The Violet Fairy Book

 

Edited By Andrew Lang

 

 

 

 

 

 

Contents:

 

Andrew Lang (1844-1912)

 

The Violet Fairy Book

 

Preface

A Tale Of The Tontlawald

The Finest Liar In The World

The Story Of Three Wonderful Beggars

Schippeitaro

The Three Princes And Their Beasts (Lithuanian Fairy Tale)

The Goat's Ears Of The Emperor Trojan

The Nine Pea-Hens And The Golden Apples

The Lute Player

The Grateful Prince

The Child Who Came From An Egg

Stan Bolovan

The Two Frogs

The Story Of A Gazelle

How A Fish Swam In The Air And A Hare In The Water.

Two In A Sack

The Envious Neighbour

The Fairy Of The Dawn

The Enchanted Knife

Jesper Who Herded The Hares

The Underground Workers

The History Of Dwarf Long Nose

The Nunda, Eater Of People

The Story Of Hassebu

The Maiden With The Wooden Helmet

The Monkey And The Jelly-Fish

The Headless Dwarfs

The Young Man Who Would Have His Eyes Opened

The Boys With The Golden Stars

The Frog

The Princess Who Was Hidden Underground

The Girl Who Pretended To Be A Boy

The Story Of Halfman

The Prince Who Wanted To See The World

Virgilius The Sorcerer

Mogarzea And His Son

 

 

 

The Violet Fairy Book, A. Lang

Jazzybee Verlag Jürgen Beck

86450 Altenmünster, Loschberg 9

Germany

 

ISBN: 9783849611606

 

www.jazzybee-verlag.de

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admin@jazzybee-verlag.de

 

 

 

 

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 VIOLET FAIRY BOOK

 

 

PREFACE

 

The Editor takes this opportunity to repeat what he has often said before, that he is not the author of the stories in the Fairy Books; that he did not invent them 'out of his own head.' He is accustomed to being asked, by ladies, 'Have you written anything else except the Fairy Books?' He is then obliged to explain that he has NOT written the Fairy Books, but, save these, has written almost everything else, except hymns, sermons, and dramatic works.

 

The stories in this Violet Fairy Book, as in all the others of the series, have been translated out of the popular traditional tales in a number of different languages. These stories are as old as anything that men have invented. They are narrated by naked savage women to naked savage children. They have been inherited by our earliest civilised ancestors, who really believed that beasts and trees and stones can talk if they choose, and behave kindly or unkindly. The stories are full of the oldest ideas of ages when science did not exist, and magic took the place of science. Anybody who has the curiosity to read the 'Legendary Australian Tales,' which Mrs. Langloh Parker has collected from the lips of the Australian savages, will find that these tales are closely akin to our own. Who were the first authors of them nobody knows—probably the first men and women. Eve may have told these tales to amuse Cain and Abel. As people grew more civilised and had kings and queens, princes and princesses, these exalted persons generally were chosen as heroes and heroines. But originally the characters were just 'a man,' and 'a woman,' and 'a boy,' and 'a girl,' with crowds of beasts, birds, and fishes, all behaving like human beings. When the nobles and other people became rich and educated, they forgot the old stories, but the country people did not, and handed them down, with changes at pleasure, from generation to generation. Then learned men collected and printed the country people's stories, and these we have translated, to amuse children. Their tastes remain like the tastes of their naked ancestors, thousands of years ago, and they seem to like fairy tales better than history, poetry, geography, or arithmetic, just as grown-up people like novels better than anything else.

 

This is the whole truth of the matter. I have said so before, and I say so again. But nothing will prevent children from thinking that I invented the stories, or some ladies from being of the same opinion. But who really invented the stories nobody knows; it is all so long ago, long before reading and writing were invented. The first of the stories actually written down, were written in Egyptian hieroglyphs, or on Babylonian cakes of clay, three or four thousand years before our time.

 

Of the stories in this book, Miss Blackley translated 'Dwarf Long Nose,' 'The Wonderful Beggars,' 'The Lute Player,' 'Two in a Sack,' and 'The Fish that swam in the Air.' Mr. W. A. Craigie translated from the Scandinavian, 'Jasper who herded the Hares.' Mrs. Lang did the rest.

 

Some of the most interesting are from the Roumanion, and three were previously published in the late Dr. Steere's 'Swahili Tales.' By the permission of his representatives these three African stories have here been abridged and simplified for children.

 

 

 

 

A TALE OF THE TONTLAWALD

 

Long, long ago there stood in the midst of a country covered with lakes a vast stretch of moorland called the Tontlawald, on which no man ever dared set foot. From time to time a few bold spirits had been drawn by curiosity to its borders, and on their return had reported that they had caught a glimpse of a ruined house in a grove of thick trees, and round about it were a crowd of beings resembling men, swarming over the grass like bees. The men were as dirty and ragged as gipsies, and there were besides a quantity of old women and half-naked children.

