Книга - Cinderella and Other Stories

Cinderella and Other Stories
Charles Perrault


HarperCollins is proud to present its incredible range of best-loved, essential classics.‘She promised her godmother that she would not fail to leave the ball before midnight, and away she went, beside herself with delight…’Charles Perrault’s time-honoured stories have been passed down from the seventeenth century to the present day, giving us the classic fairy tales that people of all ages know and adore: Cinderella, with the glass slipper that will fit her foot alone; the princess who is cursed to sleep for a hundred years until true love’s kiss wakes her; Little Red Riding Hood and the wolf, and many, many more.Like the Brothers Grimm after him, Perrault took childhood fears and turned them into inspiriting fantasies. Full of humanity and a surprising wit, the impact these fables has had on imaginations young and old cannot be overstated.









CINDERELLA AND OTHER STORIES

Charles Perrault

Translated by A. E. Johnson










Copyright (#u25c46fb1-697b-5171-9565-d509e0f33e37)


William Collins

An imprint of HarperCollinsPublishers

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This eBook edition published by William Collins in 2015

Life & Times section © HarperCollinsPublishers Ltd

Silvia Crompton asserts her moral right as author of the Life & Times section

Classic Literature: Words and Phrases adapted from

Collins English Dictionary

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Cover image: Glass slipper © R-O-M-A / Shutterstock

A catalogue record for this book is available from the British Library

All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the non-exclusive, non-transferable right to access and read the text of this e-book on-screen. No part of this text may be reproduced, transmitted, down-loaded, decompiled, reverse engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of HarperCollins

Source ISBN: 9780008147457

Ebook Edition © August 2015 ISBN: 9780008147464

Version: 2015-07-21


CONTENTS

Cover (#u03a8100e-123f-5a8c-a261-3e02e004ff01)

Title Page (#u0cc180a5-2211-5d55-826a-1036fe36d1e3)

Copyright

History of Collins

Life & Times

The Sleeping Beauty in the Wood

Puss in Boots

Little Tom Thumb

The Fairies

Ricky of the Tuft

Cinderella, or the Little Glass Slipper

Little Red Riding Hood

Blue Beard

The Ridiculous Wishes

Donkey-Skin

Classic Literature: Words and Phrases

About the Publisher




History of Collins (#u25c46fb1-697b-5171-9565-d509e0f33e37)


In 1819, millworker William Collins from Glasgow, Scotland, set up a company for printing and publishing pamphlets, sermons, hymn books, and prayer books. That company was Collins and was to mark the birth of HarperCollins Publishers as we know it today. The long tradition of Collins dictionary publishing can be traced back to the first dictionary William published in 1824, Greek and English Lexicon. Indeed, from 1840 onwards, he began to produce illustrated dictionaries and even obtained a licence to print and publish the Bible.

Soon after, William published the first Collins novel, Ready Reckoner; however, it was the time of the Long Depression, where harvests were poor, prices were high, potato crops had failed, and violence was erupting in Europe. As a result, many factories across the country were forced to close down and William chose to retire in 1846, partly due to the hardships he was facing.

Aged 30, William’s son, William II, took over the business. A keen humanitarian with a warm heart and a generous spirit, William II was truly ‘Victorian’ in his outlook. He introduced new, up-to-date steam presses and published affordable editions of Shakespeare’s works and ThePilgrim’s Progress, making them available to the masses for the first time. A new demand for educational books meant that success came with the publication of travel books, scientific books, encyclopedias, and dictionaries. This demand to be educated led to the later publication of atlases, and Collins also held the monopoly on scripture writing at the time.

In the 1860s Collins began to expand and diversify and the idea of ‘books for the millions’ was developed. Affordable editions of classical literature were published, and in 1903 Collins introduced 10 titles in their Collins Handy Illustrated Pocket Novels. These proved so popular that a few years later this had increased to an output of 50 volumes, selling nearly half a million in their year of publication. In the same year, The Everyman’s Library was also instituted, with the idea of publishing an affordable library of the most important classical works, biographies, religious and philosophical treatments, plays, poems, travel, and adventure. This series eclipsed all competition at the time, and the introduction of paperback books in the 1950s helped to open that market and marked a high point in the industry.

HarperCollins is and has always been a champion of the classics, and the current Collins Classics series follows in this tradition – publishing classical literature that is affordable and available to all. Beautifully packaged, highly collectible, and intended to be reread and enjoyed at every opportunity.





Life & Times (#u25c46fb1-697b-5171-9565-d509e0f33e37)

Cinderella and Other Stories


The fairy tales we all grew up with are so familiar to us that it is hard to imagine someone, somewhere, having sat down and actually written them. Perhaps thanks to their modern-day Hollywood adaptations, we barely think of them as books at all. But although tales similar to Cinderella, Sleeping Beauty and Puss in Boots have existed in European oral storytelling traditions for centuries, it took one man, very late in his life, to update them for the modern age and record them for posterity. That man was Charles Perrault.




An Auspicious Start


There is relatively little to be said about Charles Perrault’s early years, perhaps because he had a considerably more fortunate childhood than most famous writers. Perrault was born in Paris in 1628, the fifth son of wealthy parents. He was sent to a prestigious school and did well there, becoming, in his own words, ‘one of the best students in my class’. ‘I took so much pleasure in class debates,’ he later recalled in his memoirs, ‘that I enjoyed the days we went to school as much as the holidays.’ Around the age of fifteen, he left school to study independently for a few years — among other subjects, poetry — during which he also found the time to put together a burlesque translation of a portion of Virgil’s Aeneid.

