How well do you know your fairy tales

Most folks who grew up in the English-speaking know the fairy tale of “Goldilocks and the Three Bears.” In the story, an exasperating trespasser breaks into the home of three bears. The intruder eats their food and breaks furniture before being ejected. But, did you know that the housebreaker was originally an old woman, not a little girl named Goldilocks? Or, that the first Three Bears were friends instead of Mama Bear, Papa Bear and Baby Bear?

The Three Bears started as an oral tale and was first written down almost 200 years ago. Over the decades, the story has changed and grown into the tale we know today. The Osborne Collection of Early Children’s Books has materials which reveal the history of The Three Bears story.

Eleanor Mure wrote the first recorded version of The Three Bears story in 1831. Osborne Collection has Mure’s original manuscript, a handmade book created as a gift for her nephew Horace Broke. The story is set at Cecil Lodge, the Mure family estate in Hertfordshire, England. Mure’s The Story of Three Bears (1831) is told in verse and illustrated with original watercolors.

Instead of a little girl, the Bears’ house is invaded by an old woman. Mure’s old woman meets a bad end. As punishment for housebreaking, the Bears try to burn and drown the old woman. When nothing works, they “chuck her aloft on St. Paul’s church-yard steeple.”

In 1837, English poet Robert Southey released the first printed version of The Three Bears. The story appeared in Southey’s prose anthology The Doctor (1834-47). As with Mure’s family, The Three Bears was a popular story among Southey’s family. Southey likely heard The Three Bears from his uncle, William Tyler. Tyler was illiterate, but had a great memory for folktales.

Southey’s story is the first version to discuss the Bears’ size. He introduces the Three Bears as Little, Small, Wee Bear; Middle Bear; and Great, Huge Bear. The story has no illustrations, but the Bears’ size is represented by typography. Great, Huge Bear speaks in large gothic letters. Little, Small, Wee Bear speaks in tiny italics.

Unlike Mure’s telling, the Southey’s bears do not punish the intruding old woman. Instead she makes an escape through an open window. Southey speculates that she might be “sent to the House of Correction” for vagrancy, or perhaps “she broke her neck in the fall.”

Southey’s The Three Bears was an instant hit. Within months publisher George Nicol released his own version of The Story of the Three Bears (1837). Nicol’s story was in verse, but otherwise was a direct retelling of Southey’s version.

In early tellings of The Three Bears, the protagonist was an old woman. But, in 1850 Joseph Cundall wrote the first retelling featuring a little girl. Cundall called his character Silver-Hair and justified the switch by saying “there are so many other stories of old women.” Published in A Treasury of Pleasure Books for Young Children (1850), Cundall’s retelling otherwise closely followed Southey’s version of The Three Bears.

Following Cundall’s publication, little girl protagonists named Silver-Hair became a common feature of The Three Bears retellings. The character was sometimes called Silver-Locks, Golden Hair and other variant names.

The name Goldilocks was first used for the Bears’ nemesis in two 1904 fairy tale anthologies. Old Nursery Rhymes and Stories (1904) and Old Fairy Tales for Children (1904) both feature “Little Goldilocks” as The Three Bears’ intruder. It is possible that the name Goldilocks was inspired by an entirely different fairy tale. French fairy tale writer Madame d’Aulnoy’s story The Beauty with Golden Hair is sometimes translated as The Story of Pretty Goldilocks.

In the 20th century, Goldilocks became the character’s standard name. Popular fairy tale collections like Flora Annie Steel’s English Fairy Tales (1918) used the Goldilocks name. Now the story is sometimes simply titled Goldilocks without any mention of The Three Bears.

