The Victorian Fairy Tale Book (Pantheon Fairy Tale & Folklore Library) (11 page)

“Which I have worn ever so many times, and am quite tired of,” Angelica went on; “And she shall be my little maid. Will you come home with me, little dirty girl?”

The child clapped her hands, and said, “Go home with you—yes! You pooty Princess!—Have a nice dinner, and wear a new dress!”

And they all laughed again, and took home the child to the palace, where, when she was washed and combed, and had one of the Princess’s frocks given to her, she looked as handsome as Angelica, almost. Not that Angelica ever thought so; for this little lady never imagined that anybody in the world could be as pretty, as good, or as clever as herself. In order that the little girl should not become too proud or conceited, Mrs. Gruffanuff took her old ragged mantle and one shoe, and put them in a glass box, with a card laid upon them, upon which was written, “These were the old clothes in which little B
ETSINDA
was found when the great goodness and admirable kindness of her Royal Highness the Princess Angelica received this little outcast.” And the date was added, and the box locked up.

For a while little Betsinda was a great favourite with the Princess, and she danced, and sang, and made her little rhymes, to amuse her mistress. But then the Princess got a monkey, and afterwards a little dog, and afterwards a doll, and did not care for Betsinda any more, who became very melancholy and quiet, and sang no more funny songs, because nobody cared to hear her. And then, as she grew older, she was made a little lady’s-maid to the Princess; and though she had no wages, she worked and mended, and put Angelica’s hair in papers, was never cross when scolded, and was always eager to please her mistress, and was always up early and to bed late, and at hand when wanted, and in fact became a perfect little maid. So the two girls grew up, and, when the Princess came out, Betsinda was never tired of waiting on her; and made her dresses better than the best milliner, and
was useful in a hundred ways. Whilst the Princess was having her masters, Betsinda would sit and watch them; and in this way she picked up a great deal of learning; for she was always awake, though her mistress was not, and listened to the wise professors when Angelica was yawning or thinking of the next ball. And when the dancing-master came, Betsinda learned along with Angelica; and when the music-master came, she watched him, and practised the Princess’s pieces when Angelica was away at balls and parties; and when the drawing-master came, she took note of all he said and did; and the same with French, Italian, and all other languages—she learned them from the teacher who came to Angelica. When the Princess was going out of an evening she would say, “My good Betsinda, you may as well finish what I have begun.” “Yes, Miss,” Betsinda would say, and sit down very cheerful, not to
finish
what Angelica began, but to
do
it.

For instance, the Princess would begin a head of a warrior, let us say, and when it was begun it was something like this—

But when it was done, the warrior was like this—

(only handsomer still if possible), and the Princess put her name to the drawing; and the Court and King and Queen, and above all poor Giglio, admired the picture of all things, and said, “Was there ever a genius like
Angelica?” So, I am sorry to say, was it with the Princess’s embroidery and other accomplishments; and Angelica actually believed that she did these things herself, and received all the flattery of the Court as if every word of it was true. Thus she began to think that there was no young woman in all the world equal to herself, and that no young man was good enough for her. As for Betsinda, as she heard none of these praises, she was not puffed up by them, and being a most grateful, good-natured girl, she was only too anxious to do everything which might give her mistress pleasure. Now you begin to perceive that Angelica had faults of her own, and was by no means such a wonder of wonders as people represented her Royal Highness to be.

And now let us speak about Prince Giglio, the nephew of the reigning monarch of Paflagonia. It has already been stated, in Chapter 2, that as long as he had a smart coat to wear, a good horse to ride, and money in his pocket, or rather to take out of his pocket, for he was very good-natured, my young Prince did not care for the loss of his crown and sceptre, being a thoughtless youth, not much inclined to politics or any kind of learning. So his tutor had a sinecure. Giglio would not learn classics or mathematics, and the Lord Chancellor of Paflagonia, S
QUARETOSO
, pulled a very long face because the prince could not be got to study the Paflagonian laws and constitution; but, on the other hand, the King’s gamekeepers and huntsmen found the Prince an apt pupil; the dancing-master pronounced that he was a most elegant and assiduous scholar; the First Lord of the Billiard Table gave the most flattering reports of the Prince’s skill; so did the Groom of the Tennis Court; and as for the Captain of the Guard and Fencing Master, the
valiant
and
veteran
Count K
UTASOFF
H
EDZOFF
, he avowed that since he ran the General of Crim Tartary, the dreadful Grumbuskin, through the body, he never had encountered so expert a swordsman as Prince Giglio.

I hope you do not imagine that there was any impropriety in the Prince and Princess walking together in the palace garden, and because Giglio kissed Angelica’s hand in a polite manner. In the first place they are cousins; next, the Queen is walking in the garden too (you cannot see her, for she happens to be behind that tree), and her Majesty always wished that Angelica and Giglio should marry: so did Giglio: so did Angelica sometimes, for she thought her cousin very handsome, brave, and good-natured: but then you know she was so clever and knew so many things, and poor Giglio knew
nothing, and had no conversation. When they looked at the stars, what did Giglio know of the heavenly bodies? Once, when on a sweet night in a balcony where they were standing, Angelica said, “There is the Bear.” “Where?” says Giglio. “Don’t be afraid, Angelica! if a dozen bears come, I will kill them rather than they shall hurt you.” “Oh, you silly creature!” says she: “you are very good, but you are not very wise.” When they looked at the flowers, Giglio was utterly unacquainted with botany, and had never heard of Linnæus. When the butterflies passed Giglio knew nothing about them, being as ignorant of entomology as I am of algebra. So you see, Angelica, though she liked Giglio pretty well, despised him on account of his ignorance. I think she probably valued
her own learning
rather too much; but to think too well of one’s self is the fault of people of all ages and both sexes. Finally when nobody else was there, Angelica liked her cousin well enough.

