The Baker's Wife

by George MacDonald · from The Princess and Curdie

fairy tale moral tale satirical Ages 8-14 1792 words 8 min read
Cover: The Baker's Wife

Adapted Version

CEFR A1 Age 5 374 words 2 min Canon 80/100

Curdie and Lina walked a long way. They saw a big city called Gray City. Its old walls looked broken.

The city looked nice. It had many rich houses. But people here only cared for themselves. They did not help friends. They did not help strangers. This was not good.

Curdie and Lina walked into the city. They saw many people. The people sat around. They did not do much. They did not smile. They did not say hello.

A baker ran in the street. He wore a white apron. He tripped on a loose stone. He fell down hard. He hurt his head. He said, "Oh no! It is the king's fault!"

Curdie helped The Baker up. Curdie asked, "Why not fix it?" The Baker got very grumpy. He did not like this question. He said, "I do not know you!"

Curdie took his tool. It was a mattock. He hit the loose stone. He hit it many times. The stone broke into pieces. A small piece flew. It hit The Barber's window. The window made a little crack.

The Barber ran out. He was very sad. He shouted, "My window! You broke my window! He ignored The Baker." He did not ask if he was okay. He only wanted money.

Curdie gave The Barber some coins. He paid for the window. Curdie picked up a stone piece. It was from the broken stone. The Barber tried to grab it. He said, "Give me that!"

The Baker was happy. The bad stone was gone. He took Curdie's tool. He wanted to break a new stone. He hit the stone. But it was very hard. He hurt his hand a little. He could not do it.

The Baker dropped the tool. He ran into his shop. Curdie followed him inside. The Baker felt sad. He felt bad. He ran out the back door fast.

The Baker's Wife came out. She saw it all. She gave Curdie warm bread. It was very good bread. She whispered, "Watch out, my son. People here are not kind."

Curdie ate the good bread. Lina ate some too. The Baker's Wife gave them water. They drank the water. Then Curdie and Lina walked on. They went up the street.

Original Story 1792 words · 8 min read

The Baker's Wife

They were now passing through a lovely country of hill and dale and rushing stream. The hills were abrupt, with broken chasms for watercourses, and deep little valleys full of trees. But now and then they came to a larger valley, with a fine river, whose level banks and the adjacent meadows were dotted all over with red and white kine, while on the fields above, that sloped a little to the foot of the hills, grew oats and barley and wheat, and on the sides of the hills themselves vines hung and chestnuts rose.

They came at last to a broad, beautiful river, up which they must go to arrive at the city of Gwyntystorm, where the king had his court. As they went the valley narrowed, and then the river, but still it was wide enough for large boats. After this, while the river kept its size, the banks narrowed, until there was only room for a road between the river and the great Cliffs that overhung it. At last river and road took a sudden turn, and lo! a great rock in the river, which dividing flowed around it, and on the top of the rock the city, with lofty walls and towers and battlements, and above the city the palace of the king, built like a strong castle. But the fortifications had long been neglected, for the whole country was now under one king, and all men said there was no more need for weapons or walls. No man pretended to love his neighbour, but every one said he knew that peace and quiet behaviour was the best thing for himself, and that, he said, was quite as useful, and a great deal more reasonable. The city was prosperous and rich, and if everybody was not comfortable, everybody else said he ought to be.

When Curdie got up opposite the mighty rock, which sparkled all over with crystals, he found a narrow bridge, defended by gates and portcullis and towers with loopholes. But the gates stood wide open, and were dropping from their great hinges; the portcullis was eaten away with rust, and clung to the grooves evidently immovable; while the loopholed towers had neither floor nor roof, and their tops were fast filling up their interiors. Curdie thought it a pity, if only for their old story, that they should be thus neglected. But everybody in the city regarded these signs of decay as the best proof of the prosperity of the place. Commerce and self-interest, they said, had got the better of violence, and the troubles of the past were whelmed in the riches that flowed in at their open gates.

