The Yellow Fairy Book E-Book

Andrew Lang

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

Seitenzahl: 571

Beschreibung

It is well for the fairy-loving public that Mr. Andrew Lang should go bravely on publishing his delightful Red, Blue, Green, and Yellow Fairy Books as if the cry of " too many books " had never been uttered. The juvenile clientele whom he addresses is an ever-increasing one and is as many-colored as Joseph's or as Parsifal's coat. So skilful a caterer as this keen-eyed Scotchman is not often found: an intellectual gourmand of the first water, long since awarded the cordon bleu in the fine art of fairy-tales, he knows what his public likes-the exacting, appreciative boy-and-girl public whose instinctive cleverness tells them what is good and what is not. His sympathetic nature makes all children congenial to him, and he has remained child enough, despite Homeric disquisitions and scientific fads in folk-lore, to pick out with infallible taste just what they like. " The Yellow Fairy Book" is full of tales from uncouth tongues like Polish, Hungarian, Russian and Red Indian, but also sprinkled with old favorites like Andersen's " Tin Soldier " and Grimm's "Iron Stone." A glimpse or two from the fanciful French "Cabinet des Fées " is also to be found in this capital collection, which is prefaced by a good-natured but sharp-tongued stricture on the false position of Mr. Laurence Gomme and his rather portentous Folk-Lore Society. 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.

Leseprobe

The Yellow Fairy Book

Andrew Lang

Contents:

Andrew Lang (1844-1912)

Dedication

Preface

The Cat And The Mouse In Partnership

The Six Swans

The Dragon Of The North

Story Of The Emperor's New Clothes

The Golden Crab

The Iron Stove

The Dragon And His Grandmother

The Donkey Cabbage

The Little Green Frog

The Seven-Headed Serpent

The Grateful Beasts

The Giants And The Herd-Boy

The Invisible Prince

The Crow

How Six Men Travelled Through The Wide World

The Wizard King

The Nixy

The Glass Mountain

Fairer-Than-A-Fairy

The Three Brothers

The Boy And The Wolves, Or The Broken Promise

The Glass Axe

The Dead Wife

In The Land Of Souls

The White Duck

The Witch And Her Servants

The Magic Ring

The Flower Queen's Daughter

The Flying Ship

The Snow-Daughter And The Fire-Son

The Story Of King Frost

The Death Of The Sun-Hero

The Witch

The Hazel-Nut Child

The Story Of Big Klaus And Little Klaus

Prince Ring

The Swineherd

How To Tell A True Princess

The Blue Mountains

The Tinder-Box

The Witch In The Stone Boat

Thumbelina

The Nightingale

Hermod And Hadvor

The Steadfast Tin-Soldier

Blockhead-Hans

A Story About A Darning-Needle

The Yellow True Story Book, A. Lang

Jazzybee Verlag Jürgen Beck

86450 Altenmünster, Loschberg 9

Germany

ISBN: 9783849612696

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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 Yellow Fairy Book

Dedication

TO JOAN, TODDLES, AND TINY

                   Books Yellow, Red, and Green and Blue,

                   All true, or just as good as true,

                   And here's the Yellow Book for YOU!

                   Hard is the path from A to Z,

                   And puzzling to a curly head,

                   Yet leads to Books—Green, Blue, and Red.

                   For every child should understand

                   That letters from the first were planned

                   To guide us into Fairy Land

                   So labour at your Alphabet,

                   For by that learning shall you get

                   To lands where Fairies may be met.

                   And going where this pathway goes,

                   You too, at last, may find, who knows?

                   The Garden of the Singing Rose.

PREFACE

The Editor thinks that children will readily forgive him for publishing another Fairy Book. We have had the Blue, the Red, the Green, and here is the Yellow. If children are pleased, and they are so kind as to say that they are pleased, the Editor does not care very much for what other people may say. Now, there is one gentleman who seems to think that it is not quite right to print so many fairy tales, with pictures, and to publish them in red and blue covers. He is named Mr. G. Laurence Gomme, and he is president of a learned body called the Folk Lore Society. Once a year he makes his address to his subjects, of whom the Editor is one, and Mr. Joseph Jacobs (who has published many delightful fairy tales with pretty pictures) is another. Fancy, then, the dismay of Mr. Jacobs, and of the Editor, when they heard their president say that he did not think it very nice in them to publish fairy books, above all, red, green, and blue fairy books! They said that they did not see any harm in it, and they were ready to 'put themselves on their country,' and be tried by a jury of children. And, indeed, they still see no harm in what they have done; nay, like Father William in the poem, they are ready 'to do it again and again.'