But writing was not the career he — or, more to the point, his father — had in mind. Aged twenty-three, and after a fleeting attendance at the University of Orléans (‘They were not … strict … in granting degrees’), Perrault became a lawyer. It was a short-lived endeavour and he never settled into it, abandoning the profession in 1654 to become a government clerk under his brother Pierre. Finding his new job ‘not very demanding’, Perrault took to visiting libraries and reading poetry, and was inspired to write a poem, ‘Le Portrait d’Iris’, which was published to positive reviews in 1659.

Although he continued to write and publish poetry, he spent the late 1650s and early 1660s restoring and redesigning a large family estate, as a result of which he came to the attention of Jean-Baptiste Colbert, Louis XIV’s superintendent of buildings. Under Colbert’s patronage, Perrault rose to a position of significant influence in the royal court, even able to appoint his own brother Claude to design the east wing of the Louvre. He took to commemorating notable royal events in verse.




The Quarrel of the Ancients and the Moderns


By 1671, Perrault was esteemed enough in Parisian society to be elected to the prestigious Académie française, an elite authority established to maintain correct usage of the French language. In this role, he became deeply involved in an academic debate that began as a difference of artistic opinion and quickly developed into a fierce, decades-long war of words between France’s most eminent thinkers.

The subject of the debate sounds almost trivial now, but in the late seventeenth century it challenged the very foundations of the Académie française. It centred on a long-held view among academics that no contemporary writer could ever match the talent and excellence of his Classical Greek and Roman predecessors. Perrault was one of a few members who thought differently, and in 1674, after his less enlightened colleagues mounted a denunciation of opera — then a relatively new form of music — he published Critique de l’Opéra, a spirited defence that made unfavourable comparisons with ancient works.

The Académie quickly split into two factions, the Anciens (among them Nicolas Boileau, Jean Racine and Jean de la Fontaine) and the Modernes (led by Perrault), who took to publishing and counter-publishing tracts against the other’s thinking. Perrault’s Le Siècle de Louis le Grand (The Century of Louis the Great), published in 1687, was one of the key cases for the prosecution, establishing the Modernes’ arguably immodest viewpoint that they were living and writing in times of artistic excellence.

The debate continued into the early years of the eighteenth century but Perrault and his supporters ultimately won the day, setting the scene for France to lead the world in literary and artistic experimentation.




Fabulous Beasts


Perrault was briefly married in the 1670s, to Marie Guichon, a woman many decades his junior, and they had four children before she succumbed to an early death. During this period he was influential in advising Louis XIV on his plans for expansion at the Palace of Versailles; perhaps it was becoming a family man that compelled him to talk the king into adding thirty-nine elaborate fountains along the pathways of the Versailles labyrinth, each of them depicting one of Aesop’s fables. In a playful twist, the figures were designed to ‘converse’ with one another by shooting out alternating jets of water. It was an early indication of Perrault’s love of old folk tales and memorable characters, although he would not write his first collection until his own children were adults.

This last change in Perrault’s meandering career is once again attributable to the intervention of Jean-Baptiste Colbert, albeit in an indirect way. By the early 1680s Perrault seems to have fallen out of favour with his former patron, and he was gradually pushed aside to make way for Colbert’s son. Jobless, widowed, and with his children growing up fast, Perrault turned to writing. He was sixty-nine years old in 1697 when he published Histoires ou contes du temps passé or Les Contes de ma mère l’oye (Stories or Tales from Past Times or Tales of Mother Goose).

The tales were modernised, some of them significantly, from both well-known and more obscure European peasant tales as well as from ancient sources — a poke in the eye, it has been argued, to Perrault’s Ancien colleagues at the Académie française. The Ridiculous Wishes and Donkey-Skin were stories Perrault had been toying with for a number of years, although both are likely to have been based on folk tales and fables. A handful of the stories had previously appeared in print, notably the Cinderella and Sleeping Beauty of Giambattista Basile, published in Italy in the 1630s, but the additions and edits made by Perrault were substantial: he gave Cinderella her Fairy Godmother and glass slippers and spared Sleeping Beauty a sexual assault by the king she goes on to marry. He cut the ending in which Puss in Boots fakes his own death to see if he’ll get a golden coffin, and gave Little Red Riding Hood her red hood.

Curiously, Perrault published his collection under the name of his teenage son, Pierre Perrault Darmancour. Perhaps, aged almost seventy, and just six years before his death, Perrault was handing over the baton of literary modernism to the next generation.

Charles Perrault died in Paris in 1703. He could little have predicted the legacy of his late literary outpouring, or that many of his adaptations of fables and folk tales would become the definitive texts. Over a century later, when the Brothers Grimm mined European storytelling traditions for their own influential collection, Perrault’s contes were among the richest sources. If they made changes to his stories to better fit with their own time, one can only assume Perrault would have approved.




THE SLEEPING BEAUTY IN THE WOOD (#u25c46fb1-697b-5171-9565-d509e0f33e37)


Once upon a time there lived a king and queen who were grieved, more grieved than words can tell, because they had no children. They tried the waters of every country, made vows and pilgrimages, and did everything that could be done, but without result. At last, however, the queen found that her wishes were fulfilled, and in due course she gave birth to a daughter.

A grand christening was held, and all the fairies that could be found in the realm (they numbered seven in all) were invited to be godmothers to the little princess. This was done so that by means of the gifts which each in turn would bestow upon her (in accordance with the fairy custom of those days) the princess might be endowed with every imaginable perfection.

