The character and value of fables. Some one has pointed out that there are two kinds of ideals by which we are guided in life and that these ideals may be compared to lighthouses and lanterns. By means of the lighthouse, remote and lofty, we are able to lay a course and to know at any time whether we are headed in the right direction. But while we are moving along a difficult road we need more immediate illumination to avoid the mudholes and stumbling-places close at hand. We need the humble lantern to show us where we may safely step.
Fables are lanterns by which our feet are guided. They embody the practical rules for everyday uses, rules of prudence that have been tested and approved by untold generations of travelers along the arduous road of life. They chart only minor dangers and difficult places as a rule, but these are the ones with which we are always in direct contact. Being honest because it is the "best policy" is not the highest reason for honesty, but it is what a practical world has found to be best in practice. Fables simply give us the "rules of the road," and these rules contribute greatly to our convenience and safety. Such rules are the result of the common sense of man working upon his everyday problems. To violate one of these practical rules is to be a blunderer, and blundering is a subject for jest rather than bitter denouncement. Hence the humorous and satirical note in fables.
The practical, self-made men of the world, who have done things and inspired others to do them, have always placed great emphasis upon common-sense ideals. Benjamin Franklin, by his Poor Richard's Almanac, kept the incentives to industry and thrift before a people who needed to practice these everyday rules if they were to conquer an unwilling wilderness. So well did he do his work that after nearly two hundred years we are still quoting his pithy sayings. It may be that his proverbs were all borrowed, but the rules of the road are not matters for constant experiment. Again, no account of Abraham Lincoln can omit his use of Æsop or of Æsop-like stories to enforce his ideas. His homely stories were so "pat" that there was nothing left for the opposition to say. Only one who grasps the heart of a problem can use concrete illustrations with such effect.
No one really questions the truths enforced by the more familiar fables. But since these teachings are so commonplace and obvious, they cannot be impressed upon us by mere repetition of the teachings as such. To secure the emphasis needed the world gradually evolved a body of striking stories and proverbs by which the standing rules of everyday life are displayed in terms that cling like burrs. "The peculiar value of the fable," says Dr. Adler, "is that they are instantaneous photographs, which reproduce, as it were, in a single flash of light, some one aspect of human nature, and which, excluding everything else, permit the entire attention to be fixed on that one."
Æsop and Bidpai. The type of fable in mind in the above account is that known as the Æsopic, a brief beast-story in which the characters are, as a rule, conventionalized animals, and which points out some practical moral. The fox may represent crafty people, the ass may represent stupid people, the wind may represent boisterous people, the tortoise may represent plodding people who "keep everlastingly at it." When human beings are introduced, such as the Shepherd Boy, or Androcles, or the Travelers, or the Milkmaid, they are as wholly conventionalized as the animals and there is never any doubt as to their motives. Æsop, if he ever existed at all, is said to have been a Greek slave of the sixth century b.c., very ugly and clever, who used fables orally for political purposes and succeeded in gaining his freedom and a high position. Later writers, among them Demetrius of Phalerum about 300 b.c. and Phaedrus about 30 a.d., made versions of fables ascribed to Æsop. Many writers in the Middle Ages brought together increasing numbers of fables under Æsop's name and enlarged upon the few traditional facts in Herodotus about Æsop himself until several hundred fables and an elaborate biography of the supposed author were in existence. Joseph Jacobs said he had counted as many as 700 different fables going under Æsop's name. The number included in a present-day book of Æsop usually varies from 200 to 350. Another name associated with the making of fables is that of Bidpai (or Pilpay), said to have been a philosopher attached to the court of some oriental king. Bidpai, a name which means "head scholar," is a more shadowy figure even than Æsop. What we can be sure of is that there were two centers, Greece and India, from which fables were diffused. Whether they all came originally from a single source, and, if so, what that source was, are questions still debated by scholars.
Modern fabulists. Modern fables are no more possible than a new Mother Goose or a new fairy story. For modern times the method of the fable is "at once too simple and too roundabout. Too roundabout; for the truths we have to tell we prefer to speak out directly and not by way of allegory. And the truths the fable has to teach are too simple to correspond to the facts in our complex civilization." No modern fabulist has duplicated in his field the success of Hans Christian Andersen in the field of the nursery story. A few fables from La Fontaine, a few from Krylov, one or two each from Gay, Cowper, Yriarte, and Lessing may be used to good advantage with children. The general broadening of literary variety has, of course, given us in recent times many valuable stories of the symbolistic kind. Suggestive parable-like or allegorical stories, such as a few of Hawthorne's in Twice Told Tales and Mosses from an Old Manse, or a few of Tolstoy's short tales, are simple enough for children.
The use of fables in school. Not all fables are good for educational purposes. There is, however, plenty of room for choice, and those that present points of view no longer accepted by the modern world should be eliminated from the list. Objections based on the unreality of the fables, their "unnatural natural history," are hardly valid. Rousseau's elimination of fables from his scheme of education in Emile is based on this objection and on the further point that the child will often sympathize with the wrong character in the story, thus going astray in the moral lesson. Other objectors down to the present day simply echo Rousseau. Such a view does little justice to the child's natural sense of values. He is certain to see that the Frog is foolish in competing with the Ox in size, and certain to recognize the common sense of the Country Mouse. He will no more be deceived by a fable than he will by the painted clown in a circus.
The oral method of presentation is the ideal one. Tell the story in as vivid a form as possible. In the earlier grades the interest in the story may be a sufficient end, but almost from the beginning children will see the lesson intended. They will catch the phrases that have come from fables into our everyday speech. Thus, "sour grapes," "dog in the manger," "to blow hot and cold," "to kill the goose that lays the golden eggs," "to cry 'Wolf!'" will take on more significant meanings. If some familiar proverb goes hand in hand with the story, it will help the point to take fast hold in the mind. Applications of the fable to real events should be encouraged. That is what fables were made for and that is where their chief value for us is still manifest. Only a short time need be spent on any one fable, but every opportunity should be taken to call up and apply the fables already learned. For they are not merely for passing amusement, nor is their value confined to childhood. Listen to John Locke, one of the "hardest-headed" of philosophers: "As soon as a child has learned to read, it is desirable to place in his hands pleasant books, suited to his capacity, wherein the entertainment that he finds might draw him on, and reward his pains in reading; and yet not such as should fill his head with perfectly useless trumpery, or lay the principles of vice and folly. To this purpose I think Æsop's Fables the best, which being stories apt to delight and entertain a child, may yet afford useful reflections to a grown man, and if his memory retain them all his life after, he will not repent to find them there, amongst his manly thoughts and serious business."
The best Æsop collection for teachers and pupils alike is
The Fables of Æsop, edited by Joseph Jacobs. It contains eighty-two selected fables, including those that are most familiar and most valuable for children. The versions are standards of what such retellings should be, and may well serve as models for teachers in their presentation of other short symbolic stories. The introduction, "A Short History of the Æsopic Fable," and the notes at the end of the book contain, in concise form, all the practical information needed. The text of the Jacobs versions was the one selected for reproduction in Dr. Eliot's
Harvard Classics. Nos.
205,
206,
207,
208,
209,
213, and
233 in the following group are by Mr. Jacobs. The other Æsopic fables given are from various collections of the traditional versions. Almost any of the many reprints called Æsop are satisfactory for fables not found in Jacobs. Perhaps the one most common in recent times is that made by Thomas James in 1848, which had the good fortune to be illustrated by Tenniel. The versions are brief and not overloaded with editorial "filling."
205
THE SHEPHERD'S BOY
There was once a young Shepherd Boy who tended his sheep at the foot of a mountain near a dark forest. It was rather lonely for him all day, so he thought upon a plan by which he could get a little company and some excitement. He rushed down towards the village calling out "Wolf! Wolf!" and the villagers came out to meet him, and some of them stopped with him for a considerable time. This pleased the boy so much that a few days afterwards he tried the same trick, and again the villagers came to his help. But shortly after this a Wolf actually did come out from the forest, and began to worry the sheep, and the boy of course cried out "Wolf! Wolf!" still louder than before. But this time the villagers, who had been fooled twice before, thought the boy was again deceiving them, and nobody stirred to come to his help. So the Wolf made a good meal off the boy's flock, and when the boy complained, the wise man of the village said:
"A liar will not be believed, even when he speaks the truth."
206
THE LION AND THE MOUSE
Once when a Lion was asleep a little Mouse began running up and down upon him; this soon wakened the Lion, who placed his huge paw upon him and opened his big jaws to swallow him. "Pardon, O King," cried the little Mouse; "forgive me this time; I shall never forget it. Who knows but what I may be able to do you a good turn some of these days?" The Lion was so tickled at the idea of the Mouse being able to help him, that he lifted up his paw and let him go. Some time after the Lion was caught in a trap, and the hunters, who desired to carry him alive to the King, tied him to a tree while they went in search of a wagon to carry him on. Just then the little Mouse happened to pass by, and seeing the sad plight in which the Lion was, went up to him and soon gnawed away the ropes that bound the King of the Beasts. "Was I not right?" said the little Mouse.
Little friends may prove great friends.
207
THE CROW AND THE PITCHER
A Crow, half-dead with thirst, came upon a Pitcher which had once been full of water; but when the Crow put its beak into the mouth of the Pitcher he found that only very little water was left in it, and that he could not reach far enough down to get at it. He tried and he tried, but at last had to give up in despair. Then a thought came to him, and he took a pebble and dropped it into the Pitcher. Then he took another pebble and dropped it into the Pitcher. Then he took another pebble and dropped that into the Pitcher. Then he took another pebble and dropped that into the Pitcher. Then he took another pebble and dropped that into the Pitcher. Then he took another pebble and dropped that into the Pitcher. At last, at last, he saw the water mount up near him; and after casting in a few more pebbles he was able to quench his thirst and save his life.
Little by little does the trick.
208
THE FROG AND THE OX
"Oh, Father," said a little Frog to the big one sitting by the side of a pool, "I have seen such a terrible monster! It was as big as a mountain, with horns on its head, and a long tail, and it had hoofs divided in two."
"Tush, child, tush," said the old Frog, "that was only Farmer White's Ox. It isn't so big either; he may be a little bit taller than I, but I could easily make myself quite as broad; just you see." So he blew himself out, and blew himself out, and blew himself out. "Was he as big as that?" asked he.
"Oh, much bigger than that," said the young Frog.
Again the old one blew himself out, and asked the young one if the Ox was as big as that.
"Bigger, Father, bigger," was the reply.
So the Frog took a deep breath, and blew and blew and blew, and swelled and swelled and swelled. And then he said: "I'm sure the Ox is not as big as—" But at this moment he burst.
Self-conceit may lead to self-destruction.
