Opis

Having stripped the rainbow of its primary colors for titles for his annual collection of fairy-tales, Mr. Lang was forced to employ a neutral tint. Besides "The Red Fairy Book," we have had a Blue, a Yellow, a Green, and a Pink, a " Blue Poetry Book," a " Red True Story Book," and a " Red Book of Animal Stories." A " True Blue Fairy Book" should have found a place in the series; but this Grey one is negative only in its name and its hue. The stories themselves are full of action and color. They are gathered together from Lithuania and France, from Africa and Germany and Greece, and not only does Mr. Lang stand sponsor for the volume, but Mrs. Lang and Miss Lang have helped translate and adapt it. This book isfully 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 Donkey Skin The Goblin Pony An Impossible Enchantment The Story Of Dschemil and Dschemila Janni and the Draken The Partnership of the Thief and the Liar. Fortunatus and His Purse The Goat-faced Girl What Came of Picking Flowers The Story of Bensurdatu The Magician's Horse The Little Gray Man Herr Lazarus and the Draken The Story of the Queen of the Flowery Isles Udea and Her Seven Brothers The White Wolf Mohammed with the Magic Finger Bobino The Dog and the Sparrow The Story of the Three Sons of Hali The Story of the Fair Circassians The Jackal and the Spring The Bear The Sunchild The Daughter Of Buk Ettemsuch Laughing Eye and Weeping Eye, or the Limping Fox The Unlooked-for Prince The Simpleton The Street Musicians The Twin Brothers Cannetella The Ogre A Fairy's Blunder Long, Broad, and Quickeye Prunella

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THE GREY FAIRY BOOK

Andrew Lang

Contents:

ANDREW LANG (1844-1912)

THE GREY FAIRY BOOK

Preface

Donkey Skin

The Goblin Pony

An Impossible Enchantment

The Story Of Dschemil and Dschemila

Janni and the Draken

The Partnership of the Thief and the Liar.

Fortunatus and His Purse

The Goat-faced Girl

What Came of Picking Flowers

The Story of Bensurdatu

The Magician's Horse

The Little Gray Man

Herr Lazarus and the Draken

The Story of the Queen of the Flowery Isles

Udea and Her Seven Brothers

The White Wolf

Mohammed with the Magic Finger

Bobino

The Dog and the Sparrow

The Story of the Three Sons of Hali

The Story of the Fair Circassians

The Jackal and the Spring

The Bear

The Sunchild

The Daughter Of Buk Ettemsuch

Laughing Eye and Weeping Eye, or the Limping Fox

The Unlooked-for Prince

The Simpleton

The Street Musicians

The Twin Brothers

Cannetella

The Ogre

A Fairy's Blunder

Long, Broad, and Quickeye

Prunella

The Grey Fairy Book, A. Lang

Jazzybee Verlag Jürgen Beck

86450 Altenmünster, Loschberg 9

Germany

ISBN: 9783849609337

www.jazzybee-verlag.de

www.facebook.com/jazzybeeverlag

[email protected]

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 GREY FAIRY BOOK

Preface

The tales in the Grey Fairy Book are derived from many countries—Lithuania, various parts of Africa, Germany, France, Greece, and other regions of the world. They have been translated and adapted by Mrs. Dent, Mrs. Lang, Miss Eleanor Sellar, Miss Blackley, and Miss hang. 'The Three Sons of Hali' is from the last century 'Cabinet des Fees,' a very large collection. The French author may have had some Oriental original before him in parts; at all events he copied the Eastern method of putting tale within tale, like the Eastern balls of carved ivory. The stories, as usual, illustrate the method of popular fiction. A certain number of incidents are shaken into many varying combinations, like the fragments of coloured glass in the kaleidoscope. Probably the possible combinations, like possible musical combinations, are not unlimited in number, but children may be less sensitive in the matter of fairies than Mr. John Stuart Mill was as regards music.

