The Märchen, or child's story, is a form of literature primevally old, but with infinite capacity of renewing its youth. Old wives’ fables, tales about a lad and a lass, and a cruel step-mother, about three adventurous brothers, about friendly or enchanted beasts, about magical weapons and rings, about giants and cannibals, are the most ancient form of romantic fiction. The civilised peoples have elaborated these child-like legends into the chief romantic myths, as of the Ship Argo, and the sagas of Heracles and Odysseus. Uncivilised races, Ojibbeways, Eskimo, Samoans, retain the old wives’ fables in a form far less cultivated, — probably far nearer the originals. European peasants keep them in shapes more akin to the savage than to the Greek forms, and, finally, men of letters have adopted the genre from popular narrative, as they have also adopted the Fable.

Little Johannes, here translated from the Dutch of Dr. Frederik van Eeden, is the latest of these essays, in which the man's fancy consciously plays with the data and the forms of the child's imagination. It is not my purpose here to criticise Little Johannes, an Allegory of a Poet's Soul, nor to try to forestall the reader's own conclusions. One prefers rather to glance at the history of the Fairy Tale in modern literature.

It might, of course, be said with truth that the Odyssey, and parts of most of the world's Epics are literary expansions of the Märchen, but these, we may be confident, were not made of set literary purpose. Neither Homer, nor any poet of the French Chansons de Geste, cried, ‘Here is a good plot in a child's legend, let me amplify and ennoble it.’ The real process was probably this: adventures that from time immemorial had been attributed to the vague heroes of Märchen gradually clustered round some half divine or heroic name, as of Heracles or Odysseus, won a way into national traditions, and were finally sung of by some heroic poet.