Where is the harm? The truth is that the Folk Lore Society—made up of the most clever, learned, and beautiful men and women of the country—is fond of studying the history and geography of Fairy Land. This is contained in very old tales, such as country people tell, and savages:

     'Little Sioux and little Crow,

      Little frosty Eskimo.'

These people are thought to know most about fairyland and its inhabitants. But, in the Yellow Fairy Book, and the rest, are many tales by persons who are neither savages nor rustics, such as Madame D'Aulnoy and Herr Hans Christian Andersen. The Folk Lore Society, or its president, say that THEIR tales are not so true as the rest, and should not be published with the rest. But WE say that all the stories which are pleasant to read are quite true enough for us; so here they are, with pictures by Mr. Ford, and we do not think that either the pictures or the stories are likely to mislead children.

As to whether there are really any fairies or not, that is a difficult question. Professor Huxley thinks there are none. The Editor never saw any himself, but he knows several people who have seen them—in the Highlands—and heard their music. If ever you are in Nether Lochaber, go to the Fairy Hill, and you may hear the music yourself, as grown-up people have done, but you must goon a fine day. Again, if there are really no fairies, why do people believe in them, all over the world? The ancient Greeks believed, so did the old Egyptians, and the Hindoos, and the Red Indians, and is it likely, if there are no fairies, that so many different peoples would have seen and heard them? The Rev. Mr. Baring-Gould saw several fairies when he was a boy, and was travelling in the land of the Troubadours. For these reasons, the Editor thinks that there are certainly fairies, but they never do anyone any harm; and, in England, they have been frightened away by smoke and schoolmasters. As to Giants, they have died out, but real Dwarfs are common in the forests of Africa. Probably a good many stories not perfectly true have been told about fairies, but such stories have also been told about Napoleon, Claverhouse, Julius Caesar, and Joan of Arc, all of whom certainly existed. A wise child will, therefore, remember that, if he grows up and becomes a member of the Folk Lore Society, ALL the tales in this book were not offered to him as absolutely truthful, but were printed merely for his entertainment. The exact facts he can learn later, or he can leave them alone.

There are Russian, German, French, Icelandic, Red Indian, and other stories here. They were translated by Miss Cheape, Miss Alma, and Miss Thyra Alleyne, Miss Sellar, Mr. Craigie (he did the Icelandic tales), Miss Blackley, Mrs. Dent, and Mrs. Lang, but the Red Indian stories are copied from English versions published by the Smithsonian Bureau of Ethnology, in America. Mr. Ford did the pictures, and it is hoped that children will find the book not less pleasing than those which have already been submitted to their consideration. The Editor cannot say 'good-bye' without advising them, as they pursue their studies, to read The Rose and the Ring, by the late Mr. Thackeray, with pictures by the author. This book he thinks quite indispensable in every child's library, and parents should be urged to purchase it at the first opportunity, as without it no education is complete.

 A. LANG.

THE CAT AND THE MOUSE IN PARTNERSHIP

A cat had made acquaintance with a mouse, and had spoken so much of the great love and friendship she felt for her, that at last the Mouse consented to live in the same house with her, and to go shares in the housekeeping. 'But we must provide for the winter or else we shall suffer hunger,' said the Cat. 'You, little Mouse, cannot venture everywhere in case you run at last into a trap.' This good counsel was followed, and a little pot of fat was bought. But they did not know where to put it. At length, after long consultation, the Cat said, 'I know of no place where it could be better put than in the church. No one will trouble to take it away from there. We will hide it in a corner, and we won't touch it till we are in want.' So the little pot was placed in safety; but it was not long before the Cat had a great longing for it, and said to the Mouse, 'I wanted to tell you, little Mouse, that my cousin has a little son, white with brown spots, and she wants me to be godmother to it. Let me go out to-day, and do you take care of the house alone.'

'Yes, go certainly,' replied the Mouse, 'and when you eat anything good, think of me; I should very much like a drop of the red christening wine.'

But it was all untrue. The Cat had no cousin, and had not been asked to be godmother. She went straight to the church, slunk to the little pot of fat, began to lick it, and licked the top off. Then she took a walk on the roofs of the town, looked at the view, stretched herself out in the sun, and licked her lips whenever she thought of the little pot of fat. As soon as it was evening she went home again.