Donkey Skin

There was once upon a time a king who was so much beloved by his subjects that he thought himself the happiest monarch in the whole world, and he had everything his heart could desire. His palace was filled with the rarest of curiosities, and his gardens with the sweetest flowers, while in the marble stalls of his stables stood a row of milk-white Arabs, with big brown eyes.

Strangers who had heard of the marvels which the king had collected, and made long journeys to see them, were, however, surprised to find the most splendid stall of all occupied by a donkey, with particularly large and drooping ears. It was a very fine donkey; but still, as far as they could tell, nothing so very remarkable as to account for the care with which it was lodged; and they went away wondering, for they could not know that every night, when it was asleep, bushels of gold pieces tumbled out of its ears, which were picked up each morning by the attendants.

After many years of prosperity a sudden blow fell upon the king in the death of his wife, whom he loved dearly. But before she died, the queen, who had always thought first of his happiness, gathered all her strength, and said to him:

'Promise me one thing: you must marry again, I know, for the good of your people, as well as of yourself. But do not set about it in a hurry. Wait until you have found a woman more beautiful and better formed than myself.'

'Oh, do not speak to me of marrying,' sobbed the king; 'rather let me die with you!' But the queen only smiled faintly, and turned over on her pillow and died.

For some months the king's grief was great; then gradually he began to forget a little, and, besides, his counsellors were always urging him to seek another wife. At first he refused to listen to them, but by-and-by he allowed himself to be persuaded to think of it, only stipulating that the bride should be more beautiful and attractive than the late queen, according to the promise he had made her.

Overjoyed at having obtained what they wanted, the counsellors sent envoys far and wide to get portraits of all the most famous beauties of every country. The artists were very busy and did their best, but, alas! nobody could even pretend that any of the ladies could compare for a moment with the late queen.

At length, one day, when he had turned away discouraged from a fresh collection of pictures, the king's eyes fell on his adopted daughter, who had lived in the palace since she was a baby, and he saw that, if a woman existed on the whole earth more lovely than the queen, this was she! He at once made known what his wishes were, but the young girl, who was not at all ambitious, and had not the faintest desire to marry him, was filled with dismay, and begged for time to think about it. That night, when everyone was asleep, she started in a little car drawn by a big sheep, and went to consult her fairy godmother.

'I know what you have come to tell me,' said the fairy, when the maiden stepped out of the car; 'and if you don't wish to marry him, I will show you how to avoid it. Ask him to give you a dress that exactly matches the sky. It will be impossible for him to get one, so you will be quite safe.' The girl thanked the fairy and returned home again.

The next morning, when her father (as she had always called him) came to see her, she told him that she could give him no answer until he had presented her with a dress the colour of the sky. The king, overjoyed at this answer, sent for all the choicest weavers and dressmakers in the kingdom, and commanded them to make a robe the colour of the sky without an instant's delay, or he would cut off their heads at once. Dreadfully frightened at this threat, they all began to dye and cut and sew, and in two days they brought back the dress, which looked as if it had been cut straight out of the heavens! The poor girl was thunderstruck, and did not know what to do; so in the night she harnessed her sheep again, and went in search of her godmother.

'The king is cleverer than I thought,' said the fairy; 'but tell him you must have a dress of moonbeams.'

And the next day, when the king summoned her into his presence, the girl told him what she wanted.

'Madam, I can refuse you nothing,' said he; and he ordered the dress to be ready in twenty-four hours, or every man should be hanged.

They set to work with all their might, and by dawn next day, the dress of moonbeams was laid across her bed. The girl, though she could not help admiring its beauty, began to cry, till the fairy, who heard her, came to her help.

'Well, I could not have believed it of him!' said she; 'but ask for a dress of sunshine, and I shall be surprised indeed if he manages that!'

The goddaughter did not feel much faith in the fairy after her two previous failures; but not knowing what else to do, she told her father what she was bid.

The king made no difficulties about it, and even gave his finest rubies and diamonds to ornament the dress, which was so dazzling, when finished, that it could not be looked at save through smoked glasses!

When the princess saw it, she pretended that the sight hurt her eyes, and retired to her room, where she found the fairy awaiting her, very much ashamed of herself.