Indeed, there was one sect of philosophers in it which taught that it would be better to forget all the past history of the city, were it not that its former imperfections taught its present inhabitants how superior they and their times were, and enabled them to glory over their ancestors. There were even certain quacks in the city who advertised pills for enabling people to think well of themselves, and some few bought of them, but most laughed, and said, with evident truth, that they did not require them. Indeed, the general theme of discourse when they met was, how much wiser they were than their fathers.

Curdie crossed the river, and began to ascend the winding road that led up to the city. They met a good many idlers, and all stared at them. It was no wonder they should stare, but there was an unfriendliness in their looks which Curdie did not like. No one, however, offered them any molestation: Lina did not invite liberties. After a long ascent, they reached the principal gate of the city and entered.

The street was very steep, ascending toward the palace, which rose in great strength above all the houses. Just as they entered, a baker, whose shop was a few doors inside the gate, came out in his white apron, and ran to the shop of his friend, the barber, on the opposite side of the way. But as he ran he stumbled and fell heavily. Curdie hastened to help him up, and found he had bruised his forehead badly. He swore grievously at the stone for tripping him up, declaring it was the third time he had fallen over it within the last month; and saying what was the king about that he allowed such a stone to stick up forever on the main street of his royal residence of Gwyntystorm! What was a king for if he would not take care of his people's heads! And he stroked his forehead tenderly.

'Was it your head or your feet that ought to bear the blame of your fall?' asked Curdie.

'Why, you booby of a miner! My feet, of course,' answered the baker.

'Nay, then,' said Curdie, 'the king can't be to blame.'

'Oh, I see!' said the baker. 'You're laying a trap for me. Of course, if you come to that, it was my head that ought to have looked after my feet. But it is the king's part to look after us all, and have his streets smooth.'

'Well, I don't see, said Curdie, 'why the king should take care of the baker, when the baker's head won't take care of the baker's feet.'

'Who are you to make game of the king's baker?' cried the man in a rage.

But, instead of answering, Curdie went up to the bump on the street which had repeated itself on the baker's head, and turning the hammer end of his mattock, struck it such a blow that it flew wide in pieces. Blow after blow he struck until he had levelled it with the street.

But out flew the barber upon him in a rage. 'What do you break my window for, you rascal, with your pickaxe?'

'I am very sorry,' said Curdie. 'It must have been a bit of stone that flew from my mattock. I couldn't help it, you know.'

'Couldn't help it! A fine story! What do you go breaking the rock for—the very rock upon which the city stands?'

'Look at your friend's forehead,' said Curdie. 'See what a lump he has got on it with falling over that same stone.'

'What's that to my window?' cried the barber. 'His forehead can mend itself; my poor window can't.'

'But he's the king's baker,' said Curdie, more and more surprised at the man's anger.

'What's that to me? This is a free city. Every man here takes care of himself, and the king takes care of us all. I'll have the price of my window out of you, or the exchequer shall pay for it.'

Something caught Curdie's eye. He stooped, picked up a piece of the stone he had just broken, and put it in his pocket.

'I suppose you are going to break another of my windows with that stone!' said the barber.

'Oh no,' said Curdie. 'I didn't mean to break your window, and I certainly won't break another.'

'Give me that stone,' said the barber.

Curdie gave it him, and the barber threw it over the city wall.

'I thought you wanted the stone,' said Curdie.

'No, you fool!' answered the barber. 'What should I want with a stone?'

Curdie stooped and picked up another.

'Give me that stone,' said the barber.

'No,' answered Curdie. 'You have just told me YOU don't want a stone, and I do.'

The barber took Curdie by the collar.

'Come, now! You pay me for that window.'

'How much?' asked Curdie.

The barber said, 'A crown.' But the baker, annoyed at the heartlessness of the barber, in thinking more of his broken window than the bump on his friend's forehead, interfered.

'No, no,' he said to Curdie; 'don't you pay any such sum. A little pane like that cost only a quarter.'

