Old-Time Stories — Edition Insights

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In Category - Fairy Tales
Perrault, Charles, 1628-1703, Robinson, W. Heath (William Heath), 1872-1944 [Illustrator], Johnson, A. E. (Alfred Edwin), 1879- [Translator] Project Gutenberg 2010 Not confirmed
Fairy tales; Fairy tales -- France; Children's stories, French -- Translations into English Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 43,345
Reading time 189 min
Text sections 6

For Old-Time Stories — Edition Insights, the stored edition analysis reports 43,345 words, 3 hr 9 min estimated reading time, and 6 detected text sections.

The text analysis averages about 21.3 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.

This 1921 translation of Perrault's eight tales plus three by Mme d'Aulnoy and Mme Leprince de Beaumont reveals how the catalog subjects 'Fairy tales' and 'Children's stories' mask a sophisticated, often ironic narrative voice and moral complexity that challenge simple categorization.
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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
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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.

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Read the Text

Places were laid for them in magnificent style, and before each was placed a solid gold casket containing a spoon, fork, and knife of fine gold, set with diamonds and rubies. But just as all were sitting down to table an aged fairy was seen to enter, whom no one had thought to invite--the reason being that for more than fifty years she had never quitted the tower in which she lived, and people had supposed her to be dead or bewitched.

By the king's orders a place was laid for her, but it was impossible to give her a golden casket like the others, for only seven had been made for the seven fairies. The old creature believed that she was intentionally slighted, and muttered threats between her teeth.

She was overheard by one of the young fairies, who was seated near by. The latter, guessing that some mischievous gift might be bestowed upon the little princess, hid behind the tapestry as soon as the company left the table. Her intention was to be the last to speak, and so to have the power of counteracting, as far as possible, any evil which the old fairy might do.

Presently the fairies began to bestow their gifts upon the princess. The youngest ordained that she should be the most beautiful person in the world; the next, that she should have the temper of an angel; the third, that she should do everything with wonderful grace; the fourth, that she should dance to perfection; the fifth, that she should sing like a nightingale; and the sixth, that she should play every kind of music with the utmost skill.

It was now the turn of the aged fairy. Shaking her head, in token of spite rather than of infirmity, she declared that the princess should prick her hand with a spindle, and die of it. A shudder ran through the company at this terrible gift. All eyes were filled with tears.

But at this moment the young fairy stepped forth from behind the tapestry.

'Take comfort, your Majesties,' she cried in a loud voice; 'your daughter shall not die. My power, it is true, is not enough to undo all that my aged kinswoman has decreed: the princess will indeed prick her hand with a spindle. But instead of dying she shall merely fall into a profound slumber that will last a hundred years. At the end of that time a king's son shall come to awaken her.'

The king, in an attempt to avert the unhappy doom pronounced by the old fairy, at once published an edict forbidding all persons, under pain of death, to use a spinning-wheel or keep a spindle in the house.

At the end of fifteen or sixteen years the king and queen happened one day to be away, on pleasure bent. The princess was running about the castle, and going upstairs from room to room she came at length to a garret at the top of a tower, where an old serving-woman sat alone with her distaff, spinning. This good woman had never heard speak of the king's proclamation forbidding the use of spinning-wheels.

'What are you doing, my good woman?' asked the princess.

'I am spinning, my pretty child,' replied the dame, not knowing who she was.

'Oh, what fun!' rejoined the princess; 'how do you do it? Let me try and see if I can do it equally well.'

Partly because she was too hasty, partly because she was a little heedless, but also because the fairy decree had ordained it, no sooner had she seized the spindle than she pricked her hand and fell down in a swoon.

In great alarm the good dame cried out for help. People came running from every quarter to the princess. They threw water on her face, chafed her with their hands, and rubbed her temples with the royal essence of Hungary. But nothing would restore her.

Then the king, who had been brought upstairs by the commotion, remembered the fairy prophecy. Feeling certain that what had happened was inevitable, since the fairies had decreed it, he gave orders that the princess should be placed in the finest apartment in the palace, upon a bed embroidered in gold and silver.

