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The Djinn in the Nightingale's Eye: Five Fairy Stories [NOOK Book]

Overview

The magnificent title story of this collection of fairy tales for adults describes the strange and uncanny relationship between its extravagantly intelligent heroine--a world renowned scholar of the art of story-telling--and the marvelous being that lives in a mysterious bottle, found in a dusty shop in an Istanbul bazaar. As A.S. Byatt renders this relationship with a powerful combination of erudition and passion, she makes the interaction of ...
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The Djinn in the Nightingale's Eye: Five Fairy Stories

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Overview

The magnificent title story of this collection of fairy tales for adults describes the strange and uncanny relationship between its extravagantly intelligent heroine--a world renowned scholar of the art of story-telling--and the marvelous being that lives in a mysterious bottle, found in a dusty shop in an Istanbul bazaar. As A.S. Byatt renders this relationship with a powerful combination of erudition and passion, she makes the interaction of the natural and the supernatural seem not only convincing, but inevitable.

The companion stories in this collection each display different facets of Byatt's remarkable gift for enchantment. They range from fables of sexual obsession to allegories of political tragedy; they draw us into narratives that are as mesmerizing as dreams and as bracing as philosophical meditations; and they all us to inhabit an imaginative universe astonishing in the precision of its detail, its intellectual consistency, and its splendor.

"A dreamy treat.... It is not merely strange, it is wondrous."
--Boston Globe

"Alternatingly erudite and earthy, direct and playful.... If Scheherazade ever needs a break, Byatt can step in, indefinitely."
--Chicago Tribune

"Byatt's writing is crystalline and splendidly imaginative.... These [are] perfectly formed tales."
--Washington Post Book World


From the Trade Paperback edition.
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Editorial Reviews

