Stories to Tell Children, Sara Cone Bryant [ebook reader with highlighter txt] 📗

the very hardest times that was often all the food the poor children had.

A part of the money Margaret earned went every week to the asylum, and after a few years that was made very much larger and better. Margaret was so careful and so good at business that, in spite of her giving, she bought more cows and earned more money. With this, she built a home for orphan babies; she called it her baby house.

After a time, Margaret had a chance to get a bakery, and then she became a bread-woman instead of a milk-woman. She carried the bread just as she had carried the milk, in her cart. And still she kept giving money to the asylum. Then the great war came, the Civil War. In all the trouble and sickness and fear of that time, Margaret drove her cart of bread; and somehow she had always enough to give the starving soldiers, and for her babies, beside what she sold. And despite all this, she earned enough so that when the war was over she built a big steam factory for her bread. By this time everybody in the city knew her. The children all over the city loved her; the business men were proud of her; the poor people all came to her for advice. She used to sit at the open door of her office, in a calico gown and a little shawl, and give a good word to everybody, rich or poor.

Then, by and by, one day, Margaret died. And when it was time to read her will, the people found that, with all her giving, she had still saved a great deal of money, and that she had left every penny of it to the different orphan asylums of the city,—each one of them was given something. Whether they were for white children or black, for Jews, Catholics, or Protestants, made no difference; for Margaret always said, "They are all orphans alike." And just think, dears, that splendid, wise will was signed with a cross instead of a name, for Margaret had never learned to read or write!

When the people of New Orleans knew that Margaret was dead, they said, "She was a mother to the motherless; she was a friend to those who had no friends; she had wisdom greater than schools can teach; we will not let her memory go from us." So they made a statue of her, just as she used to look, sitting in her own office door, or driving in her own little cart. And there it stands to-day, in memory of the great love and the great power of plain Margaret Haughery, of New Orleans.

THE DAGDA'S HARP

You know, dears, in the old countries there are many fine stories about things which happened so very long ago that nobody knows exactly how much of them is true. Ireland is like that. It is so old that even as long ago as four thousand years it had people who dug in the mines, and knew how to weave cloth and to make beautiful ornaments out of gold, and who could fight and make laws; but we do not know just where they came from, nor exactly how they lived. These people left us some splendid stories about their kings, their fights, and their beautiful women; but it all happened such a long time ago that the stories are mixtures of things that really happened and what people said about them, and we don't know just which is which. The stories are called legends. One of the prettiest legends is the story I am going to tell you about the Dagda's harp.

It is said that there were two quite different kinds of people in Ireland: one set of people with long dark hair and dark eyes, called Fomorians—they carried long slender spears made of golden bronze when they fought—and another race of people who were golden-haired and blue-eyed, and who carried short, blunt, heavy spears of dull metal.

The golden-haired people had a great chieftain who was also a kind of high priest, who was called the Dagda. And this Dagda had a wonderful magic harp. The harp was beautiful to look upon, mighty in size, made of rare wood, and ornamented with gold and jewels; and it had wonderful music in its strings, which only the Dagda could call out. When the men were going out to battle, the Dagda would set up his magic harp and sweep his hand across the strings, and a war song would ring out which would make every warrior buckle on his armour, brace his knees, and shout, "Forth to the fight!" Then, when the men came back from the battle, weary and wounded, the Dagda would take his harp and strike a few chords, and as the magic music stole out upon the air, every man forgot his weariness and the smart of his wounds, and thought of the honour he had won, and of the comrade who had died beside him, and of the safety of his wife and children. Then the song would swell out louder, and every warrior would remember only the glory he had helped win for the king; and each man would rise at the great table, his cup in his hand, and shout "Long live the King!"

There came a time when the Fomorians and the golden-haired men were at war; and in the midst of a great battle, while the Dagda's hall was not so well guarded as usual, some of the chieftains of the Fomorians stole the great harp from the wall, where it hung, and fled away with it. Their wives and children and some few of their soldiers went with them, and they fled fast and far through the night, until they were a long way from the battlefield. Then they thought they were safe, and they turned aside into a vacant castle, by the road, and sat down to a banquet, hanging the stolen harp on the wall.

