Appearance
Excerpt
Excerpt from The Yellow Fairy Book, by Andrew Lang
‘Little Sioux and little Crow,<br />
Little frosty Eskimo.’
These people are thought to know most about fairyland and its
inhabitants. But, in the Yellow Fairy Book, and the rest, are many tales
by persons who are neither savages nor rustics, such as Madame D’Aulnoy
and Herr Hans Christian Andersen. The Folk Lore Society, or its
president, say that THEIR tales are not so true as the rest, and should
not be published with the rest. But WE say that all the stories which
are pleasant to read are quite true enough for us; so here they are,
with pictures by Mr. Ford, and we do not think that either the pictures
or the stories are likely to mislead children.
As to whether there are really any fairies or not, that is a difficult
question. Professor Huxley thinks there are none. The Editor never saw
any himself, but he knows several people who have seen them--in the
Highlands--and heard their music. If ever you are in Nether Lochaber,
go to the Fairy Hill, and you may hear the music yourself, as grown-up
people have done, but you must goon a fine day. Again, if there are
really no fairies, why do people believe in them, all over the world? The
ancient Greeks believed, so did the old Egyptians, and the Hindoos, and
the Red Indians, and is it likely, if there are no fairies, that so
many different peoples would have seen and heard them? The Rev. Mr.
Baring-Gould saw several fairies when he was a boy, and was travelling
in the land of the Troubadours. For these reasons, the Editor thinks
that there are certainly fairies, but they never do anyone any
harm; and, in England, they have been frightened away by smoke and
schoolmasters. As to Giants, they have died out, but real Dwarfs are
common in the forests of Africa. Probably a good many stories not
perfectly true have been told about fairies, but such stories have also
been told about Napoleon, Claverhouse, Julius Caesar, and Joan of Arc,
all of whom certainly existed. A wise child will, therefore, remember
that, if he grows up and becomes a member of the Folk Lore Society, ALL
the tales in this book were not offered to him as absolutely truthful,
but were printed merely for his entertainment. The exact facts he can
learn later, or he can leave them alone.
Explanation
This excerpt from the preface to The Yellow Fairy Book (1894), edited by Andrew Lang, serves as an introduction to the collection of fairy tales within. Lang’s Fairy Books (a series of 12 colored volumes, including The Blue Fairy Book, The Red Fairy Book, etc.) were instrumental in popularizing fairy tales in the English-speaking world, blending folklore from diverse cultures with literary tales by authors like Madame D’Aulnoy (a 17th-century French writer credited with coining the term "conte de fées") and Hans Christian Andersen (the Danish author of original fairy tales like The Little Mermaid).
Lang’s preface is playful, defensive, and philosophical, addressing criticisms from folklorists while justifying his inclusive approach to fairy tales—whether "authentic" folklore or literary inventions. Below is a detailed breakdown of the text, its themes, literary devices, and significance, with a focus on the excerpt itself.
1. Context & Purpose
The preface responds to two key debates of the late 19th century:
- The authenticity of fairy tales: The Folk-Lore Society (founded 1878) argued that only "genuine" oral folklore (collected from peasants or indigenous cultures) should be preserved, dismissing literary fairy tales (like D’Aulnoy’s or Andersen’s) as inauthentic.
- The existence of fairies: Victorian-era skepticism (e.g., Thomas Huxley, a biologist and "Darwin’s Bulldog," who dismissed superstition) clashed with romantic beliefs in the supernatural.
Lang’s preface pushes back against both:
- He defends literary tales as equally valuable for entertainment.
- He argues for the plausibility of fairies using anecdotal evidence and cultural universality.
2. Themes in the Excerpt
A. The Nature of Truth in Fairy Tales
Lang rejects the Folklore Society’s rigid distinction between "true" (oral) and "false" (literary) tales. His argument hinges on subjective truth:
- "Pleasant to read" = "true enough": He prioritizes enjoyment over historical accuracy, a radical stance for folklorists who treated tales as anthropological data.
- Comparative logic: If historical figures like Napoleon or Joan of Arc are mythologized, why can’t fairies be real in some sense? This undermines the idea that folklore must be "pure" to be valid.
B. The Existence of Fairies
Lang adopts a mock-serious tone to defend fairies, using:
- Anecdotal evidence: He cites Nether Lochaber’s "Fairy Hill" (a real Scottish location tied to folklore) and the Reverend Sabine Baring-Gould (a folklorist who claimed to have seen fairies as a boy).
- Cultural universality: Greeks, Egyptians, Hindus, and Native Americans all believed in fairies—suggesting their existence is a human constant, not a delusion.
- Environmental decline: Fairies have been "frightened away by smoke and schoolmasters"—a satirical jab at industrialization and rationalism (linking fairies’ disappearance to modernity’s encroachment on nature).
C. The Role of Imagination
Lang’s preface is a manifestation of the Romantic vs. Scientific tension in the 19th century:
- Romantic view: Fairies represent wonder, tradition, and the unseen. Their "truth" lies in their cultural and emotional resonance.