'There is only one thing to be done now,' cried she; 'you must demand the skin of the ass he sets such store by. It is from that donkey he obtains all his vast riches, and I am sure he will never give it to you.'

The princess was not so certain; however, she went to the king, and told him she could never marry him till he had given her the ass's skin.

The king was both astonished and grieved at this new request, but did not hesitate an instant. The ass was sacrificed, and the skin laid at the feet of the princess.

The poor girl, seeing no escape from the fate she dreaded, wept afresh, and tore her hair; when, suddenly, the fairy stood before her.

'Take heart,' she said, 'all will now go well! Wrap yourself in this skin, and leave the palace and go as far as you can. I will look after you. Your dresses and your jewels shall follow you underground, and if you strike the earth whenever you need anything, you will have it at once. But go quickly: you have no time to lose.'

So the princess clothed herself in the ass's skin, and slipped from the palace without being seen by anyone.

Directly she was missed there was a great hue and cry, and every corner, possible and impossible, was searched. Then the king sent out parties along all the roads, but the fairy threw her invisible mantle over the girl when they approached, and none of them could see her.

The princess walked on a long, long way, trying to find some one who would take her in, and let her work for them; but though the cottagers, whose houses she passed, gave her food from charity, the ass's skin was so dirty they would not allow her to enter their houses. For her flight had been so hurried she had had no time to clean it.

Tired and disheartened at her ill-fortune, she was wandering, one day, past the gate of a farmyard, situated just outside the walls of a large town, when she heard a voice calling to her. She turned and saw the farmer's wife standing among her turkeys, and making signs to her to come in.

'I want a girl to wash the dishes and feed the turkeys, and clean out the pig-sty,' said the w omen, 'and, to judge by your dirty clothes, you would not be too fine for the work.'

The girl accepted her offer with joy, and she was at once set to work in a corner of the kitchen, where all the farm servants came and made fun of her, and the ass's skin in which she was wrapped. But by-and-by they got so used to the sight of it that it ceased to amuse them, and she worked so hard and so well, that her mistress grew quite fond of her. And she was so clever at keeping sheep and herding turkeys that you would have thought she had done nothing else during her whole life!

One day she was sitting on the banks of a stream bewailing her wretched lot, when she suddenly caught sight of herself in the water. Her hair and part of her face was quite concealed by the ass's head, which was drawn right over like a hood, and the filthy matted skin covered her whole body. It was the first time she had seen herself as other people saw her, and she was filled with shame at the spectacle. Then she threw off her disguise and jumped into the water, plunging in again and again, till she shone like ivory. When it was time to go back to the farm, she was forced to put on the skin which disguised her, and now seemed more dirty than ever; but, as she did so, she comforted herself with the thought that to-morrow was a holiday, and that she would be able for a few hours to forget that she was a farm girl, and be a princess once more.

So, at break of day, she stamped on the ground, as the fairy had told her, and instantly the dress like the sky lay across her tiny bed. Her room was so small that there was no place for the train of her dress to spread itself out, but she pinned it up carefully when she combed her beautiful hair and piled it up on the top of her head, as she had always worn it. When she had done, she was so pleased with herself that she determined never to let a chance pass of putting on her splendid clothes, even if she had to wear them in the fields, with no one to admire her but the sheep and turkeys.

Now the farm was a royal farm, and, one holiday, when 'Donkey Skin' (as they had nicknamed the princess) had locked the door of her room and clothed herself in her dress of sunshine, the king's son rode through the gate, and asked if he might come and rest himself a little after hunting. Some food and milk were set before him in the garden, and when he felt rested he got up, and began to explore the house, which was famous throughout the whole kingdom for its age and beauty. He opened one door after the other, admiring the old rooms, when he came to a handle that would not turn. He stooped and peeped through the keyhole to see what was inside, and was greatly astonished at beholding a beautiful girl, clad in a dress so dazzling that he could hardly look at it.