'Well, to be certain,' said Curdie, 'I'll give a half.' For he doubted the baker as well as the barber. 'Perhaps one day, if he finds he has asked too much, he will bring me the difference.'

'Ha! ha!' laughed the barber. 'A fool and his money are soon parted.'

But as he took the coin from Curdie's hand he grasped it in affected reconciliation and real satisfaction. In Curdie's, his was the cold smooth leathery palm of a monkey. He looked up, almost expecting to see him pop the money in his cheek; but he had not yet got so far as that, though he was well on the road to it: then he would have no other pocket.

'I'm glad that stone is gone, anyhow,' said the baker. 'It was the bane of my life. I had no idea how easy it was to remove it. Give me your pickaxes young miner, and I will show you how a baker can make the stones fly.'

He caught the tool out of Curdie's hand, and flew at one of the foundation stones of the gateway. But he jarred his arm terribly, scarcely chipped the stone, dropped the mattock with a cry of pain, and ran into his own shop. Curdie picked up his implement, and, looking after the baker, saw bread in the window, and followed him in. But the baker, ashamed of himself, and thinking he was coming to laugh at him, popped out of the back door, and when Curdie entered, the baker's wife came from the bakehouse to serve him. Curdie requested to know the price of a certain good-sized loaf.

Now the baker's wife had been watching what had passed since first her husband ran out of the shop, and she liked the look of Curdie. Also she was more honest than her husband. Casting a glance to the back door, she replied:

'That is not the best bread. I will sell you a loaf of what we bake for ourselves.' And when she had spoken she laid a finger on her lips. 'Take care of yourself in this place, MY son,' she added. 'They do not love strangers. I was once a stranger here, and I know what I say.' Then fancying she heard her husband, 'That is a strange animal you have,' she said, in a louder voice.

'Yes,' answered Curdie. 'She is no beauty, but she is very good, and we love each other. Don't we, Lina?'

Lina looked up and whined. Curdie threw her the half of his loaf, which she ate, while her master and the baker's wife talked a little. Then the baker's wife gave them some water, and Curdie having paid for his loaf, he and Lina went up the street together.


Story DNA fairy tale · satirical

Moral

True prosperity and peace come from active care for one's community and personal responsibility, not from complacent self-interest and neglect.

Plot Summary

Curdie and his dog Lina arrive at Gwyntystorm, a city whose neglected defenses symbolize its complacent prosperity built on self-interest. When a baker blames the king for a loose street stone that causes him to fall, Curdie removes it, accidentally breaking a barber's window. The barber demands payment, prioritizing his property over public safety, highlighting the city's self-centeredness. The baker, attempting to emulate Curdie, injures himself, further exposing the citizens' lack of practical responsibility. Only the baker's wife, observing the events, shows genuine kindness and honesty, offering Curdie better bread and a warning about the city's true nature, before Curdie and Lina continue their journey.

Themes

civic responsibilityself-interest vs. communitywisdom vs. follyhonesty and kindness

Emotional Arc

disillusionment to cautious hope

Writing Style

Voice: third person omniscient
Pacing: moderate
Descriptive: lush
Techniques: social commentary, allegory

Narrative Elements

Conflict: person vs society
Ending: moral justice
Magic: talking animal (Lina, Curdie's dog, though her 'whine' is subtle)
the neglected city gates (symbol of complacency)the loose stone (symbol of civic neglect and personal irresponsibility)the baker's wife's good bread (symbol of hidden integrity and genuine care)

Cultural Context

Origin: Scottish
Era: timeless fairy tale

George MacDonald often used fairy tales to critique Victorian society's materialism and spiritual complacency, which is reflected in the city's 'prosperity' built on self-interest and neglect.

