Summer Session: Maidenhood Part 2

Summary

Podcast Summary: Storytime for Grownups – Summer Session: Maidenhood Part 2

Release Date: July 21, 2025

Introduction

In the second installment of the Summer Session series, Storytime for Grownups delves deeper into the theme of "maidenhood" by exploring the intricate symbolism embedded within classic fairy tales. Hosted by Faith Moore, alongside her co-host, the episode offers listeners an engaging analysis of how these timeless stories reflect the transition from girlhood to womanhood, emphasizing themes such as puberty, fertility, and societal roles.

Setting the Stage: Summer Session Overview

Faith Moore opens the episode by reiterating the unique format of the Summer Session—a "college class, only fun" experience that departs from the regular weekly storytelling of classic literature. This change is designed to allow listeners to immerse themselves in fairy tales and their broader connections to the literature explored throughout the year.

Faith Moore [00:00]:
"Storytime for Grown Ups is like an audiobook with built-in notes. So brew a pot of tea, find a cozy chair, and settle in. Class is in session."

Continuing the Conversation on Maidenhood

The co-host welcomes returning listeners and acknowledges new audience members, emphasizing the communal aspect of the podcast. They smoothly transition into discussing maidenhood, building upon last week's conversation that focused on Snow White by the Brothers Grimm.

Co-Host [01:09]:
"We are in our second Maidenhood episode today, so we're continuing our conversation from last week about maidenhood."

Engaging the Audience: Questions and Community Involvement

Faith and her co-host actively encourage audience participation, urging listeners to subscribe, leave reviews, and join their online community, the "Drawing Room." This interactive approach fosters a deeper connection between the hosts and their audience, making the discussion more dynamic and responsive to listener insights.

Faith Moore [03:19]:
"Tell a friend about the show. Spread the word."

Co-Host [04:02]:
"Join our online community, the Drawing Room, where we have lots of cool conversations going on."

Revisiting Snow White: Audience Reflections

Before delving into new stories, the hosts revisit listener comments from the previous episode, highlighting contemporary critiques of traditional fairy tale elements. Paula Fernandez and Elizabeth express concerns about the prince's role in Snow White, questioning the implications of consent and the prince's motivations.

Paula Fernandez [05:02]:
"I liked how in Grimm's version of Snow White, it wasn't because of the prince's kiss that caused her to come to life again."

Elizabeth [05:02]:
"I'm a little weirded out by the prince in this version of Snow White. He sees this dead girl lying in a coffin and thinks, 'I've got to have her for my own.'"

Symbolism in Fairy Tales: From Snow White to Sleeping Beauty

The discussion shifts to the symbolic representation of maidenhood in fairy tales. The hosts dissect how characters like princes embody the transition to womanhood, symbolizing fertility and the societal expectations placed upon young women. They caution listeners against taking these stories literally, emphasizing the metaphorical layers that convey deeper cultural narratives.

Faith Moore [10:03]:
"A man is needed if you're going to make a baby. This is what I was just talking about before."

Co-Host [10:42]:
"But we're not meant to take these stories literally because if we do, they stop making any sense."

Introduction to Sleeping Beauty: Exploring Multiple Versions

Faith introduces the episode's main focus: Sleeping Beauty. Unlike Snow White, which has a singular well-known version, Sleeping Beauty exists in multiple renditions. The episode presents three distinct versions: Giambattista Basile's Italian rendition "Sun, Moon and Thalia," Charles Perrault's French adaptation, and the Brothers Grimm's "Briar Rose."

Faith Moore [11:01]:
"We're going to read three different versions of this story, just like we did with Cinderella."

Diving into the Stories: Read-Aloud Sessions

The heart of the episode features read-aloud segments of the three versions of Sleeping Beauty. Each version offers a unique take on the classic tale, highlighting variations in plot, character development, and thematic emphasis.

1. Sun, Moon and Thalia by Giambattista Basile

   This version presents a darker narrative where the princess, Talia, undergoes a transformation symbolizing her passage into womanhood. The story incorporates elements of betrayal, cannibalism, and divine intervention, emphasizing the perilous nature of growing up.

   Notable Quote [16:37]:
   "Thalia, hearing these words, began to excuse herself, saying that it was not her fault because the king, her husband, had taken possession of her territory when she was drowned in the sleep."

2. Sleeping Beauty in the Wood by Charles Perrault

   Perrault's rendition retains a focus on beauty and enchantment but introduces complexities in character motivations and magical interventions. The prince's journey to awaken the princess is fraught with challenges, symbolizing the arduous path to maturity and love.

