to the wronged maiden; the slighted wise woman foretelling death and doom over the cradle of the little princess; the kind and gentle Beast whom love disenchants and restores to his own noble form--all these were to those who made them serious art, as they should be to the child. If one could make the old distinction without dreading to be misunderstood in these days of opposition to "faculty" criticism, he would say that the folk-tales exhibit the working of the deep human _imagination_, using all the powers of the mind, and reorganizing the world; the modern fairy-tale exhibits the exercise of the _fancy_, disporting itself in a very small corner of the world of art. It is, first of all, as one cannot say too often, the imaginative level of the folk-tales that fits them for the child's use. They are the creative reconstruction of the world by those who were rich in images and sense-material, unhampered in the use of it by any system of logic or body of organized knowledge, simple, sincere and full of faith--as our own well-born children are at six-seven-eight. It is this simplicity, sincerity, and earnestness that gives them their childlikeness--all qualities that one fails to find in the modern fairy-tale written by a grown person for children. Nothing is so alien to the consciousness of the child as the consciousness of the grown-up educated man. It is by nothing short of a miracle that he can keep his own sophistications out of what he writes for children. His fairy-tale, failing in simplicity, will betake itself to babbling inanity; failing in earnestness, it gives itself over to sentimentality; failing in belief, it is likely to be filled with cynicism and cheap satire under the guise of playfulness. These faults may be found, all too plentiful, even in the best work of Hans Christian Andersen, while they poison practically everything done for children by Kingsley and Hawthorne. The immense advantage of the traditionary tales is that they were not made for children. The _Märchen_ of our day was the novel or romance of the people among whom it had its earlier history. It therefore escapes entirely the "little dears" appeal and method. The obviously amateur heat-fairies, snow-fairies, flower-fairies, and all the others which figure in the merely fanciful and always misleading myth-making of the belated kindergarten and the holiday book of commerce, serve chiefly to bewilder the child's judgment, to confuse his imagination, and to cheapen the supernatural in his art, which should be sparing and serious, as it should be in all art. Besides, the natural phenomena with which these fancies are connected are much more beautiful, more appealing to the imagination, and ultimately more serviceable to art, if they are rightly presented as plain nature.