The dark gallery seemed darker than ever as he turned away, but he went back to the kitchen and inquired who slept in the room at the end of the passage. The scullery maid, they told him, whom everybody laughed at, and called 'Donkey Skin;' and though he perceived there was some strange mystery about this, he saw quite clearly there was nothing to be gained by asking any more questions. So he rode back to the palace, his head filled with the vision he had seen through the keyhole.

All night long he tossed about, and awoke the next morning in a high fever. The queen, who had no other child, and lived in a state of perpetual anxiety about this one, at once gave him up for lost, and indeed his sudden illness puzzled the greatest doctors, who tried the usual remedies in vain. At last they told the queen that some secret sorrow must be at the bottom of all this, and she threw herself on her knees beside her son's bed, and implored him to confide his trouble to her. If it was ambition to be king, his father would gladly resign the cares of the crown, and suffer him to reign in his stead; or, if it was love, everything should be sacrificed to get for him the wife he desired, even if she were daughter of a king with whom the country was at war at present!

'Madam,' replied the prince, whose weakness would hardly allow him to speak, 'do not think me so unnatural as to wish to deprive my father of his crown. As long as he lives I shall remain the most faithful of his subjects! And as to the princesses you speak of, I have seen none that I should care for as a wife, though I would always obey your wishes, whatever it might cost me.'

'Ah! my son,' cried she, 'we will do anything in the world to save your life——and ours too, for if you die, we shall die also.'

'Well, then,' replied the prince, 'I will tell you the only thing that will cure me——a cake made by the hand of "Donkey Skin."'

'Donkey Skin?' exclaimed the queen, who thought her son had gone mad; 'and who or what is that?'

'Madam,' answered one of the attendants present, who had been with the prince at the farm, '"Donkey Skin" is, next to the wolf, the most disgusting creature on the face of the earth. She is a girl who wears a black, greasy skin, and lives at your farmer's as hen-wife.'

'Never mind,' said the queen; 'my son seems to have eaten some of her pastry. It is the whim of a sick man, no doubt; but send at once and let her bake a cake.'

The attendant bowed and ordered a page to ride with the message.

Now it is by no means certain that 'Donkey Skin' had not caught a glimpse of the prince, either when his eyes looked through the keyhole, or else from her little window, which was over the road. But whether she had actually seen him or only heard him spoken of, directly she received the queen's command, she flung off the dirty skin, washed herself from head to foot, and put on a skirt and bodice of shining silver. Then, locking herself into her room, she took the richest cream, the finest flour, and the freshest eggs on the farm, and set about making her cake.

As she was stirring the mixture in the saucepan a ring that she sometimes wore in secret slipped from her finger and fell into the dough. Perhaps 'Donkey Skin' saw it, or perhaps she did not; but, any way, she went on stirring, and soon the cake was ready to be put in the oven. When it was nice and brown she took off her dress and put on her dirty skin, and gave the cake to the page, asking at the same time for news of the prince. But the page turned his head aside, and would not even condescend to answer.

The page rode like the wind, and as soon as he arrived at the palace he snatched up a silver tray and hastened to present the cake to the prince. The sick man began to eat it so fast that the doctors thought he would choke; and, indeed, he very nearly did, for the ring was in one of the bits which he broke off, though he managed to extract it from his mouth without anyone seeing him.

The moment the prince was left alone he drew the ring from under his pillow and kissed it a thousand times. Then he set his mind to find how he was to see the owner—-for even he did not dare to confess that he had only beheld 'Donkey Skin' through a keyhole, lest they should laugh at this sudden passion. All this worry brought back the fever, which the arrival of the cake had diminished for the time; and the doctors, not knowing what else to say, informed the queen that her son was simply dying of love. The queen, stricken with horror, rushed into the king's presence with the news, and together they hastened to their son's bedside.

'My boy, my dear boy!' cried the king, 'who is it you want to marry? We will give her to you for a bride; even if she is the humblest of our slaves. What is there in the whole world that we would not do for you?'

The prince, moved to tears at these words, drew the ring, which was an emerald of the purest water, from under his pillow.