Plot Beats (12)

  1. Curdie and Lina journey through a picturesque landscape towards the city of Gwyntystorm, noting its neglected defenses.
  2. The city is described as prosperous but complacent, with inhabitants who prioritize self-interest and boast of their superiority over ancestors.
  3. Curdie and Lina enter the city, observing the unfriendliness of its idlers.
  4. A baker stumbles over a loose stone in the main street, blaming the king for the hazard.
  5. Curdie questions the baker's blame, suggesting personal responsibility, which angers the baker.
  6. Curdie removes the stone with his mattock, accidentally breaking the barber's window.
  7. The barber angrily demands compensation for his window, showing no concern for the baker's injury or the public hazard.
  8. Curdie pays the barber, but keeps a piece of the broken stone, which the barber tries to take from him.
  9. The baker, initially relieved the stone is gone, tries to use Curdie's mattock to break another stone but injures himself, revealing his own incompetence.
  10. Curdie follows the baker into his shop, but the baker, ashamed, flees out the back.
  11. The baker's wife, having witnessed the events, serves Curdie, offering him better bread and a quiet warning about the city's unwelcoming nature to strangers.
  12. Curdie and Lina share the bread and water, then continue their journey up the street.

Characters 5 characters

Curdie ★ protagonist

human young adult male

Lean and strong, likely with the build of someone accustomed to physical labor, given his miner background. His movements are purposeful and direct.

Attire: Practical, durable clothing suitable for a miner, likely made of coarse fabrics in muted, earthy tones. He carries a mattock.

Wants: To understand the world around him, to help others, and to uphold a sense of fairness and truth.

Flaw: His directness and honesty can sometimes make him vulnerable to the deceit of others, and he is surprised by their anger or selfishness.

He begins to learn about the corruption and self-interest prevalent in the city, contrasting it with his own values.

His mattock, which he uses both as a tool and a symbol of his direct approach to problems.

Observant, direct, principled, helpful, and somewhat naive about human dishonesty. He is quick to act when he sees a problem.

Image Prompt & Upload
A young man with a lean, strong build, standing upright and facing forward, full body visible from head to toe. He has a sturdy, honest face with a direct gaze. He wears practical, durable clothing of coarse, earthy-toned fabric, possibly a tunic and trousers. He holds a miner's mattock in one hand, its hammer end prominent. His posture is confident and purposeful. Plain white background, full body visible head to toe, single figure, no watermark, no text, no signature.

Lina ◆ supporting

animal adult female

Described as 'no beauty' but very good. This suggests she might be a working dog, perhaps a sturdy, loyal breed, possibly a terrier or a shepherd mix, with a somewhat rough or unkempt appearance rather than a refined one. Her movements are loyal and attentive to Curdie.

Attire: None, as she is an animal.

Wants: To be with Curdie and to receive his affection and care.

Flaw: Her animal nature makes her dependent on Curdie for guidance and protection.

Remains a constant, loyal companion to Curdie.

Her loyal gaze directed towards Curdie.

Loyal, good-natured, affectionate, and protective of Curdie.

Image Prompt & Upload
A medium-sized, sturdy working dog, possibly a terrier or shepherd mix, standing upright and facing forward, full body visible from head to toe. She has a somewhat rough or unkempt appearance, with practical brown and black fur. Her eyes are expressive and loyal. She has a gentle, attentive expression. Plain white background, full body visible head to toe, single figure, no watermark, no text, no signature.

The Baker ○ minor

human adult male

A man of average height and build, likely somewhat soft from his profession, with a tendency to stumble. He has a bruised forehead from his fall.

Attire: A white apron over his regular clothes, indicating his profession. His clothes are likely practical but not luxurious.

Wants: To avoid blame, to complain about his misfortunes, and to maintain his comfort.

Flaw: His tendency to blame external factors for his own carelessness, his quick temper, and his cowardice.

Briefly shamed by his inability to remove the stone and his cowardice, he retreats into his shop.

His white apron and the prominent lump on his forehead.

Irritable, prone to blaming others, self-pitying, somewhat cowardly, and easily shamed. He is also capable of a small act of kindness (interfering in the barber's extortion).