 

One night a peasant who was returning home from a feast wandered a little farther into the Tontlawald, and came back with the same story. A countless number of women and children were gathered round a huge fire, and some were seated on the ground, while others danced strange dances on the smooth grass. One old crone had a broad iron ladle in her hand, with which every now and then she stirred the fire, but the moment she touched the glowing ashes the children rushed away, shrieking like night owls, and it was a long while before they ventured to steal back. And besides all this there had once or twice been seen a little old man with a long beard creeping out of the forest, carrying a sack bigger than himself. The women and children ran by his side, weeping and trying to drag the sack from off his back, but he shook them off, and went on his way. There was also a tale of a magnificent black cat as large as a foal, but men could not believe all the wonders told by the peasant, and it was difficult to make out what was true and what was false in his story. However, the fact remained that strange things did happen there, and the King of Sweden, to whom this part of the country belonged, more than once gave orders to cut down the haunted wood, but there was no one with courage enough to obey his commands. At length one man, bolder than the rest, struck his axe into a tree, but his blow was followed by a stream of blood and shrieks as of a human creature in pain. The terrified woodcutter fled as fast as his legs would carry him, and after that neither orders nor threats would drive anybody to the enchanted moor.

 

A few miles from the Tontlawald was a large village, where dwelt a peasant who had recently married a young wife. As not uncommonly happens in such cases, she turned the whole house upside down, and the two quarrelled and fought all day long.

 

By his first wife the peasant had a daughter called Elsa, a good quiet girl, who only wanted to live in peace, but this her stepmother would not allow. She beat and cuffed the poor child from morning till night, but as the stepmother had the whip-hand of her husband there was no remedy.

 

For two years Elsa suffered all this ill-treatment, when one day she went out with the other village children to pluck strawberries. Carelessly they wandered on, till at last they reached the edge of the Tontlawald, where the finest strawberries grew, making the grass red with their colour. The children flung themselves down on the ground, and, after eating as many as they wanted, began to pile up their baskets, when suddenly a cry arose from one of the older boys:

 

 

'Run, run as fast as you can! We are in the Tontlawald!'

 

Quicker than lightning they sprang to their feet, and rushed madly away, all except Elsa, who had strayed farther than the rest, and had found a bed of the finest strawberries right under the trees. Like the others, she heard the boy's cry, but could not make up her mind to leave the strawberries.

 

'After all, what does it matter?' thought she. 'The dwellers in the Tontlawald cannot be worse than my stepmother'; and looking up she saw a little black dog with a silver bell on its neck come barking towards her, followed by a maiden clad all in silk.

 

'Be quiet,' said she; then turning to Elsa she added: 'I am so glad you did not run away with the other children. Stay here with me and be my friend, and we will play delightful games together, and every day we will go and gather strawberries. Nobody will dare to beat you if I tell them not. Come, let us go to my mother'; and taking Elsa's hand she led her deeper into the wood, the little black dog jumping up beside them and barking with pleasure.

 

Oh! what wonders and splendours unfolded themselves before Elsa's astonished eyes! She thought she really must be in Heaven. Fruit trees and bushes loaded with fruit stood before them, while birds gayer than the brightest butterfly sat in their branches and filled the air with their song. And the birds were not shy, but let the girls take them in their hands, and stroke their gold and silver feathers. In the centre of the garden was the dwelling-house, shining with glass and precious stones, and in the doorway sat a woman in rich garments, who turned to Elsa's companion and asked:

 

'What sort of a guest are you bringing to me?'

 

'I found her alone in the wood,' replied her daughter, 'and brought her back with me for a companion. You will let her stay?'

 

The mother laughed, but said nothing, only she looked Elsa up and down sharply. Then she told the girl to come near, and stroked her cheeks and spoke kindly to her, asking if her parents were alive, and if she really would like to stay with them. Elsa stooped and kissed her hand, then, kneeling down, buried her face in the woman's lap, and sobbed out:

 

'My mother has lain for many years under the ground. My father is still alive, but I am nothing to him, and my stepmother beats me all the day long. I can do nothing right, so let me, I pray you, stay with you. I will look after the flocks or do any work you tell me; I will obey your lightest word; only do not, I entreat you, send me back to her. She will half kill me for not having come back with the other children.'

 

And the woman smiled and answered, 'Well, we will see what we can do with you,' and, rising, went into the house.

