunt to take place in the forest, and, while following a wild boar, he outstripped all his courtiers and lost his way. Turning first down one path and then the other, he came upon a boy gathering fruit, and so beautiful was he that the emperor thought that he must be of a fairy race.

‘What is your name, my child?’ asked the emperor; ‘and where do you live?’

The boy looked round at the sound of his voice, and, taking off his cap, bowed low.

‘I am called William, noble sir,’ he answered, ‘and I live with a cowherd, my father, in a cottage near by. Other kindred have I none that ever I heard of;’ for the gardens of Palermo and the life of the palace had now faded into dreams in the memory of the child.

‘Bid your father come hither and speak to me,’ said the emperor, but William did not move.

‘I fear lest harm should befall him through me,’ he answered, ‘and that shall never be.’ But the emperor smiled as he heard him.

‘Not harm, but good,’ he said; and William took courage and hastened down the path to the cottage.

‘I am the emperor,’ said the stranger, when the boy and the cowherd returned together. ‘Tell me truly, is this your son?’

Then the cowherd, trembling all over, told the whole story, and when he had finished the emperor said quietly:

‘You have done well, but from to-day the boy shall be mine, and shall grow up with my daughter.’

The heart of the cowherd sank as he thought how sorely he and his wife would miss William, but he kept silence. Not so William, who broke into sobs and wails.

‘I should have fared ill if this good man and his wife had not taken me and nourished me. I know not whence I came or whither I shall go! None can be so kind as they have been.’

‘Cease weeping, fair child,’ said the emperor, ‘some day you shall be able to reward the good that they have done you;’ and then the cowherd spoke and gave him wise counsel how to behave himself at court.

‘Be no teller of tales, and let your words be few. Be true to your lord, and fair of speech to all men; and seek to help the poor when you may.’

‘Set him on my horse,’ said the emperor, and, though William wept still as he bade farewell to the cowherd, and sent a sorrowful greeting to his wife and to his playfellows Hugonet, and Abelot, and Akarin, yet he was pleased to be riding in such royal fashion, and soon dried his tears.

They reached the palace at last, and the emperor led William into the hall, and sent a messenger for Melior, his daughter.

‘I have brought home a present for you,’ he cried, as she entered; ‘and be sure to treat him as you would your brother, for he has come of goodly kindred, though now he does not know where he was born, or who was his father.’ And with that he told her the tale of how he had found the boy in the wood.

‘I shall care for him willingly,’ answered Melior, and she took him away, and saw that supper was set before him, and clothes provided for him, and made him ready for his duties as page to the emperor.

So the boy and girl grew up together, and everyone loved William, who was gentle and pleasant to all, and was skilled in what a gentleman should know. Wise he was too, beyond his years, and the emperor kept him ever at his side, and took counsel with him on many subjects touching his honour and the welfare of his people.

And if the people loved him, how much more Melior, who saw him about the court all day long, and knew the store her father set on him? Yet she remembered with sadness certain whispers she had heard of a match between herself and a foreign prince, and if her father had promised her hand nought would make him break his word.

So she sighed and bewailed herself in secret, till her cousin Alexandrine marked that something was amiss.

‘Tell me all your sickness,’ said Alexandrine one day, ‘and what grieves you so sorely. You know that you can trust me, for I have served you truly, and perhaps I may be able to help you in this strait!’

Then Melior told her, and Alexandrine listened in amaze. From his childhood William and the two girls had played together, and well Alexandrine knew that the emperor had cast his eyes upon another son-in-law. Still, she loved her cousin, and she loved William too, so she said.

‘Mourn no longer, madam; I am skilled in magic, and can heal you. So weep no more.’ And Melior took heart and was comforted.

That night Alexandrine caused William to dream a dream in which the whole world vanished away, and only he and Melior were left. In a moment he felt that as long as she was there the rest might go, and that she was the princess that was waiting for every prince. But who was he that he should dare to ask for the emperor’s daughter? and what chance had he amongst the noble suitors who now began to throng the palace? These thoughts made him very sad, and he went about his duties with a face as long as Melior’s was now.