When the christening ceremony was over, all the company returned to the king’s palace, where a great banquet was held in honour of the fairies. Places were laid for them in magnificent style, and before each was placed a solid gold casket containing a spoon, fork, and knife of fine gold, set with diamonds and rubies. But just as all were sitting down to table an aged fairy was seen to enter, whom no one had thought to invite—the reason being that for more than fifty years she had never quitted the tower in which she lived, and people had supposed her to be dead or bewitched.

By the king’s orders a place was laid for her, but it was impossible to give her a golden casket like the others, for only seven had been made for the seven fairies. The old creature believed that she was intentionally slighted, and muttered threats between her teeth.

She was overheard by one of the young fairies, who was seated near by. The latter, guessing that some mischievous gift might be bestowed upon the little princess, hid behind the tapestry as soon as the company left the table. Her intention was to be the last to speak, and so to have the power of counteracting, as far as possible, any evil which the old fairy might do.

Presently the fairies began to bestow their gifts upon the princess. The youngest ordained that she should be the most beautiful person in the world; the next, that she should have the temper of an angel; the third, that she should do everything with wonderful grace; the fourth, that she should dance to perfection; the fifth, that she should sing like a nightingale; and the sixth, that she should play every kind of music with the utmost skill.

It was now the turn of the aged fairy. Shaking her head, in token of spite rather than of infirmity, she declared that the princess should prick her hand with a spindle, and die of it. A shudder ran through the company at this terrible gift. All eyes were filled with tears.

But at this moment the young fairy stepped forth from behind the tapestry.

‘Take comfort, your Majesties,’ she cried in a loud voice; ‘your daughter shall not die. My power, it is true, is not enough to undo all that my aged kinswoman has decreed: the princess will indeed prick her hand with a spindle. But instead of dying she shall merely fall into a profound slumber that will last a hundred years. At the end of that time a king’s son shall come to awaken her.’

The king, in an attempt to avert the unhappy doom pronounced by the old fairy, at once published an edict forbidding all persons, under pain of death, to use a spinning-wheel or keep a spindle in the house.

At the end of fifteen or sixteen years the king and queen happened one day to be away, on pleasure bent. The princess was running about the castle, and going upstairs from room to room she came at length to a garret at the top of a tower, where an old serving-woman sat alone with her distaff, spinning. This good woman had never heard speak of the king’s proclamation forbidding the use of spinning-wheels.

‘What are you doing, my good woman?’ asked the princess.

‘I am spinning, my pretty child,’ replied the dame, not knowing who she was.

‘Oh, what fun!’ rejoined the princess; ‘how do you do it? Let me try and see if I can do it equally well.’

Partly because she was too hasty, partly because she was a little heedless, but also because the fairy decree had ordained it, no sooner had she seized the spindle than she pricked her hand and fell down in a swoon.

In great alarm the good dame cried out for help. People came running from every quarter to the princess. They threw water on her face, chafed her with their hands, and rubbed her temples with the royal essence of Hungary. But nothing would restore her.

Then the king, who had been brought upstairs by the commotion, remembered the fairy prophecy. Feeling certain that what had happened was inevitable, since the fairies had decreed it, he gave orders that the princess should be placed in the finest apartment in the palace, upon a bed embroidered in gold and silver.

You would have thought her an angel, so fair was she to behold. The trance had not taken away the lovely colour of her complexion. Her cheeks were delicately flushed, her lips like coral. Her eyes, indeed, were closed, but her gentle breathing could be heard, and it was therefore plain that she was not dead. The king commanded that she should be left to sleep in peace until the hour of her awakening should come.

When the accident happened to the princess, the good fairy who had saved her life by condemning her to sleep a hundred years was in the kingdom of Mataquin, twelve thousand leagues away. She was instantly warned of it, however, by a little dwarf who had a pair of seven-league boots, which are boots that enable one to cover seven leagues at a single step. The fairy set off at once, and within an hour her chariot of fire, drawn by dragons, was seen approaching.

The king handed her down from her chariot, and she approved of all that he had done. But being gifted with great powers of foresight, she bethought herself that when the princess came to be awakened, she would be much distressed to find herself all alone in the old castle. And this is what she did.

She touched with her wand everybody (except the king and queen) who was in the castle—governesses, maids of honour, ladies-in-waiting, gentlemen, officers, stewards, cooks, scullions, errand boys, guards, porters, pages, footmen. She touched likewise all the horses in the stables, with their grooms, the big mastiffs in the courtyard, and little Puff, the pet dog of the princess, who was lying on the bed beside his mistress. The moment she had touched them they all fell asleep, to awaken only at the same moment as their mistress. Thus they would always be ready with their service whenever she should require it. The very spits before the fire, loaded with partridges and pheasants, subsided into slumber, and the fire as well. All was done in a moment, for the fairies do not take long over their work.

Then the king and queen kissed their dear child, without waking her, and left the castle. Proclamations were issued, forbidding any approach to it, but these warnings were not needed, for within a quarter of an hour there grew up all round the park so vast a quantity of trees big and small, with interlacing brambles and thorns, that neither man nor beast could penetrate them. The tops alone of the castle towers could be seen, and these only from a distance. Thus did the fairy’s magic contrive that the princess, during all the time of her slumber, should have nought whatever to fear from prying eyes.