209
THE FROGS DESIRING A KING
Frogs were living as happy as could be in a marshy swamp that just suited them; they went splashing about, caring for nobody and nobody troubling with them. But some of them thought that this was not right, that they should have a king and a proper constitution, so they determined to send up a petition to Jove to give them what they wanted. "Mighty Jove," they cried, "send unto us a king that will rule over us and keep us in order." Jove laughed at their croaking, and threw down into the swamp a huge Log, which came down—kersplash—into the water. The Frogs were frightened out of their lives by the commotion made in their midst, and all rushed to the bank to look at the horrible monster; but after a time, seeing that it did not move, one or two of the boldest of them ventured out towards the Log, and even dared to touch it; still it did not move. Then the greatest hero of the Frogs jumped upon the Log and commenced dancing up and down upon it; thereupon all the Frogs came and did the same; and for some time the Frogs went about their business every day without taking the slightest notice of their new King Log lying in their midst. But this did not suit them, so they sent another petition to Jove, and said to him: "We want a real king; one that will really rule over us." Now this made Jove angry, so he sent among them a big Stork that soon set to work gobbling them all up. Then the Frogs repented when too late.
Better no rule than cruel rule.
210
The following fable is found in the folklore of many countries. Its lesson of consolation for those who are not blessed with abundance of worldly goods may account for its widespread popularity. Independence and freedom from fear have advantages that make up for poorer fare.
THE FIELD MOUSE AND THE TOWN MOUSE
A Field Mouse had a friend who lived in a house in town. Now the Town Mouse was asked by the Field Mouse to dine with him, and out he went and sat down to a meal of corn and wheat.
"Do you know, my friend," said he, "that you live a mere ant's life out here? Why, I have all kinds of things at home. Come, and enjoy them."
So the two set off for town, and there the Town Mouse showed his beans and meal, his dates, too, and his cheese and fruit and honey. And as the Field Mouse ate, drank, and was merry, he thought how rich his friend was, and how poor he was.
But as they ate, a man all at once opened the door, and the Mice were in such a fear that they ran into a crack.
Then, when they would eat some nice figs, in came a maid to get a pot of honey or a bit of cheese; and when they saw her, they hid in a hole.
Then the Field Mouse would eat no more, but said to the Town Mouse, "Do as you like, my good friend; eat all you want and have your fill of good things, but you will be always in fear of your life. As for me, poor Mouse, who have only corn and wheat, I will live on at home in no fear of any one."
211
This simple poem is based upon the old fable preceding. It does not follow out the idea of the fable, but limits itself to awakening our sympathy for the garden mouse.
THE CITY MOUSE AND THE GARDEN MOUSE
CHRISTINA G. ROSSETTI
The city mouse lives in a house;—
The garden mouse lives in a bower;
He's friendly with the frogs and toads,
And sees the pretty plants in flower.
The city mouse eats bread and cheese;—
The garden mouse eats what he can;
We will not grudge him seeds and stocks,
Poor little timid furry man.
212
The most famous use of this fable in literature is found in the Satires of the great Roman poet, Horace (b.c. 65-8). He is regarded as one of the most polished of writers, and the ancient world's most truthful painter of social life and manners. Horace had a country seat among the Sabine hills to which he could retire from the worries and distractions of the world. His delight in his Sabine farm is shown clearly in his handling of the story. The passage is a part of Book II, Satire 6, and is in Conington's translation. Some well-known appearances of this same fable in English poetry may be found in Prior and Montagu's City Mouse and Country Mouse and in Pope's Imitations of Horace.
THE COUNTRY MOUSE AND THE TOWN MOUSE
HORACE
One day a country mouse in his poor home
Received an ancient friend, a mouse from Rome.
The host, though close and careful, to a guest
Could open still; so now he did his best.
He spares not oats or vetches; in his chaps
Raisins he brings, and nibbled bacon-scraps,
Hoping by varied dainties to entice
His town-bred guest, so delicate and nice.
Who condescended graciously to touch
Thing after thing, but never would take much,
While he, the owner of the mansion, sate
On threshed-out straw, and spelt and darnels ate.
At length the town mouse cries, "I wonder how
You can live here, friend, on this hill's rough brow!
Take my advice, and leave these ups and downs,
This hill and dale, for humankind and towns.
Come, now, go home with me; remember, all
Who live on earth are mortal, great and small.
Then take, good sir, your pleasure while you may;
With life so short, 'twere wrong to lose a day."
This reasoning made the rustic's head turn round;
Forth from his hole he issues with a bound,
And they two make together for their mark,
In hopes to reach the city during dark.
The midnight sky was bending over all,
When they set foot within a stately hall,
Where couches of wrought ivory had been spread
With gorgeous coverlets of Tyrian red,
And viands piled up high in baskets lay,
The relics of a feast of yesterday.
The town mouse does the honors, lays his guest
At ease upon a couch with crimson dressed,
Then nimbly moves in character of host,
And offers in succession boiled and roast;
Nay, like a well-trained slave, each wish prevents,
And tastes before the titbits he presents.
The guest, rejoicing in his altered fare,
Assumes in turn a genial diner's air,
When, hark, a sudden banging of the door!
Each from his couch is tumbled on the floor.
Half dead, they scurry round the room, poor things,
While the whole house with barking mastiffs rings.
Then says the rustic, "It may do for you,
This life, but I don't like it; so, adieu.
Give me my hole, secure from all alarms;
I'll prove that tares and vetches still have charms."
213
The following is the Androcles story as retold by Jacobs. Scholars think this fable is clearly oriental in its origin, constituting as it does a sort of appeal to tyrannical rulers for leniency toward their subjects.
ANDROCLES
A Slave named Androcles once escaped from his master and fled to the forest. As he was wandering about there he came upon a Lion lying down moaning and groaning. At first he turned to flee, but finding that the Lion did not pursue him, he turned back and went up to him. As he came near, the Lion put out his paw, which was all swollen and bleeding, and Androcles found that a huge thorn had got into it, and was causing all the pain. He pulled out the thorn and bound up the paw of the Lion, who was soon able to rise and lick the hand of Androcles like a dog. Then the Lion took Androcles to his cave, and every day used to bring him meat from which to live. But shortly afterwards both Androcles and the Lion were captured, and the slave was sentenced to be thrown to the Lion, after the latter had been kept without food for several days. The Emperor and all his Court came to see the spectacle, and Androcles was led out into the middle of the arena. Soon the Lion was let loose from his den, and rushed bounding and roaring towards his victim. But as soon as he came near to Androcles he recognized his friend, and fawned upon him, and licked his hands like a friendly dog. The Emperor, surprised at this, summoned Androcles to him, who told him the whole story. Whereupon the slave was pardoned and freed, and the Lion let loose to his native forest.
Gratitude is the sign of noble souls.
214
The preceding fable is here given in the form used in Thomas Day's very famous, but probably little read,
History of Sandford and Merton. (See No.
380.) Day's use of the story is probably responsible for its modern popularity. Jacobs points out that it dropped out of Æsop, although it was in some of the medieval fable books. A very similar tale, "Of the Remembrance of Benefits," is in the
Gesta Romanorum (Tale 104). The most striking use of the fable in modern literature is in George Bernard Shaw's play
Androcles. It will be instructive to compare the force of Day's rather heavy and slow telling of the story with that of the concise, unelaborated version by Jacobs.
ANDROCLES AND THE LION
THOMAS DAY
There was a certain slave named Androcles, who was so ill-treated by his master that his life became insupportable. Finding no remedy for what he suffered, he at length said to himself, "It is better to die than to continue to live in such hardships and misery as I am obliged to suffer. I am determined therefore to run away from my master. If I am taken again, I know that I shall be punished with a cruel death; but it is better to die at once than to live in misery. If I escape, I must betake myself to deserts and woods, inhabited only by wild beasts; but they cannot use me more cruelly than I have been used by my fellow-creatures. Therefore I will rather trust myself with them than continue to be a miserable slave."
Having formed this resolution, he took an opportunity of leaving his master's house, and hid himself in a thick forest, which was at some miles' distance from the city. But here the unhappy man found that he had only escaped from one kind of misery to experience another. He wandered about all day through a vast and trackless wood, where his flesh was continually torn by thorns and brambles. He grew hungry, but could find no food in this dreary solitude. At length he was ready to die with fatigue, and lay down in despair in a large cavern which he found by accident.
This unfortunate man had not lain long quiet in the cavern, before he heard a dreadful noise, which seemed to be the roar of some wild beast, and terrified him very much. He started up with a design to escape and had already reached the mouth of the cave when he saw coming towards him a lion of prodigious size, who prevented any possibility of retreat. The unfortunate man then believed his destruction to be inevitable; but, to his great astonishment, the beast advanced towards him with a gentle pace, without any mark of enmity or rage, and uttered a kind of mournful voice, as if he demanded the assistance of the man.
Androcles, who was naturally of a resolute disposition, acquired courage from this circumstance, to examine his monstrous guest, who gave him sufficient leisure for that purpose. He saw, as the lion approached him, that he seemed to limp upon one of his legs and that the foot was extremely swelled as if it had been wounded. Acquiring still more fortitude from the gentle demeanor of the beast, he advanced up to him and took hold of the wounded paw, as a surgeon would examine a patient. He then perceived that a thorn of uncommon size had penetrated the ball of the foot and was the occasion of the swelling and lameness he had observed. Androcles found that the beast, far from resenting this familiarity, received it with the greatest gentleness and seemed to invite him by his blandishments to proceed. He therefore extracted the thorn, and, pressing the swelling, discharged a considerable quantity of matter, which had been the cause of so much pain and uneasiness.
As soon as the beast felt himself thus relieved, he began to testify his joy and gratitude by every expression within his power. He jumped about like a wanton spaniel, wagged his enormous tail, and licked the feet and hands of his physician. Nor was he contented with these demonstrations of kindness; from this moment Androcles became his guest; nor did the lion ever sally forth in quest of prey without bringing home the produce of his chase and sharing it with his friend. In this savage state of hospitality did the man continue to live during the space of several months. At length, wandering unguardedly through the woods, he met with a company of soldiers sent out to apprehend him, and was by them taken prisoner and conducted back to his master. The laws of that country being very severe against slaves, he was tried and found guilty of having fled from his master, and, as a punishment for his pretended crime, he was sentenced to be torn in pieces by a furious lion, kept many days without food to inspire him with additional rage.
When the destined moment arrived, the unhappy man was exposed, unarmed, in the midst of a spacious area, enclosed on every side, round which many thousand people were assembled to view the mournful spectacle.
