The Story-teller — Edition Insights
Edition facts
For The Story-teller — Edition Insights, the stored edition analysis reports 19,967 words, 1 hr 27 min estimated reading time, and 3 detected text sections.
The text analysis averages about 24.1 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.
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.
Read the Text
Many were the miles that the Story-Teller had traveled, and many were the places where he had been; and many were the tales he had to tell of what he had seen and what he had heard in the wide world.
Sometimes his voice was deep and sweet as the organ in church on Sunday; and sometimes it rang out clear as a bugle; and sometimes as the tale went on he would take the harp which was ever by his side, and touching it with skilful fingers, would weave a gay little song or a tender strain of music into his story, like a jeweled thread in a golden web.
All the children gathered around him, sturdy Gilbert and rosy Jocelyn, roguish Giles and slender Rosalind, eager for a story. Mother and father drew near, and in the background stood the servants, smiling but silent. Oh, everything was still as the house at midnight as the Story-Teller began his magic words: "Once upon a time."
Perhaps the story brought with it laughter, or perhaps a tear, but Life, said the Story-Teller, is made up of smiles and tears; and the little ones, listening to him, learned to rejoice with those whose joy was great, and to mourn with the sorrowful; and were the better and not the worse for it. And so in due time grew into noble men and good women.
It is many and many a year since they lived and died; but still--knock, knock, knock--the Story-Teller comes with his harp and his story to every child's heart to-day.
Open the door and let him come in, give him a seat by the fire and gather close about him. And then you shall hear!
_Sheffield, Alabama._
THE PLATE OF PANCAKES
LITTLE MAID HILDEGARDE
THE SONG THAT TRAVELED
THE QUEST FOR THE NIGHTINGALE
Each saw that the other was his brother _Frontispiece_
She took the little prince in her arms and kissed him
The harper was happier than a king as he sat by his own fireside
Something seemed to whisper to him: "Stop, Karl, and eat"
Yes, there they came!
She saw an apple-tree as full of apples as her plum-tree was full of plums
One of them took it in his mouth, and so brought it safely to Hans
"A bear!" cried the tailor
She leaned on the fence that divided the two
Straight to the Enchanted Wood they went
While she was watching and waiting, the flower burst into bloom
When he had come to the lions he found that they were chained
Once upon a time there lived two brothers, who, when they were children, were so seldom apart that those who saw one always looked for the other at his heels.
But when they had grown to manhood, and the time had come when they must make their own fortunes, the elder brother said to the younger:
"Choose as you will what you shall do, and God bless your choice; but as for me I shall make haste to the court of the king, for nothing will satisfy me but to serve him and my country."
"Good fortune and a blessing go with you," said the younger brother. "I, too, should like to serve my country and the king, but I have neither words nor wit for a king's court. To hammer a shoe from the glowing iron while the red fire roars and the anvil rings--this is the work that I do best, and I shall be a blacksmith, even as my father was before me."
So when he had spoken the two brothers embraced and bade each other good-bye and went on their ways; nor did they meet again till many a year had come and gone.
The elder brother rode to the king's court just as he had said he would; and as time went on he won great honor there and was made one of the king's counselors.
And the younger brother built himself a blacksmith's shop by the side of a road and worked there merrily from early morn till the stars shone at night. He was called the Mighty Blacksmith because of his strength, and the Honest Blacksmith because he charged no more than his work was worth, and the Master Blacksmith because no other smith in the countryside could shoe a horse so well and speedily as he. And he was envious of nobody, for always as he worked his hammer seemed to sing to him:
"Cling, clang, cling! Cling, clang, cling! He who does his very best, Is fit to serve the king."
Maud Lindsay's The Story-teller opens with an introduction that establishes the narrator as a traveling figure who appears at holidays or unexpected moments, welcomed by all. The voice is warm and direct, addressing the reader as part of a gathered audience: “Open the door and let him come in, give him a seat by the fire and gather close about him.” This framing sets the tone for the twelve tales that follow, each introduced with a similar oral quality. The stories draw on familiar fairy-tale structures—impossible tasks, magical helpers, and moral lessons—but Lindsay’s narrative voice adds a distinctive layer, with asides like “the tears rolled down his cheeks I do assure you” and “How long he sat there, neither I nor anybody else can tell you.” These interjections create a sense of intimacy and direct address, as if the storyteller is pausing to wink at the listener.