At the end of a hundred years the throne had passed to another family from that of the sleeping princess. One day the king’s son chanced to go a-hunting that way, and seeing in the distance some towers in the midst of a large and dense forest, he asked what they were. His attendants told him in reply the various stories which they had heard. Some said there was an old castle haunted by ghosts, others that all the witches of the neighbourhood held their revels there. The favourite tale was that in the castle lived an ogre, who carried thither all the children whom he could catch. There he devoured them at his leisure, and since he was the only person who could force a passage through the wood nobody had been able to pursue him.

While the prince was wondering what to believe, an old peasant took up the tale.

‘Your Highness.’ said he, ‘more than fifty years ago I heard my father say that in this castle lies a princess, the most beautiful that has ever been seen. It is her doom to sleep there for a hundred years, and then to be awakened by a king’s son, for whose coming she waits.’

This story fired the young prince. He jumped immediately to the conclusion that it was for him to see so gay an adventure through, and impelled alike by the wish for love and glory, he resolved to set about it on the spot.

Hardly had he taken a step towards the wood when the tall trees, the brambles and the thorns, separated of themselves and made a path for him. He turned in the direction of the castle, and espied it at the end of a long avenue. This avenue he entered, and was surprised to notice that the trees closed up again as soon as he had passed, so that none of his retinue were able to follow him. A young and gallant prince is always brave, however; so he continued on his way, and presently reached a large fore-court.

The sight that now met his gaze was enough to fill him with an icy fear. The silence of the place was dreadful, and death seemed all about him. The recumbent figures of men and animals had all the appearance of being lifeless, until he perceived by the pimply noses and ruddy faces of the porters that they merely slept. It was plain, too, from their glasses, in which were still some dregs of wine, that they had fallen asleep while drinking.

The prince made his way into a great courtyard, paved with marble, and mounting the staircase entered the guardroom. Here the guards were lined up on either side in two ranks, their muskets on their shoulders, snoring their hardest. Through several apartments crowded with ladies and gentlemen in waiting, some seated, some standing, but all asleep, he pushed on, and so came at last to a chamber which was decked all over with gold. There he encountered the most beautiful sight he had ever seen. Reclining upon a bed, the curtains of which on every side were drawn back, was a princess of seemingly some fifteen or sixteen summers, whose radiant beauty had an almost unearthly lustre.

Trembling in his admiration he drew near and went on his knees beside her. At the same moment, the hour of disenchantment having come, the princess awoke, and bestowed upon him a look more tender than a first glance might seem to warrant.

‘Is it you, dear prince?’ she said; ‘you have been long in coming!’

Charmed by these words, and especially by the manner in which they were said, the prince scarcely knew how to express his delight and gratification. He declared that he loved her better than he loved himself. His words were faltering, but they pleased the more for that. The less there is of eloquence, the more there is of love.

Her embarrassment was less than his, and that is not to be wondered at, since she had had time to think of what she would say to him. It seems (although the story says nothing about it) that the good fairy had beguiled her long slumber with pleasant dreams. To be brief, after four hours of talking they had not succeeded in uttering one half of the things they had to say to each other.

Now the whole palace had awakened with the princess. Every one went about his business, and since they were not all in love they presently began to feel mortally hungry. The lady-in-waiting, who was suffering like the rest, at length lost patience, and in a loud voice called out to the princess that supper was served.

The princess was already fully dressed, and in most magnificent style. As he helped her to rise, the prince refrained from telling her that her clothes, with the straight collar which she wore, were like those to which his grandmother had been accustomed. And in truth, they in no way detracted from her beauty.

They passed into an apartment hung with mirrors, and were there served with supper by the stewards of the household, while the fiddles and oboes played some old music—and played it remarkably well, considering they had not played at all for just upon a hundred years. A little later, when supper was over, the chaplain married them in the castle chapel, and in due course, attended by the courtiers in waiting, they retired to rest.

They slept but little, however. The princess, indeed, had not much need of sleep, and as soon as morning came the prince took his leave of her. He returned to the city, and told his father, who was awaiting him with some anxiety, that he had lost himself while hunting in the forest, but had obtained some black bread and cheese from a charcoal-burner, in whose hovel he had passed the night. His royal father, being of an easy-going nature, believed the tale, but his mother was not so easily hoodwinked. She noticed that he now went hunting every day, and that he always had an excuse handy when he had slept two or three nights from home. She felt certain, therefore, that he had some love affair.

Two whole years passed since the marriage of the prince and princess, and during that time they had two children. The first, a daughter, was called ‘Dawn’ while the second, a boy, was named ‘Day’ because he seemed even more beautiful than his sister.

Many a time the queen told her son that he ought to settle down in life. She tried in this way to make him confide in her, but he did not dare to trust her with his secret. Despite the affection which he bore her, he was afraid of his mother, for she came of a race of ogres, and the king had only married her for her wealth.

It was whispered at the Court that she had ogrish instincts, and that when little children were near her she had the greatest difficulty in the world to keep herself from pouncing on them.

No wonder the prince was reluctant to say a word.

But at the end of two years the king died, and the prince found himself on the throne. He then made public announcement of his marriage, and went in state to fetch his royal consort from her castle. With her two children beside her she made a triumphal entry into the capital of her husband’s realm.

Some time afterwards the king declared war on his neighbour, the Emperor Cantalabutte. He appointed the queen-mother as regent in his absence, and entrusted his wife and children to her care.

He expected to be away at the war for the whole of the summer, and as soon as he was gone the queen-mother sent her daughter-in-law and the two children to a country mansion in the forest. This she did that she might be able the more easily to gratify her horrible longings. A few days later she went there herself, and in the evening summoned the chief steward.