Alexandrine paid no heed to his gloomy looks. She was very wise, and for some days left her magic to work. At last one morning she thought the time had come to heal the wounds she had caused, and planned a meeting between them. After this they had no more need of her, neither did Melior weep any longer.

For a while they were content, and asked nothing more than to see each other every day, as they had always done. But soon a fresh source of grief came. A war broke out, in which William, now a knight, had to follow the emperor, and more than once saved the life of his master. On their return, when the enemy was put to flight, the expected ambassadors from Greece arrived at court, to seek the hand of Melior, which was readily granted by her father. This news made William sick almost unto death, and Melior, who was resolved not to marry the stranger, hastened to Alexandrine in order to implore her help.

But Alexandrine only shook her head.

‘It is true,’ said she, ‘that, unless you manage to escape, you will be forced to wed the prince; but how are you to get away when there are guards before every door of the palace, except by the little gate, and to reach that you will have first to pass by the sentries, who know you?’

‘O dear Alexandrine,’ cried Melior, clasping her hands in despair. ‘Do try to think of some way to save us! I am sure you can; you are always clever, and there is nobody else.’

And Alexandrine did think of a way, but what it was must be told in the next chapter.

THE DISENCHANTMENT OF THE WERWOLF

(William of Palermo)

Everybody will remember that William and Melior trusted to Alexandrine to help them to escape from the palace, before Melior was forced into marriage by her father with the prince of Greece. At first Alexandrine declared that it was quite impossible to get them away unseen, but at length she thought of something which might succeed, though, if it failed, all three would pay a heavy penalty.

And this was her plan, and a very good one too.

She would borrow some boy’s clothes, and put them on, hiding her hair under one of those tight caps that kitchen varlets wore covering all their heads; she would then go down into the big kitchens underneath the palace, where the wild beasts shot by the emperor were skinned and made into coats for the winter. Here she would have a chance of slipping out unnoticed with the skins of two white bears, and in these she would sew up William and Melior, and would let them through the little back gate, from which they could easily escape into the forest.

‘Oh, I knew you would find a way!’ said Melior, throwing her arms joyfully round her cousin’s neck. ‘I am quite sure it will all go right, only let us make haste, for my father may find us out, or perhaps I may lose my courage.’

‘I will set about it at once,’ said Alexandrine, ‘and you and William must be ready to-night.’

So she got her boy’s clothes, which her maid stole for her out of the room of one of the scullions, and dressed herself in them, smearing her face and hands with walnut-juice, that their whiteness might not betray her. She slipped down by some dark stairs into the kitchen, and joined a company of men who were hard at work on a pile of dead animals. The sun had set, and in the corner of the great hall where the flaying was going on, there was very little light, but Alexandrine marked that close to an open door was a heap of bearskins, and she took up her position as near them as she could. But the girl was careful not to stand too long in one place; she moved about from one group of men to another, lending a hand here and there and passing a merry jest, and as she did so she gave the topmost skins a little shove with her foot, getting them each time closer to the open door, and always watching her chance to pick them up and run off with them.

It came at last. The torch which lighted that end of the hall flared up and went out, leaving the men in darkness. One of them rose to fetch another, and, quick as thought, Alexandrine caught up the bearskins and was outside in the garden. From that it was easy to make her way upstairs unseen.

‘See how I have sped!’ she said, throwing the skins on the floor. ‘But night is coming on apace, and we have no time to lose; I must sew you up in them at once.’

The skins were both so large that Melior and William wore all their own clothes beneath, and did not feel at all hot, as they expected to do.

‘Am I not a bold beast?’ asked Melior in glee, as she caught sight of herself in a polished shield on the wall. ‘Methinks no handsomer bear was ever seen!’

‘Yes, verily, madam,’ answered her maiden, ‘you are indeed a grisly ghost, and no man will dare to come near you. But now stand aside, for it is William’s turn.’