The Storyteller's Voice and Direct Address
Throughout the excerpts, Lindsay’s narrator frequently breaks the fourth wall with phrases that mimic oral delivery. In “The Two Brothers,” the narrator says “I do assure you” when describing Hans’s tears, and later repeats “neither I nor anybody else can tell you” to mark the passage of time. These repetitions become a structural pattern: each time Hans faces a new impossible task, the same phrases recur, creating a rhythmic predictability. The narrator also uses exclamations like “Oh, everything was still as the house at midnight” and “Ah, what an easy task is this” to heighten emotional contrast. This voice is consistent across tales, suggesting a single storyteller persona rather than varied narrators. The effect is to position the reader as a listener in a communal setting, much like the children, mother, father, and servants described in the introduction.
Recurring Motifs: Kindness Repaid and Impossible Tasks
The tales in this collection share a clear moral structure: a kind act is rewarded by animal helpers who later rescue the protagonist. In “The Two Brothers,” Hans helps ants, birds, and fishes; each returns to assist him when a king sets three impossible tasks—sorting seeds, fetching a golden apple from a dragon-guarded orchard, and retrieving a ring from the sea. The animals speak in unison: “You helped us, and we have come to help you” and “One good turn deserves another.” This pattern repeats in other stories, such as “The Plate of Pancakes” and “The Great White Bear,” where similar animal aid appears. The tasks themselves escalate in difficulty, from sorting seeds to facing a dragon to diving to the sea bottom, but the resolution always depends on previously established kindness. The king’s repeated refusal to release Hans—despite being “astonished” and “scarcely believ[ing] his eyes”—adds a note of arbitrary authority common in folk tradition.
Pacing and Emotional Contrast in the Tales
Lindsay controls pacing through repetition and sudden shifts. In “The Two Brothers,” each task begins with Hans’s despair (“Poor Hans! He sat down… and cried”), followed by a vague temporal marker (“How long he sat there, neither I nor anybody else can tell you”), then a swift resolution as animals appear. This pattern creates a rhythm of tension and release. The emotional contrast is sharp: Hans’s tears and self-pity (“I shall never see my mother or the good king, my master, again”) are immediately countered by the animals’ efficient help. The dragon’s threat (“Come and be devoured!”) is brief but vivid, while the birds’ return with the apple is almost anticlimactic. The king’s reactions—astonishment followed by a new demand—prevent full closure until the final task. This structure, repeated across tales, gives the collection a cumulative, folkloric feel, where each story mirrors the last in form while varying the details.
Readers approaching The Story-teller will find a collection best enjoyed aloud, as its rhythms and repetitions are designed for oral performance. The framing introduction invites a fireside reading, and the tales reward attention to the recurring patterns of kindness, animal helpers, and the narrator’s direct asides. Lindsay’s voice is consistent and warm, making the book suitable for reading to children or for those interested in early 20th-century fairy-tale adaptations. The illustrations by Florence Liley Young, though not excerpted here, complement the text’s gentle moral tone.
There’s something about that old storyteller’s voice in The Story-teller—like sitting near a fire while someone remembers kindness aloud. I felt that same quiet warmth again the other night, flipping through Lulu's Library, Volume 2 (of 3) — Reading Companion. It lingered, not because of grand plots, but because the gentle rhythm felt familiar, like a friend’s hand on my shoulder.
Matthew Nguyen
1 month agoEmma Lewis
4 weeks agoSophia Brown
4 weeks agoWyatt King
1 month ago-
Justin Gonzales - 4 weeks ago
This charming tale weaves together folklore and fantasy in a way that captivates both young and old. The storytelling is vivid and imaginative, with a warm heart that makes it a perfect bedtime read. The characters are delightful, and the journey they take is filled with whimsy and meaning. I loved every page. -
Rebecca Erin Reyes - 3 weeks ago
The story tries to be whimsical but falls flat in places. The narrative feels disconnected and the characters lack depth, making it hard to stay invested. It might appeal to very young readers, but adults will likely find it predictable and underwhelming. Not one of the author's best works. -
Christopher Larsen - 2 weeks ago
An pleasant story with some lovely moments, though the pacing sometimes drags. The premise is engaging, but the execution could be tighter. Still, it's a nice escape into the world of storytelling, and younger readers might enjoy it thoroughly. A good choice for a light read.
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