King Valoroso was very delicate in health, and withal so fond of good dinners (which were prepared for him by his French cook Marmitonio), that it was supposed he could not live long. Now the idea of anything happening to the King struck the artful Prime Minister and the designing old lady-in-waiting with terror. For, thought Glumboso and the Countess, “when Prince Giglio marries his cousin and comes to the throne, what a pretty position we shall be in, whom he dislikes, and who have always been unkind to him. We shall lose our places in a trice; Gruffanuff will have to give up all the jewels, laces, snuff-boxes, rings, and watches which belonged to the Queen, Giglio’s mother; and Glumboso will be forced to refund two hundred and seventeen thousand millions, nine hundred and eighty-seven thousand, four hundred and thirty-nine pounds, thirteen shillings, and sixpence halfpenny, money left to Prince Giglio by his poor dear father.” So the Lady of Honour and the Prime Minister hated Giglio because they had done him a wrong; and these unprincipled people invented a hundred cruel stories about poor Giglio, in order to influence the King, Queen, and Princess against him; how he was so ignorant that he could not spell the commonest words, and actually wrote Valoroso Valloroso, and spelt Angelica with two l’s; how he drank a great deal too much wine at dinner, and was always idling in the stables with the grooms; how he owed ever so much money at the pastry-cook’s and the haberdasher’s; how he used to go to sleep at church; how he was fond of playing cards with the pages. So did the Queen like playing cards; so did the King go to sleep at church, and eat and drink too much; and, if Giglio owed a trifle for tarts, who owed him two hundred and seventeen thousand millions, nine hundred and eighty-seven thousand, four hundred and thiry-nine pounds, thirteen shillings, and sixpence halfpenny, I should like to know? Detractors and tale-bearers (in my humble
opinion) had much better look at
home.
All this backbiting and slandering had effect upon Princess Angelica, who began to look coldly on her cousin, then to laugh at him and scorn him for being so stupid, then to sneer at him for having vulgar associates; and at Court balls, dinners, and so forth, to treat him so unkindly that poor Giglio became quite ill, took to his bed, and sent for the doctor.

His Majesty King Valoroso, as we have seen, had his own reasons for disliking his nephew; and as for those innocent readers who ask why?—I beg (with the permission of their dear parents) to refer them to Shakespeare’s pages, where they will read why King John disliked Prince Arthur. With the Queen, his royal but weak-minded aunt, when Giglio was out of sight he was out of mind. While she had her whist and her evening-parties, she cared for little else.

I dare say
two villains
, who shall be nameless, wished Doctor Pildrafto, the Court Physician, had killed Giglio right out, but he only bled and physicked him so severely, that the Prince was kept to his room for several months, and grew as thin as a post.

Whilst he was lying sick in this way, there came to the Court of Paflagonia a famous painter, whose name was Tomaso Lorenzo, and who was Painter in Ordinary to the King of Crim Tartary, Paflagonia’s neighbour. Tomaso Lorenzo painted all the Court, who were delighted with his works; for even Countess Gruffanuff looked young and Glumboso good-humoured in his pictures. “He flatters very much,” some people said. “Nay!” says Princess Angelica, “I am above flattery, and I think he did not make my picture handsome enough. I can’t bear to hear a man of genius unjustly cried down, and I hope my dear papa will make Lorenzo a knight of his Order of the Cucumber.”

The Princess Angelica, although the courtiers vowed her Royal Highness could draw so
beautifully
that the idea of her taking lessons was absurd, yet chose to have Lorenzo for a teacher, and it was wonderful,
as long as she painted in his studio
, what beautiful pictures she made! Some of the performances were engraved for the Book of Beauty: others were sold for enormous sums at Charity Bazaars. She wrote the
signatures
under the drawings, no doubt, but I think I know who did the pictures—this artful painter, who had come with other designs on Angelica than merely to teach her to draw.

One day, Lorenzo showed the Princess a portrait of a young man in armour, with fair hair and the loveliest blue eyes, and an expression at once melancholy and interesting.

“Dear Signor Lorenzo, who is this?” asked the Princess. “I never saw any one so handsome,” says Countess Gruffanuff (the old humbug).

“That,” said the painter, “that, madam, is the portrait of my august
young master, his Royal Highness Bulbo, Crown Prince of Crim Tartary, Duke of Acroceraunia, Marquis of Poluphloisboio, and Knight Grand Cross of the Order of the Pumpkin. That is the Order of the Pumpkin glittering on his manly breast, and received by his Royal Highness from his august father, his Majesty King P
ADELLA
I., for his gallantry at the battle of Rimbombamento, when he slew with his own princely hand the King of Ograria and two hundred and eleven giants of the two hundred and eighteen who formed the King’s body-guard. The remainder were destroyed by the brave Crim Tartar army after an obstinate combat, in which the Crim Tartars suffered severely.”

What a Prince! thought Angelica: so brave—so calm-looking—so young—what a hero!

“He is as accomplished as he is brave,” continued the Court Painter. “He knows all languages perfectly: sings deliciously: plays every instrument: composes operas which have been acted a thousand nights running at the Imperial Theatre of Crim Tartary, and danced in a ballet there before the King and Queen; in which he looked so beautiful, that his cousin, the lovely daughter of the King of Circassia, died for love of him.”