5\. What Is to Be Done?
by George MacDonald · from The Light Princess
Adapted Version
In a big castle lived a King and Queen. They had a little girl, Princess Lily. But Princess Lily was very special...
King Leo was very sad. His daughter was Princess Lily. She was very light. She weighed almost nothing at all. King Leo felt very worried. He loved his little girl so much.
Queen Luna was in her room. She felt very sad. Big tears came to her eyes. Her heart hurt for Princess Lily. She could not eat her food.
King Leo came to Queen Luna. "Why are you so sad?" he asked her. Queen Luna said, "Our Lily is too light." King Leo said, "She is very light." Queen Luna said, "She is too happy." King Leo sighed a big sigh. They both worried a lot.
Queen Luna had a new idea. "Go see your sister," she said. "Auntie Rose can help us." King Leo remembered a fight. He made Auntie Rose angry then.
King Leo went to Auntie Rose's house. He said, "I am sorry." He told her about Lily. "Please help our dear girl," he asked. He hoped she would help them.
Auntie Rose looked at King Leo. "I know nothing at all," she said. But her bright eyes shone pink. She smiled a little smile. "Be patient," she told him. "Just wait and see."
King Leo came home. He was very, very sad. Queen Luna hugged him tight. "We must wait now," she said. "Princess Lily will grow bigger. She will be fine later."
King Leo worried a lot. "What if Lily marries?" he asked. "What if she has babies? Will they float too?" He saw floating children. It was a very funny thought. He still worried much.
Queen Luna smiled a kind smile. "Do not worry," she said. "The children will be fine. They will learn to live. They will take care of themselves."
King Leo sighed a big, big sigh. He did not ask doctors for help. He did not want harm for Lily. They would wait and see. They loved their special girl always.
Original Story
5. What Is to Be Done?
But above-stairs it was different. One day, for instance, after breakfast, the king went into his counting-house, and counted out his money. The operation gave him no pleasure.
"To think," said he to himself, "that every one of these gold sovereigns weighs a quarter of an ounce, and my real, live, flesh-and-blood princess weighs nothing at all!"
And he hated his gold sovereigns, as they lay with a broad smile of self-satisfaction all over their yellow faces.
The queen was in the parlour, eating bread and honey. But at the second mouthful she burst out crying, and could not swallow it.
The king heard her sobbing. Glad of anybody, but especially of his queen, to quarrel with, he clashed his gold sovereigns into his money-box, clapped his crown on his head, and rushed into the parlour.
"What is all this about?" exclaimed he. "What are you crying for, queen?"
"I can't eat it," said the queen, looking ruefully at the honey-pot.
"No wonder!" retorted the king. "You've just eaten your breakfast—two turkey eggs, and three anchovies."
"Oh, that's not it!" sobbed her Majesty. "It's my child, my child!"
"Well, what's the matter with your child? She's neither up the chimney nor down the draw-well. Just hear her laughing."
Yet the king could not help a sigh, which he tried to turn into a cough, saying—
"It is a good thing to be light-hearted, I am sure, whether she be ours or not."
"It is a bad thing to be light-headed," answered the queen, looking with prophetic soul far into the future.
"'Tis a good thing to be light-handed," said the king.
"'Tis a bad thing to be light-fingered," answered the queen.
"'Tis a good thing to be light-footed," said the king.
"'Tis a bad thing—" began the queen; but the king interrupted her.
"In fact," said he, with the tone of one who concludes an argument in which he has had only imaginary opponents, and in which, therefore, he has come off triumphant—"in fact, it is a good thing altogether to be light-bodied."
"But it is a bad thing altogether to be light-minded," retorted the queen, who was beginning to lose her temper.
This last answer quite discomfited his Majesty, who turned on his heel, and betook himself to his counting-house again. But he was not half-way towards it, when the voice of his queen overtook him.
"And it's a bad thing to be light-haired," screamed she, determined to have more last words, now that her spirit was roused.
The queen's hair was black as night; and the king's had been, and his daughter's was, golden as morning. But it was not this reflection on his hair that arrested him; it was the double use of the word light. For the king hated all witticisms, and punning especially. And besides, he could not tell whether the queen meant light-haired or light-heired; for why might she not aspirate her vowels when she was exasperated herself?
He turned upon his other heel, and rejoined her. She looked angry still, because she knew that she was guilty, or, what was much the same, knew that HE thought so.
"My dear queen," said he, "duplicity of any sort is exceedingly objectionable between married people of any rank, not to say kings and queens; and the most objectionable form duplicity can assume is that of punning."
"There!" said the queen, "I never made a jest, but I broke it in the making. I am the most unfortunate woman in the world!"
She looked so rueful, that the king took her in his arms; and they sat down to consult.
"Can you bear this?" said the king.
"No, I can't," said the queen.
"Well, what's to be done?" said the king.
"I'm sure I don't know," said the queen. "But might you not try an apology?"
"To my old sister, I suppose you mean?" said the king.
"Yes," said the queen.
"Well, I don't mind," said the king.