Presently a dreadful yell was heard, which struck the spectators with horror; and a monstrous lion rushed out of a den, which was purposely set open, and darted forward with erected mane, and flaming eyes, and jaws that gaped like an open sepulchre.—A mournful silence instantly prevailed! All eyes were turned upon the destined victim, whose destruction now appeared inevitable. But the pity of the multitude was soon converted into astonishment, when they beheld the lion, instead of destroying his defenceless prey, crouch submissively at his feet; fawn upon him as a faithful dog would do upon his master, and rejoice over him as a mother that unexpectedly recovers her offspring. The governor of the town, who was present, then called out with a loud voice and ordered Androcles to explain to them this unintelligible mystery, and how a savage beast of the fiercest and most unpitying nature should thus in a moment have forgotten his innate disposition, and be converted into a harmless and inoffensive animal.
Androcles then related to the assembly every circumstance of his adventures in the woods, and concluded by saying that the very lion which now stood before them had been his friend and entertainer in the woods. All the persons present were astonished and delighted with the story, to find that even the fiercest beasts are capable of being softened by gratitude and moved by humanity; and they unanimously joined to entreat for the pardon of the unhappy man from the governor of the place. This was immediately granted to him, and he was also presented with the lion, who had in this manner twice saved the life of Androcles.
215
THE WIND AND THE SUN
A dispute once arose between the North Wind and the Sun as to which was the stronger of the two. Seeing a Traveler on his way, they agreed to try which could the sooner get his cloak off him. The North Wind began, and sent a furious blast, which, at the onset, nearly tore the cloak from its fastenings; but the Traveler, seizing the garment with a firm grip, held it round his body so tightly that Boreas spent his remaining force in vain.
The Sun, dispelling the clouds that had gathered, then darted his genial beams on the Traveler's head. Growing faint with the heat, the Man flung off his coat and ran for protection to the nearest shade.
Mildness governs more than anger.
216
The following brief fable has given us one of the best known expressions in common speech, "killing the goose that lays the golden eggs." People who never heard of Æsop know what that expression means. It is easy to connect the fable with our "get rich quick" craze. (Compare with No.
254.)
THE GOOSE WITH THE GOLDEN EGGS
A certain Man had a Goose that laid him a golden egg every day. Being of a covetous turn, he thought if he killed his Goose he should come at once to the source of his treasure. So he killed her and cut her open, but great was his dismay to find that her inside was in no way different from that of any other goose.
Greediness overreaches itself.
217
The most successful of modern literary fabulists was the French poet Jean de la Fontaine (1621-1695). A famous critic has said that his fables delight the child with their freshness and vividness, the student of literature with their consummate art, and the experienced man with their subtle reflections on life and character. He drew most of his stories from Æsop and other sources. While he dressed the old fables in the brilliant style of his own day, he still
succeeded in being essentially simple and direct. A few of his 240 fables may be used to good effect with children, though they have their main charm for the more sophisticated older reader. (See Nos. 234, 234, and 241.) The best complete translation is that made in 1841 by Elizur Wright, an American scholar. The following version is from his translation. Notice that La Fontaine has changed the goose to a hen.
THE HEN WITH THE GOLDEN EGGS
A Wolf wrapped himself in the skin of a Sheep and by that means got admission into a sheep-fold, where he devoured several of the young Lambs. The Shepherd, however, soon found him out and hung him up to a tree, still in his disguise.
Some other Shepherds, passing that way, thought it was a Sheep hanging, and cried to their friend, "What, brother! is that the way you serve Sheep in this part of the country?"
"No, friends," cried he, turning the hanging body around so that they might see what it was; "but it is the way to serve Wolves, even though they be dressed in Sheep's clothing."
The credit got by a lie lasts only till the truth comes out.
219
THE HARE AND THE TORTOISE
The Hare one day laughed at the Tortoise for his short feet, slowness, and awkwardness.
"Though you may be swift as the wind," replied the Tortoise good-naturedly, "I can beat you in a race."
The Hare looked on the challenge as a great joke, but consented to a trial of speed, and the Fox was selected to act as umpire and hold the stakes.
The rivals started, and the Hare, of course, soon left the Tortoise far behind. Having reached midway to the goal, she began to play about, nibble the young herbage, and amuse herself in many ways. The day being warm, she even thought she would take a little nap in a shady spot, for she thought that if the Tortoise should pass her while she slept, she could easily overtake him again before he reached the end.
The Tortoise meanwhile plodded on, unwavering and unresting, straight towards the goal.
The Hare, having overslept herself, started up from her nap and was surprised to find that the Tortoise was nowhere in sight. Off she went at full speed, but on reaching the winning-post, found that the Tortoise was already there, waiting for her arrival.
Slow and steady wins the race.
220
THE MILLER, HIS SON, AND THEIR ASS
A Miller and his Son were driving their Ass to a neighboring fair to sell him. They had not gone far when they met with a troop of women collected round a well, talking and laughing.
"Look there," cried one of them, "did you ever see such fellows, to be trudging along the road on foot when they might ride?"
The Miller, hearing this, quickly made his Son mount the Ass, and continued to walk along merrily by his side. Presently they came up to a group of old men in earnest debate.
"There," said one of them, "it proves what I was saying. What respect is shown to old age in these days? Do you see that idle lad riding while his old father has to walk? Get down, you young scapegrace, and let the old man rest his weary limbs."
Upon this, the Miller made his Son dismount, and got up himself. In this manner they had not proceeded far when they met a company of women and children.
"Why, you lazy old fellow," cried several tongues at once, "how can you ride upon the beast while that poor little lad there can hardly keep pace by the side of you?"
The good-natured Miller immediately took up his Son behind him. They had now almost reached the town.
"Pray, honest friend," said a citizen, "is that Ass your own?"
"Yes," replied the old man.
"Oh, one would not have thought so," said the other, "by the way you load him. Why, you two fellows are better able to carry the poor beast than he you."
"Anything to please you," said the Miller; "we can but try."
So, alighting with his Son, they tied the legs of the Ass together, and by the help of a pole endeavored to carry him on their shoulders over a bridge near the entrance of the town. This entertaining sight brought the people in crowds to laugh at it, till the Ass, not liking the noise nor the strange handling that he was subject to, broke the cords that bound him and, tumbling off the pole, fell into the river. Upon this, the old man, vexed and ashamed, made the best of his way home again, convinced that by trying to please everybody he had pleased nobody, and lost his Ass into the bargain.
He who tries to please everybody pleases nobody.
221
THE TRAVELERS AND THE BEAR
Two Men, about to journey through a forest, agreed to stand by each other in any dangers that might befall. They had not gone far before a savage Bear rushed out from a thicket and stood in their path. One of the Travelers, a light, nimble fellow, got up into a tree. The other, seeing that there was no chance to defend himself single-handed, fell flat on his face and held his breath. The Bear came up and smelled at him, and taking him for dead, went off again into the wood. The Man in the tree came down and, rejoining his companion, asked him, with a sly smile, what was the wonderful secret which he had seen the Bear whisper into his ear.
"Why," replied the other, "he told me to take care for the future and not to put any confidence in such cowardly rascals as you are."
Trust not fine promises.
222
THE LARK AND HER YOUNG ONES
A Lark, who had Young Ones in a field of grain which was almost ripe, was afraid that the reapers would come before her young brood were fledged. So every day when she flew off to look for food, she charged them to take note of what they heard in her absence and to tell her of it when she came home.
One day when she was gone, they heard the owner of the field say to his son that the grain seemed ripe enough to be cut, and tell him to go early the next day and ask their friends and neighbors to come and help reap it.
When the old Lark came home, the Little Ones quivered and chirped round her and told her what had happened, begging her to take them away as fast as she could. The mother bade them be easy; "for," said she, "if he depends on his friends and his neighbors, I am sure the grain will not be reaped tomorrow."
Next day she went out again and left the same orders as before. The owner came, and waited. The sun grew hot, but nothing was done, for not a soul came. "You see," said the owner to his son, "these friends of ours are not to be depended upon; so run off at once to your uncles and cousins, and say I wish them to come early to-morrow morning and help us reap."
This the Young Ones, in a great fright, told also to their mother. "Do not fear, children," said she. "Kindred and relations are not always very forward in helping one another; but keep your ears open and let me know what you hear to-morrow."
The owner came the next day, and, finding his relations as backward as his neighbors, said to his son, "Now listen to me. Get two good sickles ready for to-morrow morning, for it seems we must reap the grain by ourselves."
The Young Ones told this to their mother.
"Then, my dears," said she, "it is time for us to go; for when a man undertakes to do his work himself, it is not so likely that he will be disappointed." She took away her Young Ones at once, and the grain was reaped the next day by the old man and his son.
Depend upon yourself alone.
223
THE OLD MAN AND HIS SONS
An Old Man had several Sons, who were always falling out with one another. He had often, but to no purpose, exhorted them to live together in harmony. One day he called them around him and, producing a bundle of sticks, bade them try each in turn to break it across. Each put forth all his strength, but the bundle resisted their efforts. Then, cutting the cord which bound the sticks together, he told his Sons to break them separately. This was done with the greatest ease.
"See, my Sons," exclaimed he, "the power of unity! Bound together by brotherly love, you may defy almost every mortal ill; divided, you will fall a prey to your enemies."
A house divided against itself cannot stand.
224
THE FOX AND THE GRAPES
A Fox, just at the time of the vintage, stole into a vineyard where the ripe sunny Grapes were trellised up on high in most tempting show. He made many a spring and a jump after the luscious prize; but, failing in all his attempts, he muttered as he retreated, "Well! what does it matter! The Grapes are sour!"
225
THE WIDOW AND THE HEN
A Widow woman kept a Hen that laid an egg every morning. Thought the woman to herself, "If I double my Hen's allowance of barley, she will lay twice a day." So she tried her plan, and the Hen became so fat and sleek that she left off laying at all.
Figures are not always facts.
226
THE KID AND THE WOLF
A Kid being mounted on the roof of a lofty house and seeing a Wolf pass below, began to revile him. The Wolf merely stopped to reply, "Coward! It is not you who revile me, but the place on which you are standing."
227
THE MAN AND THE SATYR
A Man and a Satyr having struck up an acquaintance, sat down together to eat. The day being wintry and cold, the Man put his fingers to his mouth and blew upon them.
"What's that for, my friend?" asked the Satyr.
"My hands are so cold," said the Man, "I do it to warm them."
In a little while some hot food was placed before them, and the Man, raising the dish to his mouth, again blew upon it. "And what's the meaning of that, now?" said the Satyr.
"Oh," replied the Man, "my porridge is so hot I do it to cool it."
"Nay, then," said the Satyr, "from this moment I renounce your friendship, for I will have nothing to do with one who blows hot and cold with the same mouth."
228
THE DOG AND THE SHADOW
A Dog had stolen a piece of meat out of a butcher's shop, and was crossing a river on his way home, when he saw his own shadow reflected in the stream below. Thinking that it was another dog with another piece of meat, he resolved to make himself master of that also; but in snapping at the supposed treasure, he dropped the bit he was carrying, and so lost all.