Boston Globe
A dreamy treat. . .it is wondrous.
New York Times Book Review
Byatt is a storyteller who could keep a sultan on the edge of his throne for a thousand and one nights.
Nancy Willard
Byatt's stories have nothing in common with politically correct retellings or with the ''fractured'' fairy tales that make us laugh at the conventional formulas by turning them upside down. The fairy tale allows her to explore a concern central to much of her writing: the lives of characters imprisoned by the plot in which they find themselves....A. S. Byatt is a storyteller who could keep a sultan on the edge of his throne for a thousand and one nights. -- New York Times
Washington Post Book World
Crystalline and splendidly imaginative. . . .These are perfectly formed tales.
Publishers Weekly - Publisher's Weekly
All of the five 'fairy stories' in Byatt's new collection adopt the conventions of folk or fairy tales: magic enchantments; the granting of three wishes; adventures that involve danger. And as might be expected from a writer of Byatt's talent and interests, several of them deal with the magic of storytelling itself. The title piece, a novella, is the most surprising and appealing. Middle-aged British narratologist Gillian Perholt acquires a beautiful bottle when she attends a convention in Turkey. The djinn she later releases not only grants her three wishes but also teaches her how to avoid the classic folk-tale irony by which the wisher lives to regret the fulfillment of his or her desires. This complex, sometimes prolix, oddly upbeat tale also demonstrates other Byatt preoccupations: protagonists who are academics; stories within stories; philosophic digressions; the theme of the inevitability of destiny. As with all of Byatt's work, there is a fierce intelligence at play, and beautifully nuanced prose. The other standout here is the gently ironic 'The Story of the Eldest Princess,'' in which the clever woman, who realizes that the first person to be sent on a quest is always unsuccessful, subverts the conventions and outwits her fate. (In her acknowledgments, Byatt confesses: 'I have always worried about being the eldest of three sisters.'). 'Dragon's Breath' has a brilliantly imaginative description of a volcanic eruption. The other two titles are charming but less memorable.
Library Journal
The enjoyment of fairy tales comes from new ways of telling old themes. The underlying stories are predictable -- innocence is tested, a mission accomplished, a lesson learned, and an adult finally born -- but the characters, adventures, and outcome vary with each telling. However, every once in a while this pattern gets bent or broken, as in Byatt's collection of five previously published stories. Each story is refreshingly different, eloquently detailing the story's setting, and each contains developed characters and dialog that make them truly enjoyable. The last and title story is the length of a small novella and is itself a collection of stories within a story. Readers who can keep up will have a fascinating adventure wandering from story to story as a modern middle-aged woman is granted three wishes by a highly personal and experienced genie. More than a play on words, this piece is a play on storytelling. Byatt has redesigned the fairy tale, breathing new life into old themes, and has done it with talent to spare.-- Laurel Duda, Marine Biological Laboratory, Woods Hole, Massachusetts
Library Journal
The enjoyment of fairy tales comes from new ways of telling old themes. The underlying stories are predictable -- innocence is tested, a mission accomplished, a lesson learned, and an adult finally born -- but the characters, adventures, and outcome vary with each telling. However, every once in a while this pattern gets bent or broken, as in Byatt's collection of five previously published stories. Each story is refreshingly different, eloquently detailing the story's setting, and each contains developed characters and dialog that make them truly enjoyable. The last and title story is the length of a small novella and is itself a collection of stories within a story. Readers who can keep up will have a fascinating adventure wandering from story to story as a modern middle-aged woman is granted three wishes by a highly personal and experienced genie. More than a play on words, this piece is a play on storytelling. Byatt has redesigned the fairy tale, breathing new life into old themes, and has done it with talent to spare.-- Laurel Duda, Marine Biological Laboratory, Woods Hole, Massachusetts
The Boston Globe
A dreamy treat. . .it is wondrous.
NY Times Book Review
Byatt is a storyteller who could keep a sultan on the edge of his throne for a thousand and one nights.
Wash. Post Book World
Crystalline and splendidly imaginative. . . .These are perfectly formed tales.
Kirkus Reviews
Four short fairy tales with a contemporary edge, and one novella-length tale that brilliantly transforms a story of middle- age angst into a celebration of serendipity and sex. Byatt (Babel Tower) uses that parallel world of fairy tales—which closely resembles our own in motive, character, and outcome—to explore the sources of hope and imagination. 'The Glass Coffin' reworks a traditional quest tale as a tailor seeking employment helps a stranger and, as a reward, is given a glass key and certain mystifying instructions to follow that lead him to a beautiful sleeping princess. In 'Gode's Story,' a young woman is true, while her feckless sailor lover betrays her, only to find his happiness with a new bride short-lived when he sees her among the Dead riding the ocean waves. 'The Story of the Eldest Princess' is a witty reworking of the quest tale as well as a low-key analysis of the role of fate, choice, and character as a princess steps out of her preordained role in life to rescue her people. And 'Dragon's Breath' is a wry morality tale about the unsuspected 'true relations between peace and beauty and terror' revealed when dragons destroy a village. But Byatt is at her best in the novella, about what happens when Dr. Gillian Perholt, in Turkey to attend a conference on stories, is granted the chance to make three wishes, which all come true. Troubled by visions of her mortality and her husband's desertion, fiftyish Gillian buys a dirty but striking old glass bottle and takes it back to her hotel. When she washes it, a handsome Djinn appears, who gives her the younger body she wishes for, makes love to her as she wishes, and after talk, tales, and travels, grants herher third wish. An intelligent detour with an exemplary guide through Keats' 'magic casements' to fairy land.
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Product Details

  • ISBN-13: 9780307483874
  • Publisher: Knopf Doubleday Publishing Group
  • Publication date: 10/21/2009
  • Series: Vintage International
  • Sold by: Random House
  • Format: eBook
  • Sales rank: 345,811
  • File size: 3 MB

Meet the Author

A.S. Byatt is the author of the novels Possession (winner of the Booker Prize in 1990), The Game, and the sequence The Virgin in the Garden, Still Life, and Babel Tower. She has also written two novellas, published together as Angels and Insects, and four collections of shorter works, including The Matisse Stories and The Djinn in the Nightingale's Eye. Educated at Cambridge, she was a senior lecturer in English at University College, London, before becoming a full-time writer in 1983. A distinguished critic as well as a novelist, she lives in London.

