The Magic Bed: A Book of East Indian Fairy-Tales — Themes and Context
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Prince did so, he saw that he was one who could be trusted.
Then the fakir agreed to lend him the things and to take care of his horse until the Prince came back.
"Now lie down on the bed and wish yourself in the Princess Lalun's country," said the fakir, and, taking the bag and the stone bowl in his hands, the Prince stretched himself on the bed.
Then the Prince said, "Take me to Princess Lalun's country," and no sooner had he spoken, than off he went, over the seven jungles and over the three ranges of hills, and in less than a minute he was set down within the borders of the kingdom where the Princess Lalun lived.
The name of the Princess's father was Afzal, and he was the king or Rajah of that country. So many princes had sought his daughter in marriage that he was tired of saying "No" to them. Then he tried the plan of giving them impossible tasks to do and so getting rid of them in that way, but still they kept coming, and at last Rajah Afzal concluded to keep foreigners out of his kingdom altogether. So he issued an edict that no one was to give a night's lodging to a stranger.
So when the Prince came to an old woman's cottage and asked if he might spend the night there, she told him that the Rajah would not allow it.
"Cannot I bring my bed into your garden and sleep there?" he asked. "And cannot I have supper with you?"
"I have nothing for supper but rice," said the old woman, shaking her head. But the Prince pleaded so hard to let him come in that she consented, and he put his bag on her table.
Then he spoke to the bag. "Bag, I want something to eat!" and all at once the bag opened and there was a fine supper for two people. So the old woman ate with, the Prince. The food was delicious and was served on gold plates with gold spoons.
When they were done eating, the old woman said she would go to the well for some water.
"You need not do that," said the Prince, and then he tapped the bowl with his finger. "Bowl!" he cried, "I want water!" At once the bowl filled with water and the old woman washed the gold plates and spoons.
"If you will let me stay with you a little while," said the Prince, "you may have the plates and spoons for your own." Then he ordered the bowl to fill with water again and washed his hands in it.
Then the Prince said, "My bowl gives me all the water I want, and my bag gives me everything else I ask for. They belong to a holy fakir, and he might be angry if you turned his things out of the house to-night."
The old woman sat very quiet for a long time and then she said, "The anger of a Rajah is something to be dreaded, but that of a fakir might be far worse."
"Did you count them?" asked the Prince. "There are twelve gold plates and twelve gold spoons." The old woman nodded, and put them away under her bed. "You may stay," she said, "but be careful that the Rajah's soldiers do not catch you."
By this time it was night and the Prince and the old woman sat in darkness, for there was no lamp in the house. "The Rajah does not allow lamps to be used," she said. "His daughter, the Princess Lalun, sits on the roof of her palace at night and shines so that she lights up the whole country."
Just then a beautiful silver radiance filled the room, and when the Prince stepped outside he saw that the Princess was sitting on the roof of her palace. Her saree or dress was of silver gauze, and her dark hair floated almost to her feet.
She wore a band of diamonds and pearls across her head, and the light that came from her was as beautiful as that of the sun and the moon and the stars together.
"The Ant-Rajah was right," said the Prince. "Her beauty turns darkness into light, and night into day. I should never be weary of the Princess Lalun."
Hartwell James's 1906 collection presents five East Indian fairy tales drawn from the ancient Jataka birth-stories of Buddha and from the oral traditions of native nurses, or ayahs. The editor notes that about one-third of the world's fairy tales originated in India, carried abroad by gypsies, missionaries, and traders. The volume includes 'The Magic Bed,' 'The Wise Jackal,' 'The Four Brothers,' 'The Fish Prince,' and 'The Talking Turtle,' each illustrated by John R. Neill. The tales feature a recurring pattern of animal helpers, enchanted objects, and characters who must outwit giants or break spells through cleverness rather than brute force.
Giants, Fire, and Family Ties
In 'The Four Brothers,' the giant Rikal Gouree is a figure of comic menace: his couches are twenty feet long, his fireplace burns whole tree-trunks, and he dances to a lute's music despite his wife's scolding. The story hinges on the brothers' quest for fire to cook their meat and for wives—practical needs that drive the plot. The giant's wife, notably unafraid of her husband, scolds him for driving away a potential son-in-law, remarking that 'giants' daughters do not get husbands easily.' This domestic tension within the giant's household mirrors the brothers' own search for family and connection. The youngest brother, Chimo, steals a firebrand but drops it in fright, a failure that leads to a more elaborate scheme involving music and enchantment.
Animal Wisdom and Transformation
Several tales feature animals that speak, advise, or undergo transformation. In 'The Wise Jackal,' a jackal uses cunning to escape danger, while 'The Talking Turtle' involves a turtle carried by ducks who cannot keep his mouth shut—a classic fable about the perils of speech. 'The Fish Prince' presents a prince transformed into a fish, who later regains human form through the love of a princess. These shape-shifting episodes echo the Jataka tradition of animals as moral exemplars. The excerpts show that animals often possess greater wisdom than humans: Nazim's arrow clears a path to the giant's house, and a cobra with seven heads appears as a guardian or obstacle. The boundary between human and animal is permeable, and kindness to creatures is frequently rewarded.
Enchanted Objects and Repetitive Structures
The title story, 'The Magic Bed,' introduces a bed that transports its sleeper to distant places—a device that structures the narrative around wish-fulfillment and unexpected journeys. Other enchanted items include a firebrand that sparks a giant's wrath, a lute that compels dancing, and a bulrush arrow that clears a path. The tales often employ repetitive dialogue and tripartite structures: the giant's daughter asks daily 'Have you got husbands for us yet?'; the four brothers each attempt the quest in turn. This oral patterning, rooted in the ayah's storytelling tradition, gives the narratives a rhythmic, cumulative quality. The editor's selection emphasizes stories 'most likely to interest young people,' favoring clear moral lessons and satisfying resolutions over complex subplots.
Readers will notice that these tales share motifs with European fairy stories—the youngest sibling who succeeds, the helpful animal, the giant with a weakness—but the Indian setting inflects them with local details: sarees, bangles, rajahs, and the pervasive presence of jungle creatures. The editor's claim that India is 'undoubtedly the home of the fairy-tale' invites comparison with other traditions. Pay attention to how each story uses a specific object or animal as a catalyst for change, and how the characters' desires—for fire, for a spouse, for freedom—drive the action forward.
I remember lying on my grandmother's quilt, half-listening to the rain, and wishing my bed would carry me anywhere but there. The giants and talking turtles in The Magic Bed felt patient, like old friends waiting to be rediscovered. Later, that same wondering stillness returned with Folk Tales Every Child Should Know — Reading Notes, whose quiet stories reminded me how a single creaking floorboard can sound like the beginning of an adventure.
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