 

 

 

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The house was quiet and the world was calm

The House Was Quiet and The World Was Calm

By Wallace Stevens
The house was quiet and the world was calm.
The reader became the book; and summer night
Was like the conscious being of the book.
The house was quiet and the world was calm.
The words were spoken as if there was no book,
Except that the reader leaned above the page,
Wanted to lean, wanted much most to be
The scholar to whom his book is true, to whom
The summer night is like a perfection of thought.
The house was quiet because it had to be.
The quiet was part of the meaning, part of the mind:
The access of perfection to the page.
And the world was calm. The truth in a calm world,
In which there is no other meaning, itself
Is calm, itself is summer and night, itself
Is the reader leaning late and reading there.
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Pictures of the floating world

Regular visitors to Travel Between The Pages are well aware of my fondness for Japanese woodblock prints. I recently found an old link to the Library of Congress page with over 2500 hi-resolution scans of Japanese woodcuts on their site. These are all pre-1915, and so give a unique view of pre-war Japan. Check out especially the woodcuts showing how they viewed Western visitors, including Americans.

“The Library’s Prints and Photographs Division houses more than 2,500 woodblock prints and drawings by Japanese artists of the seventeenth through early twentieth centuries including Hiroshige, Kuniyoshi, Sadahide, and Yoshiiku. The Library of Congress appreciates the financial support provided by Nicihibunken (International Research Center for Japanese Studies, an Inter-University Research Institute Corporation) to scan 1,100 of the Ukiyo-e prints.”

 

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Stranger Than Kindness

A major donation by Australian singer and writer Nick Cave to an Oxfam bookshop in Hove on England’s south coast has drawn fans to browse the items from his personal library.

The 2,000 volumes come from the recent Stranger Than Kindness art installation in Canada and Copenhagen in collaboration with the Royal Danish Library which featured hundreds of objects belonging to Cave and included a recreation of his office featuring hundreds of his books.

A spokesperson for Oxfam said: “It’s a very interesting donation. The types of books are very wide ranging. There’s philosophy, art, religion, even old fiction paper backs. It’s an incredibly varied donation.”

Among the titles are a first edition of Johnny Cash’s novel Man In White and a copy of The Lieutenant of Inishmore inscribed to Cave by Irish playwright Martin McDonagh, as well as books by Salman Rushdie, Christopher Hitchens and Ian McEwan. Although Cave’s books do not have bookplates, they do include ‘inclusions’ used as bookmarks by him including his boarding pass for a flight to Amsterdam, a US map, and an empty packet of cigarettes.

Cave lived for several years in nearby Brighton in the 2000s until the death of his son Arthur there in 2015.

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Don’t Get Lost

The Underground Electric Company in London published this series of posters in 1925. The set was designed by Kathleen Stenning. Each bold image promotes catching the Tube to escape the predictably unpredictable English weather.

 

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the first cut is the deepest

The impressive artwork of Joanathan Bessaci includes maps cut out and layered to form images.

I presently work with old Michelin maps dated from roughly 1920 to 1970. I use old French Michelin maps because I like their color and texture but also because for me, they symbolize the roads that various family members have taken to get to France. My maternal grandmother emigrated to France from Vietnam and my paternal grandfather emigrated to France from Kabylia (Northern Algeria). I myself moved to Washington D.C. from Paris in August, 2016.

I was also drawn to old French Michelin maps because I have been surrounded by objects like them since I was a child. Both my father and grandfather have stands in Lyon’s largest flea market and I spent long hours there as a child and adolescent. Many of the maps that I use come from Lyon’s flea markets and others throughout France.

My work presently consists of cutting portraits and other images into several maps. I chose my maps very carefully and try to integrate their geography, including lakes, rivers, oceans, roads, highways, parks and city centers into my images to highlight certain visual elements. Each of my pieces is made up of multiple maps which I cut out and layer on top of each other in between pieces of glass to create depth and texture.

It’s amazingly well done. Bessaci’s maps often form images of animals, or people in motion; motorways intersect at locations on the body that evoke a circulatory system. The effect is even more dramatic in his anatomical works, where the map layers draw out hidden bones.

