124. Long since, longer ago than the opening of some fairy tales, I was asked by the publisher who has been rash enough, at my request, to reprint these my favorite old stories in their earliest English form, to set down for him my reasons for preferring them to the more polished legends, moral and satiric, which are now, with rich adornment of every page by very admirable art, presented to the acceptance of the Nursery.

But it seemed to me to matter so little to the majestic independence of the child-public, who, beside themselves, liked, or who disliked, what they pronounced entertaining, that it is only on strict claims of a promise unwarily given that I venture on the impertinence of eulogy; and my reluctance is the greater, because there is in fact nothing very notable in these tales, unless it be their freedom from faults which for some time have been held to be quite the reverse of faults by the majority of readers.

125. In the best stories recently written for the young, there is a taint which it is not easy to define, but which inevitably follows on the author's addressing himself to children bred in schoolrooms and drawing-rooms, instead of fields and woods—children whose favorite amusements are premature imitations of the vanities of elder people, and whose conceptions of beauty are dependent partly on costliness of dress. The fairies who interfere in the fortunes of these little ones are apt to be resplendent chiefly in millinery and satin slippers, and appalling more by their airs than their enchantments.

The fine satire which, gleaming through every playful word, renders some of these recent stories as attractive to the old as to the young, seems to me no less to unfit them for their proper function. Children should laugh, but not mock; and when they laugh, it should not be at the weaknesses and the faults of others. They should be taught, as far as they are permitted to concern themselves with the characters of those around them, to seek faithfully for good, not to lie in wait maliciously to make themselves merry with evil: they should be too painfully sensitive to wrong to smile at it; and too modest to constitute themselves its judges.

126. With these minor errors a far graver one is involved. As the simplicity of the sense of beauty has been lost in recent tales for children, so also the simplicity of their conception of love. That word which, in the heart of a child, should represent the most constant and vital part of its being; which ought to be the sign of the most solemn thoughts that inform its awakening soul and, in one wide mystery of pure sunrise, should flood the zenith of its heaven, and gleam on the dew at its feet; this word, which should be consecrated on its lips, together with the Name which it may not take in vain, and whose meaning should soften and animate every emotion through which the inferior things and the feeble creatures, set beneath it in its narrow world, are revealed to its curiosity or companionship; this word, in modern child-story, is too often restrained and darkened into the hieroglyph of an evil mystery, troubling the sweet peace of youth with premature gleams of uncomprehended passion, and flitting shadows of unrecognized sin.

These great faults in the spirit of recent child-fiction are connected with a parallel folly of purpose. Parents who are too indolent and self-indulgent to form their children's characters by wholesome discipline, or in their own habits and principles of life are conscious of setting before them no faultless example, vainly endeavor to substitute the persuasive influence of moral precept, intruded in the guise of amusement, for the strength of moral habit compelled by righteous authority:—vainly think to inform the heart of infancy with deliberative wisdom, while they abdicate the guardianship of its unquestioning innocence; and warp into the agonies of an immature philosophy of conscience the once fearless strength of its unsullied and unhesitating virtue.

127. A child should not need to choose between right and wrong. It should not be capable of wrong; it should not conceive of wrong. Obedient, as bark to helm, not by sudden strain or effort, but in the freedom of its bright course of constant life; true, with an undistinguished, praiseless, unboastful truth, in a crystalline household world of truth; gentle, through daily entreatings of gentleness, and honorable trusts, and pretty prides of child-fellowship in offices of good; strong, not in bitter and doubtful contest with temptation, but in peace of heart, and armor of habitual right, from which temptation falls like thawing hail; self-commanding, not in sick restraint of mean appetites and covetous thoughts, but in vital joy of unluxurious life, and contentment in narrow possession, wisely esteemed.

Children so trained have no need of moral fairy tales; but they will find in the apparently vain and fitful courses of any tradition of old time, honestly delivered to them, a teaching for which no other can be substituted, and of which the power cannot be measured; animating for them the material world with inextinguishable life, fortifying them against the glacial cold of selfish science, and preparing them submissively, and with no bitterness of astonishment, to behold, in later years, the mystery—divinely appointed to remain such to all human thought—of the fates that happen alike to the evil and the good.

128. And the effect of the endeavor to make stories moral upon the literary merit of the work itself, is as harmful as the motive of the effort is false. For every fairy tale worth recording at all is the remnant of a tradition possessing true historical value;—historical, at least in so far as it has naturally arisen out of the mind of a people under special circumstances, and risen not without meaning, nor removed altogether from their sphere of religious faith. It sustains afterwards natural changes from the sincere action of the fear or fancy of successive generations; it takes new color from their manner of life, and new form from their changing moral tempers. As long as these changes are natural and effortless, accidental and inevitable, the story remains essentially true, altering its form, indeed, like a flying cloud, but remaining a sign of the sky; a shadowy image, as truly a part of the great firmament of the human mind as the light of reason which it seems to interrupt. But the fair deceit and innocent error of it cannot be interpreted nor restrained by a willful purpose, and all additions to it by act do but defile, as the shepherd disturbs the flakes of morning mist with smoke from his fire of dead leaves.

