Article #556-2 | Gutenberg Articles

Excerpt

Excerpt from Rewards and Fairies, by Rudyard Kipling

‘“Full Moon and Morning Star may know,” I says. “I don’t. By what I
could make out of him in the moonlight, he’s without brand or blemish.
I’ll answer for it that he’s born on the far side of Cold Iron, for he
was born under a shaw on Terrible Down, and I’ve wronged neither man,
woman, nor child in taking him, for he is the son of a dead slave-woman.”

‘“All to the good, Robin,” Sir Huon said. “He’ll be the less anxious to
leave us. Oh, we’ll give him a splendid fortune, and we shall act and
influence on folk in housen as we have always craved.” His Lady came up
then, and drew him under to watch the babe’s wonderful doings.’ ‘Who was
his Lady?’ said Dan. ‘The Lady Esclairmonde. She had been a woman once,
till she followed Sir Huon across the fern, as we say. Babies are no
special treat to me--I’ve watched too many of them--so I stayed on the
Hill. Presently I heard hammering down at the Forge there.’Puck pointed
towards Hobden’s cottage. ‘It was too early for any workmen, but it
passed through my mind that the breaking day was Thor’s own day. A slow
north-east wind blew up and set the oaks sawing and fretting in a way I
remembered; so I slipped over to see what I could see.’

‘And what did you see?’ ‘A smith forging something or other out of Cold
Iron. When it was finished, he weighed it in his hand (his back was
towards me), and tossed it from him a longish quoit-throw down the
valley. I saw Cold Iron flash in the sun, but I couldn’t quite make out
where it fell. That didn’t trouble me. I knew it would be found sooner
or later by someone.’

Explanation

This excerpt from Rudyard Kipling’s Rewards and Fairies (1910) is a rich, mythic passage that blends folklore, history, and supernatural elements. The book is a collection of interconnected stories and poems, many featuring the mischievous, ancient figure Puck (from A Midsummer Night’s Dream), who recounts tales of England’s past to two children, Dan and Una. This particular passage is part of a larger narrative involving Sir Huon of Bordeaux, a legendary medieval knight, and his dealings with the fairy-like People of the Hills—beings who exist beyond mortal time and law.

The excerpt is steeped in Kipling’s fascination with English folklore, hidden histories, and the blurred boundaries between the human and supernatural worlds. Below is a detailed breakdown of the text, focusing on its themes, literary devices, and significance while closely analyzing the passage itself.

Context of the Excerpt

The scene takes place on Terrible Down (a real location in Sussex, often linked to fairy lore), where Puck—who serves as a narrator of forgotten histories—describes a mysterious event involving:

A foundling child (a boy of unclear origin, possibly fairy-touched).
Sir Huon and Lady Esclairmonde (a knight and his fairy consort, who have crossed into the supernatural realm).
A smith forging an object from "Cold Iron" (a material often associated with warding off fairies in folklore).

The passage is part of a larger tale about power, fate, and the unseen forces that shape human lives. The child, the smith’s work, and the reactions of the characters all hint at deeper, unseen struggles between mortal and fairy worlds.

Key Themes in the Excerpt

1. The Supernatural and the Uncanny

The child is described as "without brand or blemish"—a phrase that suggests he is either perfect (and thus otherworldly) or unmarked by human sin. His birth "on the far side of Cold Iron" (a metal traditionally used to repel fairies) implies he is not fully human, or at least exists in a liminal space between worlds.
The "dead slave-woman" adds a layer of mystery and tragic history—was she human, or something else? The child’s origins are deliberately obscure, reinforcing the idea that some truths are beyond mortal understanding.
The smith forging Cold Iron is a classic folkloric motif. In many traditions, iron is hostile to fairies, and smiths (like Wayland the Smith in Germanic myth) are often supernatural figures. The fact that the smith throws the object into the valley suggests it is meant to be found by someone—perhaps as a test, a weapon, or a curse.