‘For my dinner to-morrow,’ she told him, ‘I will eat little Dawn.’

‘Oh, Madam!’ exclaimed the steward.

‘That is my will,’ said the queen; and she spoke in the tones of an ogre who longs for raw meat.

‘You will serve her with piquant sauce,’ she added.

The poor man, seeing plainly that it was useless to trifle with an ogress, took his big knife and went up to little Dawn’s chamber. She was at that time four years old, and when she came running with a smile to greet him, flinging her arms round his neck and coaxing him to give her some sweets, he burst into tears, and let the knife fall from his hand.

Presently he went down to the yard behind the house, and slaughtered a young lamb. For this he made so delicious a sauce that his mistress declared she had never eaten anything so good.

At the same time the steward carried little Dawn to his wife, and bade the latter hide her in the quarters which they had below the yard.

Eight days later the wicked queen summoned her steward again.

‘For my supper,’ she announced, ‘I will eat little Day.’

The steward made no answer, being determined to trick her as he had done previously. He went in search of little Day, whom he found with a tiny foil in his hand, making brave passes—though he was but three years old—at a big monkey. He carried him off to his wife, who stowed him away in hiding with little Dawn. To the ogress the steward served up, in place of Day, a young kid so tender that she found it surpassingly delicious.

So far, so good. But there came an evening when this evil queen again addressed the steward.

‘I have a mind,’ she said, ‘to eat the queen with the same sauce as you served with her children.’

This time the poor steward despaired of being able to practise another deception. The young queen was twenty years old, without counting the hundred years she had been asleep. Her skin, though white and beautiful, had become a little tough, and what animal could he possibly find that would correspond to her? He made up his mind that if he would save his own life he must kill the queen, and went upstairs to her apartment determined to do the deed once and for all. Goading himself into a rage he drew his knife and entered the young queen’s chamber, but a reluctance to give her no moment of grace made him repeat respectfully the command which he had received from the queen-mother.

‘Do it! do it!’ she cried, baring her neck to him; ‘carry out the order you have been given! Then once more I shall see my children, my poor children that I loved so much!’

Nothing had been said to her when the children were stolen away, and she believed them to be dead.

The poor steward was overcome by compassion. ‘No, no, Madam.’ he declared; ‘you shall not die, but you shall certainly see your children again. That will be in my quarters, where I have hidden them. I shall make the queen eat a young hind in place of you, and thus trick her once more.’

Without more ado he led her to his quarters, and leaving her there to embrace and weep over her children, proceeded to cook a hind with such art that the queen-mother ate it for her supper with as much appetite as if it had indeed been the young queen.

The queen-mother felt well satisfied with her cruel deeds, and planned to tell the king, on his return, that savage wolves had devoured his consort and his children. It was her habit, however, to prowl often about the courts and alleys of the mansion, in the hope of scenting raw meat, and one evening she heard the little boy Day crying in a basement cellar. The child was weeping because his mother had threatened to whip him for some naughtiness, and she heard at the same time the voice of Dawn begging forgiveness for her brother.

The ogress recognised the voices of the queen and her children, and was enraged to find she had been tricked. The next morning, in tones so affrighting that all trembled, she ordered a huge vat to be brought into the middle of the courtyard. This she filled with vipers and toads, with snakes and serpents of every kind, intending to cast into it the queen and her children, and the steward with his wife and serving-girl. By her command these were brought forward, with their hands tied behind their backs.

There they were, and her minions were making ready to cast them into the vat, when into the courtyard rode the king! Nobody had expected him so soon, but he had travelled post-haste. Filled with amazement, he demanded to know what this horrible spectacle meant. None dared tell him, and at that moment the ogress, enraged at what confronted her, threw herself head foremost into the vat, and was devoured on the instant by the hideous creatures she had placed in it.

The king could not but be sorry, for after all she was his mother; but it was not long before he found ample consolation in his beautiful wife and children.




PUSS IN BOOTS (#u25c46fb1-697b-5171-9565-d509e0f33e37)


A certain miller had three sons, and when he died the sole worldly goods which he bequeathed to them were his mill, his ass, and his cat. This little legacy was very quickly divided up, and you may be quite sure that neither notary nor attorney were called in to help, for they would speedily have grabbed it all for themselves.

The eldest son took the mill, and the second son took the ass. Consequently all that remained for the youngest son was the cat, and he was not a little disappointed at receiving such a miserable portion.

‘My brothers,’ said he, ‘will be able to get a decent living by joining forces, but for my part, as soon as I have eaten my cat and made a muff out of his skin, I am bound to die of hunger.’

These remarks were overheard by Puss, who pretended not to have been listening, and said very soberly and seriously:

‘There is not the least need for you to worry, Master. All you have to do is to give me a pouch, and get a pair of boots made for me so that I can walk in the woods. You will find then that your share is not so bad after all.’

Now this cat had often shown himself capable of performing cunning tricks. When catching rats and mice, for example, he would hide himself amongst the meal and hang downwards by the feet as though he were dead. His master, therefore, though he did not build too much on what the cat had said, felt some hope of being assisted in his miserable plight.

On receiving the boots which he had asked for, Puss gaily pulled them on. Then he hung the pouch round his neck, and holding the cords which tied it in front of him with his paws, he sallied forth to a warren where rabbits abounded. Placing some bran and lettuce in the pouch, he stretched himself out and lay as if dead. His plan was to wait until some young rabbit, unlearned in worldly wisdom, should come and rummage in the pouch for the eatables which he had placed there.