Biography

A. S. Byatt, author of the Booker Prize-winning Possession, is internationally acclaimed as a novelist, short story writer and critic. Her most recent fiction outside this tetralogy is The Biographer's Tale, a novel, and Elementals, a collection of short stories. She was created a Dame of the British Empire in 1999.

Author biography courtesy of Random House, Inc.

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    1. Also Known As:
      Antonia Susan Drabble Byatt (full name)
    2. Hometown:
      London, England; France
    1. Date of Birth:
      August 24, 1936
    2. Place of Birth:
      Sheffield, England
    1. Education:
      B.A., Newnham College, Cambridge, 1957; graduate study at Bryn Mawr College and Somerville College

Table of Contents

The Glass Coffin 1
Gode's Story 25
The Story of the Eldest Princess 39
Dragons' Breath 73
The Djinn in the Nightingale's Eye 93
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First Chapter

CHAPTER ONE

There was once a little tailor, a good and unremarkable man, who happened to be journeying through a forest, in search of work perhaps, for in those days men travelled great distances to make a meagre living, and the services of a fine craftsman, like our hero, were less in demand than cheap and cobbling hasty work that fitted ill and lasted only briefly. He believed he should come across someone who would want his skills -- he was an incurable optimist, and imagined a fortunate meeting around every corner, though how that should come about was hard to see, as he advanced farther and farther into the dark, dense trees, where even the moonlight was split into dull little needles of bluish light on the moss, not enough to see by. But he did come upon the little house that was waiting for him, in a clearing in the depths, and was cheered by the lines of yellow light he could see between and under the shutters. He knocked boldly on the door of this house, and there was a rustling, and creaking, and the door opened a tiny crack, and there stood a little man, with a face as grey as morning ashes, and a long woolly beard the same colour.

'I am a traveller lost in the woods,' said the little tailor, 'and a master craftsman, seeking work, if any is to be found.'

'I have no need for a master craftsman,' said the little grey man. 'And I am afraid of thieves. You cannot come in here.'

'If I were a thief I could have forced my way in, or crept secretly in,' said the little tailor. 'I am an honest tailor in need of help.'

Now behind the little man stood a great grey dog, as tall as he was, with red eyes and hot breath. And at first this beast had made a low girning, growling sound, but now he hushed his threatening, and waved his tail slowly, and the little grey man said, 'Otto is of the opinion that you are honest. You may have a bed for the night in return for an honest evening's work, for help with cooking and cleaning and what must be prepared in my simple home.'

So the tailor was let in, and there was a strange household. In a rocking chair stood a brilliantly coloured cockerel and his pure white wife. In the fire-corner stood a black-and-white goat, with knobby little horns and eyes like yellow glass, and on the hearth lay a very large cat, a multi-coloured, mazy-patterned brindled cat, that looked up at the little tailor with eyes like cold green jewels, with black slits for pupils. And behind the dining table was a delicate dun cow, with milky breath and a warm wet nose and enormous soft brown eyes. 'Good morning,' said the tailor to this company, for he believed in good manners, and the creatures were surveying him in a judging and intelligent way.

'Food and drink you will find in the kitchen,' said the little grey man. 'Make us a fit supper and we will eat together.'

So the little tailor turned to, and prepared a splendid pie, from flour and meat and onions he found there, and decorated its top with beautifully formed pastry leaves and flowers, for he was a craftsman, even if he could not exercise his own craft. And whilst it was cooking he looked about him, and brought hay to the cow and goat, golden corn to the cock and hen, milk to the cat and bones and meat from his cooking to the great grey dog. And when the tailor and the little grey man were consuming the pie, whose warm smell filled the little house, the little grey man said, 'Otto was right, you are a good and honest man, and you care for all the creatures in this place, leaving no one unattended and nothing undone. I shall give you a gift for your kindness. Which of these things will you have?'

