The Village of Youth, and Other Fairy Tales — Edition Insights

(0 User reviews)   2013
In Category - Fairy Tales
Hatton, Bessie, Margetson, W. H. (William Henry), 1861-1940 [Illustrator] Project Gutenberg 2011 Not confirmed
Fairy tales Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 29,982
Reading time 131 min
Text sections 4

Before opening The Village of Youth, and Other Fairy Tales — Edition Insights, the edition data offers a quick orientation: 29,982 words, 2 hr 11 min estimated reading time, and 4 detected text sections.

The text analysis averages about 15.7 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “Fairy tales,” connecting these edition facts with the source record’s subject description.

In Bessie Hatton's 1895 collection, a king banishes old age, a musician confronts his past, and a prince seeks a friend—each tale weaving religious imagery with fairy-tale motifs of youth, memory, and redemption.
Share
Editorial Edition Score 4.6/5

Calculated from edition completeness, EPUB availability, text structure and catalogue metadata. Not a user rating.

How this score is calculated
  • Description quality20 pts
  • Title & short description10 pts
  • Source metadata20 pts
  • Text length15 pts
  • Chapters / structure15 pts
  • EPUB file integrity20 pts

Total of 100 points, scaled to a 2.5-5.0 range. Editions with an empty description or a missing EPUB file are not scored.

Edition quality

Read the Text

There was a young King who ought to have been the happiest monarch in the world. He was blessed with everything a mortal could desire. His palace might have been designed by the Divine architect Himself, so perfect was it in all its parts; and it stood amidst gardens with its dependent village at its gates, like a dream of feudal beauty in a story of romance. Notwithstanding his good fortune, the King was oppressed with what he conceived to be a great trouble. From the happy ruler of a happy people he gradually became grave and anxious, as if an intense fear had taken possession of his soul; and so it had. It was the fear of Age. He could no longer bear to meet old people, and eventually grew to hate the hoary heads and time-worn faces of his venerable subjects. He therefore divided his kingdom into two parts. The elders lived in one half of the realm, under the government of his mother, while he was King of the young. Riding, hawking, or sailing along the grey river, he never saw a wrinkled visage. Hence his kingdom was called the Village of Youth.

The King was betrothed to a fair Princess named Rowena. She loved her future husband dearly, though his strange malady and the exodus of the old people from his dominions had clouded her happiness, and made her long for some way of alleviating his suffering.

When the lovers were together they held no gentle, tender discourse. Uriel would only gaze at his betrothed with mournful eyes, and when she besought him not to be sorrowful he would say, "Sweet lady, how can I be other than I am? Each loving word that falls from thy lips, each sweet smile that plays upon thy face, is as a dagger in my heart; for I remember how soon the bloom of youth will pass from thy cheeks and the softness from thy lips. Our village, too, will become the Village of Eld, grim with unlovely age."

Interviews of this kind saddened the Princess to such an extent, that while she sat sewing among her women tears would often fall upon the embroidery, and she would be obliged to leave her work.

Among the many fair maidens who attended upon Rowena, the fairest of them all was the Lady Beryl. She grieved sincerely to see her mistress so dejected, and taxed her brain night and day for some plan by which she might save the Village of Youth. With this thought deep in her heart, she rose early one morning and rode away to seek advice from the people who lived in the Village of Eld. It was spring; the grass was green, the sky was blue. The sunshine gleamed on the maiden's hair and on her dove-coloured garments.

As she rode into the village the inhabitants gathered around her. She found herself in the midst of a crowd of grey-headed men and women, many of whom touched her dress and kissed her hand, while others knelt down and almost worshipped her; she reminded them of their own early days, a sweet personification of the young spring. Beryl lifted up her voice, and said,--

"Dear reverend people, you all know of the sadness of our sovereign and of its cause; and now our dear Princess shares his sorrow. We are ignorant and inexperienced, neither have we any wise men or women to counsel us; therefore I pray you tell me, is there any way to keep our youths and maidens always young, that they may never know age?"

A long wailing cry was heard from the people of the village,--

"There is no way--no way!" One old man, who was bent and tottering, raised his wrinkled face to the maiden's, and said,--

"Spring gives place to summer, and summer to autumn, and autumn to winter. What would you? Age is beautiful; it is a time of peace, of meditation. Youth knows not rest; it is ever striving, fighting, suffering. When age comes upon us we cease to enjoy as keenly as the young, but we cease to suffer as bitterly as they who are in the spring of life. If the scent of the air is less fresh and the voice of the brook is less sweet, why, the thunder clouds are less dark and the storm is robbed of its fury."