‘How do you like me, sweetheart?’ asked he, when the last stitches had been put in.

‘You have so fierce an air, and are so hideous a sight, that I fear to look on you!’ said she. And William laughed and begged Alexandrine to guide them through the garden, as they were not yet used to going on all fours, and might stumble.

As they passed through the bushes, galloping madly—for in spite of the danger they felt as though they were children again—a Greek who was walking up to the palace saw them afar, and, seized with dread, took shelter in the nearest hut, where he told his tale. The men who heard it paid but little heed at the time, though they remembered it after; but bears were common in that country, and often came out of the forest at night.

Not knowing what a narrow escape they had had, the two runaways travelled till sunrise, when they hid themselves in a cave on the side of a hill. They had nothing to eat, but were too tired to think of that till they had had a good sleep, though when they woke up they began to wonder how they should get any food.

‘Oh, it will be all right!’ said Melior; ‘there are blackberries in plenty and acorns and hazel-nuts, and there is a stream just below the cave—do you not hear it? It will all be much nicer than anything in the palace.’

But William did not seem to agree with her, and wished to seek out some man who would give him something he liked better than nuts and acorns. This, however, Melior would not hear of; they would certainly be followed and betrayed, she said, and, to please her, William ate the fruit and stayed in the cave, wondering what would happen on the morrow.

Luckily for themselves, they did not have to wait so long before they got a good supper. Their friend the werwolf had spied them from afar, and was ready to come to their rescue. During that day he had hidden himself under a clump of bushes close to the highway, and by-and-by he saw a man approaching, carrying a very fat wallet over his shoulder. The wolf bounded out of his cover, growling fiercely, which so frightened the man that he dropped the wallet and ran into the wood. Then the wolf picked up the wallet, which contained a loaf of bread and some meat ready cooked, and galloped away with it to William.

They felt quite strong and hearty again when they had finished their supper, and quite ready to continue their journey. As it was night, and the country was very lonely, they walked on two feet, but when morning came, or they saw signs that men were about, they speedily dropped on all fours. And all the way the werwolf followed them, and saw that they never lacked for food.

Meanwhile the preparations for Melior’s marriage to the prince of Greece were going on blithely in the palace, and none thought of asking for the bride. At last, when everything was finished, the emperor bade the high chamberlain fetch the princess.

‘She is not in her room, your Majesty,’ said the chamberlain, when he re-entered the hall; but the emperor only thought that his daughter was timid, and answered that he would go and bring her himself.

Like the chamberlain, he found the outer room empty and passed on to the door of the inner one, which was locked. He shook and thumped and yelled with anger, till Alexandrine heard him from her distant turret, and, terrified though she was, hastened to find out what was the matter.

‘My daughter! Where is my daughter?’ he cried, stammering with rage.

‘Asleep, sire,’ answered Alexandrine.

‘Asleep still!’ said the emperor; ‘then wake her instantly, for the bridegroom is ready and I am waiting to lead her to him.’

‘Alas! sire, Melior has heard that in Greece royal brides pass their lives shut in a tower, and she has sworn that she will never wed one of that race. But, indeed, for my part, I think that is not her true reason, and that she has pledged her faith to another, whom you also know and love.’

The

‘And who may that be?’ asked the emperor.

‘The man who saved your life in battle, William himself,’ answered Alexandrine boldly, though her limbs shook with fear.

At this news the emperor was half beside himself with grief and rage.

‘Where is she?’ he cried; ‘speak, girl, or I will shut you up in the tower.’

‘Where is William?’ asked Alexandrine. ‘If Melior is not here, and William is not here, then of a surety they have gone away together.’

The emperor looked at her in silence for a moment.

‘The Greeks will make war on me for this insult,’ he said; ‘and, as for William, a body of soldiers shall go in search of him this moment, and when he is found I will have his head cut off, and stuck on my palace gate as a warning to traitors.’