Grasp at the shadow and lose the substance—the common fate of those who hazard a real blessing for some visionary good.
229
THE SWALLOW AND THE RAVEN
The Swallow and the Raven contended which was the finer bird. The Raven ended by saying, "Your beauty is but for the summer, but mine will stand many winters."
Durability is better than show.
230
MERCURY AND THE WOODMAN
A Woodman was felling a tree on the bank of a river, and by chance let slip his axe into the water, when it immediately sank to the bottom. Being thereupon in great distress, he sat down by the side of the stream and lamented his loss bitterly. But Mercury, whose river it was, taking compassion on him, appeared at the instant before him; and hearing from him the cause of his sorrow, dived to the bottom of the river, and bringing up a golden axe, asked the Woodman if that were his. Upon the Man's denying it, Mercury dived a second time, and brought up one of silver. Again the Man denied that it was his. So diving a third time, he produced the identical axe which the Man had lost. "That is mine!" said the Woodman, delighted to have recovered his own; and so pleased was Mercury with the fellow's truth and honesty that he at once made him a present of the other two.
The Man goes to his companions, and giving them an account of what had happened to him, one of them determined to try whether he might not have the like good fortune. So repairing to the same place, as if for the purpose of cutting wood, he let slip his axe on purpose into the river and then sat down on the bank and made a great show of weeping. Mercury appeared as before, and hearing from him that his tears were caused by the loss of his axe, dived once more into the stream; and bringing up a golden axe, asked him if that was the axe he had lost.
"Aye, surely," said the Man, eagerly; and he was about to grasp the treasure, when Mercury, to punish his impudence and lying, not only refused to give him that, but would not so much as restore him his own axe again.
Honesty is the best policy.
231
THE MICE IN COUNCIL
Once upon a time the Mice being sadly distressed by the persecution of the Cat, resolved to call a meeting to decide upon the best means of getting rid of this continual annoyance. Many plans were discussed and rejected.
At last a young Mouse got up and proposed that a Bell should be hung round the Cat's neck, that they might for the future always have notice of her coming and so be able to escape. This proposition was hailed with the greatest applause, and was agreed to at once unanimously. Upon this, an old Mouse, who had sat silent all the while, got up and said that he considered the contrivance most ingenious, and that it would, no doubt, be quite successful; but he had only one short question to put; namely, which of them it was who would Bell the Cat?
It is one thing to propose, another to execute.
232
THE MOUNTEBANK AND THE COUNTRYMAN
A certain wealthy patrician, intending to treat the Roman people with some theatrical entertainment, publicly offered a reward to any one who would produce a novel spectacle. Incited by emulation, artists arrived from all parts to contest the prize, among whom a well-known witty Mountebank gave out that he had a new kind of entertainment that had never yet been produced on any stage. This report, being spread abroad, brought the whole city together. The theater could hardly contain the number of spectators. And when the artist appeared alone upon the stage, without any apparatus or any assistants, curiosity and suspense kept the spectators in profound silence. On a sudden he thrust down his head into his bosom, and mimicked the squeaking of a young pig so naturally that the audience insisted upon it that he had one under his cloak and ordered him to be searched, which, being done and nothing appearing, they loaded him with the most extravagant applause.
A Countryman among the audience observed what passed. "Oh!" says he, "I can do better than this"; and immediately gave out that he would perform the next day. Accordingly on the morrow a yet greater crowd was collected. Prepossessed, however, in favor of the Mountebank, they came rather to laugh at the Countryman than to pass a fair judgment on him. They both came out upon the stage. The Mountebank grunts away at first, and calls forth the greatest clapping and applause. Then the Countryman, pretending that he concealed a little pig under his garments (and he had, in fact, really got one) pinched its ear till he made it squeak. The people cried out that the Mountebank had imitated the pig much more naturally, and hooted to the Countryman to quit the stage; but he, to convict them to their face, produced the real pig from his bosom. "And now, gentlemen, you may see," said he, "what a pretty sort of judges you are!"
It is easier to convict a man against his senses than against his will.
233
Stories dealing with the disastrous effects of "day-dreaming" are very common in the world's literature. The three selections that follow are given as very familiar samples for comparison. The first is a simple version by Jacobs.
THE MILKMAID AND HER PAIL
Patty, the Milkmaid, was going to market, carrying her milk in a Pail on her head. As she went along she began calculating what she could do with the money she would get for the milk. "I'll buy some fowls from Farmer Brown," said she, "and they will lay eggs each morning, which I will sell to the parson's wife. With the money that I get from the sale of these eggs I'll buy myself a new dimity frock and a chip hat; and when I go to market, won't all the young men come up and speak to me! Polly Shaw will be that jealous; but I don't care. I shall just look at her and toss my head like this." As she spoke, she tossed her head back, the Pail fell off it and all the milk was spilt. So she had to go home and tell her mother what had occurred.
"Ah, my child," said her mother,
"Do not count your chickens before they are hatched."
234
The next is Wright's translation of La Fontaine's famous fable on the day-dreaming theme. Notice how much more complicated its application becomes in contrast with the obvious truth of the proverb in the preceding version. La Fontaine is responsible for the story's popularity in modern times. The most fascinating study on the way fables have come down to us is Max MÜller's "On the Migration of Fables," in which he follows this story from India through all its many changes until it reaches us in La Fontaine.
THE DAIRYWOMAN AND THE POT OF MILK
LA FONTAINE
A pot of milk upon her cushioned crown,
Good Peggy hastened to the market town,
Short clad and light, with speed she went,
Not fearing any accident;
Indeed, to be the nimble tripper,
Her dress that day,
The truth to say,
Was simple petticoat and slipper.
And thus bedight,
Good Peggy, light,—
Her gains already counted,—
Laid out the cash
At single dash,
Which to a hundred eggs amounted.
Three nests she made,
Which, by the aid
Of diligence and care, were hatched.
"To raise the chicks,
I'll easy fix,"
Said she, "beside our cottage thatched.
The fox must get
More cunning yet,
Or leave enough to buy a pig.
With little care
And any fare,
He'll grow quite fat and big;
And then the price
Will be so nice,
For which the pork will sell!
Twill go quite hard
But in our yard
I'll bring a cow and calf to dwell—
A calf to frisk among the flock!"
The thought made Peggy do the same;
And down at once the milk-pot came,
And perished with the shock.
Calf, cow, and pig, and chicks, adieu!
Your mistress' face is sad to view;
She gives a tear to fortune spilt;
Then with the downcast look of guilt
Home to her husband empty goes,
Somewhat in danger of his blows.
Who buildeth not, sometimes, in air
His cots, or seats, or castles fair?
From kings to dairywomen,—all,—
The wise, the foolish, great and small,—
Each thinks his waking dream the best.
Some flattering error fills the breast:
The world with all its wealth is ours,
Its honors, dames, and loveliest bowers.
Instinct with valor, when alone,
I hurl the monarch from his throne;
The people, glad to see him dead,
Elect me monarch in his stead,
And diadems rain on my head.
Some accident then calls me back,
And I'm no more than simple Jack.
235
The day-dreaming idea is next presented in the form found in the story of the barber's fifth brother in the Arabian Nights. Would this story be any more effective if it had a paragraph at the end stating and emphasizing the moral?
THE STORY OF ALNASCHAR
Alnaschar, my fifth brother, was very lazy, and of course wretchedly poor. On the death of our father we divided his property, and each of us received a hundred drachms of silver for his share. Alnaschar, who hated labor, laid out his money in fine glasses, and having displayed his stock to the best advantage in a large basket, he took his stand in the market-place, with his back against the wall, waiting for customers. In this posture he indulged in a reverie, talking aloud to himself as follows:
"This glass cost me a hundred drachms of silver, which is all I have in the world. I shall make two hundred by retailing it, and of these very shortly four hundred. It will not be long before these produce four thousand. Money, they say, begets money. I shall soon therefore be possessed of eight thousand, and when these become ten thousand I will no longer be a glass-seller. I will trade in pearls and diamonds; and as I shall become rich apace, I will have a splendid palace, a great estate, slaves, and horses; I will not, however, leave traffic till I have acquired a hundred thousand drachms. Then I shall be as great as a prince, and will assume manners accordingly.
"I will demand the daughter of the grand vizier in marriage, who, no doubt, will be glad of an alliance with a man of my consequence. The marriage ceremony shall be performed with the utmost splendor and magnificence. I will have my horse clothed with the richest housings, ornamented with diamonds and pearls, and will be attended by a number of slaves, all richly dressed, when I go to the vizier's palace to conduct my wife thence to my own. The vizier shall receive me with great pomp, and shall give me the right hand and place me above himself, to do me the more honor. On my return I will appoint two of my handsomest slaves to throw money among the populace, that every one may speak well of my generosity.
"When we arrive at my own palace, I will take great state upon me, and hardly speak to my wife. She shall dress herself in all her ornaments, and stand before me as beautiful as the full moon, but I will not look at her. Her slaves shall draw near and entreat me to cast my eyes upon her; which, after much supplication, I will deign to do, though with great indifference. I will not suffer her to come out of her apartment without my leave; and when I have a mind to visit her there, it shall be in a manner that will make her respect me. Thus will I begin early to teach her what she is to expect the rest of her life.
"When her mother comes to visit her she will intercede with me for her. 'Sir,' she will say (for she will not dare to call me son, for fear of offending me by so much familiarity), 'do not, I beseech, treat my daughter with scorn; she is as beautiful as an Houri, and entirely devoted to you.' But my mother-in-law may as well hold her peace, for I will take no notice of what she says. She will then pour out some wine into a goblet, and give it to my wife, saying, 'Present it to your lord and husband; he will not surely be so cruel as to refuse it from so fair a hand.' My wife will then come with the glass, and stand trembling before me; and when she finds that I do not look on her, but continue to disdain her, she will kneel and entreat me to accept it; but I will continue inflexible. At last, redoubling her tears, she will rise and put the goblet to my lips, when, tired with her importunities, I will dart a terrible look at her and give her such a push with my foot as will spurn her from me." Alnaschar was so interested in this imaginary grandeur that he thrust forth his foot to kick the lady, and by that means overturned his glasses and broke them into a thousand pieces.
236
"The Camel and the Pig" is from P. V. Ramaswami Raju's
Indian Folk Stories and Fables, an excellent book of adaptations for young readers. The idea that every situation in life has its advantages as well as its disadvantages is one of those common but often overlooked truths which serve so well as the themes of fable. Emerson's "Fable," the story of the quarrel between the mountain and the squirrel, is a most excellent presentation of the same idea (see No.
363). "The Little Elf," by John Kendrick Bangs, makes the same point for smaller folks.
THE CAMEL AND THE PIG
ADAPTED BY P. V. RAMASWAMI RAJU
A camel said, "Nothing like being tall! See how tall I am!"