- Scientific view: Huxley’s dismissal reflects empiricism—only what can be proven exists. Lang bridges these views by suggesting fairies are real in the sense that people believe in them, much like religious or mythological figures.
D. Childhood and Wisdom
The closing lines address children directly, framing the book as a gateway to future learning:
- "A wise child": Implies that maturity involves holding multiple truths—enjoying stories while recognizing their fictionality.
- Folklore Society as a future path: Suggests that as children grow, they can choose whether to engage with folklore critically or leave it behind.
3. Literary Devices & Rhetorical Strategies
| Device | Example | Effect |
|---|---|---|
| Juxtaposition | "Little Sioux and little Crow" vs. "Madame D’Aulnoy and Herr Andersen" | Contrasts "primitive" and "civilized" storytellers to argue both are valid. |
| Rhetorical questions | "If there are no fairies, why do people believe in them?" | Challenges the reader to consider cultural consensus as evidence. |
| Appeal to authority | Cites Baring-Gould (a respected folklorist) and Huxley (a scientist). | Balances "expert" opinions to lend credibility to both sides. |
| Irony/Sarcasm | "frightened away by smoke and schoolmasters" | Mocks industrialization and rigid education as killers of magic. |
| Anecdote | Directions to Nether Lochaber’s Fairy Hill. | Makes fairies feel tangible and invites reader participation. |
| Parallelism | Lists Greeks, Egyptians, Hindoos, Red Indians—all believing in fairies. | Reinforces the idea of fairies as a universal human concept. |
4. Significance of the Passage
A. Literary & Cultural Impact
- Democratization of fairy tales: Lang’s inclusion of literary tales (e.g., Andersen’s) alongside folklore expanded the genre, influencing later collections and adaptations (e.g., Disney).
- Defense of imagination: His argument that truth is secondary to delight prefigures modern views of fiction as a valid form of truth-telling (e.g., magical realism).
B. Historical Context
- Victorian folklore studies: The Folklore Society’s purism reflected colonial-era anthropology, which often dismissed non-European tales as "primitive." Lang’s inclusivity was progressive.
- Science vs. Romance: The debate over fairies mirrored broader conflicts (e.g., Darwinism vs. religion). Lang’s playful agnosticism ("the Editor never saw any himself") lets readers decide for themselves.
C. Modern Relevance
- Postmodern storytelling: Lang’s blending of "real" and "invented" tales aligns with modern metafiction (e.g., The Princess Bride), where the narrator’s voice shapes the story’s "truth."
- Ecocritical readings: The idea that fairies are driven out by "smoke" (industry) resonates with environmental critiques of modernity.
5. Close Reading of Key Lines
"Little Sioux and little Crow, / Little frosty Eskimo."
- Effect: Opens with a rhyming, childlike cadence, immediately signaling the book’s audience (children) and its global scope.
- Subtext: Indigenous cultures are framed as closer to fairyland, a romanticized (and problematic) Victorian view of "noble savages."
"WE say that all the stories which are pleasant to read are quite true enough for us."
- Defiance: The capitalized "WE" contrasts with the Folklore Society’s "THEIR," positioning Lang as a champion of joy over pedantry.
- Subjective truth: Echoes Coleridge’s "willing suspension of disbelief"—readers accept fairy tales not as fact, but as emotional truth.
"If ever you are in Nether Lochaber, go to the Fairy Hill..."
- Invitation to magic: The specificity ("fine day") makes the supernatural feel accessible, blurring the line between legend and reality.
- Travel as enchantment: Reflects the Romantic era’s fascination with folklore tourism (e.g., the Brothers Grimm collecting tales in German forests).
"In England, they have been frightened away by smoke and schoolmasters."
- Satire: "Smoke" = Industrial Revolution; "schoolmasters" = rational education. Both are metaphors for modernity’s erosion of wonder.
- Nostalgia: Implies that childlike belief is being lost, a theme later explored in works like Peter Pan.
"A wise child will... remember that ALL the tales in this book were not offered as absolutely truthful."
- Pedagogical framing: Teaches children to engage critically with stories—an early form of media literacy.
- Irony: The "wise child" is one who enjoys the tales anyway, suggesting wisdom lies in balancing skepticism and wonder.
6. Conclusion: Why This Matters
Andrew Lang’s preface is more than a simple introduction—it’s a manifesto for the power of storytelling. By rejecting the Folklore Society’s elitism and Huxley’s skepticism, Lang argues that fairy tales transcend truth claims because their value lies in cultural heritage, imagination, and joy. His defense of literary tales alongside oral folklore shaped modern fairy-tale collections, and his playful agnosticism about fairies invites readers to embrace mystery.
In an era where facts and fiction are often pitted against each other, Lang’s preface remains a timely reminder that some truths are best felt, not proven—and that the stories we love define us as much as the histories we study.
Final Thought: If you visit Nether Lochaber’s Fairy Hill today, you might not hear music—but Lang’s words ensure that, in the pages of his books, the fairies never really left.