 

Then the daughter said to Elsa, 'Fear nothing, my mother will be your friend. I saw by the way she looked that she would grant your request when she had thought over it,' and, telling Elsa to wait, she entered the house to seek her mother. Elsa meanwhile was tossed about between hope and fear, and felt as if the girl would never come.

 

At last Elsa saw her crossing the grass with a box in her hand.

 

'My mother says we may play together to-day, as she wants to make up her mind what to do about you. But I hope you will stay here always, as I can't bear you to go away. Have you ever been on the sea?'

 

'The sea?' asked Elsa, staring; 'what is that? I've never heard of such a thing!'

 

'Oh, I'll soon show you,' answered the girl, taking the lid from the box, and at the very bottom lay a scrap of a cloak, a mussel shell, and two fish scales. Two drops of water were glistening on the cloak, and these the girl shook on the ground. In an instant the garden and lawn and everything else had vanished utterly, as if the earth had opened and swallowed them up, and as far as the eye could reach you could see nothing but water, which seemed at last to touch heaven itself. Only under their feet was a tiny dry spot. Then the girl placed the mussel shell on the water and took the fish scales in her hand. The mussel shell grew bigger and bigger, and turned into a pretty little boat, which would have held a dozen children. The girls stepped in, Elsa very cautiously, for which she was much laughed at by her friend, who used the fish scales for a rudder. The waves rocked the girls softly, as if they were lying in a cradle, and they floated on till they met other boats filled with men, singing and making merry.

 

'We must sing you a song in return,' said the girl, but as Elsa did not know any songs, she had to sing by herself. Elsa could not understand any of the men's songs, but one word, she noticed, came over and over again, and that was 'Kisika.' Elsa asked what it meant, and the girl replied that it was her name.

 

It was all so pleasant that they might have stayed there for ever had not a voice cried out to them, 'Children, it is time for you to come home!'

 

So Kisika took the little box out of her pocket, with the piece of cloth lying in it, and dipped the cloth in the water, and lo! they were standing close to a splendid house in the middle of the garden. Everything round them was dry and firm, and there was no water anywhere. The mussel shell and the fish scales were put back in the box, and the girls went in.

 

They entered a large hall, where four and twenty richly dressed women were sitting round a table, looking as if they were about to attend a wedding. At the head of the table sat the lady of the house in a golden chair.

 

Elsa did not know which way to look, for everything that met her eyes was more beautiful than she could have dreamed possible. But she sat down with the rest, and ate some delicious fruit, and thought she must be in heaven. The guests talked softly, but their speech was strange to Elsa, and she understood nothing of what was said. Then the hostess turned round and whispered something to a maid behind her chair, and the maid left the hall, and when she came back she brought a little old man with her, who had a beard longer than himself. He bowed low to the lady and then stood quietly near the door.

 

'Do you see this girl?' said the lady of the house, pointing to Elsa. 'I wish to adopt her for my daughter. Make me a copy of her, which we can send to her native village instead of herself.'

 

 

The old man looked Elsa all up and down, as if he was taking her measure, bowed again to the lady, and left the hall. After dinner the lady said kindly to Elsa, 'Kisika has begged me to let you stay with her, and you have told her you would like to live here. Is that so?'

 

At these words Elsa fell on her knees, and kissed the lady's hands and feet in gratitude for her escape from her cruel stepmother; but her hostess raised her from the ground and patted her head, saying, 'All will go well as long as you are a good, obedient child, and I will take care of you and see that you want for nothing till you are grown up and can look after yourself. My waiting-maid, who teaches Kisika all sorts of fine handiwork, shall teach you too.'

 

Not long after the old man came back with a mould full of clay on his shoulders, and a little covered basket in his left hand. He put down his mould and his basket on the ground, took up a handful of clay, and made a doll as large as life. When it was finished he bored a hole in the doll's breast and put a bit of bread inside; then, drawing a snake out of the basket, forced it to enter the hollow body.

 

'Now,' he said to the lady, 'all we want is a drop of the maiden's blood.'

 

When she heard this Elsa grew white with horror, for she thought she was selling her soul to the evil one.

 

'Do not be afraid!' the lady hastened to say; 'we do not want your blood for any bad purpose, but rather to give you freedom and happiness.'

 

Then she took a tiny golden needle, pricked Elsa in the arm, and gave the needle to the old man, who stuck it into the heart of the doll. When this was done he placed the figure in the basket, promising that the next day they should all see what a beautiful piece of work he had finished.

