A collection of thirty short stories written by Terry Jones during the summer of 1978 for his daughter, Sally. It was published by Pavilion Books as an impressive hardback volume with illustrations by Michael Foreman in 1981. The original version is highly sought after but the paperback version, published by Puffin in 1987 with black and white illustrations, is still widely available and hugely recommended, regardless of your age.

The stories are of classic fairy tale stock; fairies, goblins, magic, dragons, kindly kings and wicked witches all come and go with entertaining regularity, helped with a heavy spoonful of Jones' trademark Pythonesque humour - especially noticable in The Silly King. And, in true fairy tale fashion, all the stories have little morals and lessons to be learned woven right into the fabric, thankfully without them looking like blatantly obvious moral plays one might usually associate with mid-eighties American sitcoms.

Contents

  1. The Corn Dolly
  2. The Silly King
  3. The Wonderful Cake-Horse
  4. The Fly-By-Night
  5. Three Raindrops
  6. The Butterfly Who Sang
  7. Jack One-Step
  8. The Glass Cupboard
  9. Katy-Make-Sure
  10. The Wooden City
  11. The Ship Of Bones
  12. Simple Peter's Mirror
  13. Brave Molly
  14. The Sea Tiger
  15. The Wind Ghosts
  16. The Big Noses
  17. A Fish Of The World
  18. Tim O'Leary
  19. The Witch and the Rainbow Cat
  20. The Monster Tree
  21. The Snuff Box
  22. The Man Who Owned The Earth
  23. Why Birds Sing In The Morning
  24. The Key
  25. The Wine of Li-Po
  26. The Island of Purple Fruits
  27. The Beast with a Thousand Teeth
  28. Far-Away Castle
  29. Dr. Bonocolus's Devil
  30. The Boat That Went Nowhere
Quotes from the back cover:

"Terry Jones is a gifted storyteller ... perfect for reading aloud."
- Good Book Guide to Children's Books

"Here is an author setting out to rival classic fairy tales and making an exciting job of it."
- Financial Times

"...could conceivably become a 'modern classic' ... the book is a joy."
- The Spectator

ISBN 0-14-032262-0

An attempt to collect and list all the fairy tale material within Everything.

Fairy Tale texts in Everything

The Adventures of Pinocchio
Aesop's Fables
Alice's Adventures in Wonderland
Beauty and the Beast
The Black Bull of Norroway
Blue Beard
The Boy With Sad Eyes
The Brave Little Tailor
The Brave Tin Soldier
Brides on their Trial
The Child who came from an Egg
Cinderella
Clever Hans
Cupid and Psyche
East of the Sun and West of the Moon
The Emperor's New Clothes
The Enchanted Knife
The Envious Neighbour
Felicia and the Pot of Pinks
The Finest Liar in the World
Fire Mountain
The Fisherman and His Soul
The Fisherman and His Wife
The Forty Thieves
The Frog
The Frog Prince
The Goat's Ears of the Emperor Trojan
The Golden Goose
The Golden Key
The Goosegirl
The Grateful Crane
The Grateful Prince
Hansel and Gretel
The Happy Prince
The History of Jack the Giant-Killer
The History of Whittington
How a Fish swam in the Air and a Hare in the Water
The Last of the Dragons
The Light Princess
The Little Mermaid
Little Red Riding Hood
Little Thumb
The Lute Player
The Metal Pig
The Nightingale
The Nine Pea-hens and the Golden Apples
The Old Lady who Lived in a Bottle
The Pied Piper
The Princess and The Pea
Princess Isca and the Forbidden Door
Princess of Canterbury
Puss in Boots
The Princess who was Hidden Underground
Rapunzel
The Reluctant Dragon
A Riddling Tale
Rumpel-stilts-kin
Schippeitaro
The Selfish Giant
The Seven Ravens
Sharing Joy and Sorrow
The Sleeping Beauty in the Wood
The Smooching Princess
The Snow Queen
Stan Bolovan
The Story of a Gazelle
The Story of three Wonderful Beggars
The Straw, the Coal, and the Bean
Stupid's Cries
Sweet Porridge
A Tale of the Tontlawald
The Tale of a Youth who set out to learn what Fear was
A Thousand and One Arabian Nights
The Terrible Head
The Three Princes and their Beasts
The Three Sluggards
The Three Spinners
Toads and Diamonds
Trusty John
The Two Frogs
Two in a Sack
The Ugly Duckling
The White Cat
Why the Sea is Salt
The Wicked Prince
The Wild Swans
The Wolf and the Seven Little Kids
The Wonderful Wizard of Oz

Fairy tale authors and editors in Everything

Aesop
Hans Christian Andersen
James M. Barrie
L. Frank Baum
Italo Calvino
Lewis Carroll
Angela Carter
Edward Eager
William Goldman
Kenneth Grahame
Brothers Grimm
E. Nesbit
Andrew Lang
George Macdonald
Charles Perrault
Beatrix Potter
J. R. R. Tolkien
Marina Warner
Oscar Wilde
Jack Zipes

Nodes about fairy tales in Everything

Difference between English and French fairy tales
fairy tale
fairy-tale
fairy tale haiku
On Fairy-Stories NEW
The Fantastic Imagination
Things Fairy Tales have taught me new


Noder's notes: If you have noded, or know of, any other fairy tale resources, please /msg heyoka, and I will add your stuff to this list.
I plan to add more of the Andrew Lang fairy tale books to Everything, (working on the rest of The Violet Fairy Book), as well as writing up a short history of fairy tales.