2. Fate and Hidden Influences

Sir Huon’s line—"we shall act and influence on folk in housen as we have always craved"—hints at the fairy desire to meddle in human affairs. The child may be a tool for this influence, a changeling or a figure of destiny.
The Lady Esclairmonde, once a mortal woman who "followed Sir Huon across the fern" (a euphemism for entering the fairy realm), represents the cost of crossing into the supernatural. Her fascination with the baby suggests fairies’ ambiguous relationship with human children—sometimes protective, sometimes predatory.
The hammering at dawn on Thor’s Day (Thursday) is significant. Thor is a god of protection and storms, and the north-east wind (often seen as an ill omen in folklore) creates a sense of foreboding. The timing implies that fate is being forged, quite literally.

3. The Ambiguity of Power and Possession

The child is taken without wronging "man, woman, or child", yet his origins are ethically murky. Is he a gift, a theft, or a foundling? The passage refuses to give a clear answer, emphasizing that moral judgments in fairy tales are rarely straightforward.
The Cold Iron object is thrown away but will be found—suggesting that what the fairies discard, humans may pick up, often to their peril. This mirrors folkloric warnings about fairy gifts that come with unseen costs.

Literary Devices & Stylistic Choices

1. Oral Storytelling Tone

Kipling writes in Puck’s voice, which is colloquial, rhythmic, and full of folk cadences. Phrases like:
- "‘Full Moon and Morning Star may know,’ I says."
- "I’ll answer for it that he’s born on the far side of Cold Iron."
- "Babies are no special treat to me—I’ve watched too many of them."
- Mimic oral tradition, making the story feel like a legend passed down through generations.

2. Symbolism & Folkloric Imagery

"Cold Iron" – Represents the boundary between human and fairy worlds, as well as the harshness of mortal reality. In folklore, iron is often used to ward off fairies, so its use here is paradoxical—the smith is working with a material that should repel his kind.
"Thor’s Day" – The Norse god of thunder is invoked, tying the scene to older, pagan forces. The north-east wind (traditionally ill-omened) and the "sawing and fretting oaks" create a sinister, supernatural atmosphere.
"The breaking day" – Dawn is often a liminal time in folklore, when the veil between worlds is thin. The smith’s work at this hour suggests a moment of transition or revelation.

3. Foreshadowing & Unanswered Questions

The child’s fate is left open—will he be a blessing or a curse to those who raise him?
The Cold Iron object is thrown but not lost—it will resurface, likely with consequences for whoever finds it.
The Lady Esclairmonde’s transformation (from woman to fairy) hints at the dangers of crossing into the supernatural.

4. Contrast Between Human and Fairy Perspectives

Puck, as a fairy observer, is detached ("Babies are no special treat to me"), while the human characters (Sir Huon, the smith) are deeply invested in the child and the forged object.
The fairies see time differently—they act with long-term cunning, while humans are often unaware of the forces shaping their lives.

Significance of the Passage

Exploration of English Folklore – Kipling weaves together medieval legend (Sir Huon), Norse myth (Thor), and fairy lore (Cold Iron, changelings) to create a uniquely British supernatural tapestry.
The Idea of Hidden Histories – The passage suggests that England’s past is full of unseen forces, and that ordinary landscapes (like Terrible Down) hold deep secrets.
Moral Ambiguity – The fairies’ actions are neither purely good nor evil—they operate by their own rules, which are inscrutable to humans.
The Power of Storytelling – Puck’s narrative style immerses the reader in a world where myth and reality blur, reinforcing Kipling’s belief that stories shape our understanding of history.

Conclusion: What the Text Reveals

This excerpt is a microcosm of Kipling’s broader themes in Rewards and Fairies—the intersection of myth and history, the unseen forces that guide human lives, and the dangerous allure of the supernatural. The child, the Cold Iron, and the fairy knight’s ambitions all serve as symbols of fate’s unseen hand.

The passage does not explain everything—it hints, suggests, and leaves gaps, much like folklore itself. The reader is left to wonder:

Who was the slave-woman, and why was her child left on Terrible Down?
What was the Cold Iron object, and who will find it?
What will become of the child under Sir Huon’s influence?

In this way, Kipling captures the essence of fairy tales—mysterious, haunting, and rich with possibilities.

Would you like a deeper dive into any specific aspect, such as the historical context of Sir Huon or the folklore behind Cold Iron?

