Books with title Martin Pippin in the Apple Orchard

Wandering minstrel, Martin Pippin, encounters a lovelorn ploughman who begs him to release his beloved by entertaining the six young women sworn to guard her. This Martin Pippin does - telling beautiful tales of heartbreak, betrayal and everlasting love. But will the imprisoned Gillian ever be freed?This delightful collection will be loved by adults and children alike - a perfect introduction to sophisticated fairy tales.'She is one of the few who can conceive and tell a fairytale . . . Before I had read five pages of Martin Pippin, I had forgotten who I was and where I lived. I was transported into a world of sunlight, of gay inconsequence, of emotional surprise, a world of poetry, delight and humour. And I lived and took my joy in that rare world, until all too soon my reading was done.'From J. D. Beresford's Foreword to the first American edition of 1922.

This utterly charming book tells of a wondering minstrel, Martin Pippin, who is asked by a lovelorn youth to try and approach the object of his affections, a farmer's daughter, who is locked away and guarded by her six young milkmaids. Throughout the book Martin flirts gaily, sings songs and tells love stories in order to win the girls' trust and answer the central question: why is Gillian locked in the well house? Is she love-sick for a man she cannot have - or hiding from a love she does not want? Eleanor Farjeon weaves a beautiful tapestry in this marvellously evocative book, celebrating the Sussex countryside and tackling deep emotional issues in her deceptively simple stories. This carefully hand-edited version from Benediction Classics includes all the original delightful black-and-white illustrations by Richard Kennedy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

One morning in April Martin Pippin walked in the meadows near Adversane, and there he saw a young fellow sowing a field with oats broadcast. So pleasant a sight was enough to arrest Martin for an hour, though less important things, such as making his living, could not occupy him for a minute. So he leaned upon the gate, and presently noticed that for every handful he scattered the young man shed as many tears as seeds, and now and then he stopped his sowing altogether, and putting his face between his hands sobbed bitterly. When this had happened three or four times, Martin hailed the youth, who was then fairly close to the gate. "Young master!" said he. "The baker of this crop will want no salt to his baking, and that's flat."

Miss Farjeon to the American public, and although I believe that introductions of this kind often do more harm than good, I have consented in this case because the instance is rare enough to justify an exception. If Miss Farjeon had been a promising young novelist either of the realistic or the romantic school, I should not have dared to express an opinion on her work, even if I had believed that she had greater gifts than the ninety-nine other promising young novelists who appear in the course of each decade. But she has a far rarer gift than any of those that go to the making of a successful novelist. She is one of the few who can conceive and tell a fairy-tale; the only one to my knowledge with the just possible exceptions of James Stephens and Walter de la Mare in my own generation. She has, in fact, the true gift of fancy. It has already been displayed in her verse a form in which it is far commoner than in prose but Martin Pippin is her first book in this kind. I am afraid to say too much about it for fear of prejudicing both the reviewers and the general public. My taste may not be theirs and in this matter there is no opportunity for argument. Let me, therefore, do no more than tell the story of how the manuscript affected me. I was a little overworked. I had been reading a great number of manuscripts in the preceding weeks, and the mere sight of typescript was a burden to me. But before I had read five pages of Martin Pippin, I had forgotten that it was a manuscript submitted for my judgment. I had forgotten who I was and where I lived. I was transported into a world of sunlight, of gay inconsequence, of emotional surprise, a world of poetry, delight, and humor. And I lived and took my joy in that rare world, until all too soon my reading was done. My most earnest wish is that there may be many minds and imaginations among the American people who wi(Typographical errors above are due to OCR software and don't occur in the book.)

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

This is a pre-1923 historical reproduction that was curated for quality. Quality assurance was conducted on each of these books in an attempt to remove books with imperfections introduced by the digitization process. Though we have made best efforts - the books may have occasional errors that do not impede the reading experience. We believe this work is culturally important and have elected to bring the book back into print as part of our continuing commitment to the preservation of printed works worldwide.