'Ah, here you are again!' said the Mouse; 'you must certainly have had an enjoyable day.'

'It went off very well,' answered the Cat.

'What was the child's name?' asked the Mouse.

'Top Off,' said the Cat drily.

'Topoff!' echoed the Mouse, 'it is indeed a wonderful and curious name. Is it in your family?'

'What is there odd about it?' said the Cat. 'It is not worse than Breadthief, as your godchild is called.'

Not long after this another great longing came over the Cat. She said to the Mouse, 'You must again be kind enough to look after the house alone, for I have been asked a second time to stand godmother, and as this child has a white ring round its neck, I cannot refuse.'

The kind Mouse agreed, but the Cat slunk under the town wall to the church, and ate up half of the pot of fat. 'Nothing tastes better,' said she, 'than what one eats by oneself,' and she was very much pleased with her day's work. When she came home the Mouse asked, 'What was this child called?'

'Half Gone,' answered the Cat.

'Halfgone! what a name! I have never heard it in my life. I don't believe it is in the calendar.'

Soon the Cat's mouth began to water once more after her licking business. 'All good things in threes,' she said to the Mouse; 'I have again to stand godmother. The child is quite black, and has very white paws, but not a single white hair on its body. This only happens once in two years, so you will let me go out?'

'Topoff! Halfgone!' repeated the Mouse, 'they are such curious names; they make me very thoughtful.'

'Oh, you sit at home in your dark grey coat and your long tail,' said the Cat, 'and you get fanciful. That comes of not going out in the day.'

The Mouse had a good cleaning out while the Cat was gone, and made the house tidy; but the greedy Cat ate the fat every bit up.

'When it is all gone one can be at rest,' she said to herself, and at night she came home sleek and satisfied. The Mouse asked at once after the third child's name.

'It won't please you any better,' said the Cat, 'he was called Clean Gone.'

'Cleangone!' repeated the Mouse. 'I do not believe that name has been printed any more than the others. Cleangone! What can it mean?' She shook her head, curled herself up, and went to sleep.

From this time on no one asked the Cat to stand godmother; but when the winter came and there was nothing to be got outside, the Mouse remembered their provision and said, 'Come, Cat, we will go to our pot of fat which we have stored away; it will taste very good.'

'Yes, indeed,' answered the Cat; 'it will taste as good to you as if you stretched your thin tongue out of the window.'

They started off, and when they reached it they found the pot in its place, but quite empty!

'Ah,' said the Mouse,' 'now I know what has happened! It has all come out! You are a true friend to me! You have eaten it all when you stood godmother; first the top off, then half of it gone, then——'

'Will you be quiet!' screamed the Cat. 'Another word and I will eat you up.'

'Clean-gone' was already on the poor Mouse's tongue, and scarcely was it out than the Cat made a spring at her, seized and swallowed her.

You see that is the way of the world.

THE SIX SWANS

A king was once hunting in a great wood, and he hunted the game so eagerly that none of his courtiers could follow him. When evening came on he stood still and looked round him, and he saw that he had quite lost himself. He sought a way out, but could find none. Then he saw an old woman with a shaking head coming towards him; but she was a witch.

'Good woman,' he said to her, 'can you not show me the way out of the wood?'

'Oh, certainly, Sir King,' she replied, 'I can quite well do that, but on one condition, which if you do not fulfil you will never get out of the wood, and will die of hunger.'

'What is the condition?' asked the King.

'I have a daughter,' said the old woman, 'who is so beautiful that she has not her equal in the world, and is well fitted to be your wife; if you will make her lady-queen I will show you the way out of the wood.'

The King in his anguish of mind consented, and the old woman led him to her little house where her daughter was sitting by the fire. She received the King as if she were expecting him, and he saw that she was certainly very beautiful; but she did not please him, and he could not look at her without a secret feeling of horror. As soon as he had lifted the maiden on to his horse the old woman showed him the way, and the King reached his palace, where the wedding was celebrated.