The Dagda, with two or three of his warriors, had followed hard on their track. And while they were in the midst of their banqueting, the door was suddenly burst open, and the Dagda stood there, with his men. Some of the Fomorians sprang to their feet, but before any of them could grasp a weapon, the Dagda called out to his harp on the wall, "Come to me, O my harp!"

The great harp recognised its master's voice, and leaped from the wall. Whirling through the hall, sweeping aside and killing the men who got in its way, it sprang to its master's hand. And the Dagda took his harp and swept his hand across the strings in three great, solemn chords. The harp answered with the magic Music of Tears. As the wailing harmony smote upon the air, the women of the Fomorians bowed their heads and wept bitterly, the strong men turned their faces aside, and the little children sobbed.

Again the Dagda touched the strings, and this time the magic Music of Mirth leaped from the harp. And when they heard that Music of Mirth, the young warriors of the Fomorians began to laugh; they laughed till the cups fell from their grasp, and the spears dropped from their hands, while the wine flowed from the broken bowls; they laughed until their limbs were helpless with excess of glee.

Once more the Dagda touched his harp, but very, very softly. And now a music stole forth as soft as dreams, and as sweet as joy: it was the magic Music of Sleep. When they heard that, gently, gently, the Fomorian women bowed their heads in slumber; the little children crept to their mothers' laps; the old men nodded; and the young warriors drooped in their seats and closed their eyes: one after another all the Fomorians sank into sleep.

When they were all deep in slumber, the Dagda took his magic harp, and he and his golden-haired warriors stole softly away, and came in safety to their own homes again.

THE TAILOR AND THE THREE BEASTS[32]

There was once a tailor in Galway, and he started out on a journey to go to the king's court at Dublin.

He had not gone far when he met a white horse, and he saluted him.

"God save you," said the tailor.

"God save you," said the horse. "Where are you going?"

"I am going to Dublin," said the tailor, "to build a court for the king and to get a lady for a wife, if I am able to do it." For, it seems the king had promised his daughter and a great lot of money to anyone who should be able to build up his court. The trouble was, that three giants lived in the wood near the court, and every night they came out of the wood and threw down all that was built by day. So nobody could get the court built.

"Would you make me a hole," said the old white garraun, "where I could go in to hide whenever the people come to fetch me to the mill or the kiln, so that they won't see me; for they tire me out doing work for them?"

"I'll do that, indeed," said the tailor, "and welcome."

He brought his spade and shovel, and he made a hole, and he asked the old white horse to go down into it so that he could see if it would fit him. The white horse went down into the hole, but when he tried to come up again, he was not able.

"Make a place for me now," said the white horse, "by which I can come up out of the hole here, whenever I am hungry."

"I will not," said the tailor; "remain where you are until I come back, and I'll lift you up."

The tailor went forward next day, and the fox met him.

"God save you," said the fox.

"God save you," said the tailor.

"Where are you going?" said the fox.

"I'm going to Dublin, to try to make a court for the king."

"Would you make a place for me where I can hide?" said the fox. "The rest of the foxes are always beating me, and they will not allow me to eat anything with them."

"I'll do that for you," said the tailor.

He took his axe and his saw, and he made a thing like a crate, and he told the fox to get into it so that he could see whether it would fit him. The fox went into it, and when the tailor had him down, he shut him in. When the fox was satisfied at last that he had a nice place of it within, he asked the tailor to let him out, and the tailor answered that he would not.

"Wait there until I come back again," said he.

The tailor went forward the next day, and he had not walked very far when he met a lion; and the lion greeted him.

"God save you," said the lion.

"God save you," said the tailor.

"Where are you going?" said the lion.

"I'm going to Dublin to make a court for the king if I am able to make it," said the tailor.

"If you were to make a plough for me," said the lion, "I and the other lions could be ploughing and harrowing until we'd have a bit to eat in the harvest."

"I'll do that for you," said the tailor.

He brought his axe and his saw, and he made a plough. When the plough was made he put a hole in the beam of it, and got the lion to go in under the plough so that he might see if he was any good as a ploughman. He placed the lion's tail in the hole he had made for it, and then clapped in a peg, and the lion was not able to draw out his tail