Martin Pippin in the Apple Orchard — Edition Insights

(2 User reviews)   670
In Category - Fantasy Classics
Farjeon, Eleanor, 1881-1965 Project Gutenberg 2000 Not confirmed
Fairy tales; Minstrels -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 110,821
Reading time 482 min
Text sections 13

Before opening Martin Pippin in the Apple Orchard — Edition Insights, the edition data offers a quick orientation: 110,821 words, 8 hr 2 min estimated reading time, and 13 detected text sections.

The text analysis averages about 15.4 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.

Eleanor Farjeon's fairy-tale cycle frames six tales within a Sussex apple orchard, where the wandering minstrel Martin Pippin must win the key to seven milkmaids by storytelling. The narrative weaves lyrical prose, nested dialogues, and a playful tension between romance and skepticism, as seen in the foreword's praise of 'gay inconsequence' and the excerpt's contrast between Hobb's loving heart and his brothers' worldly gifts.
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Editorial Edition Score 4.8/5

Calculated from edition completeness, EPUB availability, text structure and catalogue metadata. Not a user rating.

How this score is calculated
  • Description quality20 pts
  • Title & short description10 pts
  • Source metadata20 pts
  • Text length15 pts
  • Chapters / structure15 pts
  • EPUB file integrity20 pts

Total of 100 points, scaled to a 2.5-5.0 range. Editions with an empty description or a missing EPUB file are not scored.

Edition quality

Read the Text

Apples were made for a girl and a boy.

There was no sound or movement from the girls in the shadows.

"Farewell, then," said Martin. "I must carry my tunes and tales elsewhere."

Like pebbles from a catapult the milkmaids shot to the gate.

"Tales?" cried Jessica.

"Do you know tales?" exclaimed Jennifer.

"What kind of tales?" demanded Jane.

"Love-tales?" panted Joyce.

"Six of them?" urged little Joan.

"A thousand!" said Martin Pippin.

Joscelyn's hand lay on the bolt.

"Man," she said, "come in."

She opened the wicket, and Martin Pippin walked into the Apple Orchard.

PRELUDE TO THE FIRST TALE

"And now," said Martin Pippin, "what exactly do you require of me?"

"If you please," said little Joan, "you are to tell us a love-story that has never been told before."

"But we have reason to fear," added Jane, "that there is no such story left in all the world."

"There you are wrong," said Martin, "for on the contrary no love-story has ever been told twice. I never heard any tale of lovers that did not seem to me as new as the world on its first morning. I am glad you have a taste for love-stories."

"We have not," said Joscelyn, very quickly.

"No, indeed!" cried her five fellows.

"Then shall it be some other kind of tale?"

"No other kind will do," said Joscelyn, still more quickly.

"We must all bear our burdens," said Martin; "so let us make ourselves as happy as we can in an apple-tree, and when the tale becomes too little to your taste you shall munch apples and forget it."

"Will you sit in the swing?" asked Jennifer, pointing to the midmost apple-tree, which was the largest in the orchard, and had a little swing hanging from a long upper limb.

Close to the apple-tree, a branch of which indeed brushed its mossed pent-roof, stood the Well-House. It had a round wall of old red bricks growing green with time, and a pillar of oak rose up at each point of the compass to support the pent. Between the south and west pillars was a green door, held by a rusty chain and a padlock with six keyholes. The little circular court within was flagged, and three rings of worn steps led to the well-head and the green wooden bucket inverted on the coping. Between the cracks of the flags sprang grass, and pink-starred centaury, and even a trail of mallow sprawled over the steps where Gillian lay in tears, as though to wreathe her head with its striped blooms.

"What luck you have," said Martin, "not only to live in an orchard, but to have a swing to swing in."

"It is our one diversion," said Joyce, "except when you come to play to us."

"It is delightful to swing," said little Joan invitingly.

"So it is," agreed Martin, "and I beg you to sit in the swing while I sit on this bough, and when I see your eyelids growing heavy with my tale I will start the rope and rouse you--thus!"

So saying, he lifted the littlest milkmaid lightly into her perch and gave her so vigorous a push that she cried out with delight, as at one moment the point of her shoe cleared the door of the Well-House, and at the next her heels were up among the apples. Then Martin ensconced himself upon a lower limb of the tree, which had a mossy cushion against the trunk as though nature or time had designed it for a teller of tales. The milkmaids sprang quickly into other branches around him, shaking a hail of sweet apples about his head. What he could he caught, and dropped into the swinger's lap, whence from time to time he helped himself; and she did likewise.

"Begin," said Joscelyn.

"A thought has occurred to me," said Martin Pippin, "and it is that my tale may disturb your master's daughter."