 

When Elsa awoke the next morning in her silken bed, with its soft white pillows, she saw a beautiful dress lying over the back of a chair, ready for her to put on. A maid came in to comb out her long hair, and brought the finest linen for her use; but nothing gave Elsa so much joy as the little pair of embroidered shoes that she held in her hand, for the girl had hitherto been forced to run about barefoot by her cruel stepmother. In her excitement she never gave a thought to the rough clothes she had worn the day before, which had disappeared as if by magic during the night. Who could have taken them? Well, she was to know that by-and-by. But WE can guess that the doll had been dressed in them, which was to go back to the village in her stead. By the time the sun rose the doll had attained her full size, and no one could have told one girl from the other. Elsa started back when she met herself as she looked only yesterday.

 

'You must not be frightened,' said the lady, when she noticed her terror; 'this clay figure can do you no harm. It is for your stepmother, that she may beat it instead of you. Let her flog it as hard as she will, it can never feel any pain. And if the wicked woman does not come one day to a better mind your double will be able at last to give her the punishment she deserves.'

 

From this moment Elsa's life was that of the ordinary happy child, who has been rocked to sleep in her babyhood in a lovely golden cradle. She had no cares or troubles of any sort, and every day her tasks became easier, and the years that had gone before seemed more and more like a bad dream. But the happier she grew the deeper was her wonder at everything around her, and the more firmly she was persuaded that some great unknown power must be at the bottom of it all.

 

In the courtyard stood a huge granite block about twenty steps from the house, and when meal times came round the old man with the long beard went to the block, drew out a small silver staff, and struck the stone with it three times, so that the sound could be heard a long way off. At the third blow, out sprang a large golden cock, and stood upon the stone. Whenever he crowed and flapped his wings the rock opened and something came out of it. First a long table covered with dishes ready laid for the number of persons who would be seated round it, and this flew into the house all by itself.

 

When the cock crowed for the second time, a number of chairs appeared, and flew after the table; then wine, apples, and other fruit, all without trouble to anybody. After everybody had had enough, the old man struck the rock again. The golden cock crowed afresh, and back went dishes, table, chairs, and plates into the middle of the block.

 

When, however, it came to the turn of the thirteenth dish, which nobody ever wanted to eat, a huge black cat ran up, and stood on the rock close to the cock, while the dish was on his other side.

 

There they all remained, till they were joined by the old man.

 

He picked up the dish in one hand, tucked the cat under his arm, told the cock to get on his shoulder, and all four vanished into the rock. And this wonderful stone contained not only food, but clothes and everything you could possibly want in the house.

 

At first a language was often spoken at meals which was strange to Elsa, but by the help of the lady and her daughter she began slowly to understand it, though it was years before she was able to speak it herself.

 

One day she asked Kisika why the thirteenth dish came daily to the table and was sent daily away untouched, but Kisika knew no more about it than she did. The girl must, however, have told her mother what Elsa had said, for a few days later she spoke to Elsa seriously:

 

'Do not worry yourself with useless wondering. You wish to know why we never eat of the thirteenth dish? That, dear child, is the dish of hidden blessings, and we cannot taste of it without bringing our happy life here to an end. And the world would be a great deal better if men, in their greed, did not seek to snatch every thing for themselves, instead of leaving something as a thankoffering to the giver of the blessings. Greed is man's worst fault.'

 

The years passed like the wind for Elsa, and she grew into a lovely woman, with a knowledge of many things that she would never have learned in her native village; but Kisika was still the same young girl that she had been on the day of her first meeting with Elsa. Each morning they both worked for an hour at reading and writing, as they had always done, and Elsa was anxious to learn all she could, but Kisika much preferred childish games to anything else. If the humour seized her, she would fling aside her tasks, take her treasure box, and go off to play in the sea, where no harm ever came to her.

 

'What a pity,' she would often say to Elsa, 'that you have grown so big, you cannot play with me any more.'

 

Nine years slipped away in this manner, when one day the lady called Elsa into her room. Elsa was surprised at the summons, for it was unusual, and her heart sank, for she feared some evil threatened her. As she crossed the threshold, she saw that the lady's cheeks were flushed, and her eyes full of tears, which she dried hastily, as if she would conceal them from the girl. 'Dearest child,' she began, 'the time has come when we must part.'

 

'Part?' cried Elsa, burying her head in the lady's lap. 'No, dear lady, that can never be till death parts us. You once opened your arms to me; you cannot thrust me away now.'

 

'Ah, be quiet, child,' replied the lady; 'you do not know what I would do to make you happy. Now you are a woman, and I have no right to keep you here. You must return to the world of men, where joy awaits you.'

 

 

'Dear lady,' entreated Elsa again. 'Do not, I beseech you, send me from you. I want no other happiness but to live and die beside you. Make me your waiting maid, or set me to any work you choose, but do not cast me forth into the world. It would have been better if you had left me with my stepmother, than first to have brought me to heaven and then send me back to a worse place.'