TO the FRIENDLY READER

by Unknown · from The Green Fairy Book

fairy tale moral tale whimsical Ages 8-14 895 words 4 min read
Cover: TO the FRIENDLY READER

Adapted Version

CEFR A1 Age 5 349 words 2 min Canon 100/100

Hello, my dear friend! I have a special book. It is full of old stories!

This is my new book for you. It has many stories inside. They are all very special. These stories come from many lands. Some are from far away. People all over the world love them. They are fun for everyone.

These stories are very old. People told them long, long ago. There were no books then. People loved magic things. Witches changed people. Beasts could talk. Magic rings made people vanish. Old stories are like that. You like magic too. So these stories are for you.

Grandmas told these stories. Grandpas told them too. They told them to their kids. So stories lived a long time. Then people wrote them down. Now we can read them. This is good for us.

These are the oldest stories. They were made for fun. Kids love them still. Grown-ups love them too. Everyone likes a good story. These stories are very good.

Some stories teach us things. They teach us to be kind. They teach us to be brave. Good boys win. Good girls win. This is a good lesson.

Some grown-ups worry. They say stories are not true. But you know better. You know it is pretend. Stories are for fun. They are not real. You are smart.

Pretend scary things are in stories. They do not scare you. Brave boys win. Brave girls win. They beat bad things. You are safe.

Some stories are for little kids. Some are for bigger kids. All are good to read. You will find your favorites.

These old stories are special. They are like magic. This magic never goes away. They are a true gift.

Many people helped make this book. They worked very hard. We say thank you to them. Now you can read it.

I hope you love these stories. Read them again and again! Tell them to your friends. Good stories are for sharing!

These old stories are fun. They teach us to be kind. They teach us to be brave. This is a good lesson!

Original Story 895 words · 4 min read

TO THE FRIENDLY READER

This is the third, and probably the last, of the Fairy Books of many colours. First there was the Blue Fairy Book; then, children, you asked for more, and we made up the Red Fairy Book; and, when you wanted more still, the Green Fairy Book was put together. The stories in all the books are borrowed from many countries; some are French, some German, some Russian, some Italian, some Scottish, some English, one Chinese. However much these nations differ about trifles, they all agree in liking fairy tales. The reason, no doubt, is that men were much like children in their minds long ago, long, long ago, and so before they took to writing newspapers, and sermons, and novels, and long poems, they told each other stories, such as you read in the fairy books. They believed that witches could turn people into beasts, that beasts could speak, that magic rings could make their owners invisible, and all the other wonders in the stories. Then, as the world became grown-up, the fairy tales which were not written down would have been quite forgotten but that the old grannies remembered them, and told them to the little grandchildren: and when they, in their turn, became grannies, they remembered them, and told them also. In this way these tales are older than reading and writing, far older than printing. The oldest fairy tales ever written down were written down in Egypt, about Joseph's time, nearly three thousand five hundred years ago. Other fairy stories Homer knew, in Greece, nearly three thousand years ago, and he made them all up into a poem, the Odyssey, which I hope you will read some day. Here you will find the witch who turns men into swine, and the man who bores out the big foolish giant's eye, and the cap of darkness, and the shoes of swiftness, that were worn later by Jack the Giant-Killer. These fairy tales are the oldest stories in the world, and as they were first made by men who were childlike for their own amusement, so they amuse children still, and also grown-up people who have not forgotten how they once were children.