But the soldiers could not find him. Perhaps they did not look very carefully, for, like everyone else, they loved William. Party after party was sent out by the emperor, but they all returned without finding a trace of the runaways. Then at last the Greek who had seen the two white bears galloping through the garden came to the high chamberlain and told his tale.

‘Send to the kitchen at once and ask if any bearskins are missing,’ ordered the chamberlain; and the page returned with the tidings that the skins of two white bears could not be found.

Now the werwolf had been lurking round the palace seeking for news, and as soon as he heard that the emperor had ordered out his dogs to hunt the white bears, he made a plan in his head to save William and Melior. He hid in some bushes that lay in the path of the hounds, and let them get quite near him. As soon as they were close, he sprang out in front of their noses and they gave chase at once. And a fine dance he led them!—over mountains and through swamps, under ferns that were thickly matted together, and past wide lakes. And every step they took brought them further away from the bears, who were lying snugly in their den.

At last even the patience of the emperor was exhausted. He gave up the hunt, and bade his men call off the dogs and go home.

‘They have escaped me this time,’ said he, ‘but I will have them by-and-by. Let a reward be offered, and posted up on the gate of every city. After all, that is the surest way of capturing them.’

And the emperor was right: the shepherds and goatherds were told that if they could bring the two white bears to the gates of the palace they would not need to work for the rest of their lives, and they kept a sharp look-out as they followed their flocks. Once a man actually saw them, and gave notice to one of the royal officials, who brought a company of spearmen and surrounded the cave. Another moment, and they would have been seized, had not the wolf again come to their rescue. He leapt out from behind a rock, and snatched up the officer’s son, who had followed his father. The poor man shrieked in horror, and cried out to save the boy, so they all turned and went after the wolf as before.

‘We are safer now in our own clothes,’ said William; and they hastily stripped off the bearskins, and stole away, but they would not leave the skins behind, for they had learnt to love them.

For a long while they wandered through the forest, the werwolf ever watching over them, and bringing them food. At length the news spread abroad, no one knew how, that William and Melior were running about as bears no more, but in the garments they always wore. So men began to look out for them, and once they were very nearly caught by some charcoal-burners. Then the wolf killed a hart and a hind, and sewed them in their skins and guided them across the Straits of Messina into the kingdom of Sicily.

Very dimly, and one by one, little things that had happened in his childhood began to come back to William; but he wondered greatly how he seemed to know this land, where he had never been before. The king his father had been long dead, but the queen (his mother) and his sister were besieged in the city of Palermo by the king of Spain, who was full of wrath because the princess had refused to marry his son. The queen was in great straits, when one night she dreamed that a wolf and two harts had come to help her, and one bore the face of her son, while both had crowns on their heads.

She could sleep no more that night, so she rose and looked out of the window on the park which lay below, and there, under the trees, were the hart and the hind! Panting for joy, the queen summoned a priest, and told him her dream, and, as she told it, behold the skins cracked, and shining clothes appeared beneath.

‘Your dream has been fulfilled,’ said the priest. ‘The hind is the daughter of the emperor of Rome, who fled away with yonder knight dressed in a hart skin!’

Joyfully the queen made herself ready, and she soon joined the animals, who had wandered off to a part of the park that was full of rocks and caves. She greeted them with fair words, and begged William to take service under her, which he did gladly.

‘Sweet sir, what token will you wear on your shield?’ asked she; and William answered, ‘Good madam, I will have a werwolf on a shield of gold, and let him be made hideous and huge.’

‘That shall be done,’ said she.

When the shield was painted, William prayed her to give him a horse, and she led him into the stable, and bade him choose one for himself. And he chose one that had been ridden by the late king his father. And the horse knew him, though his mother did not, and it neighed from pure delight. After that William called to the soldiers to rally round him, and there was fought a great battle, and the Spaniards were put to flight, and throughout Palermo the people rejoiced mightily.

When the enemy had retreated far away, and William returned to the palace, where the queen and Melior were awaiting him; suddenly, from the window, they beheld the werwolf go by, and as he passed he held up his foot as if he craved mercy.