'Ah, dear father and mother, let this be a proof that she whom I love is no peasant girl. The finger which that ring fits has never been thickened by hard work. But be her condition what it may, I will marry no other.'

The king and queen examined the tiny ring very closely, and agreed, with their son, that the wearer could be no mere farm girl. Then the king went out and ordered heralds and trumpeters to go through the town, summoning every maiden to the palace. And she whom the ring fitted would some day be queen.

First came all the princesses, then all the duchesses' daughters, and so on, in proper order. But not one of them could slip the ring over the tip of her finger, to the great joy of the prince, whom excitement was fast curing. At last, when the high-born damsels had failed, the shopgirls and chambermaids took their turn; but with no better fortune.

'Call in the scullions and shepherdesses,' commanded the prince; but the sight of their fat, red fingers satisfied everybody.

'There is not a woman left, your Highness,' said the chamberlain; but the prince waved him aside.

'Have you sent for "Donkey Skin," who made me the cake?' asked he, and the courtiers began to laugh, and replied that they would not have dared to introduce so dirty a creature into the palace.

'Let some one go for her at once,' ordered the king. 'I commanded the presence of every maiden, high or low, and I meant it.'

The princess had heard the trumpets and the proclamations, and knew quite well that her ring was at the bottom of it all. She, too, had fallen in love with the prince in the brief glimpse she had had of him, and trembled with fear lest someone else's finger might be as small as her own. When, therefore, the messenger from the palace rode up to the gate, she was nearly beside herself with delight. Hoping all the time for such a summons, she had dressed herself with great care, putting on the garment of moonlight, whose skirt was scattered over with emeralds. But when they began calling to her to come down, she hastily covered herself with her donkey-skin and announced she was ready to present herself before his Highness. She was taken straight into the hall, where the prince was awaiting her, but at the sight of the donkey-skin his heart sank. Had he been mistaken after all?

'Are you the girl,' he said, turning his eyes away as he spoke, 'are you the girl who has a room in the furthest corner of the inner court of the farmhouse?'

'Yes, my lord, I am,' answered she.

'Hold out your hand then,' continued the prince, feeling that he must keep his word, whatever the cost, and, to the astonishment of every one present, a little hand, white and delicate, came from beneath the black and dirty skin. The ring slipped on with the utmost ease, and, as it did so, the skin fell to the ground, disclosing a figure of such beauty that the prince, weak as he was, fell on his knees before her, while the king and queen joined their prayers to his. Indeed, their welcome was so warm, and their caresses so bewildering, that the princess hardly knew how to find words to reply, when the ceiling of the hall opened, and the fairy godmother appeared, seated in a car made entirely of white lilac. In a few words she explained the history of the princess, and how she came to be there, and, without losing a moment, preparations of the most magnificent kind were made for the wedding.

The kings of every country in the earth were invited, including, of course, the princess's adopted father (who by this time had married a widow), and not one refused.

But what a strange assembly it was! Each monarch travelled in the way he thought most impressive; and some came borne in litters, others had carriages of every shape and kind, while the rest were mounted on elephants, tigers, and even upon eagles. So splendid a wedding had never been seen before; and when it was over the king announced that it was to be followed by a coronation, for he and the queen were tired of reigning, and the young couple must take their place. The rejoicings lasted for three whole months, then the new sovereigns settled down to govern their kingdom, and made themselves so much beloved by their subjects, that when they died, a hundred years later, each man mourned them as his own father and mother.

[From le Cabinet de Fees.]

The Goblin Pony

'Don't stir from the fireplace to-night,' said old Peggy, 'for the wind is blowing so violently that the house shakes; besides, this is Hallow-e'en, when the witches are abroad, and the goblins, who are their servants, are wandering about in all sorts of disguises, doing harm to the children of men.'

'Why should I stay here?' said the eldest of the young people. 'No, I must go and see what the daughter of old Jacob, the rope-maker, is doing. She wouldn't close her blue eyes all night if I didn't visit her father before the moon had gone down.'

'I must go and catch lobsters and crabs' said the second, 'and not all the witches and goblins in the world shall hinder me.'