Questions

Question 1

The narrator’s description of the child as "without brand or blemish" and "born on the far side of Cold Iron" primarily serves to:

A. Establish the child as a liminal figure whose origins transcend conventional moral or physical categorisation, embodying the ambiguity of fairy-human intersections.
B. Suggest that the child is a divine or messianic figure, marked by purity and destined for greatness in the mortal world.
C. Imply that the child is a changeling, swapped by fairies to replace a human infant, and thus inherently deceptive in nature.
D. Highlight the child’s vulnerability, as his unmarked state renders him defenceless against the supernatural forces that surround him.
E. Contrast the child’s innocence with the moral corruption of Sir Huon and Lady Esclairmonde, who seek to exploit him for their own ends.

Question 2

The smith’s act of forging and discarding the Cold Iron object can most plausibly be interpreted as:

A. A ritualistic offering to Thor, intended to appease the god and ensure protection for the fairy realm.
B. The creation of a weapon meant to be wielded by the child when he comes of age, symbolising his dual heritage.
C. An deliberate insertion of a disruptive element into the mortal world, one that will alter human fate in ways the fairies anticipate but do not fully control.
D. A symbolic rejection of mortal craftsmanship, as the smith—being a fairy—finds Cold Iron repugnant and wishes to rid himself of it.
E. A test of the child’s destiny, as the object’s discovery will determine whether he remains in the fairy realm or is claimed by humanity.

Question 3

Puck’s observation that "Babies are no special treat to me—I’ve watched too many of them" primarily functions to:

A. Underscore Puck’s cynicism toward human reproduction, reflecting his detachment from mortal concerns.
B. Foreshadow the child’s eventual betrayal of the fairy realm, as Puck’s indifference hints at his lack of investment in the child’s fate.
C. Contrast the fairies’ long-lived perspectives with human transience, emphasising their weariness with mortal cycles.
D. Suggest that Puck, despite his supernatural nature, is incapable of experiencing wonder, unlike the human characters.
E. Reinforce the idea that the child is extraordinary precisely because he elicits curiosity even from a being as jaded as Puck, who normally dismisses infants.

Question 4

The "slow north-east wind" and the "oaks sawing and fretting" are most effectively read as:

A. A naturalistic detail grounding the scene in a specific, observable landscape, counterbalancing the supernatural elements.
B. An omen of impending conflict between the fairy and human worlds, with the wind and trees serving as harbingers of disorder.
C. A sensory evocation of the uncanny, where the environment itself seems animated by unseen forces, mirroring the smith’s hidden labour.
D. A metaphor for the child’s restless, unsettled nature, as the wind and trees reflect his internal turmoil.
E. A subtle critique of industrialisation, with the "hammering" at the forge and the "sawing" oaks symbolising the encroachment of human progress on nature.

Question 5

The passage’s structural juxtaposition of the child’s introduction with the smith’s forging of Cold Iron primarily serves to:

A. Illustrate the duality of creation and destruction inherent in both birth and craftsmanship, suggesting that all origins carry latent violence or disruption.
B. Contrast the organic, nurturing process of child-rearing with the mechanical, impersonal act of forging, highlighting the fairies’ inability to truly understand humanity.
C. Imply that the child is the "Cold Iron" object’s intended recipient, as both are products of supernatural intervention in the mortal world.
D. Demonstrate the fairies’ control over human destiny, as they manipulate both the child’s upbringing and the introduction of the forged object into society.
E. Foreshadow the child’s eventual role as a smith or craftsman, bridging the fairy and human realms through his unique heritage.

Solutions and Explanations

1) Correct answer: A

Why A is most correct: The child’s description as "without brand or blemish" and "born on the far side of Cold Iron" positions him as a threshold figure, existing between human and fairy realms. The phrase "far side of Cold Iron" invokes a liminal space—Cold Iron being a traditional fairy repellent, suggesting the child originates from a realm beyond mortal constraints. His unmarked state further reinforces his ambiguity: he is neither fully human nor fully fairy, but a hybrid or transitional being. This aligns with Kipling’s broader theme of blurred boundaries between worlds, where figures like Puck and Sir Huon operate in moral and physical gray areas. The passage does not present the child as divine (B), a changeling in the deceptive sense (C), vulnerable (D), or a moral contrast to Sir Huon (E). Instead, his ontological ambiguity is the focal point.