And he laid before the tailor three things. The first was a little purse of soft leather, which clinked a little as he put it down. The second was a cooking pot, black outside, polished and gleaming inside, solid and commodious. And the third was a little glass key, wrought into a fantastic fragile shape, and glittering with all the colours of the rainbow. And the tailor looked at the watching animals for advice, and they all stared benignly back. And he thought to himself, I know about such gifts from forest people. It may be that the first is a purse which is never empty, and the second a pot which provides a wholesome meal whenever you demand one in the right way. I have heard of such things and met men who have been paid from such purses and eaten from such pots. But a glass key I never saw or heard of and cannot imagine what use it might be; it would shiver in any lock. But he desired the little glass key, because he was a craftsman, and could see that it had taken masterly skill to blow all these delicate wards and barrel, and because he did not have any idea about what it was or might do, and curiosity is a great power in men's lives. So he said to the little man, 'I will take the pretty glass key.' And the little man answered, 'You have chosen not with prudence, but with daring. The key is the key to an adventure, if you will go in search of it.'

'Why not?' replied the tailor. 'Since there is no use for my craft in this wild place, and since I have not chosen prudently.'

Then the animals came closer with their warm, milky breaths that smelled sweetly of hay and the summer, and their mild comforting gaze that was not human, and the dog lay with his heavy head on the tailor's foot, and the brindled cat sat on the arm of his chair.

'You must go out of this house,' said the little grey man, 'and call to the West Wind, and show her your key, when she comes, and let her carry you where she will, without struggle or alarm. If you fight or question she will toss you on the thorns and it will go ill with you before you come out of there. If she will take you, you will be set down in a bare heath, on a great stone, which is made of granite and is the gate to your adventure, though it will seem to have been fixed and unmoving since the making of the world. On this stone you must lay a feather from the tail of the cockerel here, which he will willingly give you, and the door will be opened to you. You must descend without fear, or hesitation, and descend farther, and still descend; you will find that your glass key will shed light on your way if you hold it before you. In time you will come to a stone vestibule, with two doors leading to branching passages you must not follow, and a low curtained door leading on and downwards. You must not touch this curtain with your hand, but must lay on it the milk-white feather which the hen will give you, and the curtain will be opened silently, by unseen hands, and the doors beyond it will lie open, and you may come into the hall where you shall find what you shall find.'

'Well, I will adventure,' said the little tailor, 'though I have great fear of the dark places under the earth, where there is no light of day and what is above is dense and heavy.' So the cock and the hen allowed him to take a glistening burnished black and emerald feather and a soft creamy-white feather, and he bade them all goodbye and went into the clearing, and called to the West Wind, holding up his key.

And that was a delightful and most alarming sensation, when the long, airy arms of the West Wind reached down through the trees and caught him up, and the leaves were all shivering and clattering and trembling with her passing, and the straws danced before the house and the dust rose and flew about in little earth-fountains. The trees grabbed at him with twiggy fingers as he rose up through them, lurching this way and that in the gusts, and then he felt himself held against the invisible rushing breast of the long Wind, as she hurled moaning along the sky. He rested his face against his airy pillows, and did not cry out or struggle, and the sighing song of the West Wind, full of fine rain and glancing sunshine, streaming clouds and driven starlight, netted him around and around.

She put him down as the little grey man had foretold on a huge grey granite stone, pitted and scarred and bald. He heard her whisking and wailing on her way, and he bent down and laid the cock-feather on the stone, and behold with a heavy groaning and grinding the huge stone swung up in the air and down in the earth, as though on a pivot or balance, disturbing waves of soil and heather like thick sea-water, and showing a dark, dank passage under the heather-roots and the knotty roots of the gorse. So in he went, bravely enough, thinking all the time of the thickness of rock and peat and earth over his head, and the air in that place was chill and damp and the ground underfoot was moist and sodden. He bethought him of his little key and held it up bravely before him, and it put out a little sparkling light that illumined a step at a time, silvery-pale. So he came down to the vestibule, where the three doors were, and under the sills of the two great doors light shone, warm and enticing, and the third was behind a musty leather curtain. He touched this leather, just brushing it with the tip of his soft hen-feather, and it was drawn away in angular folds like bat-wings, and beyond a little dark door lay open into a tiny hole, into which he thought he might just manage to put his shoulders. Then truly he was afraid, for his small grey friend had said nothing of this narrow little place, and he thought if he put his head in he might never come out alive.