The King had already been married once, and had by his first wife seven children, six boys and one girl, whom he loved more than anything in the world. And now, because he was afraid that their stepmother might not treat them well and might do them harm, he put them in a lonely castle that stood in the middle of a wood. It lay so hidden, and the way to it was so hard to find, that he himself could not have found it out had not a wise-woman given him a reel of thread which possessed a marvellous property: when he threw it before him it unwound itself and showed him the way. But the King went so often to his dear children that the Queen was offended at his absence. She grew curious, and wanted to know what he had to do quite alone in the wood. She gave his servants a great deal of money, and they betrayed the secret to her, and also told her of the reel which alone could point out the way. She had no rest now till she had found out where the King guarded the reel, and then she made some little white shirts, and, as she had learnt from her witch-mother, sewed an enchantment in each of them.

And when the King had ridden off she took the little shirts and went into the wood, and the reel showed her the way. The children, who saw someone coming in the distance, thought it was their dear father coming to them, and sprang to meet him very joyfully. Then she threw over each one a little shirt, which when it had touched their bodies changed them into swans, and they flew away over the forest. The Queen went home quite satisfied, and thought she had got rid of her step-children; but the girl had not run to meet her with her brothers, and she knew nothing of her.

The next day the King came to visit his children, but he found no one but the girl.

'Where are your brothers?' asked the King.

'Alas! dear father,' she answered, 'they have gone away and left me all alone.' And she told him that looking out of her little window she had seen her brothers flying over the wood in the shape of swans, and she showed him the feathers which they had let fall in the yard, and which she had collected. The King mourned, but he did not think that the Queen had done the wicked deed, and as he was afraid the maiden would also be taken from him, he wanted to take her with him. But she was afraid of the stepmother, and begged the King to let her stay just one night more in the castle in the wood. The poor maiden thought, 'My home is no longer here; I will go and seek my brothers.' And when night came she fled away into the forest. She ran all through the night and the next day, till she could go no farther for weariness. Then she saw a little hut, went in, and found a room with six little beds. She was afraid to lie down on one, so she crept under one of them, lay on the hard floor, and was going to spend the night there. But when the sun had set she heard a noise, and saw six swans flying in at the window. They stood on the floor and blew at one another, and blew all their feathers off, and their swan-skin came off like a shirt. Then the maiden recognised her brothers, and overjoyed she crept out from under the bed. Her brothers were not less delighted than she to see their little sister again, but their joy did not last long.

'You cannot stay here,' they said to her. 'This is a den of robbers; if they were to come here and find you they would kill you.'

'Could you not protect me?' asked the little sister.

'No,' they answered, 'for we can only lay aside our swan skins for a quarter of an hour every evening. For this time we regain our human forms, but then we are changed into swans again.'

Then the little sister cried and said, 'Can you not be freed?'

'Oh, no,' they said, 'the conditions are too hard. You must not speak or laugh for six years, and must make in that time six shirts for us out of star-flowers. If a single word comes out of your mouth, all your labour is vain.' And when the brothers had said this the quarter of an hour came to an end, and they flew away out of the window as swans.

But the maiden had determined to free her brothers even if it should cost her her life. She left the hut, went into the forest, climbed a tree, and spent the night there. The next morning she went out, collected star-flowers, and began to sew. She could speak to no one, and she had no wish to laugh, so she sat there, looking only at her work.

When she had lived there some time, it happened that the King of the country was hunting in the forest, and his hunters came to the tree on which the maiden sat. They called to her and said 'Who are you?'

But she gave no answer.

'Come down to us,' they said, 'we will do you no harm.'

But she shook her head silently. As they pressed her further with questions, she threw them the golden chain from her neck. But they did not leave off, and she threw them her girdle, and when this was no use, her garters, and then her dress. The huntsmen would not leave her alone, but climbed the tree, lifted the maiden down, and led her to the King. The King asked, 'Who are you? What are you doing up that tree?'

But she answered nothing.

He asked her in all the languages he knew, but she remained as dumb as a fish. Because she was so beautiful, however, the King's heart was touched, and he was seized with a great love for her. He wrapped her up in his cloak, placed her before him on his horse, and brought her to his castle. There he had her dressed in rich clothes, and her beauty shone out as bright as day, but not a word could be drawn from her. He set her at table by his side, and her modest ways and behaviour pleased him so much that he said, 'I will marry this maiden and none other in the world,' and after some days he married her. But the King had a wicked mother who was displeased with the marriage, and said wicked things of the young Queen. 'Who knows who this girl is?' she said; 'she cannot speak, and is not worthy of a king.'