Hardly had he laid himself down when things fell out as he wished. A stupid young rabbit went into the pouch, and Master Puss, pulling the cords tight, killed him on the instant.

Well satisfied with his capture, Puss departed to the king’s palace. There he demanded an audience, and was ushered upstairs. He entered the royal apartment, and bowed profoundly to the king.

‘I bring you, Sire.’ said he, ‘a rabbit from the warren of the marquis of Carabas (such was the title he invented for his master), which I am bidden to present to you on his behalf.’

‘Tell your master,’ replied the king, ‘that I thank him, and am pleased by his attention.’

Another time the cat hid himself in a wheatfield, keeping the mouth of his bag wide open. Two partridges ventured in, and by pulling the cords tight he captured both of them. Off he went and presented them to the king, just as he had done with the rabbit from the warren. His Majesty was not less gratified by the brace of partridges, and handed the cat a present for himself.

For two or three months Puss went on in this way, every now and again taking to the king, as a present from his master, some game which he had caught. There came a day when he learned that the king intended to take his daughter, who was the most beautiful princess in the world, for an excursion along the river bank.

‘If you will do as I tell you,’ said Puss to his master, ‘your fortune is made. You have only to go and bathe in the river at the spot which I shall point out to you. Leave the rest to me.’

The marquis of Carabas had no idea what plan was afoot, but did as the cat had directed.

While he was bathing the king drew near, and Puss at once began to cry out at the top of his voice:

‘Help! help! the marquis of Carabas is drowning!’

At these shouts the king put his head out of the carriage window. He recognised the cat who had so often brought him game, and bade his escort go speedily to the help of the marquis of Carabas.

While they were pulling the poor marquis out of the river, Puss approached the carriage and explained to the king that while his master was bathing robbers had come and taken away his clothes, though he had cried ‘Stop, thief!’ at the top of his voice. As a matter of fact, the rascal had hidden them under a big stone. The king at once commanded the keepers of his wardrobe to go and select a suit of his finest clothes for the marquis of Carabas.

The king received the marquis with many compliments, and as the fine clothes which the latter had just put on set off his good looks (for he was handsome and comely in appearance), the king’s daughter found him very much to her liking. Indeed, the marquis of Carabas had not bestowed more than two or three respectful but sentimental glances upon her when she fell madly in love with him. The king invited him to enter the coach and join the party.

Delighted to see his plan so successfully launched, the cat went on ahead, and presently came upon some peasants who were mowing a field.

‘Listen, my good fellows,’ said he; ‘if you do not tell the king that the field which you are mowing belongs to the marquis of Carabas, you will all be chopped up into little pieces like mince-meat.’

In due course the king asked the mowers to whom the field on which they were at work belonged.

‘It is the property of the marquis of Carabas,’ they all cried with one voice, for the threat from Puss had frightened them.

‘You have inherited a fine estate,’ the king remarked to Carabas.

‘As you see for yourself, Sire,’ replied the marquis; ‘this is a meadow which never fails to yield an abundant crop each year.’

Still travelling ahead, the cat came upon some harvesters.

‘Listen, my good fellows,’ said he; ‘if you do not declare that every one of these fields belongs to the marquis of Carabas, you will all be chopped up into little bits like mince-meat.’

The king came by a moment later, and wished to know who was the owner of the fields in sight.

‘It is the marquis of Carabas,’ cried the harvesters.

At this the king was more pleased than ever with the marquis.

Preceding the coach on its journey, the cat made the same threat to all whom he met, and the king grew astonished at the great wealth of the marquis of Carabas.

Finally Master Puss reached a splendid castle, which belonged to an ogre. He was the richest ogre that had ever been known, for all the lands through which the king had passed were part of the castle domain.

The cat had taken care to find out who this ogre was, and what powers he possessed. He now asked for an interview, declaring that he was unwilling to pass so close to the castle without having the honour of paying his respects to the owner.

The ogre received him as civilly as an ogre can, and bade him sit down.

‘I have been told,’ said Puss, ‘that you have the power to change yourself into any kind of animal—for example, that you can transform yourself into a lion or an elephant.’

‘That is perfectly true,’ said the ogre, curtly; ‘and just to prove it you shall see me turn into a lion.’

Puss was so frightened on seeing a lion before him that he sprang on to the roof—not without difficulty and danger, for his boots were not meant for walking on the tiles.

Perceiving presently that the ogre had abandoned his transformation, Puss descended, and owned to having been thoroughly frightened.

‘I have also been told,’ he added, ‘but I can scarcely believe it, that you have the further power to take the shape of the smallest animals—for example, that you can change yourself into a rat or a mouse. I confess that to me it seems quite impossible.’

‘Impossible?’ cried the ogre; ‘you shall see!’ And in the same moment he changed himself into a mouse, which began to run about the floor. No sooner did Puss see it than he pounced on it and ate it.

Presently the king came along, and noticing the ogre’s beautiful mansion desired to visit it. The cat heard the rumble of the coach as it crossed the castle drawbridge, and running out to the courtyard cried to the king:

‘Welcome, your Majesty, to the castle of the marquis of Carabas!’

‘What’s that?’ cried the king. ‘Is this castle also yours, marquis? Nothing could be finer than this courtyard and the buildings which I see all about. With your permission we will go inside and look round.’

The marquis gave his hand to the young princess, and followed the king as he led the way up the staircase. Entering a great hall they found there a magnificent collation. This had been prepared by the ogre for some friends who were to pay him a visit that very day. The latter had not dared to enter when they learned that the king was there.

