THE ORANGE FAIRY BOOK
Preface
The children who read fairy books, or have fairy books read to them, do not read prefaces, and the parents, aunts, uncles, and cousins, who give fairy books to their daughters, nieces, and cousins, leave prefaces unread. For whom, then, are prefaces written? When an author publishes a book 'out of his own head,' he writes the preface for his own pleasure. After reading over his book in print-to make sure that all the 'u's' are not printed as 'n's,' and all the 'n's' as 'u's' in the proper names-then the author says, mildly, in his preface, what he thinks about his own book, and what he means it to prove-if he means it to prove anything-and why it is not a better book than it is. But, perhaps, nobody reads prefaces except other authors; and critics, who hope that they will find enough in the preface to enable them to do without reading any of the book.
This appears to be the philosophy of prefaces in general, and perhaps authors might be more daring and candid than they are with advantage, and write regular criticisms of their own books in their prefaces, for nobody can be so good a critic of himself as the author-if he has a sense of humour. If he has not, the less he says in his preface the better.
These Fairy Books, however, are not written by the Editor, as he has often explained, 'out of his own head.' The stories are taken from those told by grannies to grandchildren in many countries and in many languages-French, Italian, Spanish, Catalan, Gaelic, Icelandic, Cherokee, African, Indian, Australian, Slavonic, Eskimo, and what not. The stories are not literal, or word by word translations, but have been altered in many ways to make them suitable for children. Much has been left out in places, and the narrative has been broken up into conversations, the characters telling each other how matters stand, and speaking for themselves, as children, and some older people, prefer them to do. In many tales, fairly cruel and savage deeds are done, and these have been softened down as much as possible; though it is impossible, even if it were desirable, to conceal the circumstance that popular stories were never intended to be tracts and nothing else. Though they usually take the side of courage and kindness, and the virtues in general, the old story-tellers admire successful cunning as much as Homer does in the Odyssey. At least, if the cunning hero, human or animal, is the weaker, like Odysseus, Brer Rabbit, and many others, the story-teller sees little in intellect but superior cunning, by which tiny Jack gets the better of the giants. In the fairy tales of no country are 'improper' incidents common, which is to the credit of human nature, as they were obviously composed mainly for children. It is not difficult to get rid of this element when it does occur in popular tales.
The old puzzle remains a puzzle-why do the stories of the remotest people so closely resemble each other? Of course, in the immeasurable past, they have been carried about by conquering races, and learned by conquering races from vanquished peoples. Slaves carried far from home brought their stories with them into captivity. Wanderers, travellers, shipwrecked men, merchants, and wives stolen from alien tribes have diffused the stories; gipsies and Jews have passed them about; Roman soldiers of many different races, moved here and there about the Empire, have trafficked in them. From the remotest days men have been wanderers, and wherever they went their stories accompanied them. The slave trade might take a Greek to Persia, a Persian to Greece; an Egyptian woman to Phoenicia; a Babylonian to Egypt; a Scandinavian child might be carried with the amber from the Baltic to the Adriatic; or a Sidonian to Ophir, wherever Ophir may have been; while the Portuguese may have borne their tales to South Africa, or to Asia, and thence brought back other tales to Egypt. The stories wandered wherever the Buddhist missionaries went, and the earliest French voyageurs told them to the Red Indians. These facts help to account for the sameness of the stories everywhere; and the uniformity of human fancy in early societies must be the cause of many other resemblances.
In this volume there are stories from the natives of Rhodesia, collected by Mr. Fairbridge, who speaks the native language, and one is brought by Mr. Cripps from another part of Africa, Uganda. Three tales from the Punjaub were collected and translated by Major Campbell. Various savage tales, which needed a good deal of editing, are derived from the learned pages of the 'Journal of the Anthropological Institute.' With these exceptions, and 'The Magic Book,' translated by Mrs. Pedersen, from 'Eventyr fra Jylland,' by Mr. Ewald Tang Kristensen (Stories from Jutland), all the tales have been done, from various sources, by Mrs. Lang, who has modified, where it seemed desirable, all the narratives.
The Story of the Hero Makoma
Once upon a time, at the town of Senna on the banks of the Zambesi, was born a child. He was not like other children, for he was very tall and strong; over his shoulder he carried a big sack, and in his hand an iron hammer. He could also speak like a grown man, but usually he was very silent.
One day his mother said to him: 'My child, by what name shall we know you?'
And he answered: 'Call all the head men of Senna here to the river's bank.' And his mother called the head men of the town, and when they had come he led them down to a deep black pool in the river where all the fierce crocodiles lived.
'O great men!' he said, while they all listened, 'which of you will leap into the pool and overcome the crocodiles?' But no one would come forward. So he turned and sprang into the water and disappeared.
The people held their breath, for they thought: 'Surely the boy is bewitched and throws away his life, for the crocodiles will eat him!' Then suddenly the ground trembled, and the pool, heaving and swirling, became red with blood, and presently the boy rising to the surface swam on shore.
But he was no longer just a boy! He was stronger than any man and very tall and handsome, so that the people shouted with gladness when they saw him.
'Now, O my people!' he cried, waving his hand, 'you know my name-I am Makoma, "the Greater"; for have I not slain the crocodiles into the pool where none would venture?'
Then he said to his mother: 'Rest gently, my mother, for I go to make a home for myself and become a hero.' Then, entering his hut he took Nu-endo, his iron hammer, and throwing the sack over his shoulder, he went away.
Makoma crossed the Zambesi, and for many moons he wandered towards the north and west until he came to a very hilly country where, one day, he met a huge giant making mountains.
'Greeting,' shouted Makoma, 'you are you?'
'I am Chi-eswa-mapiri, who makes the mountains,' answered the giant; 'and who are you?'
'I am Makoma, which signifies "greater,"' answered he.
'Greater than who?' asked the giant.
'Greater than you!' answered Makoma.
The giant gave a roar and rushed upon him. Makoma said nothing, but swinging his great hammer, Nu-endo, he struck the giant upon the head.
He struck him so hard a blow that the giant shrank into quite a little man, who fell upon his knees saying: 'You are indeed greater than I, O Makoma; take me with you to be your slave!' So Makoma picked him up and dropped him into the sack that he carried upon his back.
He was greater than ever now, for all the giant's strength had gone into him; and he resumed his journey, carrying his burden with as little difficulty as an eagle might carry a hare.
Before long he came to a country broken up with huge stones and immense clods of earth. Looking over one of the heaps he saw a giant wrapped in dust dragging out the very earth and hurling it in handfuls on either side of him.
'Who are you,' cried Makoma, 'that pulls up the earth in this way?'
'I am Chi-dubula-taka,' said he, 'and I am making the river-beds.'
'Do you know who I am?' said Makoma. 'I am he that is called "greater"!'