So they all determined to go on their business or pleasure, and scorned the wise advice of old Peggy. Only the youngest child hesitated a minute, when she said to him, 'You stay here, my little Richard, and I will tell you beautiful stories.'

But he wanted to pick a bunch of wild thyme and some blackberries by moonlight, and ran out after the others. When they got outside the house they said: 'The old woman talks of wind and storm, but never was the weather finer or the sky more clear; see how majestically the moon stalks through the transparent clouds!'

Then all of a sudden they noticed a little black pony close beside them.

'Oh, ho!' they said, 'that is old Valentine's pony; it must have escaped from its stable, and is going down to drink at the horse-pond.'

'My pretty little pony,' said the eldest, patting the creature with his hand, 'you mustn't run too far; I'll take you to the pond myself.'

With these words he jumped on the pony's back and was quickly followed by his second brother, then by the third, and so on, till at last they were all astride the little beast, down to the small Richard, who didn't like to be left behind.

On the way to the pond they met several of their companions, and they invited them all to mount the pony, which they did, and the little creature did not seem to mind the extra weight, but trotted merrily along.

The quicker it trotted the more the young people enjoyed the fun; they dug their heels into the pony's sides and called out, 'Gallop, little horse, you have never had such brave riders on your back before!'

In the meantime the wind had risen again, and the waves began to howl; but the pony did not seem to mind the noise, and instead of going to the pond, cantered gaily towards the sea-shore.

Richard began to regret his thyme and blackberries, and the eldest brother seized the pony by the mane and tried to make it turn round, for he remembered the blue eyes of Jacob the rope-maker's daughter. But he tugged and pulled in vain, for the pony galloped straight on into the sea, till the waves met its forefeet. As soon as it felt the water it neighed lustily and capered about with glee, advancing quickly into the foaming billows. When the waves had covered the children's legs they repented their careless behaviour, and cried out: 'The cursed little black pony is bewitched. If we had only listened to old Peggy's advice we shouldn't have been lost.'

The further the pony advanced, the higher rose the sea; at last the waves covered the children's heads and they were all drowned.

Towards morning old Peggy went out, for she was anxious about the fate of her grandchildren. She sought them high and low, but could not find them anywhere. She asked all the neighbours if they had seen the children, but no one knew anything about them, except that the eldest had not been with the blue-eyed daughter of Jacob the rope-maker.

As she was going home, bowed with grief, she saw a little black pony coming towards her, springing and curveting in every direction. When it got quite near her it neighed loudly, and galloped past her so quickly that in a moment it was out of her sight.

[From the French, Kletke.]

An Impossible Enchantment

There once lived a king who was much loved by his people, and he, too, loved them warmly. He led a very happy life, but he had the greatest dislike to the idea of marrying, nor had he ever felt the slightest wish to fall in love. His subjects begged him to marry, and at last he promised to try to do so. But as, so far, he had never cared for any woman he had seen, he made up his mind to travel in hopes of meeting some lady he could love.

So he arranged all the affairs of state in an orderly manner, and set out, attended by only one equerry, who, though not very clever, had most excellent good sense. These people indeed generally make the best fellow travellers.

The king explored several countries, doing all he could to fall in love, but in vain; and at the end of two years' journeys he turned his face towards home, with as free a heart as when he set out.

As he was riding along through a forest he suddenly heard the most awful miawing and shrieking of cats you can imagine. The noise drew nearer, and nearer, and at last they saw a hundred huge Spanish cats rush through the trees close to them. They were so closely packed together that you could easily have covered them with a large cloak, and all were following the same track. They were closely pursued by two enormous apes, dressed in purple suits, with the prettiest and best made boots you ever saw.

The apes were mounted on superb mastiffs, and spurred them on in hot haste, blowing shrill blasts on little toy trumpets all the time.

The king and his equerry stood still to watch this strange hunt, which was followed by twenty or more little dwarfs, some mounted on wolves, and leading relays, and others with cats in leash. The dwarfs were all dressed in purple silk liveries like the apes.