"We desire it to," said Joscelyn looking down on the Well-House and the yellow head of Gillian. "The fear is rather that you may not arouse her attention, so I hope that when you speak you will speak clearly. For to tell you the truth we have heard that nothing but six love-tales will wash from her mind the image of--"

"Of whom?" inquired Martin as she paused.

"It does not matter whom," said Joscelyn, "but I think the time is ripe to confess to you that the silly damsel is in love."

"The world is so full of wonders," said Martin Pippin, "that one ceases to be surprised at almost anything."

"Is love then," said little Joan, "so rare a thing in the world?"

Eleanor Farjeon's Martin Pippin in the Apple Orchard opens with a foreword by J. D. Beresford that frames the book as a rare fairy-tale, one that transported him into 'a world of sunlight, of gay inconsequence, of emotional surprise.' The story itself begins not with the minstrel but with a Sussex village game, 'The Spring-Green Lady,' grounding the fantastical in local tradition. The narrative structure is immediately layered: a prologue introduces seven milkmaids under a strict keeper, and Martin Pippin must tell six tales to win their release. The excerpt from 'Open Winkins' reveals a characteristic pattern—a frame dialogue among the milkmaids (Joscelyn, Joan, and others) that interrupts and comments on the tale, creating a tension between the teller's art and the listeners' impatience.

The Frame as a Stage for Tension

The book's structure is not merely a collection of tales but a dramatic frame. In the excerpt, the milkmaids Joscelyn and Joan bicker over the progress of a story within the frame: Joscelyn declares she is 'sick to death of this silly sweetheart,' while Martin Pippin defers to her demand to 'begin whatever story you propose to relate to-night, and be done with it.' This interplay creates a meta-narrative tension—the listeners are skeptical, impatient, and critical, forcing the storyteller to adapt. The foreword's mention of 'emotional surprise' echoes in these interruptions, where the audience's reactions shape the pacing. Farjeon uses this device to blur the line between tale and teller, making the orchard itself a stage for negotiation between romance and realism.

Contrasts in Character: Hobb and His Brothers

In 'Open Winkins,' the five brothers are introduced with a clear hierarchy of traits: Lionel's 'merry spirit,' Hugh's 'courage and daring,' Heriot's 'beauty past any man's share,' Ambrose's 'wise mind,' and Hobb, who 'had nothing at all for the world's praise, for he only had a loving heart.' This list sets up a deliberate contrast—Hobb's plainness and simplicity are framed as deficiencies by the world, yet the narrative quietly elevates his tenderness. The brothers 'leaned heavily on his affection,' and Hobb's mother, a gardener's daughter, passes on her 'tender heart.' The passage dwells on her father's fear that her 'sweetness' would attract a lover 'too early,' and her devotion to growing a 'perfect rose of a certain golden species.' This generational pattern of love, gardening, and patience mirrors Hobb's own role as the quiet administrator.

Gardens, Roses, and the Language of Cultivation

Gardening imagery permeates the excerpt, from the mother's solitary rose-growing to Hobb's garden at the Burgh. The gardener-father keeps his daughter 'privately in a place on a hill,' fearing she would 'fall to the lot of some man not worthy of her.' The mother insists on growing her rose 'in my own way or not at all,' rejecting her father's advice. This language of cultivation—of tending, protecting, and perfecting—extends to the brothers' dynamic: Hobb 'administered the affairs of the Burgh' while others dreamed. The foreword's phrase 'gay inconsequence' belies the careful patterning of these motifs. The rose becomes a symbol of independent creation, much like the tales themselves, which are shaped by the teller's art against the listeners' resistance. Farjeon's prose is precise in its botanical metaphors, grounding the fantastical in the tangible soil of Sussex.

Readers attentive to the frame's dynamics will notice how each tale responds to the milkmaids' moods—Joscelyn's sharpness, Joan's curiosity, and the silent mistress's listening ears. The excerpts suggest that the stories are not self-contained but part of a larger negotiation about love, patience, and the value of plain virtues. Pay attention to how Hobb's 'loving heart' recurs across the tales, and how the orchard setting itself becomes a character, enclosing both the teller and his audience in a space where time moves differently.

The rain drummed on the orchard roof while Martin Pippin spun his tales to the milkmaids, and I found myself thinking how every story here feels like a key turned in a lock. Afterwards, restless, I picked up Myths and Legends of the Sioux — Text and Context, and there it was again—that same patient voice, that same way of holding the world gently between two hands.

Scarlett Brown
2 weeks ago

Luke Hill
2 weeks ago

4
4 out of 5 (2 User reviews )

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