After a year, when the Queen had her first child, the old mother took it away from her. Then she went to the King and said that the Queen had killed it. The King would not believe it, and would not allow any harm to be done her. But she sat quietly sewing at the shirts and troubling herself about nothing. The next time she had a child the wicked mother did the same thing, but the King could not make up his mind to believe her. He said, 'She is too sweet and good to do such a thing as that. If she were not dumb and could defend herself, her innocence would be proved.' But when the third child was taken away, and the Queen was again accused, and could not utter a word in her own defence, the King was obliged to give her over to the law, which decreed that she must be burnt to death. When the day came on which the sentence was to be executed, it was the last day of the six years in which she must not speak or laugh, and now she had freed her dear brothers from the power of the enchantment. The six shirts were done; there was only the left sleeve wanting to the last.

When she was led to the stake, she laid the shirts on her arm, and as she stood on the pile and the fire was about to be lighted, she looked around her and saw six swans flying through the air. Then she knew that her release was at hand and her heart danced for joy. The swans fluttered round her, and hovered low so that she could throw the shirts over them. When they had touched them the swan-skins fell off, and her brothers stood before her living, well and beautiful. Only the youngest had a swan's wing instead of his left arm. They embraced and kissed each other, and the Queen went to the King, who was standing by in great astonishment, and began to speak to him, saying, 'Dearest husband, now I can speak and tell you openly that I am innocent and have been falsely accused.'

She told him of the old woman's deceit, and how she had taken the three children away and hidden them. Then they were fetched, to the great joy of the King, and the wicked mother came to no good end.

But the King and the Queen with their six brothers lived many years in happiness and peace.

THE DRAGON OF THE NORTH

Very long ago, as old people have told me, there lived a terrible monster, who came out of the North, and laid waste whole tracts of country, devouring both men and beasts; and this monster was so destructive that it was feared that unless help came no living creature would be left on the face of the earth. It had a body like an ox, and legs like a frog, two short fore-legs, and two long ones behind, and besides that it had a tail like a serpent, ten fathoms in length. When it moved it jumped like a frog, and with every spring it covered half a mile of ground. Fortunately its habit, was to remain for several years in the same place, and not to move on till the whole neighbourhood was eaten up. Nothing could hunt it, because its whole body was covered with scales, which were harder than stone or metal; its two great eyes shone by night, and even by day, like the brightest lamps, and anyone who had the ill luck to look into those eyes became as it were bewitched, and was obliged to rush of his own accord into the monster's jaws. In this way the Dragon was able to feed upon both men and beasts without the least trouble to itself, as it needed not to move from the spot where it was lying. All the neighbouring kings had offered rich rewards to anyone who should be able to destroy the monster, either by force or enchantment, and many had tried their luck, but all had miserably failed. Once a great forest in which the Dragon lay had been set on fire; the forest was burnt down, but the fire did not do the monster the least harm. However, there was a tradition amongst the wise men of the country that the Dragon might be overcome by one who possessed King Solomon's signet-ring, upon which a secret writing was engraved. This inscription would enable anyone who was wise enough to interpret it to find out how the Dragon could be destroyed. Only no one knew where the ring was hidden, nor was there any sorcerer or learned man to be found who would be able to explain the inscription.

At last a young man, with a good heart and plenty of courage, set out to search for the ring. He took his way towards the sunrising, because he knew that all the wisdom of old time comes from the East. After some years he met with a famous Eastern magician, and asked for his advice in the matter. The magician answered:

'Mortal men have but little wisdom, and can give you no help, but the birds of the air would be better guides to you if you could learn their language. I can help you to understand it if you will stay with me a few days.'

The youth thankfully accepted the magician's offer, and said, 'I cannot now offer you any reward for your kindness, but should my undertaking succeed your trouble shall be richly repaid.'

Then the magician brewed a powerful potion out of nine sorts of herbs which he had gathered himself all alone by moonlight, and he gave the youth nine spoonfuls of it daily for three days, which made him able to understand the language of birds.

At parting the magician said to him. 'If you ever find Solomon's ring and get possession of it, then come back to me, that I may explain the inscription on the ring to you, for there is no one else in the world who can do this.'

From that time the youth never felt lonely as he walked along; he always had company, because he understood the language of birds; and in this way he learned many things which mere human knowledge could never have taught him. But time went on, and he heard nothing about the ring. It happened one evening, when he was hot and tired with walking, and had sat down under a tree in a forest to eat his supper, that he saw two gaily-plumaged birds, that were strange to him, sitting at the top of the tree talking to one another about him. The first bird said:

'I know that wandering fool under the tree there, who has come so far without finding what he seeks. He is trying to find King Solomon's lost ring.'