A moment later a beautiful young woman mounted on a tiger came in sight. She passed close to the king, riding at full speed, without taking any notice of him; but he was at once enchanted by her, and his heart was gone in a moment.

To his great joy he saw that one of the dwarfs had fallen behind the rest, and at once began to question him.

The dwarf told him that the lady he had just seen was the Princess Mutinosa, the daughter of the king in whose country they were at that moment. He added that the princess was very fond of hunting, and that she was now in pursuit of rabbits.

The king then asked the way to the court, and having been told it, hurried off, and reached the capital in a couple of hours.

As soon as he arrived, he presented himself to the king and queen, and on mentioning his own name and that of his country, was received with open arms. Not long after, the princess returned, and hearing that the hunt had been very successful, the king complimented her on it, but she would not answer a word.

Her silence rather surprised him, but he was still more astonished when he found that she never spoke once all through supper-time. Sometimes she seemed about to speak, but whenever this was the case her father or mother at once took up the conversation. However, this silence did not cool the king's affection, and when he retired to his rooms at night he confided his feelings to his faithful equerry. But the equerry was by no means delighted at his king's love affair, and took no pains to hide his disappointment.

'But why are you vexed?' asked the king. 'Surely the princess is beautiful enough to please anyone?'

'She is certainly very handsome,' replied the equerry, 'but to be really happy in love something more than beauty is required. To tell the truth, sire,' he added, 'her expression seems to me hard.'

'That is pride and dignity,' said the king, 'and nothing can be more becoming.'

'Pride or hardness, as you will,' said the equerry; 'but to my mind the choice of so many fierce creatures for her amusements seems to tell of a fierce nature, and I also think there is something suspicious in the care taken to prevent her speaking.'

The equerry's remarks were full of good sense; but as opposition is only apt to increase love in the hearts of men, and especially of kings who hate being contradicted, this king begged, the very next day, for the hand of the Princess Mutinosa. It was granted him on two conditions.

The first was that the wedding should take place the very next day; and the second, that he should not speak to the princess till she was his wife; to all of which the king agreed, in spite of his equerry's objections, so that the first word he heard his bride utter was the 'Yes' she spoke at their marriage.

Once married, however, she no longer placed any check on herself, and her ladies-in-waiting came in for plenty of rude speeches——even the king did not escape scolding; but as he was a good-tempered man, and very much in love, he bore it patiently. A few days after the wedding the newly married pair set out for their kingdom without leaving many regrets behind.

The good equerry's fears proved only too true, as the king found out to his cost. The young queen made her self most disagreeable to all her court, her spite and bad temper knew no bounds, and before the end of a month she was known far and wide as a regular vixen.

One day, when riding out, she met a poor old woman walking along the road, who made a curtsy and was going on, when the queen had her stopped, and cried: 'You are a very impertinent person; don't you know that I am the queen? And how dare you not make me a deeper curtsy?'

'Madam,' said the old woman, 'I have never learnt how to measure curtsies; but I had no wish to fail in proper respect.'

'What!' screamed the queen; 'she dares to answer! Tie her to my horse's tail and I'll just carry her at once to the best dancing-master in the town to learn how to curtsy.'

The old woman shrieked for mercy, but the queen would not listen, and only mocked when she said she was protected by the fairies. At last the poor old thing submitted to be tied up, but when the queen urged her horse on he never stirred. In vain she spurred him, he seemed turned to bronze. At the same moment the cord with which the old woman was tied changed into wreaths of flowers, and she herself into a tall and stately lady.

Looking disdainfully at the queen, she said, 'Bad woman, unworthy of your crown; I wished to judge for myself whether all I heard of you was true. I have now no doubt of it, and you shall see whether the fairies are to be laughed at.'

So saying the fairy Placida (that was her name) blew a little gold whistle, and a chariot appeared drawn by six splendid ostriches. In it was seated the fairy queen, escorted by a dozen other fairies mounted on dragons.

All having dismounted, Placida told her adventures, and the fairy queen approved all she had done, and proposed turning Mutinosa into bronze like her horse.