So he went the next morning to the house of the princess, and, making a very humble apology, begged her to undo the spell. But the princess declared, with a grave face, that she knew nothing at all about it. Her eyes, however, shone pink, which was a sign that she was happy. She advised the king and queen to have patience, and to mend their ways. The king returned disconsolate. The queen tried to comfort him.
"We will wait till she is older. She may then be able to suggest something herself. She will know at least how she feels, and explain things to us."
"But what if she should marry?" exclaimed the king, in sudden consternation at the idea.
"Well, what of that?" rejoined the queen. "Just think! If she were to have children! In the course of a hundred years the air might be as full of floating children as of gossamers in autumn."
"That is no business of ours," replied the queen. "Besides, by that time they will have learned to take care of themselves."
A sigh was the king's only answer.
He would have consulted the court physicians; but he was afraid they would try experiments upon her.
Story DNA
Plot Summary
A king and queen are deeply troubled because their princess weighs nothing, a condition they attribute to a past slight against the king's sister. After a witty, pun-filled argument about their anxieties, the queen convinces the king to apologize to his sister. The sister, however, denies involvement while subtly hinting at her pleasure, advising patience. The royal couple is left disconsolate, contemplating their daughter's future, including the humorous possibility of floating grandchildren, and ultimately resign themselves to waiting for a solution.
Themes
Emotional Arc
anxiety to resignation
Writing Style
Narrative Elements
Cultural Context
George MacDonald was a Victorian author known for his fantasy and fairy tales, often imbued with allegorical or moralistic undertones, though this particular excerpt focuses more on whimsical dialogue and character interaction.
Plot Beats (10)
- The king is unhappy counting his money, lamenting that his princess weighs nothing.
- The queen is crying over her breakfast, distressed about their daughter's condition.
- The king and queen argue, using puns on the word 'light' to express their anxieties.
- The queen suggests the king apologize to his sister, who they believe is responsible for the spell.
- The king visits his sister, makes a humble apology, and asks her to undo the spell.
- The sister denies knowing anything about it, but her pink, happy eyes suggest otherwise, and she advises patience.
- The king returns disconsolate, and the queen attempts to comfort him, suggesting they wait for their daughter to grow up.
- The king expresses concern about his daughter marrying and having children, imagining a world full of floating offspring.
- The queen dismisses his concerns, believing the children will learn to care for themselves.
- The king sighs in resignation, deciding against consulting physicians to avoid experiments on his daughter.
Characters
The King ★ protagonist
A man of regal bearing, likely of average height and build, though his specific features are not detailed. His actions suggest a certain impatience and a tendency towards bluster.
Attire: Regal attire befitting a king, likely including rich fabrics and a crown. He 'clapped his crown on his head' when rushing to confront the queen, indicating it's a regular accessory.
Wants: To find a solution for his daughter's unusual lightness and to alleviate his own worry and discomfort regarding the situation.
Flaw: Impatience, a dislike for witticisms (especially puns), and a tendency to be easily discomfited by his wife's sharp retorts.
He begins frustrated and argumentative, but his deep love for his daughter leads him to seek solutions, even if it means humbling himself. He remains disconsolate by the end, indicating no immediate resolution.
Impatient, easily discomfited, somewhat argumentative, concerned for his daughter, but also practical and a bit gruff.
Image Prompt & Upload
A middle-aged man with a regal bearing, standing upright, facing forward, full body visible from head to toe. He has a stern expression, a square jaw, and once-golden hair, now possibly greying at the temples. He wears a rich, deep crimson velvet tunic with gold embroidery at the collar and cuffs, a heavy gold chain around his neck, and a simple, polished gold crown on his head. His posture is rigid, hands clasped in front of him. Plain white background, full body visible head to toe, single figure, no watermark, no text, no signature.
The Queen ◆ supporting
A woman of strong will and emotional depth, her physical presence is not explicitly detailed beyond her hair color. She is prone to sudden emotional outbursts.
Attire: Regal attire befitting a queen, likely in rich fabrics, though no specific garments are mentioned.
Wants: To find a solution for her daughter's condition and to alleviate her own distress and worry.
Flaw: Her emotional nature can lead to outbursts and a tendency to lose her temper, which can sometimes discomfit her husband.
She begins in distress over her daughter's condition, engages in a verbal sparring match with her husband, and ultimately seeks comfort and solutions with him. Her character remains consistent in her worry and wit.
Emotional, sharp-witted, prone to worry, perceptive ('prophetic soul'), and capable of holding her own in an argument.
Image Prompt & Upload
A middle-aged woman with a regal bearing, standing upright, facing forward, full body visible from head to toe. She has long, straight hair, black as night, pulled back from a pale, oval face. Her eyes are dark and expressive, often showing a hint of worry or exasperation. She wears a flowing gown of deep sapphire blue silk, with a high collar and long sleeves, adorned with subtle silver embroidery. Her hands are clasped at her waist, and her expression is one of thoughtful concern. Plain white background, full body visible head to toe, single figure, no watermark, no text, no signature.