The king was now quite as charmed with the excellent qualities of the marquis of Carabas as his daughter. The latter was completely captivated by him. Noting the great wealth of which the marquis was evidently possessed, and having quaffed several cups of wine, he turned to his host, saying:

‘It rests with you, marquis, whether you will be my son-in-law.’

The marquis, bowing very low, accepted the honour which the king bestowed upon him. The very same day he married the princess.

Puss became a personage of great importance, and gave up hunting mice, except for amusement.




LITTLE TOM THUMB (#ulink_f4ee8a4d-3103-58f8-94e5-4987a675d7da)


Once upon a time there lived a wood-cutter and his wife, who had seven children, all boys. The eldest was only ten years old, and the youngest was seven. People were astonished that the wood-cutter had had so many children in so short a time, but the reason was that his wife delighted in children, and never had less than two at a time.

They were very poor, and their seven children were a great tax on them, for none of them was yet able to earn his own living. And they were troubled also because the youngest was very delicate and could not speak a word. They mistook for stupidity what was in reality a mark of good sense.

This youngest boy was very little. At his birth he was scarcely bigger than a man’s thumb, and he was called in consequence ‘Little Tom Thumb.’ The poor child was the scapegoat of the family, and got the blame for everything. All the same, he was the sharpest and shrewdest of the brothers, and if he spoke but little he listened much.

There came a very bad year, when the famine was so great that these poor people resolved to get rid of their family. One evening, after the children had gone to bed, the wood-cutter was sitting in the chimney-corner with his wife. His heart was heavy with sorrow as he said to her:

‘It must be plain enough to you that we can no longer feed our children. I cannot see them die of hunger before my eyes, and I have made up my mind to take them to-morrow to the forest and lose them there. It will be easy enough to manage, for while they are amusing themselves by collecting faggots we have only to disappear without their seeing us.’

‘Ah!’ cried the wood-cutter’s wife, ‘do you mean to say you are capable of letting your own children be lost?’

In vain did her husband remind her of their terrible poverty; she could not agree. She was poor, but she was their mother. In the end, however, reflecting what a grief it would be to see them die of hunger, she consented to the plan, and went weeping to bed.

Little Tom Thumb had heard all that was said. Having discovered, when in bed, that serious talk was going on, he had got up softly, and had slipped under his father’s stool in order to listen without being seen. He went back to bed, but did not sleep a wink for the rest of the night, thinking over what he had better do. In the morning he rose very early and went to the edge of a brook. There he filled his pockets with little white pebbles and came quickly home again.

They all set out, and little Tom Thumb said not a word to his brothers of what he knew.

They went into a forest which was so dense that when only ten paces apart they could not see each other. The wood-cutter set about his work, and the children began to collect twigs to make faggots. Presently the father and mother, seeing them busy at their task, edged gradually away, and then hurried off in haste along a little narrow footpath.

When the children found they were alone they began to cry and call out with all their might. Little Tom Thumb let them cry, being confident that they would get back home again. For on the way he had dropped the little white stones which he carried in his pocket all along the path.

‘Don’t be afraid, brothers,’ he said presently; ‘our parents have left us here, but I will take you home again. Just follow me.’

They fell in behind him, and he led them straight to their house by the same path which they had taken to the forest. At first they dared not go in, but placed themselves against the door, where they could hear everything their father and mother were saying.

Now the wood-cutter and his wife had no sooner reached home than the lord of the manor sent them a sum of ten crowns which had been owing from him for a long time, and of which they had given up hope. This put new life into them, for the poor creatures were dying of hunger.

The wood-cutter sent his wife off to the butcher at once, and as it was such a long time since they had had anything to eat, she bought three times as much meat as a supper for two required.

When they found themselves once more at table, the wood-cutter’s wife began to lament.

‘Alas! where are our poor children now?’ she said; ‘they could make a good meal off what we have over. Mind you, William, it was you who wished to lose them: I declared over and over again that we should repent it. What are they doing now in that forest? Merciful heavens, perhaps the wolves have already eaten them! A monster you must be to lose your children in this way!’

At last the wood-cutter lost patience, for she repeated more than twenty times that he would repent it, and that she had told him so. He threatened to beat her if she did not hold her tongue.

It was not that the wood-cutter was less grieved than his wife, but she browbeat him, and he was of the same opinion as many other people, who like a woman to have the knack of saying the right thing, but not the trick of being always in the right.

‘Alas!’ cried the wood-cutter’s wife, bursting into tears, ‘where are now my children, my poor children?’

She said it once so loud that the children at the door heard it plainly. Together they all called out:

‘Here we are! Here we are!’

She rushed to open the door for them, and exclaimed, as she embraced them:

‘How glad I am to see you again, dear children! You must be very tired and very hungry. And you, Peterkin, how muddy you are—come and let me wash you!’

This Peterkin was her eldest son. She loved him more than all the others because he was inclined to be red-headed, and she herself was rather red.

They sat down at the table and ate with an appetite which it did their parents good to see. They all talked at once, as they recounted the fears they had felt in the forest.

The good souls were delighted to have their children with them again, and the pleasure continued as long as the ten crowns lasted. But when the money was all spent they relapsed into their former sadness. They again resolved to lose the children, and to lead them much further away than they had done the first time, so as to do the job thoroughly. But though they were careful not to speak openly about it, their conversation did not escape little Tom Thumb, who made up his mind to get out of the situation as he had done on the former occasion.