Image Prompt & Upload
An adult man of average height and a slightly soft build, standing upright and facing forward, full body visible from head to toe. He has a round face with a prominent lump and bruise on his forehead. He wears a simple white linen apron over practical, light brown tunic and trousers. His expression is a mix of annoyance and self-pity. Plain white background, full body visible head to toe, single figure, no watermark, no text, no signature.

The Barber ○ minor

human adult male

Unspecified, but his palm is described as 'cold smooth leathery,' suggesting a somewhat calculating or unfeeling nature. He is quick to react and confrontational.

Attire: Likely neat and tidy, reflecting his trade, perhaps a simple tunic and trousers. No specific details are given.

Wants: To gain money, to protect his property, and to assert his perceived rights.

Flaw: His overwhelming greed and lack of compassion, which make him easily manipulated by Curdie's directness.

Remains unchanged, demonstrating his ingrained greed and selfishness.

His 'cold smooth leathery palm' when he takes the coin, symbolizing his grasping nature.

Greedy, selfish, quick-tempered, opportunistic, and lacking empathy. He prioritizes his own property over a friend's injury.

Image Prompt & Upload
An adult man of average height and build, standing upright and facing forward, full body visible from head to toe. He has a sharp, calculating face with a clean-shaven jaw. He wears a neat, simple tunic of dark blue linen and practical trousers. His expression is one of anger and greed, with a slight sneer. His right hand is open, palm facing forward, appearing smooth and leathery. Plain white background, full body visible head to toe, single figure, no watermark, no text, no signature.

The Baker's Wife ◆ supporting

human adult female

Unspecified, but her actions suggest a kind and observant demeanor. She is likely of a practical build, accustomed to working in a bakehouse.

Attire: Practical clothing suitable for a baker's wife, likely a simple dress or smock made of sturdy fabric, perhaps with a clean apron. No specific colors or styles are mentioned.

Wants: To help Curdie, to warn him of the city's dangers, and to act with integrity.

Flaw: Her caution, which prevents her from openly defying her husband or the city's norms.

Serves as a brief moral compass and helper for Curdie, offering a glimpse of goodness in the corrupt city.

Her finger pressed to her lips, signaling a secret warning.

Observant, kind, honest, cautious, and empathetic. She is more principled than her husband and cares for strangers.

Image Prompt & Upload
An adult woman of practical build, standing upright and facing forward, full body visible from head to toe. She has a kind and observant face, with a cautious expression. She wears a simple, sturdy linen dress in a muted color like cream or light grey, with a clean white apron tied at the waist. Her right index finger is pressed gently to her lips. Plain white background, full body visible head to toe, single figure, no watermark, no text, no signature.
Locations 4 locations
No image yet

River Valley Approach to Gwyntystorm

outdoor Implied temperate climate, possibly late summer/early autumn given crops and vines.

A varied landscape of abrupt hills with watercourse chasms and deep, tree-filled little valleys. Larger valleys feature a fine river with level banks and adjacent meadows dotted with red and white kine. Fields above the meadows slope gently to the hills, growing oats, barley, and wheat, while the hillsides themselves are covered with vines and chestnut trees. The valley narrows as it approaches the city, eventually becoming a road squeezed between the river and great overhanging cliffs.

Mood: Initially picturesque and pastoral, gradually becoming more confined and dramatic as the cliffs appear.

Curdie and Lina travel through this country to reach the city of Gwyntystorm.

Abrupt hills Broken chasms Deep little valleys full of trees Fine river Meadows with red and white kine Fields of oats, barley, wheat Hillsides with vines and chestnuts Overhanging cliffs Narrow road beside river
Image Prompt & Upload
A winding river flows through a narrowing valley. On one side, a narrow, unpaved road hugs the riverbank, while on the other, towering, sheer cliffs of dark, crystalline rock rise dramatically, casting long shadows. The river's surface reflects the pale, overcast sky. Sparse, gnarled trees cling to the less steep parts of the cliffs, their roots exposed. The air is cool and still, with a sense of impending arrival. no border, no frame, no watermark, no text, no signature, edge-to-edge illustration.
No image yet

City of Gwyntystorm on the Great Rock

transitional day Clear, fair weather implied, allowing for travel and observation of the city's decay.