129. There is also a deeper collateral mischief in this indulgence of licentious change and retouching of stories to suit particular tastes, or inculcate favorite doctrines. It directly destroys the child's power of rendering any such belief as it would otherwise have been in his nature to give to an imaginative vision. How far it is expedient to occupy his mind with ideal forms at all may be questionable to many, though not to me; but it is quite beyond question that if we do allow of the fictitious representation, that representation should be calm and complete, possessed to the full, and read down its utmost depth. The little reader's attention should never be confused or disturbed, whether he is possessing himself of fairy tale or history. Let him know his fairy tale accurately, and have perfect joy or awe in the conception of it as if it were real; thus he will always be exercising his power of grasping realities: but a confused, careless, or discrediting tenure of the fiction will lead to as confused and careless reading of fact. Let the circumstances of both be strictly perceived and long dwelt upon, and let the child's own mind develop fruit of thought from both. It is of the greatest importance early to secure this habit of contemplation, and therefore it is a grave error, either to multiply unnecessarily, or to illustrate with extravagant richness, the incidents presented to the imagination. It should multiply and illustrate them for itself; and, if the intellect is of any real value, there will be a mystery and wonderfulness in its own dreams which would only be thwarted by external illustration. Yet I do not bring forward the text or the etchings in this volume as examples of what either ought to be in works of the kind: they are in many respects common, imperfect, vulgar; but their vulgarity is of a wholesome and harmless kind. It is not, for instance, graceful English, to say that a thought "popped into Catherine's head"; but it nevertheless is far better, as an initiation into literary style, that a child should be told this than that "a subject attracted Catherine's attention." And in genuine forms of minor tradition, a rude and more or less illiterate tone will always be discernible; for all the best fairy tales have owed their birth, and the greater part of their power, to narrowness of social circumstances; they belonged properly to districts in which walled cities are surrounded by bright and unblemished country, and in which a healthy and bustling town life, not highly refined, is relieved by, and contrasted with, the calm enchantment of pastoral and woodland scenery, either under humble cultivation by peasant masters, or left in its natural solitude. Under conditions of this kind the imagination is enough excited to invent instinctively (and rejoice in the invention of) spiritual forms of wildness and beauty, while yet it is restrained and made cheerful by the familiar accidents and relations of town life, mingling always in its fancy humorous and vulgar circumstances with pathetic ones, and never so much impressed with its supernatural fantasies as to be in danger of retaining them as any part of its religious faith. The good spirit descends gradually from an angel into a fairy, and the demon shrinks into a playful grotesque of diminutive malevolence, while yet both keep an accredited and vital influence upon the character and mind. But the language in which such ideas will be usually clothed, must necessarily partake of their narrowness; and art is systematically incognizant of them, having only strength under the conditions which awake them to express itself in an irregular and gross grotesque, fit only for external architectural decoration.

130. The illustrations of this volume are almost the only exceptions I know to the general rule. They are of quite sterling and admirable art, in a class precisely parallel in elevation to the character of the tales which they illustrate; and the original etchings, as I have before said in the Appendix to my "Elements of Drawing," were quite unrivaled in masterfulness of touch since Rembrandt (in some qualities of delineation unrivaled even by him). These copies have been so carefully executed, that at first I was deceived by them, and supposed them to be late impressions from the plates (and what is more, I believe the master himself was deceived by them, and supposed them to be his own); and although on careful comparison with the first proofs they will be found no exception to the terrible law that literal repetition of entirely fine work shall be, even to the hand that produced it,—much more to any other,—forever impossible, they still represent, with sufficient fidelity to be in the highest degree instructive, the harmonious light and shade, the manly simplicity of execution, and the easy, unincumbered fancy, of designs which belonged to the best period of Cruikshank's genius. To make somewhat enlarged copies of them, looking at them through a magnifying glass, and never putting two lines where Cruikshank has put only one, would be an exercise in decision and severe drawing which would leave afterwards little to be learnt in schools, I would gladly also say much in their praise as imaginative designs; but the power of genuine imaginative work, and its difference from that which is compounded and patched together from borrowed sources, is of all qualities of art the most difficult to explain; and I must be content with the simple assertions of it.

And so I trust the good old book, and the honest work that adorns it, to such favor as they may find with children of open hearts and lowly lives.

Denmark Hill, Easter, 1868.