But though he got up early to go and collect his little stones, he found the door of the house doubly locked, and he could not carry out his plan.

He could not think what to do until the wood-cutter’s wife gave them each a piece of bread for breakfast. Then it occurred to him to use the bread in place of the stones, by throwing crumbs along the path which they took, and he tucked it tight in his pocket.

Their parents led them into the thickest and darkest part of the forest, and as soon as they were there slipped away by a side-path and left them. This did not much trouble little Tom Thumb, for he believed he could easily find the way back by means of the bread which he had scattered wherever he walked. But to his dismay he could not discover a single crumb. The birds had come along and eaten it all.

They were in sore trouble now, for with every step they strayed further, and became more and more entangled in the forest. Night came on and a terrific wind arose, which filled them with dreadful alarm. On every side they seemed to hear nothing but the howling of wolves which were coming to eat them up. They dared not speak or move.

In addition it began to rain so heavily that they were soaked to the skin. At every step they tripped and fell on the wet ground, getting up again covered with mud, not knowing what to do with their hands.

Little Tom Thumb climbed to the top of a tree, in an endeavour to see something. Looking all about him he espied, far away on the other side of the forest, a little light like that of a candle. He got down from the tree, and was terribly disappointed to find that when he was on the ground he could see nothing at all.

After they had walked some distance in the direction of the light, however, he caught a glimpse of it again as they were nearing the edge of the forest. At last they reached the house where the light was burning, but not without much anxiety, for every time they had to go down into a hollow they lost sight of it.

They knocked at the door, and a good dame opened to them. She asked them what they wanted.

Little Tom Thumb explained that they were poor children who had lost their way in the forest, and begged her, for pity’s sake, to give them a night’s lodging.

Noticing what bonny children they all were, the woman began to cry.

‘Alas, my poor little dears!’ she said; ‘you do not know the place you have come to! Have you not heard that this is the house of an ogre who eats little children?’

‘Alas, madam!’ answered little Tom Thumb, trembling like all the rest of his brothers, ‘what shall we do? One thing is very certain: if you do not take us in, the wolves of the forest will devour us this very night, and that being so we should prefer to be eaten by your husband. Perhaps he may take pity on us, if you will plead for us.’

The ogre’s wife, thinking she might be able to hide them from her husband till the next morning, allowed them to come in, and put them to warm near a huge fire, where a whole sheep was cooking on the spit for the ogre’s supper.

Just as they were beginning to get warm they heard two or three great bangs at the door. The ogre had returned. His wife hid them quickly under the bed and ran to open the door.

The first thing the ogre did was to ask whether supper was ready and the wine opened. Then without ado he sat down to table. Blood was still dripping from the sheep, but it seemed all the better to him for that. He sniffed to right and left, declaring that he could smell fresh flesh.

‘Indeed!’ said his wife. ‘It must be the calf which I have just dressed that you smell.’

‘I smell fresh flesh, I tell you!’ shouted the ogre, eyeing his wife askance; ‘and there is something going on here which I do not understand.’

With these words he got up from the table and went straight to the bed.

‘Aha!’ said he; ‘so this is the way you deceive me, wicked woman that you are! I have a very great mind to eat you too! It’s lucky for you that you are old and tough! I am expecting three ogre friends of mine to pay me a visit in the next few days, and here is a tasty dish which will just come in nicely for them!’

One after another he dragged the children out from under the bed.

The poor things threw themselves on their knees, imploring mercy; but they had to deal with the most cruel of all ogres. Far from pitying them, he was already devouring them with his eyes, and repeating to his wife that when cooked with a good sauce they would make most dainty morsels.

Off he went to get a large knife, which he sharpened, as he drew near the poor children, on a long stone in his left hand.

He had already seized one of them when his wife called out to him. ‘What do you want to do it now for?’ she said; ‘will it not be time enough to-morrow?’

‘Hold your tongue,’ replied the ogre; ‘they will be all the more tender.’

‘But you have such a lot of meat,’ rejoined his wife; ‘look, there are a calf, two sheep, and half a pig.’

‘You are right,’ said the ogre; ‘give them a good supper to fatten them up, and take them to bed.’

The good woman was overjoyed and brought them a splendid supper; but the poor little wretches were so cowed with fright that they could not eat.

As for the ogre, he went back to his drinking, very pleased to have such good entertainment for his friends. He drank a dozen cups more than usual, and was obliged to go off to bed early, for the wine had gone somewhat to his head.

Now the ogre had seven daughters who as yet were only children. These little ogresses all had the most lovely complexions, for, like their father, they ate fresh meat. But they had little round grey eyes, crooked noses, and very large mouths, with long and exceedingly sharp teeth, set far apart. They were not so very wicked at present, but they showed great promise, for already they were in the habit of killing little children to suck their blood.

They had gone to bed early, and were all seven in a great bed, each with a crown of gold upon her head.

In the same room there was another bed, equally large. Into this the ogre’s wife put the seven little boys, and then went to sleep herself beside her husband.

Little Tom Thumb was fearful lest the ogre should suddenly regret that he had not cut the throats of himself and his brothers the evening before. Having noticed that the ogre’s daughters all had golden crowns upon their heads, he got up in the middle of the night and softly placed his own cap and those of his brothers on their heads. Before doing so, he carefully removed the crowns of gold, putting them on his own and his brothers’ heads. In this way, if the ogre were to feel like slaughtering them that night he would mistake the girls for the boys, and vice versa





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