The other bird answered, 'He will have to seek help from the Witch-maiden, who will doubtless be able to put him on the right track. If she has not got the ring herself, she knows well enough who has it.'

'But where is he to find the Witch-maiden?' said the first bird. 'She has no settled dwelling, but is here to-day and gone to-morrow. He might as well try to catch the wind.'

The other replied, 'I do not know, certainly, where she is at present, but in three nights from now she will come to the spring to wash her face, as she does every month when the moon is full, in order that she may never grow old nor wrinkled, but may always keep the bloom of youth.'

'Well,' said the first bird, 'the spring is not far from here. Shall we go and see how it is she does it?'

'Willingly, if you like,' said the other.

The youth immediately resolved to follow the birds to the spring, only two things made him uneasy: first, lest he might be asleep when the birds went, and secondly, lest he might lose sight of them, since he had not wings to carry him along so swiftly. He was too tired to keep awake all night, yet his anxiety prevented him from sleeping soundly, and when with the earliest dawn he looked up to the tree-top, he was glad to see his feathered companions still asleep with their heads under their wings. He ate his breakfast, and waited until the birds should start, but they did not leave the place all day. They hopped about from one tree to another looking for food, all day long until the evening, when they went back to their old perch to sleep. The next day the same thing happened, but on the third morning one bird said to the other, 'To-day we must go to the spring to see the Witch-maiden wash her face.' They remained on the tree till noon; then they flew away and went towards the south. The young man's heart beat with anxiety lest he should lose sight of his guides, but he managed to keep the birds in view until they again perched upon a tree. The young man ran after them until he was quite exhausted and out of breath, and after three short rests the birds at length reached a small open space in the forest, on the edge of which they placed themselves on the top of a high tree. When the youth had overtaken them, he saw that there was a clear spring in the middle of the space. He sat down at the foot of the tree upon which the birds were perched, and listened attentively to what they were saying to each other.

'The sun is not down yet,' said the first bird; 'we must wait yet awhile till the moon rises and the maiden comes to the spring. Do you think she will see that young man sitting under the tree?'

'Nothing is likely to escape her eyes, certainly not a young man, said the other bird. 'Will the youth have the sense not to let himself be caught in her toils?'

'We will wait,' said the first bird, 'and see how they get on together.'

The evening light had quite faded, and the full moon was already shining down upon the forest, when the young man heard a slight rustling sound. After a few moments there came out of the forest a maiden, gliding over the grass so lightly that her feet seemed scarcely to touch the ground, and stood beside the spring. The youth could not turn away his eyes from the maiden, for he had never in his life seen a woman so beautiful. Without seeming to notice anything, she went to the spring, looked up to the full moon, then knelt down and bathed her face nine times, then looked up to the moon again and walked nine times round the well, and as she walked she sang this song:

          'Full-faced moon with light unshaded,

           Let my beauty ne'er be faded.

            Never let my cheek grow pale!

        While the moon is waning nightly,

           May the maiden bloom more brightly,

           May her freshness never fail!'

Then she dried her face with her long hair, and was about to go away, when her eye suddenly fell upon the spot where the young man was sitting, and she turned towards the tree. The youth rose and stood waiting. Then the maiden said, 'You ought to have a heavy punishment because you have presumed to watch my secret doings in the moonlight. But I will forgive you this time, because you are a stranger and knew no better. But you must tell me truly who you are and how you came to this place, where no mortal has ever set foot before.'

The youth answered humbly: 'Forgive me, beautiful maiden, if I have unintentionally offended you. I chanced to come here after long wandering, and found a good place to sleep under this tree. At your coming I did not know what to do, but stayed where I was, because I thought my silent watching could not offend you.'

The maiden answered kindly, 'Come and spend this night with us. You will sleep better on a pillow than on damp moss.'

The youth hesitated for a little, but presently he heard the birds saying from the top of the tree, 'Go where she calls you, but take care to give no blood, or you will sell your soul.' So the youth went with her, and soon they reached a beautiful garden, where stood a splendid house, which glittered in the moonlight as if it was all built out of gold and silver. When the youth entered he found many splendid chambers, each one finer than the last. Hundreds of tapers burnt upon golden candlesticks, and shed a light like the brightest day. At length they reached a chamber where a table was spread with the most costly dishes. At the table were placed two chairs, one of silver, the other of gold. The maiden seated herself upon the golden chair, and offered the silver one to her companion. They were served by maidens dressed in white, whose feet made no sound as they moved about, and not a word was spoken during the meal. Afterwards the youth and the Witch-maiden conversed pleasantly together, until a woman, dressed in red, came in to remind them that it was bedtime. The youth was now shown into another room, containing a silken bed with down cushions, where he slept delightfully, yet he seemed to hear a voice near his bed which repeated to him, 'Remember to give no blood!'