Beryl bowed her head and rode away. As she passed through the gate an old woman followed her, and whispered these words,--

The collection opens with a king who, fearing age, exiles all elderly subjects to one half of his realm, renaming his domain the Village of Youth. His betrothed, Rowena, weeps over her embroidery as her lover Uriel laments that even her smiles will fade. The Lady Beryl rides to the Village of Eld seeking counsel—a journey that sets the pattern for tales where characters cross boundaries between youth and age, innocence and experience.

Hatton’s prose is ornate, with palaces “designed by the Divine architect” and gardens like “a dream of feudal beauty.” Yet beneath the decorative surface runs a persistent anxiety about time’s passage, voiced through characters who hoard relics—a plaster crucifix, a faded geranium leaf, a silver compass—as tangible links to a past they can neither reclaim nor forget.

The King’s Fear and the Exiled Elders

The first tale establishes a kingdom literally divided by age. The young king Uriel “could no longer bear to meet old people” and “grew to hate the hoary heads and time-worn faces of his venerable subjects.” His solution—partition—creates a land where he never sees “a wrinkled visage.” Yet the narrative undercuts this fantasy: Rowena’s tears fall on her embroidery, and Beryl’s journey to the Village of Eld suggests that the elders hold knowledge the young lack. The story does not resolve whether the division can be healed; the excerpt breaks off before any remedy appears.

Hatton’s language here is deliberately hyperbolic: the king “ought to have been the happiest monarch in the world,” yet he is “oppressed with what he conceived to be a great trouble.” The gap between outward perfection and inner torment recurs throughout the collection, often signaled by characters who appear blessed but are secretly haunted.

Music, Memory, and the Sunbeam

In a later tale, a musician during Christmas Mass recalls a “sunbeam” that visited him in childhood, a moment he half-dismisses as “a dream straight from God.” The narrative shifts between his present—where he hears the choir sing the Gloria—and his past, where a golden flower “had reared its head very near to the Sun-lands.” The musician keeps a secret drawer with a “small plaster crucifix, a faded geranium leaf, and a silver compass,” objects that anchor his memories of Father Francis, Maggie, and Miss Brand.

Hatton uses liturgical detail to frame the musician’s moral awakening. As the priest intones “Sanctus! Sanctus! Sanctus!,” the protagonist resolves to “open his heart to the children of the poor.” The sunbeam that darts into the Holy Cup becomes a divine message: “Clothe them and give them bread.” The tale intertwines religious ritual with personal reckoning, suggesting that redemption comes through remembering—and acting on—one’s own forgotten dependencies.

The Prince Who Wanted a Friend

The third excerpt introduces a prince of the “Rose Islands,” a land of perpetual summer where “the rose was mistress of the land.” Despite his golden hair, jewelled cap, and white brocade doublet, Ulric confesses to his father: “I am lonely, so please your Grace, and I would fain have a friend.” The king’s reply—“I am thy friend, sweet son”—does not satisfy. The prince’s sadness mirrors that of the earlier king, but his desire is for companionship rather than the eradication of age.

Hatton’s description of the prince as “the beau idéal of a prince in form and figure” echoes the fairy-tale convention of perfect exteriors masking inner lack. The gardens, “rich in flowers” and “filled with song-birds,” contrast with the prince’s isolation. The tale appears to be heading toward a quest for friendship, but the excerpt ends before any journey begins, leaving the reader to wonder whether the prince will find what he seeks within or beyond the fragrant, sea-washed island.

Readers approaching these tales should attend to the recurring objects—a geranium leaf, a compass, a crucifix—that function as memory cues for characters caught between past and present. Hatton’s fairy-tale settings (rose islands, divided kingdoms, sun-lands) often serve as backdrops for moral and spiritual dilemmas rather than simple adventures. The collection rewards attention to its liturgical and seasonal imagery, which marks moments of transformation or recognition. The excerpts suggest that no character remains static; each is pulled by forces of time, memory, or longing that the ornate prose cannot fully contain.

I found myself thinking of Bessie Hatton’s king who outlaws old age, and how lonely that quest for permanence felt. It reminded me of another, softer world where flowers hold their own quiet memories of time passing—The Enchanted Castle: A Book of Fairy Tales from Flowerland — Background and Themes. Both collections seem to whisper that growing, fading, and remembering are not curses, but gentle threads of the same fabric.

There are no reviews for this eBook.

0
0 out of 5 (0 User reviews )

Add a Review

Your Rating *
There are no comments for this eBook.

Reader reflection

Your personal reading reflection

Build a private reading journal entry for this title.

Your progress 0 / 10
1

How far have you progressed with this book?

2

How much did you enjoy the reading experience?

3

How likely are you to recommend this book?

4

Did the language feel accessible?

Related eBooks