A Pig who heard these words said, "Nothing like being short; see how short I am!"
The Camel said, "Well, if I fail to prove the truth of what I said, I will give up my hump."
The Pig said, "If I fail to prove the truth of what I have said, I will give up my snout."
"Agreed!" said the Camel.
"Just so!" said the Pig.
They came to a garden inclosed by a low wall without any opening. The Camel stood on this side the wall, and, reaching the plants within by means of his long neck, made a breakfast on them. Then he turned jeeringly to the Pig, who had been standing at the bottom of the wall, without even having a look at the good things in the garden, and said, "Now, would you be tall or short?"
Next they came to a garden inclosed by a high wall, with a wicket gate at one end. The Pig entered by the gate and, after having eaten his fill of the vegetables within, came out, laughing at the poor Camel, who had to stay outside, because he was too tall to enter the garden by the gate, and said, "Now, would you be tall or short?"
Then they thought the matter over, and came to the conclusion that the Camel should keep his hump and the Pig his snout, observing,—
"Tall is good, where tall would do;
Of short, again, 'tis also true!"
237
Many scholars have believed that all fables originated in India. The great Indian collection of symbolic stories known as Jataka Tales, or Buddhist Birth Stories, has been called "the oldest, most complete, and most important collection of folklore extant." They are called Birth Stories because each one gives an account of something that happened in connection with the teaching of Buddha in some previous "birth" or incarnation. There are about 550 of these Jatakas, including some 2000 stories. They have now been made accessible in a translation by a group of English scholars and published in six volumes under the general editorship of Professor Cowell. Many of them have long been familiar in eastern collections and have been adapted in recent times for use in schools. Each Jataka is made up of three parts. There is a "story of the present" giving an account of an incident in Buddha's life which calls to his mind a "story of the past" in which he had played a part during a former incarnation. Then, there is a conclusion marking the results. Nos.
237 and
238 are literal translations of Jatakas by T. W. Rhys-Davids in his
Buddhist Birth Stories. In adapting for children, the stories of the present may be omitted. In fact, everything except the direct story should be eliminated. The "gathas," or verses, were very important in connection with the original purpose of religious teaching, but are only incumbrances in telling the story either for its own sake or for its moral.
THE ASS IN THE LION'S SKIN
At the same time when Brahma-datta was reigning in Benares, the future Buddha was born one of a peasant family; and when he grew up he gained his living by tilling the ground.
At that time a hawker used to go from place to place, trafficking in goods carried by an ass. Now at each place he came to, when he took the pack down from the ass's back, he used to clothe him in a lion's skin and turn him loose in the rice and barley fields. And when the watchmen in the fields saw the ass they dared not go near him, taking him for a lion.
So one day the hawker stopped in a village; and while he was getting his own breakfast cooked, he dressed the ass in a lion's skin and turned him loose in a barley field. The watchmen in the field dared not go up to him; but going home, they published the news. Then all the villagers came out with weapons in their hands; and blowing chanks, and beating drums, they went near the field and shouted. Terrified with the fear of death, the ass uttered a cry—the bray of an ass!
And when he knew him then to be an ass, the future Buddha pronounced the first verse:
"This is not a lion's roaring,
Nor a tiger's nor a panther's;
Dressed in a lion's skin,
'Tis a wretched ass that roars!"
But when the villagers knew the creature to be an ass, they beat him till his bones broke; and, carrying off the lion's skin, went away. Then the hawker came; and seeing the ass fallen into so bad a plight, pronounced the second verse:
"Long might the ass,
Clad in a lion's skin,
Have fed on the barley green;
But he brayed
And that moment he came to ruin."
And even while he was yet speaking the ass died on the spot.
238
THE TALKATIVE TORTOISE
The future Buddha was once born in a minister's family, when Brahma-datta was reigning in Benares; and when he grew up he became the king's adviser in things temporal and spiritual.
Now this king was very talkative; while he was speaking others had no opportunity for a word. And the future Buddha, wanting to cure this talkativeness of his, was constantly seeking for some means of doing so.
At that time there was living, in a pond in the Himalaya mountains, a tortoise. Two young hamsas, or wild ducks, who came to feed there, made friends with him, and one day, when they had become very intimate with him, they said to the tortoise:
"Friend tortoise! the place where we live, at the Golden Cave on Mount Beautiful in the Himalaya country, is a delightful spot. Will you come there with us?"
"But how can I get there?"
"We can take you if you can only hold your tongue, and will say nothing to anybody."
"Oh! that I can do. Take me with you."
"That's right," said they. And making the tortoise bite hold of a stick, they themselves took the two ends in their teeth, and flew up into the air.
Seeing him thus carried by the hamsas, some villagers called out, "Two wild ducks are carrying a tortoise along on a stick!" Whereupon the tortoise wanted to say, "If my friends choose to carry me, what is that to you, you wretched slaves!" So just as the swift flight of the wild ducks had brought him over the king's palace in the city of Benares, he let go of the stick he was biting, and falling in the open courtyard, split in two! And there arose a universal cry, "A tortoise has fallen in the open courtyard, and has split in two!"
The king, taking the future Buddha, went to the place, surrounded by his courtiers; and looking at the tortoise, he asked the Bodisat, "Teacher! how comes he to be fallen here?"
The future Buddha thought to himself, "Long expecting, wishing to admonish the king, have I sought for some means of doing so. This tortoise must have made friends with the wild ducks; and they must have made him bite hold of the stick, and have flown up into the air to take him to the hills. But he, being unable to hold his tongue when he hears any one else talk, must have wanted to say something, and let go the stick; and so must have fallen down from the sky, and thus lost his life." And saying, "Truly, O king! those who are called chatter-boxes—people whose words have no end—come to grief like this," he uttered these verses:
"Verily the tortoise killed himself
While uttering his voice;
Though he was holding tight the stick,
By a word himself he slew.
"Behold him then, O excellent by strength!
And speak wise words, not out of season.
You see how, by his talking overmuch,
The tortoise fell into this wretched plight!"
The king saw that he was himself referred to, and said, "O Teacher! are you speaking of us?"
And the Bodisat spake openly, and said, "O great king! be it thou, or be it any other, whoever talks beyond measure meets with some mishap like this."
And the king henceforth refrained himself, and became a man of few words.
239
The following is, also, an oriental story. It is taken from the Hitopadesa (Book of Good Counsel), a collection of Sanskrit fables. This collection was compiled from older sources, probably in the main from the Panchatantra (Five Books), which belonged to about the fifth century. Observe the emphasis placed upon the teaching of the fable by putting the statement of it at the beginning and recurring to it at the close.
A LION TRICKED BY A RABBIT
He who hath sense hath strength. Where hath he strength who wanteth judgment? See how a lion, when intoxicated with anger, was overcome by a rabbit.
Upon the mountain Mandara there lived a lion, whose name was Durganta (hard to go near), who was very exact in complying with the ordinance for animal sacrifices. So at length all the different species assembled, and in a body represented that, as by his present mode of proceeding the forest would be cleared all at once, if it pleased his Highness, they would each of them in his turn provide him an animal for his daily food. And the lion gave his consent accordingly. Thus every beast delivered his stipulated provision, till at length, it coming to the rabbit's turn, he began to meditate in this manner: "Policy should be practiced by him who would save his life; and I myself shall lose mine if I do not take care. Suppose I lead him after another lion? Who knows how that may turn out for me? I will approach him slowly, as if fatigued."
The lion by this time began to be very hungry; so, seeing the rabbit coming toward him, he called out in a great passion, "What is the reason thou comest so late?"
"Please your Highness," said the rabbit, "as I was coming along I was forcibly detained by another of your species; but having given him my word that I would return immediately, I came here to represent it to your Highness."
"Go quickly," said the lion in a rage, "and show me where this vile wretch may be found!"
Accordingly, the rabbit conducted the lion to the brink of a deep well, where being arrived, "There," said the rabbit, "look down and behold him." At the same time he pointed to the reflected image of the lion in the water, who, swelling with pride and resentment, leaped into the well, as he thought, upon his adversary; and thus put an end to his life.
I repeat, therefore:
He who hath sense hath strength. Where hath he strength who wanteth judgment?
240
Marie de France lived probably in the latter part of the twelfth century and was one of the most striking figures in Middle English literature. She seems to have been born in France, lived much in England, translated from the Anglo-Norman dialect into French, and is spoken of as the first French poet. One of her three works, and the most extensive, is a collection of 103 fables, which she says she translated from the English of King Alfred. Her original, whatever it may have been, is lost. One of her fables, in a translation by Professor W. W. Skeat, is given below. It contains the germ of Chaucer's "Nun's Priest's Tale," in The Canterbury Tales.
THE COCK AND THE FOX
MARIE DE FRANCE
A Cock our story tells of, who
High on a trash hill stood and crew.
A Fox, attracted, straight drew nigh,
And spake soft words of flattery.
"Dear Sir!" said he, "your look's divine;
I never saw a bird so fine!
I never heard a voice so clear
Except your father's—ah! poor dear!
His voice rang clearly, loudly—but
Most clearly when his eyes were shut!"
"The same with me!" the Cock replies,
And flaps his wings, and shuts his eyes.
Each note rings clearer than the last—
The Fox starts up and holds him fast;
Toward the wood he hies apace.
But as he crossed an open space,
The shepherds spy him; off they fly;
The dogs give chase with hue and cry.
The Fox still holds the Cock, though fear
Suggests his case is growing queer.
"Tush!" cries the Cock, "cry out, to grieve 'em,
'The cock is mine! I'll never leave him!'"
The Fox attempts, in scorn, to shout,
And opes his mouth; the Cock slips out,
And in a trice has gained a tree.
Too late the Fox begins to see
How well the Cock his game has played;
For once his tricks have been repaid.
In angry language, uncontrolled,
He 'gins to curse the mouth that's bold
To speak, when it should silent be.
"Well," says the Cock, "the same with me;
I curse the eyes that go to sleep
Just when they ought sharp watch to keep
Lest evil to their lord befall."
Thus fools contrariously do all;
They chatter when they should be dumb,
And, when they ought to speak, are mum.
241
The following is Wright's translation of the first fable in La Fontaine's collection. Rousseau, objecting to fables in general, singled out this particular one as an example of their bad effects on children, and echoes of his voice are still in evidence. It would, he said, give children a lesson in inhumanity. "You believe you are making an example of the grasshopper, but they will choose the ant ... they will take the more pleasant part, which is a very natural thing." Another observer said: "As for me, I love neither grasshopper nor ant, neither avarice nor prodigality, neither the miserly people who lend nor the spendthrifts who borrow." These statements represent complex, analytic points of view which are probably outside the range of most children. They will see the grasshopper simply as a type of thorough shiftlessness and the ant as a type of forethought, although La Fontaine does suggest that the ant might on general principles be a little less "tight-fisted." The lesson that idleness is the mother of want, the necessity of looking ahead, of providing for the future, of laying up for a rainy day—these are certainly common-sense conclusions and the only ones the story itself will suggest to the child.