So he looked behind himself and saw that the passage he had just come down was one of many, all wrinkled and wormy and dripping and tangled with roots, and he thought he could never find his way back so he must perforce push on and see what lay in store. It took all the courage he had to thrust his head and shoulders into the mouth of that entrance, but he closed his eyes and twisted and turned and after a time tumbled out into a great stone chamber, lit with a soft light of its own that dimmed the glitter of his shining key. It was a miracle, he thought, that the glass had not shivered in that tight struggle, but it was as clear and brittle as ever. So he looked about him, and saw three things. The first was a heap of glass bottles and flasks, all of them covered with dust and cobwebs. The second was a glass dome, the size of a man, and a little taller than our hero. And the third was a shining glass coffin, lying on a rich velvet pall on a gilded trestle. And from all these things the soft light proceeded, like the glimmering of pearls in the depth of water, like the phosphorescent light that moves of itself on the night surface of southern seas, or shines round the heaving shoals, milky-white over their silver darts, in our own dark Channel.

Well, he thought, one or all of these is my adventure. He looked at the bottles, which were many colours, red and green and blue and smoky topaz, and contained wisps and rinsings of nothing much, a sigh of smoke in one, a rocking of spirituous liquid in another. All were corked and sealed, and he was too circumspect to break the seals till he saw better where he was and what was to do.

He moved on to the dome, which you must imagine like the magic covers you have seen in your drawing-room under which dwell all sorts of brilliant little birds, as natural as life on their branches, or flights of mysterious moths and butterflies. Or maybe you have seen a crystal ball containing a tiny house which you can shake to produce a brilliant snowstorm? This dome contained a whole castle, set in a beautiful park, with trees and terraces and gardens, fishpools and climbing roses, and bright banners hanging limp in its many turrets. It was a brave and beautiful place, with innumerable windows and twisting staircases and a lawn and a swing in a tree and everything you could desire in a spacious and desirable residence, only that it was all still and tiny enough to need a magnifying glass to see the intricacies of its carvings and appurtenances. The little tailor, as I have told you, was first and foremost a craftsman, and he stared in wonder at this beautiful model and could not begin to imagine what fine tools or instruments had carved and wrought it. He dusted it a little, to marvel better, and then moved on to the glass coffin.

Have you remarked, where a fast-flowing stream comes to a little fall, how the racing water becomes glassy smooth and under it the long fine threads of the water-weed are drawn along in its still-seeming race, trembling a little, but stretched out in the flow? So under the surface of the thick glass lay a mass of long gold threads, filling in the whole cavity of the box with their turns and tumbles, so that at first the little tailor thought he had come upon a box full of spun gold, to make cloth of gold. But then between the fronds he saw a face, the most beautiful face he could have dreamed of or imagined, a still white face, with long gold lashes on pale cheeks, and a perfect pale mouth. Her gold hair lay round her like a mantle, but where its strands crossed her face they stirred a little with her breathing, so that the tailor knew she was alive. And he knew -- it is always so, after all -- that the true adventure was the release of this sleeper, who would then be his grateful bride. But she was so beautiful and peaceful that he was half-loath to disturb her. He wondered how she had come there, and how long she had been there, and what her voice would be like, and a thousand other ridiculous things, whilst she breathed in and out, ruffling the gold threads of hair.

And then he saw, in the side of the smooth box, which had no visible cleft or split, but was whole like a green ice egg, a tiny keyhole. And he knew that this was the keyhole for his wondrous delicate key, and with a little sigh he put it in and waited for what should ensue. As the little key slipped into the keyhole and melted, as it seemed into the glass body of the casket, so for a moment the whole surface was perfectly closed and smooth. And then, in a very orderly way, and with a strange bell-like tinkling, the coffin broke into a collection of long icicle splinters, that rang and vanished as they touched the earth. And the sleeper opened her eyes, which were as blue as periwinkle, or the summer sky, and the little tailor, because he knew this was what he must do, bent and kissed the perfect cheek.

'You must be the one,' said the young woman, 'you must be the one I have been waiting for, who must release me from enchantment. You must be the Prince.'