A city built atop a massive rock in a river, which divides and flows around it. The city is characterized by lofty walls, towers, and battlements, with the king's palace, built like a strong castle, rising above it. The fortifications are neglected, with wide-open, decaying gates, a rust-eaten, immovable portcullis, and loopholed towers lacking floors and roofs, their interiors filling with debris. The rock itself sparkles with crystals.

Mood: Initially impressive and grand, but quickly revealed as neglected and decaying, suggesting a false sense of security and prosperity.

Curdie and Lina arrive at the city, observing its state of disrepair before entering.

Great rock in the river Dividing river Lofty walls Towers Battlements King's palace (castle-like) Narrow bridge Decaying gates (wide open, dropping hinges) Rust-eaten portcullis Loopholed towers (no floor/roof, filling with debris) Sparkling crystals on the rock
Image Prompt & Upload
A formidable city built on a colossal, crystal-studded rock formation that splits a wide river. The city walls, towers, and battlements, while once grand, show clear signs of neglect: crumbling stone, missing sections, and overgrown vegetation. A narrow, ancient stone bridge, with its gates hanging askew and a rusted portcullis, connects the mainland to the city. The river water churns around the base of the rock, reflecting a bright, clear sky. no border, no frame, no watermark, no text, no signature, edge-to-edge illustration.
No image yet

Main Street of Gwyntystorm

outdoor day Clear, daytime conditions.

A very steep, winding street ascending towards the king's palace, which dominates the cityscape. The street is paved with uneven stones, one of which protrudes significantly. Shops line the street, including a baker's shop and a barber's shop, located a few doors inside the main gate. The street is bustling with idlers.

Mood: Initially busy and mundane, quickly becoming a scene of conflict and revelation due to the protruding stone and the inhabitants' reactions.

Curdie encounters the baker and barber, breaks the problematic stone, and observes the citizens' self-serving attitudes. He also pockets a piece of the broken stone.

Steep, winding street Uneven stone paving Protruding stone (trip hazard) Baker's shop (white apron, bread in window) Barber's shop (opposite side) Idlers King's palace (visible at top of street)
Image Prompt & Upload
A very steep, narrow cobblestone street winds upwards, flanked by closely packed, multi-story medieval European-style buildings with timber frames and plaster infill, some with overhanging upper floors. A prominent, jagged stone juts from the worn cobblestones in the foreground. Sunlight streams down the street from above, highlighting the uneven textures of the paving and the weathered facades of the shops. A baker's shop with a wooden sign and a barber's shop with a striped pole are visible. no border, no frame, no watermark, no text, no signature, edge-to-edge illustration.
No image yet

The Baker's Shop Interior

indoor day Warm interior, contrasting with the outside.

A modest baker's shop with a bakehouse at the back. Bread is displayed in the window. The interior is likely warm from the ovens, with the smell of fresh bread. The baker's wife is present, serving customers.

Mood: Initially a place of commerce, it becomes a brief haven of honesty and warning for Curdie, with a sense of quiet conspiracy.

Curdie enters to buy bread, and the baker's wife, more honest than her husband, sells him better bread and warns him about the city's inhabitants.

Bread in the window Bakehouse (at the back) Counter for serving Baker's wife
Image Prompt & Upload
The interior of a rustic medieval baker's shop. A wooden counter runs across the foreground, laden with various loaves of freshly baked, crusty bread. Behind the counter, a large, brick-built oven glows warmly in the background, with a wooden peel leaning against it. The walls are simple plaster, and a small, leaded-glass window looks out onto the street. The air is thick with the inviting scent of yeast and warm flour. no border, no frame, no watermark, no text, no signature, edge-to-edge illustration.