You would have thought her an angel, so fair was she to behold. The trance had not taken away the lovely colour of her complexion. Her cheeks were delicately flushed, her lips like coral. Her eyes, indeed, were closed, but her gentle breathing could be heard, and it was therefore plain that she was not dead. The king commanded that she should be left to sleep in peace until the hour of her awakening should come.

The prefatory note to this 1921 translation positions Charles Perrault as a participant in the 'Quarrel of the Ancients and Moderns' before mentioning Mother Goose, immediately signaling that these tales belong to a literary tradition, not just oral folklore. The translator, A. E. Johnson, and illustrator W. Heath Robinson together produce a volume that is both scholarly and visually distinctive. Yet the catalog subjects—'Fairy tales,' 'Children's stories, French'—suggest a straightforward collection for young readers. The excerpts tell a different story.

A Voice That Undermines Simplicity

The narrative voice in these translations is far from the plain, moralizing tone often associated with fairy tales for children. In 'Beauty and the Beast,' the Beast admits his own lack of intelligence: 'I am a mere beast.' Beauty responds, 'It is not the way with stupid people to admit a lack of intelligence. Fools never realise it.' This exchange is witty and psychologically acute, not didactic. Similarly, in 'The Sleeping Beauty in the Wood,' the text includes a 'little dwarf who had a pair of seven-league boots'—a detail that adds whimsy but also a layer of absurdity. The translator preserves Perrault's ironic asides and subtle social commentary, which would likely go over the heads of very young readers. The catalog subject 'Children's stories' thus seems inadequate for a work that repeatedly rewards an adult reader's attention to irony and character.

Illustrations That Shape the Reading Experience

W. Heath Robinson's illustrations are integral to this edition, as indicated by the list of coloured plates and black-and-white drawings. The frontispiece, captioned 'They reached the house where the light was burning,' depicts a scene from 'Little Tom Thumb,' while other plates show the Beast visiting Beauty or the ogre's wife. Robinson is known for fantastical, detailed machinery, but here his style is more atmospheric and gothic, emphasizing shadows and eerie stillness. The image of 'All asleep' from 'Sleeping Beauty' shows figures frozen in postures of slumber, reinforcing the tale's theme of suspended time. These illustrations do not merely decorate; they interpret the stories, often highlighting moments of tension or magic. For a reader encountering these tales, the visual narrative becomes a second layer of storytelling, one that sometimes diverges from the text's tone—Robinson's ogre is grotesque, while Perrault's prose remains measured.

Moral Ambiguity Beneath the Surface

The catalog subjects list 'Fairy tales' and 'Children's stories, French,' implying clear moral lessons. Yet the excerpts reveal a more ambiguous moral universe. In 'Beauty and the Beast,' Beauty tells the Beast, 'There are many men who make worse monsters than you,' a statement that blurs the line between human and beastly behavior. The Beast's kindness is contrasted with the sisters' 'grimaces with which they tried to simulate grief.' Perrault's tales often end with rhymed morals that are ironic or cynical, not comforting. For instance, the moral of 'Little Red Riding Hood' warns against listening to strangers, but the story itself is brutal. The translator's note acknowledges that Mme d'Aulnoy's tales 'could sometimes rival in invention, if never in dramatic power,' hinting at a hierarchy of literary merit. These stories, then, are not simple moral fables but complex narratives that question appearances and reward careful reading.

Readers approaching this collection should set aside expectations of simple, sanitized fairy tales. The translation by A. E. Johnson retains Perrault's sophisticated irony, while W. Heath Robinson's illustrations add a layer of visual interpretation that can be studied alongside the text. Pay attention to the morals at the end of each tale—they often undercut the story just told. This edition rewards both the child listener and the adult reader who notices the gaps between what the stories say and what they imply.

I often think of the 1921 Perrault, its sly asides tucked beneath "children's stories," and how it shares a quiet kinship with The Magic Bed: A Book of East Indian Fairy-Tales — Themes and Context. Both whisper that their wonders carry older, stranger weights. Their ironies feel like confidences across centuries, a warm hand resting on a shelf.

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