The next morning the maiden asked him whether he would not like to stay with her always in this beautiful place, and as he did not answer immediately, she continued: 'You see how I always remain young and beautiful, and I am under no one's orders, but can do just what I like, so that I have never thought of marrying before. But from the moment I saw you I took a fancy to you, so if you agree, we might be married and might live together like princes, because I have great riches.'

The youth could not but be tempted with the beautiful maiden's offer, but he remembered how the birds had called her the witch, and their warning always sounded in his ears. Therefore he answered cautiously, 'Do not be angry, dear maiden, if I do not decide immediately on this important matter. Give me a few days to consider before we come to an understanding.'

'Why not?' answered the maiden. 'Take some weeks to consider if you like, and take counsel with your own heart.' And to make the time pass pleasantly, she took the youth over every part of her beautiful dwelling, and showed him all her splendid treasures. But these treasures were all produced by enchantment, for the maiden could make anything she wished appear by the help of King Solomon's signet ring; only none of these things remained fixed; they passed away like the wind without leaving a trace behind. But the youth did not know this; he thought they were all real.

One day the maiden took him into a secret chamber, where a little gold box was standing on a silver table. Pointing to the box, she said, 'Here is my greatest treasure, whose like is not to be found in the whole world. It is a precious gold ring. When you marry me, I will give you this ring as a marriage gift, and it will make you the happiest of mortal men. But in order that our love may last for ever, you must give me for the ring three drops of blood from the little finger of your left hand.'

When the youth heard these words a cold shudder ran over him, for he remembered that his soul was at stake. He was cunning enough, however, to conceal his feelings and to make no direct answer, but he only asked the maiden, as if carelessly, what was remarkable about the ring?

She answered, 'No mortal is able entirely to understand the power of this ring, because no one thoroughly understands the secret signs engraved upon it. But even with my half-knowledge I can work great wonders. If I put the ring upon the little finger of my left hand, then I can fly like a bird through the air wherever I wish to go. If I put it on the third finger of my left hand I am invisible, and I can see everything that passes around me, though no one can see me. If I put the ring upon the middle finger of my left hand, then neither fire nor water nor any sharp weapon can hurt me. If I put it on the forefinger of my left hand, then I can with its help produce whatever I wish. I can in a single moment build houses or anything I desire. Finally, as long as I wear the ring on the thumb of my left hand, that hand is so strong that it can break down rocks and walls. Besides these, the ring has other secret signs which, as I said, no one can understand. No doubt it contains secrets of great importance. The ring formerly belonged to King Solomon, the wisest of kings, during whose reign the wisest men lived. But it is not known whether this ring was ever made by mortal hands: it is supposed that an angel gave it to the wise King.'

When the youth heard all this he determined to try and get possession of the ring, though he did not quite believe in all its wonderful gifts. He wished the maiden would let him have it in his hand, but he did not quite like to ask her to do so, and after a while she put it back into the box. A few days after they were again speaking of the magic ring, and the youth said, 'I do not think it possible that the ring can have all the power you say it has.'

Then the maiden opened the box and took the ring out, and it glittered as she held it like the clearest sunbeam. She put it on the middle finger of her left hand, and told the youth to take a knife and try as hard as he could to cut her with it, for he would not be able to hurt her. He was unwilling at first, but the maiden insisted. Then he tried, at first only in play, and then seriously, to strike her with the knife, but an invisible wall of iron seemed to be between them, and the maiden stood before him laughing and unhurt. Then she put the ring on her third finger, and in an instant she had vanished from his eyes. Presently she was beside him again laughing, and holding the ring between her fingers.

'Do let me try,' said the youth, 'whether I can do these wonderful things.'

The maiden, suspecting no treachery, gave him the magic ring.

The youth pretended to have forgotten what to do, and asked what finger he must put the ring on so that no sharp weapon could hurt him?'

'Oh, the middle finger of your left hand,' the maiden answered, laughing.