'Ah no,' said our hero, 'there you are mistaken. I am no more -- and indeed no less -- than a fine craftsman, a tailor, in search of work for my hands, honest work, to keep me alive.'

Then the young woman laughed merrily, her voice strengthening after what must have been years of silence, and the whole strange cellar rang with that laughter, and the glass fragments tinkled like broken bells.

'You shall have enough and more than enough, to keep you alive forever, if you help me out of this dark place,' she said. 'Do you see that beautiful castle locked in glass?'

'Indeed I do, and marvel at the craft with which it was made.'

'That was no carver's or miniaturist's craft, but black magic, for that was the castle in which I lived, and the forests and meadows round it were mine, where I roamed freely, with my beloved brother, until the black artist came one night seeking shelter from foul weather. For you must know that I had a twin brother, as beautiful as the day, and gentle as a fawn, and wholesome as new bread and butter, whose company pleased me so much, as mine also pleased him, that we swore an oath never to marry but to live forever peacefully in the castle, and hunt and play together the livelong day. But when this stranger knocked, in a howling gale, with his wet hat and cloak pouring rainwater and his smiling mouth, my brother invited him in eagerly, and gave him meat and wine, and a bed for the night, and sang with him, and played cards, and sat by the fire, talking of the wide world and its adventures. As I was not pleased with this, and indeed a little sorrowful that my brother should take pleasure in another's company, I went to bed early and lay listening to the West Wind howling round the turrets and after a while fell into an uneasy slumber. From this I was wakened by a strange, very beautiful twanging music, coming from all about me. I sat up, and tried to see what this might be or mean, and saw the door of my chamber slowly open and he, the stranger, came striding in, dry now, with black curly hair and a dangerous smiling face. I tried to move, but could not, it was as though a band gripped my body, and another band was tied about my face. He told me that he meant me no harm, but was a magician, who had made the music play around me, and wished to have my hand in marriage and live in my castle, with me and my brother, in peace hereafter. And I said -- for I was permitted to answer -- that I had no desire for marriage, but wished to live unwed and happy with my dear brother and no other. So he answered that that might not be, that he would have me whether I would or no, and that my brother was of his opinion in this matter. We shall see that, said I, and he answered unabashed, with the invisible instruments twanging and humming and jangling all over the room, "You may see it, but you must not speak about this or anything that has passed here, for I have silenced you as surely as if I had cut out your tongue."

'Next day I tried to warn my brother, and it was as the black artist had said. When I opened my mouth to speak on this topic it was as though my lips were sewn together with great stitches in the flesh, and my tongue would not move in my mouth. Yet I might ask to have the salt passed, or discourse of the evil weather, and so my brother, to my great chagrin, noticed nothing, but set out blithely to go hunting with his new friend, leaving me at home to sit by the hearth, and to feel silent anguish at what might ensue. All day I sat so, and in the late afternoon, when the shadows were long on the castle lawns and the last rays of the sun were brassy and chill, I knew with certainty that something terrible had happened, and ran out of the castle, and away to the dark woods. And out of the dark woods came the black man, leading his horse on one arm, and on the other a tall grey hound with the saddest face I have ever seen on any creature. He told me my brother had suddenly gone away, and would return no more for a great and uncertain length of time and had left me, and the castle, in charge of him, the dark magician. He told me this gaily, as if it did not much matter whether I believed it or no. I said I would by no means submit to such injustice and was glad to hear my own voice steady and confident, for I feared my lips might again be sewn into silence. When I spoke great tears fell from the eyes of the grey hound, more and more, heavier and heavier. And I knew in some sort, I think, that the animal was my brother, in this meek and helpless form. Then I was angry, and said he should never come into my house, nor come near me, with my good will. And he said that I had perceived correctly, that he might do nothing without my good will which he would strive to gain, if I would allow it. And I said, this should never be, and he must never hope for it. Then he became angry, and threatened that he would silence me forever, if I would not agree. I said that without my dear brother I had little care where I was, and no one I wished to speak to. Then he said I should see whether that was so after a hundred years in a glass coffin. He made a few passes and the castle diminished and shrank, as you see it now, and he made a pass or two more and it was walled with glass as you see. And my people, the men and maidservants who came running, he confined as you see, each in a glass bottle, and finally closed me into the glass coffin in which you found me. And now, if you will have me, we will hasten from this place, before the magician returns, as he does from time to time, to see if I have relented.'