THE GRASSHOPPER AND THE ANT
LA FONTAINE
A grasshopper gay
Sang the summer away,
And found herself poor
By the winter's first roar.
Of meat or of bread,
Not a morsel she had!
So a begging she went,
To her neighbor the ant,
For the loan of some wheat,
Which would serve her to eat,
Till the season came round.
"I will pay you," she saith,
"On an animal's faith,
Double weight in the pound
Ere the harvest be bound."
The ant is a friend
(And here she might mend)
Little given to lend.
"How spent you the summer?"
Quoth she, looking shame
At the borrowing dame.
"Night and day to each comer
I sang, if you please."
"You sang! I'm at ease;
For 'tis plain at a glance,
Now, ma'am, you must dance."
242
The translation of the following fable is that of W. Lucas Collins, in his La Fontaine and Other French Fabulists. This fable has always been a great favorite among the French, and the translator has caught much of the sprightly tone of his original.
THE COCK, THE CAT, AND THE YOUNG MOUSE
And all the men of Shechem gathered together, and all the house of Millo, and went, and made Abimelech king, by the plain of the pillar that was in Shechem. And when they told it to Jotham, he went and stood in the top of Mount Gerizim, and lifted up his voice, and cried, and said unto them:—
"Hearken unto me, ye men of Shechem, that God may hearken unto you. The trees went forth on a time to anoint a king over them; and they said unto the olive tree, 'Reign thou over us.' But the olive tree said unto them, 'Should I leave my fatness, wherewith by me they honor God and man, and go to be promoted over the trees?'
"And the trees said to the fig tree, 'Come thou and reign over us.' But the fig tree said unto them, 'Should I forsake my sweetness and my good fruit, and go to be promoted over the trees?'
"Then said the trees unto the vine, 'Come thou and reign over us.' And the vine said unto them, 'Should I leave my wine, which cheereth God and man, and go to be promoted over the trees?'
"Then said all the trees unto the bramble, 'Come thou and reign over us.' And the bramble said unto the trees, 'If in truth ye anoint me king over you, then come and put your trust in my shadow: and if not, let fire come out of the bramble and devour the cedars of Lebanon.'"
247
The concrete illustrations by means of which Jesus constantly taught are called parables. "Without a parable spake he not unto them." The parable differs from the fable proper in dealing with more fundamental or ideal truth. The fable moves on the plane of the prudential virtues, the parable on the plane of the higher self-forgetting virtues. Because of that difference there is in the parable "no jesting nor raillery at the weakness, the follies, or the crimes of men." All is deeply earnest, befitting its high spiritual point of view. As a rule the parables use for illustration stories of what might actually happen. Two of the most familiar of the parables follow. What true neighborliness means is the message of "The Good Samaritan."
THE GOOD SAMARITAN
Luke x:25-37
And behold, a certain lawyer stood up and tempted him, saying, "Master, what shall I do to inherit eternal life?" He said unto him, "What is written in the law? how readest thou?" And he answering said, "Thou shalt love the Lord thy God with all thy heart, and with all thy soul, and with all thy strength, and with all thy mind; and thy neighbor as thyself." And He said unto him, "Thou hast answered right; this do, and thou shalt live." But he, willing to justify himself, said unto Jesus, "And who is my neighbor?"
And Jesus answering said, "A certain man went down from Jerusalem to Jericho, and fell among thieves, which stripped him of his raiment, and wounded him, and departed, leaving him half dead. And by chance there came down a certain priest that way; and when he saw him, he passed by on the other side. And likewise a Levite, when he was at the place, came and looked on him, and passed by on the other side. But a certain Samaritan, as he journeyed, came where he was; and when he saw him, he had compassion on him, and went to him, and bound up his wounds, pouring in oil and wine, and set him on his own beast, and brought him to an inn, and took care of him. And on the morrow, when he departed, he took out two pence and gave them to the host and said unto him, 'Take care of him: and whatsoever thou spendest more, when I come again I will repay thee.'
"Which now of these three, thinkest thou, was neighbor unto him that fell among the thieves?"
And he said, "He that showed mercy on him."
Then said Jesus unto him, "Go and do thou likewise."
248
THE PRODIGAL SON
Luke xv:10-32
"Likewise I say unto you, there is joy in the presence of the angels of God over one sinner that repenteth."
And he said, "A certain man had two sons; and the younger of them said to his father, 'Father, give me the portion of goods that falleth to me.' And he divided unto them his living.
"And not many days after, the younger son gathered all together, and took his journey into a far country, and there wasted his substance with riotous living. And when he had spent all, there arose a mighty famine in that land; and he began to be in want. And he went and joined himself to a citizen of that country; and he sent him into his fields to feed swine. And he would fain have filled his belly with the husks that the swine did eat; and no man gave unto him.
"And when he came to himself, he said, 'How many hired servants of my father's have bread enough and to spare, and I perish with hunger! I will arise and go to my father, and will say unto him, "Father, I have sinned against heaven and before thee, and am no more worthy to be called thy son; make me as one of thy hired servants."'
"And he arose and came to his father. But when he was yet a great way off, his father saw him, and had compassion, and ran, and fell on his neck, and kissed him. And the son said unto him, 'Father, I have sinned against heaven and in thy sight, and am no more worthy to be called thy son.' But the father said to his servants, 'Bring forth the best robe and put it on him; and put a ring on his hand, and shoes on his feet; and bring hither the fatted calf and kill it; and let us eat and be merry; for this my son was dead and is alive again; he was lost and is found.' And they began to be merry.
"Now his elder son was in the field; and as he came and drew nigh to the house, he heard music and dancing. And he called one of the servants and asked what these things meant. And he said unto him, 'Thy brother is come; and thy father hath killed the fatted calf, because he hath received him safe and sound.' And he was angry and would not go in; therefore came his father out and entreated him. And he answering, said to his father, 'Lo, these many years do I serve thee, neither transgressed I at any time thy commandment; and yet thou never gavest me a kid that I might make merry with my friends. But as soon as this thy son was come, which hath devoured thy living with harlots, thou hast killed for him the fatted calf.' And he said unto him, 'Son, thou art ever with me; and all that I have is thine. It was meet that we should make merry, and be glad; for this thy brother was dead, and is alive again; and was lost, and is found.'"
249
This little apologue is taken from Norwood (1867), a novel written by Henry Ward Beecher for the New York Ledger in the days when that periodical, under the direction of Robert Bonner, was the great family weekly of America. In the course of the fiction Mr. Beecher emphasizes the value of stories for children. "Story-hunger in children," he says, "is even more urgent than bread-hunger." And after the story has been told: "How charming it is to narrate fables for children.... Children are unconscious philosophers. They refuse to pull to pieces their enjoyments to see what they are made of. Rose knew as well as her father that leaves never talked. Yet, Rose never saw a leaf without feeling that there was life and meaning in it."
THE ANXIOUS LEAF
HENRY WARD BEECHER
Once upon a time a little leaf was heard to sigh and cry, as leaves often do when a gentle wind is about.
And the twig said, "What is the matter, little leaf?"
And the leaf said, "The wind just told me that one day it would pull me off and throw me down to die on the ground!"
The twig told it to the branch on which it grew, and the branch told it to the tree. And when the tree heard it, it rustled all over, and sent back word to the leaf, "Do not be afraid; hold on tightly, and you shall not go till you want to." And so the leaf stopped sighing, but went on nestling and singing.
Every time the tree shook itself and stirred up all its leaves, the branches shook themselves, and the little twig shook itself, and the little leaf danced up and down merrily, as if nothing could ever pull it off.
And so it grew all summer long till October. And when the bright days of autumn came, the little leaf saw all the leaves around becoming very beautiful. Some were yellow, and some scarlet, and some striped with both colors.
Then it asked the tree what it meant. And the tree said, "All these leaves are getting ready to fly away, and they have put on these beautiful colors, because of joy."
Then the little leaf began to want to go, and grew very beautiful in thinking of it, and when it was very gay in color, it saw that the branches of the tree had no color in them, and so the leaf said, "Oh, branches! why are you lead color and we golden?"
"We must keep on our work clothes, for our life is not done; but your clothes are for holiday, because your tasks are over."
Just then, a little puff of wind came, and the leaf let go without thinking of it, and the wind took it up, and turned it over and over, and whirled it like a spark of fire in the air and then it fell gently down under the edge of the fence among hundreds of leaves, and fell into a dream and never waked up to tell what it dreamed about!
250
Benjamin Franklin (1706-1790), more than any other American, has emphasized for us the value of proverbial sayings and the significance of the symbolic story. This account of how one may pay too much for a whistle was written in 1779 while Franklin was representing the colonies at Paris, and addressed to his friend Madame Brillon. The making of apologues seemed to be a favorite sort of game in the circle in which Franklin moved, and his plain common sense is always uppermost in whatever he produces. The lesson of the whistle is always needed; we are prone to put aside the essential thing for the temporary and showy. More than a century ago Noah Webster put this story in his school-reader, and most school-readers since have contained it. The selection is here reprinted complete. Teachers usually omit some of the opening and closing paragraphs.
THE WHISTLE
BENJAMIN FRANKLIN
I am charmed with your description of Paradise, and with your plan of living there; and I approve much of your conclusion, that, in the mean time, we should draw all the good we can from this world. In my opinion, we might all draw more good than we do, and suffer less evil, if we would take care not to give too much for whistles. For to me it seems that most of the unhappy people we meet with are become so by neglect of that caution.
You ask what I mean? You love stories, and will excuse my telling one of myself.
When I was a child of seven years old, my friends, on a holiday, filled my pockets with coppers. I went directly to a shop where they sold toys for children; and being charmed with the sound of a whistle, that I met by the way in the hands of another boy, I voluntarily offered and gave all my money for one. I then came home, and went whistling all over the house, much pleased with my whistle, but disturbing all the family. My brothers, and sisters, and cousins, understanding the bargain I had made, told me I had given four times as much for it as it was worth; put me in mind what good things I might have bought with the rest of the money; and laughed at me so much for my folly, that I cried with vexation; and the reflection gave me more chagrin than the whistle gave me pleasure.
This, however, was afterward of use to me, the impression continuing on my mind; so that often, when I was tempted to buy some unnecessary thing, I said to myself, Don't give too much for the whistle; and I saved my money.
As I grew up I thought I met with many, very many, who gave too much for the whistle.
When I saw one too ambitious of court favor, sacrificing his time, his repose, his liberty, his virtue, and perhaps his friends, to attain it, I have said to myself, This man gives too much for his whistle.
When I saw another fond of popularity, constantly employing himself in political bustles, neglecting his own affairs, and ruining them by that neglect, He pays, indeed, said I, too much for his whistle.