Some of the stories were made, no doubt, not only to amuse, but to teach goodness. You see, in the tales, how the boy who is kind to beasts, and polite, and generous, and brave, always comes best through his trials, and no doubt these tales were meant to make their hearers kind, unselfish, courteous, and courageous. This is the moral of them. But, after all, we think more as we read them of the diversion than of the lesson. There are grown-up people now who say that the stories are not good for children, because they are not true, because there are no witches, nor talking beasts, and because people are killed in them, especially wicked giants. But probably you who read the tales know very well how much is true and how much is only make-believe, and I never yet heard of a child who killed a very tall man merely because Jack killed the giants, or who was unkind to his stepmother, if he had one, because, in fairy tales, the stepmother is often disagreeable. If there are frightful monsters in fairy tales, they do not frighten you now, because that kind of monster is no longer going about the world, whatever he may have done long, long ago. He has been turned into stone, and you may see his remains in museums. Therefore, I am not afraid that you will be afraid of the magicians and dragons; besides, you see that a really brave boy or girl was always their master, even in the height of their power.

Some of the tales here, like The Half-Chick, are for very little children; others for older ones. The longest tales, like Heart of Ice, were not invented when the others were, but were written in French, by clever men and women, such as Madame d'Aulnoy, and the Count de Caylus, about two hundred years ago. There are not many people now, perhaps there are none, who can write really good fairy tales, because they do not believe enough in their own stories, and because they want to be wittier than it has pleased Heaven to make them.

So here we give you the last of the old stories, for the present, and hope you will like them, and feel grateful to the Brothers Grimm, who took them down from the telling of old women, and to M. Sébillot and M. Charles Marelles, who have lent us some tales from their own French people, and to Mr. Ford, who drew the pictures, and to the ladies, Miss Blackley, Miss Alma Alleyne, Miss Eleanor Sellar, Miss May Sellar, Miss Wright, and Mrs. Lang, who translated many of the tales out of French, German, and other languages.

If we have a book for you next year, it shall not be a fairy book. What it is to be is a secret, but we hope that it will not be dull. So good-bye, and when you have read a fairy book, lend it to other children who have none, or tell them the stories in your own way, which is a very pleasant mode of passing the time.


Story DNA

Moral

Fairy tales, though not literally true, teach valuable lessons about kindness, courage, and perseverance, and provide timeless amusement for all ages.

Plot Summary

This preface introduces the 'Green Fairy Book' as the third in a series, explaining that fairy tales, borrowed from many cultures, are universally loved because ancient people, like children, created and believed in them. The author details how these oral traditions were preserved by generations and eventually written down, citing ancient examples. He defends fairy tales against adult criticisms of being untrue or frightening, arguing that children understand make-believe and that the stories teach valuable lessons of kindness and courage. The author concludes by thanking the many contributors to the collection and encouraging readers to share the magic of these timeless tales.

Themes

imaginationtraditionchildhoodthe power of stories

Emotional Arc

nostalgia to appreciation

Writing Style

Voice: first person
Pacing: moderate
Descriptive: moderate
Techniques: direct address to reader, rhetorical questions, historical anecdotes

Narrative Elements

Conflict: person vs society
Ending: moral justice
Magic: witches, talking beasts, magic rings, invisibility, transformation, giants, monsters, dragons
the fairy books themselves as vessels of tradition and imagination

Cultural Context

Origin: English
Era: 19th century

This text serves as the preface to Andrew Lang's *The Green Fairy Book*, published in 1892. It reflects the popularization and collection of folk tales in the late 19th century, as well as contemporary debates about the suitability of fairy tales for children.

Plot Beats (11)

  1. The author introduces the 'Green Fairy Book' as the third and likely last in the series, noting the diverse origins of the stories.
  2. The author explains that fairy tales appeal universally because ancient people, like children, told these stories before written language, believing in magic.
  3. The author details how these oral tales were preserved by generations of storytellers and eventually recorded, citing examples from ancient Egypt and Greece (Homer's *Odyssey*).
  4. The author asserts that fairy tales are the oldest stories, created for amusement and still entertaining children and adults.
  5. The author suggests that some tales also aimed to teach goodness, showing how kind and brave characters succeed.
  6. The author addresses adult concerns about the truthfulness or frightfulness of fairy tales, arguing that children distinguish reality from make-believe.
  7. The author reassures readers that fictional monsters are not truly frightening, as they are vanquished by brave heroes.
  8. The author notes that some tales are for younger children, others for older, and some longer ones were written more recently by specific authors.
  9. The author laments the difficulty of writing good fairy tales today due to a lack of belief and excessive wit.
  10. The author concludes by thanking the various individuals who contributed to the collection, including the Brothers Grimm, translators, and illustrators.
  11. The author hints at a different kind of book for the following year and encourages readers to share the stories or retell them.