'Of course I will have you,' said the little tailor, 'for you are my promised marvel, released with my vanished glass key, and I love you dearly already. Though why you should have me, simply because I opened the glass case, is less clear to me altogether, and when, and if, you are restored to your rightful place, and your home and lands and people are again your own, I trust you will feel free to reconsider the matter, and remain, if you will, alone and unwed. For me, it is enough to have seen the extraordinary gold web of your hair, and to have touched that whitest and most delicate cheek with my lips.' And you may ask yourselves, my dear and most innocent readers, whether he spoke there with more gentleness or cunning, since the lady set such store on giving herself of her own free will, and since also the castle with its gardens, though now measurable with pins and fine stitches and thumbnails and thimbles, were lordly and handsome enough for any man to wish to spend his days there. The beautiful lady then blushed, a warm and rosy colour in her white cheeks, and was heard to murmur that the spell was as the spell was, that a kiss received after the successful disintegration of the glass casket was a promise, as kisses are, whether received voluntarily or involuntarily. Whilst they were thus disputing, politely, the moral niceties of their interesting situation, a rushing sound was heard, and a melodious twanging, and the lady became very agitated, and said the black magician was on his way. And our hero, in his turn, felt despondent and fearful, for his little grey mentor had given him no instructions for this eventuality. Still, he thought, I must do what I can to protect the lady, to whom I owe so much, and whom I have certainly, for better, for worse, released from sleep and silence. He carried no weapon save his own sharp needles and scissors, but it occurred to him that he could make do with the slivers of glass from the broken sarcophagus. So he took up the longest and sharpest, wrapping its hilt round in his leather apron, and waited.

The black artist appeared on the threshold, wrapped in a swirling black cloak, smiling most ferociously, and the little tailor quaked and held up his splinter, thinking his foe would be bound to meet it magically, or freeze his hand in motion as he struck. But the other merely advanced, and when he came up, put out a hand to touch the lady, whereupon our hero struck with all his might at his heart, and the glass splinter entered deeply and he fell to the ground. And behold, he shrivelled and withered under their eyes, and became a small handful of grey dust and glass powder. Then the lady wept a little, and said that the tailor had now twice saved her, and was in every way worthy of her hand. And she clapped her hands together, and suddenly they all rose in the air, man, woman, house, glass flasks, heap of dust, and found themselves out on a cold hillside where stood the original little grey man with Otto the hound. And you, my sagacious readers, will have perceived and understood that Otto was the very same hound into which the young brother of the lady of the coffin had been transformed. So she fell upon his grey hairy neck, weeping bright tears. And when her tears mixed with the salty tears that fell down the great beast's cheek, the spell was released, and he stood before her, a golden-haired young man in hunting-costume. And they embraced, for a long time, with full hearts. Meanwhile the little tailor, aided by the little grey man, had stroked the glass case containing the castle with the two feathers from the cock and hen, and with a strange rushing and rumbling the castle appeared as it must always have been, with noble staircases and innumerable doors. Then the little tailor and the little grey man uncorked the bottles and flasks and the liquids and smokes flowed sighing out of the necks of them, and formed themselves into men and women, butler and forester, cook and parlourmaid, all mightily bewildered to find themselves where they were. Then the lady told her brother that the little tailor had rescued her from her sleep and had killed the black artist and had won her hand in marriage. And the young man said that the tailor had offered him kindness, and should live with them both in the castle and be happy ever after. And so it was, and they did live happily ever after. The young man and his sister went hunting in the wild woods, and the little tailor, whose inclination did not lie that way, stayed by the hearth and was merry with them in the evenings. Only one thing was missing. A craftsman is nothing without the exercise of his craft. So he ordered to be brought to him the finest silk cloth and brilliant threads, and made for pleasure what he had once needed to make for harsh necessity.

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