A word or two as to our title seems necessary. We have called our stories Fairy Tales though few of them speak of fairies. The same remark applies to the collection of the Brothers Grimm and to all the other European collections, which contain exactly the same classes of tales as ours. Yet our stories are what the little ones mean when they clamour for “Fairy Tales,” and this is the only name which they give to them. One cannot imagine a child saying, “Tell us a folk-tale, nurse,” or “Another nursery tale, please, grandma.” As our book is intended for the little ones, we have indicated its contents by the name they use. The words “Fairy Tales” must accordingly be taken to include tales in which occurs something “fairy,” something extraordinary – fairies, giants, dwarfs, speaking animals. It must be taken also to cover tales in which what is extraordinary is the stupidity of some of the actors. Many of the tales in this volume, as in similar collections for other European countries, are what the folklorists call Drolls. They serve to justify the title of Merrie England, which used to be given to this country of ours, and indicate unsuspected capacity for fun and humour among the unlettered classes. The story of Tom Tit Tot, which opens our collection, is unequalled among all other folk-tales I am acquainted with, for its combined sense of humour and dramatic power.
The first adjective of our title also needs a similar extension of its meaning. I have acted on Molière's principle, and have taken what was good wherever I could find it. Thus, a couple of these stories have been found among descendants of English immigrants in America; a couple of others I tell as I heard them myself in my youth in Australia. One of the best was taken down from the mouth of an English Gipsy. I have also included some stories that have only been found in Lowland Scotch. I have felt justified in doing this, as of the twenty-one folk-tales contained in Chambers' “Popular Rhymes of Scotland,” no less than sixteen are also to be found in an English form. With the Folk-tale as with the Ballad, Lowland Scotch may be regarded as simply a dialect of English, and it is a mere chance whether a tale is extant in one or other, or both.
I have also rescued and re-told a few Fairy Tales that only exist now-a-days in the form of ballads. There are certain indications that the “common form” of the English Fairy Tale was the cante-fable, a mixture of narrative and verse of which the most illustrious example in literature is “Aucassin et Nicolette.” In one case I have endeavoured to retain this form, as the tale in which it occurs, “Childe Rowland,” is mentioned by Shakespeare in King Lear, and is probably, as I have shown, the source of Milton's Comus. Late as they have been collected, some dozen of the tales can be traced back to the sixteenth century, two of them being quoted by Shakespeare himself.
In the majority of instances I have had largely to rewrite these Fairy Tales, especially those in dialect, including the Lowland Scotch. Children, and sometimes those of larger growth, will not read dialect. I have also had to reduce the flatulent phraseology of the eighteenth-century chap-books, and to re-write in simpler style the stories only extant in “Literary” English. I have, however, left a few vulgarisms in the mouths of vulgar people. Children appreciate the dramatic propriety of this as much as their elders. Generally speaking, it has been my ambition to write as a good old nurse will speak when she tells Fairy Tales. I am doubtful as to my success in catching the colloquial-romantic tone appropriate for such narratives, but the thing had to be done or else my main object, to give a book of English Fairy Tales which English children will listen to, would have been unachieved. This book is meant to be read aloud, and not merely taken in by the eye.
In a few instances I have introduced or changed an incident. I have never done so, however, without mentioning the fact in the notes. These have been relegated to the obscurity of small print and a back place, while the little ones have been, perhaps unnecessarily, warned off them. They indicate my sources and give a few references to parallels and variants which may be of interest to fellow-students of Folk-lore. It is, perhaps, not necessary to inform readers who are not fellow-students that the study of Folk-tales has pretensions to be a science. It has its special terminology, and its own methods of investigation, by which it is hoped, one of these days, to gain fuller knowledge of the workings of the popular mind as well as traces of archaic modes of thought and custom. I hope on some future occasion to treat the subject of the English Folk-tale on a larger scale and with all the necessary paraphernalia of prolegomena and excursus. I shall then, of course, reproduce my originals with literal accuracy, and have therefore felt the more at liberty on the present occasion to make the necessary deviations from this in order to make the tales readable for children.
Finally, I have to thank those by whose kindness in waiving their rights to some of these stories, I have been enabled to compile this book. My friends Mr. E. Clodd, Mr. F. Hindes Groome, and Mr. Andrew Lang, have thus yielded up to me some of the most attractive stories in the following pages. The Councils of the English and of the American Folk-lore Societies, and Messrs. Longmans, have also been equally generous. Nor can I close these remarks without a word of thanks and praise to the artistic skill with which my friend, Mr. J. D. Batten, has made the romance and humour of these stories live again in the brilliant designs with which he has adorned these pages. It should be added that the dainty headpieces to “Henny Penny” and “Mr. Fox” are due to my old friend, Mr. Henry Ryland.
JOSEPH JACOBS.
Tom Tit Tot
Once upon a time there was a woman, and she baked five pies. And when they came out of the oven, they were that overbaked the crusts were too hard to eat. So she says to her daughter:
“Darter,” says she, “put you them there pies on the shelf, and leave 'em there a little, and they'll come again.” – She meant, you know, the crust would get soft.
But the girl, she says to herself: “Well, if they'll come again, I'll eat 'em now.” And she set to work and ate 'em all, first and last.
Well, come supper-time the woman said: “Go you, and get one o' them there pies. I dare say they've come again now.”
The girl went and she looked, and there was nothing but the dishes. So back she came and says she: “Noo, they ain't come again.”
“Not one of 'em?” says the mother.
“Not one of 'em,” says she.
“Well, come again, or not come again,” said the woman “I'll have one for supper.”
“But you can't, if they ain't come,” said the girl.
“But I can,” says she. “Go you, and bring the best of 'em.”
“Best or worst,” says the girl, “I've ate 'em all, and you can't have one till that's come again.”
Well, the woman she was done, and she took her spinning to the door to spin, and as she span she sang:
“My darter ha' ate five, five pies to-day.
My darter ha' ate five, five pies to-day.”
The king was coming down the street, and he heard her sing, but what she sang he couldn't hear, so he stopped and said:
“What was that you were singing, my good woman?”
The woman was ashamed to let him hear what her daughter had been doing, so she sang, instead of that:
“My darter ha' spun five, five skeins to-day.
My darter ha' spun five, five skeins to-day.”
“Stars o' mine!” said the king, “I never heard tell of any one that could do that.”
Then he said: “Look you here, I want a wife, and I'll marry your daughter. But look you here,” says he, “eleven months out of the year she shall have all she likes to eat, and all the gowns she likes to get, and all the company she likes to keep; but the last month of the year she'll have to spin five skeins every day, and if she don't I shall kill