Characters

👤

The Friendly Reader

human child unknown

A child of indeterminate height and build, likely with the soft features and unblemished skin typical of youth. Their exact physical traits are left to the imagination, as they represent the collective audience.

Attire: Simple, comfortable clothing suitable for reading at home, such as a linen smock or a wool tunic, reflecting a late 19th-century European context, but ultimately undefined to represent any child.

Wants: To be entertained, to learn, and to experience the wonder of fairy tales.

Flaw: Perhaps a youthful naivete, though the text suggests they are discerning enough not to be overly influenced by the tales.

Remains consistent as the appreciative audience, potentially growing in wisdom and kindness through the moral lessons of the tales.

A child's face, partially obscured by an open book, with eyes wide in wonder.

Curious, imaginative, appreciative of stories, discerning (knowing the difference between truth and make-believe), and potentially kind-hearted.

👤

The Narrator (Andrew Lang)

human adult male

A scholarly adult male of the late 19th century, likely of average height and build, with an intellectual demeanor. His physical appearance is not explicitly described but can be inferred from his role as a compiler and writer.

Attire: Formal, academic attire typical of a late 19th-century British scholar: a dark wool suit, a crisp white shirt, and a tie. Perhaps a waistcoat and spectacles.

Wants: To preserve and share traditional fairy tales, to entertain children, and to impart moral lessons subtly.

Flaw: Perhaps a slight academic detachment or a tendency to over-intellectualize the simple joy of stories.

Remains consistent as the guiding voice, concluding his series of fairy books while hinting at future literary endeavors.

A distinguished gentleman with a thoughtful expression, holding a quill pen or a stack of manuscripts.

Scholarly, benevolent, appreciative of tradition, didactic (intending to teach), and slightly nostalgic for the 'childlike' past.

Locations

The World of Long Ago

transitional

A conceptual, ancient world where men were childlike in their minds, believing in magic, witches, talking beasts, and invisible rings. It predates writing and printing, a time when stories were told orally.

Mood: Mystical, primal, filled with wonder and a sense of the unknown, where the line between reality and magic was blurred.

This is the conceptual setting where the original fairy tales were born and believed to be true, before the world 'grew up'.

ancient oral storytelling circles imagined landscapes where magic was real pre-literate communities

The Granny's Hearthside

indoor night varies, often implying cooler weather outside

A warm, intimate setting within a traditional home, likely a simple cottage or farmhouse, where old grannies would recount ancient tales to their grandchildren. The air is filled with the comfort of tradition and the soft glow of a hearth.

Mood: Cozy, nostalgic, comforting, filled with the warmth of family and the magic of storytelling passed down through generations.

This is where the fairy tales were preserved through oral tradition, passed from generation to generation, ensuring they were not forgotten.

stone hearth with crackling fire old wooden rocking chair small, attentive children knitting or simple domestic items shadows dancing on timbered walls

The Reader's Own Home

indoor

The contemporary setting where the 'friendly reader' (a child) is currently reading the fairy book. It's a place of quiet contemplation and imaginative escape, where the stories come alive in the mind.

Mood: Peaceful, imaginative, personal, a sanctuary for reading and dreaming, where the magic of the stories unfolds.

This is the present-day location where the stories are being consumed and enjoyed, fulfilling their purpose of amusement and moral instruction.

a comfortable chair or bed the 'Green Fairy Book' open soft, ambient lighting a sense of quiet and privacy