Placida, however, who was very kind and gentle, begged for a milder sentence, and at last it was settled that Mutinosa should become her slave for life unless she should have a child to take her place.

The king was told of his wife's fate and submitted to it, which, as he could do nothing to help it, was the only course open to him.

The fairies then all dispersed, Placida taking her slave with her, and on reaching her palace she said: 'You ought by rights to be scullion, but as you have been delicately brought up the change might be too great for you. I shall therefore only order you to sweep my rooms carefully, and to wash and comb my little dog.'

Mutinosa felt there was no use in disobeying, so she did as she was bid and said nothing.

After some time she gave birth to a most lovely little girl, and when she was well again the fairy gave her a good lecture on her past life, made her promise to behave better in future, and sent her back to the king, her husband.

Placida now gave herself up entirely to the little princess who was left in her charge. She anxiously thought over which of the fairies she would invite to be godmothers, so as to secure the best gift, for her adopted child.

At last she decided on two very kindly and cheerful fairies, and asked them to the christening feast. Directly it was over the baby was brought to them in a lovely crystal cradle hung with red silk curtains embroidered with gold.

The little thing smiled so sweetly at the fairies that they decided to do all they could for her. They began by naming her Graziella, and then Placida said: 'You know, dear sisters, that the commonest form of spite or punishment amongst us consists of changing beauty to ugliness, cleverness to stupidity, and oftener still to change a person's form altogether. Now, as we can only each bestow one gift, I think the best plan will be for one of you to give her beauty, the other good understanding, whilst I will undertake that she shall never be changed into any other form.'

The two godmothers quite agreed, and as soon as the little princess had received their gifts, they went home, and Placida gave herself up to the child's education. She succeeded so well with it, and little Graziella grew so lovely, that when she was still quite a child her fame was spread abroad only too much, and one day Placida was surprised by a visit from the Fairy Queen, who was attended by a very grave and severe-looking fairy.

The queen began at once: 'I have been much surprised by your behaviour to Mutinosa; she had insulted our whole race, and deserved punishment. You might forgive your own wrongs if you chose, but not those of others. You treated her very gently whilst she was with you, and I come now to avenge our wrongs on her daughter. You have ensured her being lovely and clever, and not subject to change of form, but I shall place her in an enchanted prison, which she shall never leave till she finds herself in the arms of a lover whom she herself loves. It will be my care to prevent anything of the kind happening.'

The enchanted prison was a large high tower in the midst of the sea, built of shells of all shapes and colours. The lower floor was like a great bathroom, where the water was let in or off at will. The first floor contained the princess's apartments, beautifully furnished. On the second was a library, a large wardrobe-room filled with beautiful clothes and every kind of linen, a music-room, a pantry with bins full of the best wines, and a store-room with all manner of preserves, bonbons, pastry and cakes, all of which remained as fresh as if just out of the oven.

The top of the tower was laid out like a garden, with beds of the loveliest flowers, fine fruit trees, and shady arbours and shrubs, where many birds sang amongst the branches.

The fairies escorted Graziella and her governess, Bonnetta, to the tower, and then mounted a dolphin which was waiting for them. At a little distance from the tower the queen waved her wand and summoned two thousand great fierce sharks, whom she ordered to keep close guard, and not to let a soul enter the tower.

The good governess took such pains with Graziella's education that when she was nearly grown up she was not only most accomplished, but a very sweet, good girl.

One day, as the princess was standing on a balcony, she saw the most extraordinary figure rise out of the sea. She quickly called Bonnetta to ask her what it could be. It looked like some kind of man, with a bluish face and long sea-green hair. He was swimming towards the tower, but the sharks took no notice of him.

'It must be a merman,' said Bonnetta.

'A man, do you say?' cried Graziella; 'let us hurry down to the door and see him nearer.'

When they stood in the doorway the merman stopped to look at the princess and made many signs of admiration. His voice was very hoarse and husky, but when he found that he was not understood he took to signs. He carried a little basket made of osiers and filled with rare shells, which he presented to the princess.