If I knew a miser, who gave up every kind of comfortable living, all the pleasure of doing good to others, all the esteem of his fellow-citizens, and the joys of benevolent friendship, for the sake of accumulating wealth, Poor man, said I, you pay too much for your whistle.
When I met with a man of pleasure, sacrificing every laudable improvement of the mind, or of his fortune, to mere corporal sensations, and ruining his health in their pursuit, Mistaken man, said I, you are providing pain for yourself, instead of pleasure; you give too much for your whistle.
If I see one fond of appearance, or fine clothes, fine houses, fine furniture, fine equipages, all above his fortune, for which he contracts debts, and ends his career in a prison, Alas! say I, he has paid dear, very dear, for his whistle.
When I see a beautiful, sweet-tempered girl married to an ill-natured brute of a husband, What a pity, say I, that she should pay so much for a whistle!
In short, I conceive that great part of the miseries of mankind are brought upon them by the false estimates they have made of the value of things, and by their giving too much for their whistles.
Yet I ought to have charity for these unhappy people, when I consider that, with all this wisdom of which I am boasting, there are certain things in the world so tempting, for example, the apples of King John, which happily are not to be bought; for if they were put to sale by auction, I might very easily be led to ruin myself in the purchase, and find that I had once more given too much for the whistle.
251
"The Ephemera" was also addressed to Madame Brillon, the "amiable Brillante" of the final sentence. It is an allegorical story emphasizing the relative shortness of human life. Franklin's "Alas! art is long and life is short!" anticipates Longfellow's "Art is long and time is fleeting." But hundreds of writers had preceded both of them in calling attention to this at the same time commonplace and significant fact. At the end, Franklin's quiet acceptance of the rather gloomy outlook suggested by the ephemeral nature of life is noteworthy, and is characteristic of his general temper.
THE EPHEMERA
An Emblem of Human Life
BENJAMIN FRANKLIN
You may remember, my dear friend, that when we lately spent that happy day in the delightful garden and sweet society of the Moulin Joly, I stopped a little in one of our walks, and stayed some time behind the company. We had been shown numberless skeletons of a kind of little fly, called an ephemera, whose successive generations, we were told, were bred and expired within the day. I happened to see a living company of them on a leaf, who appeared to be engaged in conversation. You know I understand all the inferior animal tongues. My too great application to the study of them is the best excuse I can give for the little progress I have made in your charming language. I listened through curiosity to the discourse of these little creatures; but as they, in their national vivacity, spoke three or four together, I could make but little of their conversation. I found, however, by some broken expressions that I heard now and then, they were disputing warmly on the merit of two foreign musicians, one a cousin, the other a moscheto; in which dispute they spent their time, seemingly as regardless of the shortness of life as if they had been sure of living a month. Happy people! thought I; you live certainly under a wise, just, and mild government, since you have no public grievances to complain of, nor any subject of contention but the perfections and imperfections of foreign music. I turned my head from them to an old grey-headed one, who was single on another leaf, and talking to himself. Being amused with his soliloquy, I put it down in writing, in hopes it will likewise amuse her to whom I am so much indebted for the most pleasing of all amusements, her delicious company and heavenly harmony.
"It was," said he, "the opinion of learnÈd philosophers of our race, who lived and flourished long before my time, that this vast world, the Moulin Joly, could not itself subsist more than eighteen hours; and I think there was some foundation for that opinion, since, by the apparent motion of the great luminary that gives life to all nature, and which in my time has evidently declined considerably towards the ocean at the end of our earth, it must then finish its course, be extinguished in the waters that surround us, and leave the world in cold and darkness, necessarily producing universal death and destruction. I have lived seven of those hours, a great age, being no less than four hundred and twenty minutes of time. How very few of us continue so long! I have seen generations born, flourish, and expire. My present friends are the children and grandchildren of the friends of my youth, who are now, also, no more! And I must soon follow them; for, by the course of nature, though still in health, I cannot expect to live above seven or eight minutes longer. What now avails all my toil and labor in amassing honey-dew on this leaf, which I cannot live to enjoy! What the political struggles I have been engaged in, for the good of my compatriot inhabitants of this bush, or my philosophical studies for the benefit of our race in general! for, in politics, what can laws do without morals? Our present race of ephemerae will in a course of minutes become corrupt, like those of other and older bushes, and consequently as wretched. And in philosophy how small is our progress! Alas! art is long, and life is short! My friends would comfort me with the idea of a name, they say, I shall leave behind me; and they tell me I have lived long enough to nature and to glory. But what will fame be to an ephemera who no longer exists? And what will become of all history in the eighteenth hour, when the world itself, even the whole Moulin Joly, shall come to its end, and be buried in universal ruin?"
To me, after all my eager pursuits, no solid pleasures now remain, but the reflection of a long life spent in meaning well, the sensible conversation of a few good lady ephemerae, and now and then a kind smile and a tune from the ever amiable Brillante.
252
The brief allegory that follows is very generally regarded as the finest and noblest specimen of its type. It is here reprinted approximately in the form of its first appearance, now more than two hundred years ago, as more in keeping with its spirit than a modern dress would be. The world of recent times is not so much given to this kind of writing as the eighteenth century was. Like Franklin's "Ephemera," Addison's vision grows out of "profound contemplation on the vanity of human life." The key to the symbolism is found in the "threescore and ten arches" of the bridge, representing the scriptural limit of physical existence, with some broken arches for any excess of that limit. The fact that "the bridge consisted at first of a thousand arches" is a reference to the great number of years assigned to some of the patriarchs. The splendid concluding vision in which Mirzah sees the compensations for the ills of this life suggests a very different type of mind from that of the "this-worldly" closing paragraph in Franklin's apologue. "The Vision of Mirzah" is No.
159 of the
Spectator (September 1, 1711).
THE VISION OF MIRZAH
JOSEPH ADDISON
When I was at Grand Cairo I picked up several oriental manuscripts, which I have still by me. Among others I met with one entitled The Visions of Mirzah, which I have read over with great pleasure. I intend to give it to the public when I have no other entertainment for them; and I shall begin with the first vision, which I have translated word for word as follows:
On the fifth day of the moon, which according to the custom of my forefathers I always kept holy, after having washed myself, and offered up my morning devotions, I ascended the high hills of Bagdat, in order to pass the rest of the day in meditation and prayer. As I was here airing myself on the tops of the mountains, I fell into profound contemplation on the vanity of human life; and passing from one thought to another, surely, said I, man is but a shadow and life a dream. Whilst I was thus musing, I cast my eyes towards the summit of a rock that was not far from me, where I discovered one in the habit of a shepherd, with a musical instrument in his hand. As I looked upon him he applied it to his lips, and began to play upon it. The sound of it was exceeding sweet, and wrought into a variety of tunes that were inexpressibly melodious, and altogether different from anything I had ever heard. They put me in mind of those heavenly airs that are played to the departed souls of good men upon their first arrival in paradise to wear out the impressions of their last agonies, and qualify them for the pleasures of that happy place. My heart melted away in secret raptures.
I had been often told that the rock before me was the haunt of a genius; and that several had been entertained with music who had passed by it, but never heard that the musician had before made himself visible. When he had raised my thoughts by those transporting airs which he played, to taste the pleasure of his conversation, as I looked upon him like one astonished, he beckoned to me, and by the waving of his hand directed me to approach the place where he sat. I drew near with that reverence which is due to a superior nature: and as my heart was entirely subdued by the captivating strains I had heard, I fell down at his feet and wept. The genius smiled upon me with a look of compassion and affability that familiarized him to my imagination, and at once dispelled all the fears and apprehensions with which I approached him. He lifted me from the ground, and taking me by the hand, Mirzah, said he, I have heard thee in thy soliloquies: follow me.
He then led me to the highest pinnacle of the rock, and placed me on the top of it. Cast thy eyes eastward, said he, and tell me what thou seest. I see, said I, a huge valley and a prodigious tide of water rolling through it. The valley that thou seest, said he, is the vale of misery, and the tide of water that thou seest is part of the great tide of eternity. What is the reason, said I, that the tide I see rises out of a thick mist at one end, and again loses itself in a thick mist at the other? What thou seest, says he, is that portion of eternity which is called time, measured out by the sun, and reaching from the beginning of the world to its consummation. Examine now, said he, this sea that is thus bounded with darkness at both ends, and tell me what thou discoverest in it. I see a bridge, said I, standing in the midst of the tide. The bridge thou seest, said he, is human life; consider it attentively. Upon a more leisurely survey of it, I found that it consisted of threescore and ten entire arches, with several broken arches, which added to those that were entire, made up the number about an hundred. As I was counting the arches the genius told me that the bridge consisted at first of a thousand arches; but that a great flood swept away the rest, and left the bridge in the ruinous condition I now beheld it. But tell me further, said he, what thou discoverest on it. I see multitudes of people passing over it, said I, and a black cloud hanging on each end of it. As I looked more attentively, I saw several of the passengers dropping through the bridge, into the great tide that flowed underneath it; and upon further examination, perceived there were innumerable trap-doors that lay concealed in the bridge which the passengers no sooner trod upon, but they fell through them into the tide and immediately disappeared. These hidden pit-falls were set very thick at the entrance of the bridge, so that the throngs of people no sooner broke through the cloud, but many of them fell into them. They grew thinner towards the middle, but multiplied and lay closer together towards the end of the arches that were entire.
There were indeed some persons, but their number was very small, that continued a kind of hobbling march on the broken arches, but fell through one after another, being quite tired and spent with so long a walk.
I passed some time in the contemplation of this wonderful structure, and the great variety of objects which it presented. My heart was filled with a deep melancholy to see several dropping unexpectedly in the midst of mirth and jollity, and catching at everything that stood by them to save themselves. Some were looking up towards the heavens in a thoughtful posture, and in the midst of a speculation stumbled and fell out of sight. Multitudes were very busy in the pursuit of baubles that glittered in their eyes and danced before them, but often when they thought themselves within the reach of them, their footing failed and down they sank. In this confusion of objects, I observed some with scimetars in their hands, who ran to and fro upon the bridge, thrusting several persons upon trap-doors which did not seem to lie in their way, and which they might have escaped, had they not been thus forced upon them.
The genius seeing me indulge myself in this melancholy prospect, told me I had dwelt long enough upon it: take thine eyes off the bridge, said he, and tell me if thou seest anything thou dost not comprehend. Upon looking up, what mean, said I, those great flights of birds that are perpetually hovering about the bridge, and settling upon it from time to time? I see vultures, harpies, ravens, cormorants, and among many other feathered creatures several little wingÈd boys, that perch in great numbers upon the middle arches. These, said the genius, are envy, avarice, superstition, despair, love, with the like cares and passions that infect human life.
