Other editions of book The Orange Fairy Book: 33 Traditional Stories & Fairy Tales

The Fairy Book Series is further enriched by the addition of this latest volume, which is quite as gorgeous as the preceding ones-though the author might well be supposed to have exhausted his supply of colors and fairy tales. Mr. Lang, after traveling the world over to collect stories, asks why the stories of the remotest people resemble each other. Fortunately, he answers the question himself. "Of course, in the immeasurable past, they have been carried about by conquering races, and learned by conquering races from vanquished peoples. Slaves carried far from home brought their stories with them into captivity. Wanderers, travelers, shipwrecked men, merchants, and wives stolen from alien tribes have diffused the stories; gipsies and Jews have peddled them about, Roman soldiers of many different races, moved here and there about the Empire, have trafficked in them. From the remotest days men have been wanderers, and wherever they went their stories accompanied them." '"The Story of the Hero Makowa" begins in the good old way, "once upon a time" and the temptation to follow the hero Is irresistible even though he seeks a deep black pool where the crocodiles lived. He makes giants shrink, and claps them into a bag which he carries easily because he Increases in size and strength with every encouuter with an enemy. Perhaps the author intends to point a moral and he certainly adorns the tale with incredible deeds of adventure. "Ian, The Soldier's Son" has a wonderful career in his search for the daughters of Grianaig. Magic transformation takes place on every page. Thus, a brown-haired youth is changed into a raven, and back again to his own self; and a beautiful maiden whom the wicked enchanter had turned into a horse is released from the spell through the courage of the soldier's son.

The children who read fairy books, or have fairy books read to them, do not read prefaces, and the parents, aunts, uncles, and cousins, who give fairy books to their daughters, nieces, and cousins, leave prefaces unread. For whom, then, are prefaces written? When an author publishes a book 'out of his own head,' he writes the preface for his own pleasure. After reading over his book in print—to make sure that all the 'u's' are not printed as 'n's,' and all the 'n's' as 'u's' in the proper names—then the author says, mildly, in his preface, what he thinks about his own book, and what he means it to prove—if he means it to prove anything—and why it is not a better book than it is. But, perhaps, nobody reads prefaces except other authors; and critics, who hope that they will find enough in the preface to enable them to do without reading any of the book.

The children who read fairy books, or have fairy books read to them, do not read prefaces, and the parents, aunts, uncles, and cousins, who give fairy books to their daughters, nieces, and cousins, leave prefaces unread. For whom, then, are prefaces written? When an author publishes a book 'out of his own head,' he writes the preface for his own pleasure. After reading over his book in print—to make sure that all the 'u's' are not printed as 'n's,' and all the 'n's' as 'u's' in the proper names—then the author says, mildly, in his preface, what he thinks about his own book, and what he means it to prove—if he means it to prove anything—and why it is not a better book than it is. But, perhaps, nobody reads prefaces except other authors; and critics, who hope that they will find enough in the preface to enable them to do without reading any of the book.