SOME solemn and superficial people (for nearly all very superficial people are solemn) have declared that the fairy-tales are immoral; they base this upon some accidental circumstances or regrettable incidents in the war between giants and boys, some cases in which the latter indulged in unsympathetic deceptions or even in practical jokes. The objection, however, is not only false, but very much the reverse of the facts. The fairy-tales are at root not only moral in the sense of being innocent, but moral in the sense of being didactic, moral in the sense of being moralising. It is all very well to talk of the freedom of fairyland, but there was precious little freedom in fairyland by the best official accounts. Mr. W. B. Yeats and other sensitive modern souls, feeling that modern life is about as black a slavery as ever oppressed mankind (they are right enough there), have especially described elfland as a place of utter ease and abandonment—a place where the soul can turn every way at will like the wind. Science denounces the idea of a capricious God; but Mr. Yeats's school suggests that in that world every one is a capricious god. Mr. Yeats himself has said a hundred times in that sad and splendid literary style which makes him the first of all poets now writing in English (I will not say of all English poets, for Irishmen are familiar with the practice of physical assault), he has, I say, called up a hundred times the picture of the terrible freedom of the fairies, who typify the ultimate anarchy of art—

“Where nobody grows old or weary or wise,
Where nobody grows old or godly or grave.

But, after all (it is a shocking thing to say), I doubt whether Mr. Yeats really knows the real philosophy of the fairies. He is not simple enough; he is not stupid enough. Though I say it who should not, in good sound human stupidity I would knock Mr. Yeats out any day. The fairies like me better than Mr. Yeats; they can take me in more. And I have my doubts whether this feeling of the free, wild spirits on the crest of hill or wave is really the central and simple spirit of folk-lore. I think the poets have made a mistake: because the world of the fairy-tales is a brighter and more varied world than ours, they have fancied it less moral; really it is brighter and more varied because it is more moral. Suppose a man could be born in a modern prison. It is impossible, of course, because nothing human can happen in a modern prison, though it could sometimes in an ancient dungeon. A modern prison is always inhuman, even when it is not inhumane. But suppose a man were born in a modern prison, and grew accustomed to the deadly silence and the disgusting indifference; and suppose he were then suddenly turned loose upon the life and laughter of Fleet Street. He would, of course, think that the literary men in Fleet Street were a free and happy race; yet how sadly, how ironically, is this the reverse of the case! And so again these toiling serfs in Fleet Street, when they catch a glimpse of the fairies, think the fairies are utterly free. But fairies are like journalists in this and many other respects. Fairies and journalists have an apparent gaiety and a delusive beauty. Fairies and journalists seem to be lovely and lawless; they seem to be both of them too exquisite to descend to the ugliness of everyday duty. But it is an illusion created by the sudden sweetness of their presence. Journalists live under law; and so in fact does fairyland.

If you really read the fairy-tales, you will observe that one idea runs from one end of them to the other—the idea that peace and happiness can only exist on some condition. This idea, which is the core of ethics, is the core of the nursery-tales. The whole happiness of fairyland hangs upon a thread, upon one thread. Cinderella may have a dress woven on supernatural looms and blazing with unearthly brilliance; but she must be back when the clock strikes twelve. The king may invite fairies to the christening, but he must invite all the fairies or frightful results will follow. Bluebeard's wife may open all doors but one. A promise is broken to a cat, and the whole world goes wrong. A promise is broken to a yellow dwarf, and the whole world goes wrong. A girl may be the bride of the God of Love himself if she never tries to see him; she sees him, and he vanishes away. A girl is given a box on condition she does not open it; she opens it, and all the evils of this world rush out at her. A man and woman are put in a garden on condition that they do not eat one fruit: they eat it, and lose their joy in all the fruits of the earth.

This great idea, then, is the backbone of all folk-lore—the idea that all happiness hangs on one thin veto; all positive joy depends on one negative. Now, it is obvious that there are many philosophical and religious ideas akin to or symbolised by this; but it is not with them I wish to deal here. It is surely obvious that all ethics ought to be taught to this fairy-tale tune; that, if one does the thing forbidden, one imperils all the things provided. A man who breaks his promise to his wife ought to be reminded that, even if she is a cat, the case of the fairy-cat shows that such conduct may be incautious. A burglar just about to open some one else's safe should be playfully reminded that he is in the perilous posture of the beautiful Pandora: he is about to lift the forbidden lid and loosen evils unknown. The boy eating some one's apples in some one's apple tree should be a reminder that he has come to a mystical moment of his life, when one apple may rob him of all others. This is the profound morality of fairy-tales; which, so far from being lawless, go to the root of all law. Instead of finding (like common books of ethics) a rationalistic basis for each Commandment, they find the great mystical basis for all Commandments. We are in this fairyland on sufferance; it is not for us to quarrel with the conditions under which we enjoy this wild vision of the world. The vetoes are indeed extraordinary, but then so are the concessions. The idea of property, the idea of some one else's apples, is a rum idea; but then the idea of there being any apples is a rum idea. It is strange and weird that I cannot with safety drink ten bottles of champagne; but then the champagne itself is strange and weird, if you come to that. If I have drunk of the fairies' drink it is but just I should drink by the fairies' rules. We may not see the direct logical connection between three beautiful silver spoons and a large ugly policeman; but then who in fairy tales ever could see the direct logical connection between three bears and a giant, or between a rose and a roaring beast? Not only can these fairy-tales be enjoyed because they are moral, but morality can be enjoyed because it puts us in fairyland, in a world at once of wonder and of war.


G. K. Chesterton, All Things Considered, 1908

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