I here fetched a deep sigh; alas, said I, man was made in vain! How is he given away to misery and mortality! tortured in life, and swallowed up in death! The genius, being moved with compassion towards me, bid me quit so uncomfortable a prospect. Look no more, said he, on a man in the first stage of his existence, in his setting out for eternity; but cast thine eye on that thick mist into which the tide bears the several generations of mortals that fall into it. I directed my sight as was ordered, and (whether or no the good genius strengthened it with any supernatural force, or dissipated part of the mist that was before too thick for the eye to penetrate) I saw the valley opening at the farther end, and spreading forth into an immense ocean that had a huge rock of adamant running through the midst of it, and dividing it into two equal parts. The clouds still rested on one-half of it, insomuch that I could discover nothing in it; but the other appeared to me a vast ocean planted with innumerable islands, that were covered with fruits and flowers, and interwoven with a thousand little shining seas that ran among them. I could see persons dressed in glorious habits with garlands upon their heads, passing among the trees, lying down by the sides of the fountains, or resting on beds of flowers; and could hear a confused harmony of singing birds, falling waters, human voices, and musical instruments. Gladness grew in me upon the discovery of so delightful a scene. I wished for the wings of an eagle, that I might fly away to those happy seats; but the genius told me there was no passage to them except through the gates of death that I saw opening every moment upon the bridge. The islands, said he, that lie so fresh and green before thee, and with which the whole face of the ocean appears spotted as far as thou canst see, are more in number than the sands of the sea-shore; there are myriads of islands behind those which thou here discoverest, reaching farther than thy eyes, or even than thine imagination, can extend itself. These are the mansions of good men after death, who, according to the degree and kinds of virtue in which they excelled, are distributed among these several islands, which abound with pleasures of different kinds and degrees, suitable to the relishes and perfections of those who are settled in them; every island is a paradise, accommodated to its respective inhabitants. Are not these, O Mirzah, habitations worth contending for? Does life appear miserable that gives the opportunities of earning such a reward? Is death to be feared that will convey thee to so happy an existence? Think not a man was made in vain who has such an eternity reserved for him. I gazed with inexpressible pleasure on these happy islands. At length, said I, Show me now, I beseech thee, the secrets that lie hid under those dark clouds which cover the ocean on the other side of the rock of adamant. The genius making me no answer, I turned about to address myself to him a second time, but I found that he had left me. I then turned again to the vision which I had been so long contemplating, but, instead of the rolling tide, the arched bridge, and the happy islands, I saw nothing but the long hollow valley of Bagdat, with oxen, sheep, and camels grazing upon the sides of it.
253
"The Discontented Pendulum" was one of seventy-nine brief prose selections by Jane Taylor (1783-1824) which appeared first in a paper for young people and were, after the author's death, gathered together and published as Contributions of Q. Q. (1826). This one selection only from that volume still lives, is reprinted often in school-readers, and by virtue of its cleverness and point deserves its happy fate. The author attached to it a "Moral" almost as long as the story itself, and that has long since fallen by the wayside. Perhaps that is because the story is too clear to need the "Moral." Here are a few sentences from it: "The present is all we have to manage: the past is irrecoverable; the future is uncertain; nor is it fair to burden one moment with the weight of the next. Sufficient unto the moment is the trouble thereof.... One moment comes laden with its own little burden, then flies, and is succeeded by another no heavier than the last; if one could be sustained, so can another, and another.... Let any one resolve to do right now, leaving then to do as it can, and if he were to live to the age of Methuselah, he would never err.... Let us then, 'whatever our hands find to do, do it with all our might, recollecting that now is the proper and the accepted time.'"
THE DISCONTENTED PENDULUM
JANE TAYLOR
An old clock that had stood for fifty years in a farmer's kitchen without giving its owner any cause of complaint, early one summer's morning, before the family was stirring, suddenly stopped.
Upon this, the dial-plate (if we may credit the fable) changed countenance with alarm: the hands made an ineffectual effort to continue their course; the wheels remained motionless with surprise; the weights hung speechless; each member felt disposed to lay the blame on the others. At length the dial instituted a formal inquiry as to the cause of the stagnation; when hands, wheels, weights, with one voice, protested their innocence. But now a faint tick was heard below, from the pendulum, who thus spoke:
"I confess myself to be the sole cause of the present stoppage; and am willing, for the general satisfaction, to assign my reasons. The truth is that I am tired of ticking." Upon hearing this, the old clock became so enraged that it was on the point of striking.
"Lazy wire!" exclaimed the dial-plate, holding up its hands.
"Very good!" replied the pendulum, "it is vastly easy for you, Mistress Dial, who have always, as everybody knows, set yourself up above me—it is vastly easy for you, I say, to accuse other people of laziness! You, who have had nothing to do all the days of your life but to stare people in the face, and to amuse yourself with watching all that goes on in the kitchen! Think, I beseech you, how you would like to be shut up for life in this dark closet, and wag backwards and forwards, year after year, as I do."
"As to that," said the dial, "is there not a window in your house on purpose for you to look through?"
"For all that," resumed the pendulum, "it is very dark here; and although there is a window, I dare not stop, even for an instant, to look out. Besides, I am really weary of my way of life; and if you please, I'll tell you how I took this disgust at my employment. This morning I happened to be calculating how many times I should have to tick in the course only of the next twenty-four hours: perhaps some of you, above there, can give me the exact sum."
The minute hand, being quick at figures, instantly replied, "Eighty-six thousand four hundred times."
"Exactly so," replied the pendulum: "well, I appeal to you all, if the thought of this was not enough to fatigue one? And when I began to multiply the stroke of one day by those of months and years, really it is no wonder if I felt discouraged at the prospect; so after a great deal of reasoning and hesitation, thinks I to myself—I'll stop."
The dial could scarcely keep its countenance during this harangue; but, resuming its gravity, thus replied:
"Dear Mr. Pendulum, I am really astonished that such a useful, industrious person as yourself should have been overcome by this sudden suggestion. It is true you have done a great deal of work in your time. So we have all, and are likely to do; and although this may fatigue us to think of, the question is, whether it it will fatigue us to do: would you now do me the favor to give about half a dozen strokes to illustrate my argument?"
The pendulum complied, and ticked six times at its usual pace. "Now," resumed the dial, "may I be allowed to inquire if that exertion was at all fatiguing or disagreeable to you?"
"Not in the least," replied the pendulum;—"It is not of six strokes that I complain, nor of sixty, but of millions."
"Very good," replied the dial, "but recollect that although you may think of a million strokes in an instant, you are required to execute but one; and that however often you may hereafter have to swing, a moment will always be given you to swing in."
"That consideration staggers me, I confess," said the pendulum.
"Then I hope," resumed the dial-plate, "we shall all immediately return to our duty; for the maids will lie in bed till noon if we stand idling thus."
Upon this, the weights, who had never been accused of light conduct, used all their influence in urging him to proceed; when, as with one consent, the wheels began to turn, the hands began to move, the pendulum began to wag, and, to its credit, ticked as loud as ever; while a beam of the rising sun that streamed through a hole in the kitchen shutter, shining full upon the dial-plate, it brightened up as if nothing had been the matter.
When the farmer came down to breakfast that morning, upon looking at the clock he declared that his watch had gained half an hour in the night.
254
In olden times—long, long before the coming of Christ—there reigned over a certain country a great king called Croesus. He had much gold and silver, and many precious stones, as well as numberless soldiers and slaves. Indeed, he thought that in all the world there could be no happier man than himself.
But one day there chanced to visit the country which Croesus ruled a Greek philosopher named Solon. Far and wide was Solon famed as a wise man and a just; and, inasmuch as his fame had reached Croesus also, the king commanded that he should be conducted to his presence.
Seated upon his throne, and robed in his most gorgeous apparel, Croesus asked of Solon: "Have you ever seen aught more splendid than this?"
"Of a surety have I," replied Solon. "Peacocks, cocks, and pheasants glitter with colors so diverse and so brilliant that no art can compare with them."
Croesus was silent as he thought to himself: "Since this is not enough, I must show him something more, to surprise him."
So he exhibited the whole of his riches before Solon's eyes, as well as boasted of the number of foes he had slain, and the number of territories he had conquered. Then he said to the philosopher:
"You have lived long in the world, and have visited many countries. Tell me whom you consider to be the happiest man living?"
"The happiest man living I consider to be a certain poor man who lives in Athens," replied Solon.
The king was surprised at this answer, for he had made certain that Solon would name him himself; yet, for all that, the philosopher had named a perfectly obscure individual!
"Why do you say that?" asked Croesus.
"Because," replied Solon, "the man of whom I speak has worked hard all his life, has been content with little, has reared fine children, has served his city honorably, and has achieved a noble reputation."
When Croesus heard this he exclaimed:
"And do you reckon my happiness as nothing, and consider that I am not fit to be compared with the man of whom you speak?"
To this Solon replied:
"Often it befalls that a poor man is happier than a rich man. Call no man happy until he is dead."
The king dismissed Solon, for he was not pleased at his words, and had no belief in him.
"A fig for melancholy!" he thought. "While a man lives he should live for pleasure."
So he forgot about Solon entirely.
Not long afterwards the king's son went hunting, but wounded himself by a mischance, and died of the wound. Next, it was told to Croesus that the powerful Emperor Cyrus was coming to make war upon him.
So Croesus went out against Cyrus with a great army, but the enemy proved the stronger, and, having won the battle and shattered Croesus' forces, penetrated to the capital.
Then the foreign soldiers began to pillage all King Croesus' riches, and to slay the inhabitants, and to sack and fire the city. One soldier seized Croesus himself, and was just about to stab him, when the king's son darted forward to defend his father, and cried aloud:
"Do not touch him! That is Croesus, the king!"
So the soldiers bound Croesus, and carried him away to the Emperor; but Cyrus was celebrating his victory at a banquet, and could not speak with the captive, so orders were sent out for Croesus to be executed.
In the middle of the city square the soldiers built a great burning-pile, and upon the top of it they placed King Croesus, bound him to a stake, and set fire to the pile.
Croesus gazed around him, upon his city and upon his palace. Then he remembered the words of the Greek philosopher, and, bursting into tears, could only say:
"Ah, Solon, Solon!"
The soldiers were closing in about the pile when the Emperor Cyrus arrived in person to view the execution. As he did so he caught these words uttered by Croesus, but could not understand them.
So he commanded Croesus to be taken from the pile, and inquired of him what he had just said. Croesus answered:
"I was but naming the name of a wise man—of one who told me a great truth—a truth that is of greater worth than all earthly riches, than all our kingly glory."
And Croesus related to Cyrus his conversation with Solon. The story touched the heart of the Emperor, for he bethought him that he too was but a man, that he too knew not what Fate might have in store for him. So in the end he had mercy upon Croesus, and became his friend.