Here’s a time-lapse video of Bessaci creating one of his works:

 

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Everyone wants to see it

Like millions of other people, seeing the aurora borealis had long been on my list of travel goals. I was overjoyed eight years ago to finally experience the Northern Lights in Iceland after visits to Norway, Alaska and Iceland. Surprisingly, I was able to see the mesmerizing green and purple lights from the deck of my rental apartment in the heart of Reykjavik for three nights in a row in late September.

According to maps.com, there’s nothing boring about the aurora borealis. As charged particles from the Sun interact with Earth’s magnetic field, some of them travel along field lines and collide with other atoms in the magnetosphere. Excited by these collisions, the atoms release energy in the form of visible light. The molecular composition of the atmosphere and the altitude of these collisions can produce a vibrant array of greens, yellows, purples, and reds. It truly is a remarkable sight, and seeing an aurora is often considered a bucket list experience.

That’s exactly the case for Harry Kuril, a cartographer and outdoor enthusiast with a background in geophysics from Cambridge and MIT. But Kuril knows auroras are fleeting. Seeing these ephemeral whisps of light comes with no guarantee. In addition to the presence of charged particles waxing and waning with the solar wind, other environmental factors can enhance or impede one’s view of the night sky. To better his chances, Kuril turned to his experience as a cartographer.

Using data from NASA, NOAA, and others, Kuril first mapped the average energy flux to estimate the strength of the aurora for a given time range. He then mapped average cloud cover to determine the conditions that might be typical for the season. Finally, a map of light pollution helps filter out locations too washed out with artificial lighting. By combining all these data, Kuril produced a metric to identify which areas offered the best chance to see the aurora. This aurora score, once mapped, provides a chart to the areas with a strong aurora, clear skies, and low influence from the cities below.

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How Amsterdam Was Built

I have visited hundreds of cities over the decades, but Amsterdam is the one place that I have returned to over and over. If you have been there, it’s probably one of your favorite cities too. And, if you haven’t visited yet, it’s probably on your top ten list of destinations. Either way, we’ve all seen wonderful films and videos set in the one of the world’s best travel destinations.

Amsterdam’s most memorable feature, its canals, were created not to look fetching on influencers’ socials, but in fact, as The Present Past host Jochem Boodt puts it in the video below, their construction was “a matter of life and death.” Too marshy for farming or home-building, the swampy ground beneath the city on the river Amstel had to be drained; when drained, it became subject to floods, which necessitated building dikes and a dam.

NB: if the video fails to load please click here.

That thirteenth-century engineering project of damming the Amstel protected the city, and also gave it its name. The Amstel itself is, in fact, a huge canal, and the rapid expansion of the settlement around it necessitated digging more and more auxiliary canals to assist with drainage, which defined the space for islands on which to build new districts atop hundreds of thousands of poles driven into the sea floor). As shown in the OBF video, this distinctive urban structure dictated the shapes of the city’s houses, with their universally narrow façades and their depths reflecting the wealth of the families within. Now, four centuries after it took its current shape — and having survived numerous crises inherent to its unusual situation and form — the center of Amsterdam is looked to as a paragon of urban planning, sometimes imitated, but without similarly “impossible” original conditions, never replicated.

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“If you don’t like a place, maybe you don’t know enough about it”

As I have previously mentioned, the always popular American travel writer is one of my personal heroes. Many years ago I had the good luck to have run into Rick when our paths crossed in Italy and we got to hang out for an afternoon in a small town on Lake Como. Rick was kind enough to support a travel project that I had going at the time, giving it a boost. I recently heard a great interview with him on National Public Radio and thought I’d share the video that accompanied the radio show with you. (see below)

In the video Rick reflects on his career as a ‘travel teacher’. There are lots of nice little nuggets about tourism and traveling, like his distinction between ‘escape travel’ and ‘reality travel’: “[With reality travel] I want to go home a little bit different, a little less afraid, a little more thankful, a better citizen of the planet.”

NB: if the video fails to launch, please click here

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it’s not too late to find that perfect summer read

 

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