The Princess ◆ supporting
Her most defining physical trait is her extreme lightness, weighing 'nothing at all'. She is a 'flesh-and-blood princess', implying a normal human appearance otherwise.
Attire: Not specified, but would be appropriate for a young princess, likely in light, flowing fabrics to emphasize her weightlessness.
Wants: Not explicitly stated, as she is a child. Her actions are driven by her natural disposition.
Flaw: Her extreme lightness, which is the central problem of the story.
She remains a static character in this excerpt, a source of concern for her parents, but personally unaffected by her condition.
Light-hearted, cheerful (as evidenced by her laughter), and seemingly unaware or unbothered by her unusual condition.
Image Prompt & Upload
A young child, a girl, standing upright, facing forward, full body visible from head to toe. She has long, wavy golden hair that cascades down her back, bright blue eyes, and a round, cheerful face with rosy cheeks. She wears a simple, light ivory silk gown with short puffed sleeves and a delicate lace trim at the hem. Her posture is graceful and airy, as if she could float away at any moment, with a joyful, innocent smile. Plain white background, full body visible head to toe, single figure, no watermark, no text, no signature.
The Old Princess ○ minor
Her age is indicated by 'old sister'. Her eyes 'shone pink', suggesting a magical or unusual quality, possibly a sign of her power or amusement.
Attire: Not specified, but would be appropriate for an elderly princess, perhaps elegant but understated, or with a hint of magical flair.
Wants: To teach her brother a lesson or to observe the consequences of her actions, as she seems to be enjoying the situation.
Flaw: Not explicitly shown, but her enjoyment of the king's predicament might be a form of pride or vindictiveness.
She appears briefly, confirms her non-involvement (while her eyes betray her), and offers cryptic advice, remaining an enigmatic figure.
Mysterious, powerful, possibly mischievous (implied by her denial and pink eyes), and wise (advising patience and mending ways).
Image Prompt & Upload
An elderly woman with a regal and composed demeanor, standing upright, facing forward, full body visible from head to toe. She has a grave, serene face with fine wrinkles around her eyes, which glow with a faint pink light. Her hair is silver-white, styled in an elegant, intricate braid. She wears a flowing gown of deep forest green velvet, with long, wide sleeves and a high, embroidered collar. Her hands are clasped gracefully in front of her. Plain white background, full body visible head to toe, single figure, no watermark, no text, no signature.
Locations
The King's Counting-House
A private chamber within a German-style castle, likely with heavy oak furniture and a large, sturdy wooden table where the king counts his gold. The room would feel somewhat austere and functional, contrasting with the opulence of other royal chambers.
Mood: Somber, frustrating, isolated
The king counts his money, feeling no pleasure, and laments his daughter's weightlessness, leading to an argument with the queen.
Image Prompt & Upload
A dimly lit, wood-paneled counting-house within a medieval German castle. A heavy, dark oak table dominates the center, covered with stacks of gleaming gold sovereigns and a sturdy, iron-bound wooden money-box. Sunlight filters weakly through a narrow, leaded-glass window, casting long shadows across the rough-hewn timber walls. The air is still and heavy with the scent of old wood and metal. no border, no frame, no watermark, no text, no signature, edge-to-edge illustration.
The Royal Parlour
A comfortable, yet slightly formal, sitting room in a German castle, furnished with upholstered chairs and a small table. It would have a more domestic feel than the counting-house, perhaps with tapestries on the walls or a large stone fireplace, but still reflecting royal status.
Mood: Distressed, argumentative, eventually conciliatory
The queen cries over her inability to eat, sparking a heated argument with the king about their daughter's lightness, which eventually resolves into a shared consultation.
Image Prompt & Upload
A cozy yet elegant parlour within a German castle, featuring a large, ornate stone fireplace and walls adorned with woven tapestries depicting forest scenes. Two high-backed, velvet-upholstered chairs are arranged around a small, polished wooden table, upon which sits a ceramic honey-pot and a half-eaten slice of bread. Soft morning light streams through a tall, arched window, illuminating dust motes in the air and warming the patterned rug on the flagstone floor. no border, no frame, no watermark, no text, no signature, edge-to-edge illustration.
The Princess's House
The home of the king's sister, the princess, likely a smaller, more modest but still well-appointed residence compared to the main castle. It would have a slightly mysterious or whimsical feel, perhaps with unusual decor or a sense of quiet power.
Mood: Mysterious, subtly powerful, unhelpful
The king visits his sister to apologize and beg her to undo the spell, but she feigns ignorance, her pink-shining eyes betraying her amusement.
Image Prompt & Upload
A quiet, well-maintained sitting room in a German noblewoman's house, distinct from the main castle. The room features dark, carved wooden furniture, perhaps a spinning wheel or a loom in a corner, and shelves filled with curious objects. Soft, diffused morning light enters through a tall, narrow window, illuminating the intricate patterns of a woven rug on the polished wooden floor. The air feels still and observant. no border, no frame, no watermark, no text, no signature, edge-to-edge illustration.
