Lulu's Library, Volume 2 (of 3) — Reading Companion

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In Category - Fairy Tales
Alcott, Louisa May, 1832-1888 Project Gutenberg 2010 Not confirmed
Fairy tales; Children's stories Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 57,037
Reading time 248 min
Text sections 7

For Lulu's Library, Volume 2 (of 3) — Reading Companion, the stored edition analysis reports 57,037 words, 4 hr 8 min estimated reading time, and 7 detected text sections.

The text analysis averages about 24.7 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “Fairy tales,” connecting these edition facts with the source record’s subject description.

Louisa May Alcott's second volume of fairy tales, written at sixteen for her younger sisters, features eleven stories including 'The Frost King' and 'The Brownie and the Princess,' blending moral lessons with whimsical settings.
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Editorial Edition Score 4.7/5

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  • Description quality20 pts
  • Title & short description10 pts
  • Source metadata20 pts
  • Text length15 pts
  • Chapters / structure15 pts
  • EPUB file integrity20 pts

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Read the Text

She was cold and tired and very sad because the King would not listen to her, but her heart was brave, and instead of crying she began to sing. Soon the light of her own eyes, that shone like stars, made a little glimmer in the dark, and she saw that the floor of her cell was of earth; and presently she heard the tinkle of water as it dripped drop by drop down from the snow above. Then she smiled, so that it seemed as if a ray of light had crept in.

"Here is earth and water, I will make the sunshine, and soon by my fairy power I will have a garden even in Frostland." As she spoke she pulled out the seeds and fell to work, still singing, still smiling, still sure that in time she would do the hard task she had set herself. First she gathered the drops in her warm hands and moistened the hard earth; then she loosened it and planted her seeds along the walls; and then, sitting in the middle of the narrow room, she waved her wand and chanted the fairy spell that works the pretty miracle of turning seeds to flowers.

"Sleep, little seed, Deep in your bed, While winter snow Lies overhead. Wake, little sprout, And drink the rain, Till sunshine calls You to rise again. Strike deep, young root, In the earth below; Unfold, pale leaves, Begin to grow. Baby bud, dance In the warm sun; Bloom, sweet rose, Life has begun."

As she sung, the light grew stronger, the air warmer, and the drops fell like dew, till up came rows of little green vines and plants, growing like the magic beanstalk all over the walls and all round the room, making the once dark place look like a bower. Moss spread like a carpet underfoot, and a silvery white mushroom sprung up under Star, as if she were the queen of this pretty place.

Soon the Frost spirits heard the music and went to see who dared sing in that gloomy prison. They were much surprised when they peeped, to see that instead of dying in her cell, the fairy had made it beautiful, and sat there singing while her flowers bloomed in spite of all their power.

They hurried to the King and bade him come and see. He went, and when he saw the lovely place he could not spoil it till he had watched Star at her work, and tried to see what magic did such wonders. For now the dark walls were hung with morning-glories, ringing their many-colored bells, the floor was green with soft moss, the water-drops made music as they fell, and rows of flowers nodded from their beds as if talking together in a sweet language of their own. Star sat on her throne still singing and smiling, till the once dark place was as bright as if a little sun shone there.

"I am strong, but I cannot do that," said the King. "I love power, and perhaps if I watch I shall learn some of her magic skill to use as I please. I will let her live, but keep her a prisoner, and do as I please about killing other flowers."

So he left her there, and often stole down to peep, and wonder at her cheerfulness and courage; for she never complained or cried, though she longed for home, and found it very hard to be brave and patient.

Meantime the Queen waited and waited for Star to come, and when a long time passed she sent a messenger to learn where she was. He brought back the sad tidings that she was a prisoner, and the King would not let her go. Then there was great weeping and wailing in Fairyland, for every one loved gentle Star. They feared she would be frozen to death if they left her in the cruel King's power, and resolved to go to war as he would not set her free.

Written when Alcott was sixteen for her younger sisters and their playmates, the eleven tales in this volume were originally published as Flower Fables and later republished with additions. The stories mix fairy-tale conventions with domestic morality, as seen in 'The Frost King,' where Queen Blossom's fairies battle a tyrant who 'loved to destroy innocent things,' and in 'The Brownie and the Princess,' where a poor girl named Betty teaches a pampered princess about contentment.

Fairy Politics and Moral Lessons

The catalog subjects classify this work as 'Fairy Tales' and 'Children's stories,' but the excerpts reveal a strong emphasis on governance and moral instruction. In 'The Frost King,' the fairy queen holds a 'grand council' to address the Frost King's war on flowers, framing the conflict as a political struggle. The fairies propose plans, send gifts, and seek diplomatic solutions—a structure that mirrors adult decision-making. Similarly, 'The Brownie and the Princess' contrasts the lives of a poor girl and a royal child, with the parrot advising that the princess should 'change places' to learn 'to be contented and useful and happy.' These stories use fantasy to deliver lessons about humility, labor, and gratitude, often through direct dialogue rather than allegory.

Detailed Domestic and Natural Settings

Alcott grounds her fairy worlds in concrete, sensory details. In 'The Brownie and the Princess,' Betty's cottage life includes milking Daisy, feeding hens, and eating 'bread and milk out of my best blue bowl.' The princess's palace is described with a 'long hall so full of playthings that it looked like a splendid toy-shop,' including dolls that 'talked and sang and walked and went to sleep.' These specifics root the fantastical in recognizable domesticity. The natural world is similarly vivid: the fairies' realm features 'rustling of wings and murmuring of voices,' while the Frost King's cruelty leaves 'fields strewn with dead flowers.' Such details align with the catalog's 'children-juvenile' tag but also show Alcott's attention to material culture and environment.

Voice and Character Contrasts

The excerpts demonstrate Alcott's use of contrasting voices to drive her moral points. In 'The Brownie and the Princess,' Betty speaks in simple, earnest phrases ('I couldn't leave my father and Daisy'), while the princess uses imperious, childish language ('I'm tired of them'). The parrot adds a comic, blunt voice, saying 'Don't let me be punished for telling truth.' In 'The Frost King,' the queen's formal address ('My subjects, we will try once more') contrasts with the fairies' excited 'rustling of wings.' These vocal differences create clear character hierarchies and make the moral lessons more dynamic. The stories avoid generic fairy-tale diction in favor of individualized speech patterns that reflect each character's social position and personality.

Readers familiar with Alcott's domestic novels will recognize her characteristic blend of instruction and charm, here adapted to fairy-tale form. The stories reward attention to how Alcott repurposes familiar tropes—the sleeping beauty, the water sprite, the brownie—to explore themes of kindness, labor, and social difference. The preface notes that these tales were originally told to children of the Emerson and Channing families, which may account for their intimate, conversational tone.

Sometimes the stories we tell at sixteen carry a gentleness we lose later. Reading Lulu's Library, Volume 2, with its frost kings and quiet brownies, I remembered how Alcott wrote these for her sisters, not for fame. That same unhurried simplicity lives in Wonder Tales from Many Lands — Themes and Context, like two old friends sharing the same hearth.

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