   Notable Quote [32:39]:
   "Take comfort, your majesties," she cried in a loud voice.

3. Briar Rose by Jacob and Wilhelm Grimm

   The Grimm siblings offer a more sanitized version, aligning closely with the familiar Disney adaptation. However, they maintain elements of magic, curses, and eventual triumph, underscoring the timeless nature of the maidenhood theme.

   Notable Quote [52:40]:
   "And after the feast was over, they gathered round in a ring and gave all their best gifts to the little princess."

Analysis and Symbolic Connections

Post-readings, the hosts plan to analyze the distinct themes and symbolisms in each version, drawing parallels to Snow White and other fairy tales. They emphasize the transformation from girl to woman, the role of external forces (like princes and witches), and the recurring motifs of enchantment and awakening.

Faith Moore [13:02]:
"So as you're listening to these three versions of what is essentially the same story, you can kind of watch the sort of Disneyfication of this story happening before your very eyes."

Conclusion and Call to Action

Faith concludes the episode by teasing an upcoming interview and encouraging listeners to engage with the content by submitting their thoughts and questions. She reiterates the importance of community and listener involvement in shaping future discussions.

Faith Moore [54:00]:
"Please spread the word about the show by posting about it on social media or texting a link to your friends. Subscribe, tap those five stars and leave a positive review wherever you're listening."

Final Thoughts

Summer Session: Maidenhood Part 2 offers a rich exploration of classic fairy tales through the lens of maidenhood symbolism. By presenting multiple versions of Sleeping Beauty, Faith Moore and her co-host provide listeners with a nuanced understanding of how these stories reflect societal views on women's growth and autonomy. The episode not only entertains but also invites critical reflection on the enduring impact of fairy tales in contemporary discourse.

Transcript

[Faith Moore]

Hello and welcome to Storytime for Grown Ups. I'm Faith Moore and this is Summer Session. Normally on Storytime for Grown Ups, we read classic literature a few chapters at a time with a few notes along the way, like an audiobook with built in notes. But during the summer, we switch things up a little. From now until September, we will be in Summer Session, which is sort of like a college class, only fun. This summer we're exploring fairy tales and their relationship to the books we've read this year on storytime and storytelling more broadly. We'll do this in once a week episodes, which will drop on Mondays. If this doesn't sound like your thing, don't worry. Storytime will be back with a new book in September. But for now, brew a pot of tea, find a cozy chair and settle in. Class is in session. Hi everyone. Welcome back.

[Summer Session Co-Host]

We are in our second Maidenhood episode today, so we're continuing our conversation from last week about maidenhood. So if you missed that conversation and you would like to start, start from the beginning of this little tiny series that we're doing here on Summer Session. You can find last week's episode, but.

[Faith Moore]

Otherwise stay here with us. I'm so glad you're here.

[Summer Session Co-Host]

I'm always so happy to be with you. Thank you for listening. Thank you for being a part of this this summer. I know it's not exactly what this.

[Faith Moore]

Show is meant to be.

[Summer Session Co-Host]

This is a show where we read.

[Faith Moore]

Classic books aloud a few chapters at.

[Summer Session Co-Host]

A time with a few notes along the way and we take questions about it and we deep dive into all of these things. And in the summer we're doing something a little different. So I really am so grateful that you've come along for the ride, that we've picked up new people along the way. I'm always so amazed when that happens and so thrilled. So thank you for joining us in whatever capacity you are joining us. Whether you've been listening since the very, very beginning, day one of Jane Eyre, or if you jumped in somewhere along the way, or if this is your very first episode, whatever it is, however you found this show, however you've been listening, I'm just so glad that you're here. Thank you for supporting the show and being a part of this show.

[Faith Moore]

So before we get back into this.

[Summer Session Co-Host]

Conversation that we started last week about maidenhood and fairy tales that deal with.

[Faith Moore]

Girls becoming women, basically, this transition that.

[Summer Session Co-Host]

We were talking about initially when we started with the Deep Dark Wood, this fairy tale idea of the transition from.

[Faith Moore]

Child to adulthood, of growing up is a that's a huge theme in fairy tales.

[Summer Session Co-Host]

And we've been exploring that. And we kind of honor honed in on last week we kind of honed in on the idea of girls coming into womanhood because that's a whole kind of subset of this idea that involves things that are really specific to women like puberty and getting your period and.

[Faith Moore]

Becoming able to bear children.

[Summer Session Co-Host]

So before we get back into that conversation, which we are going to do today, as I said, just all the usual reminders, please make sure that you are subscribed to the show. You don't want to miss an episode. You don't want to miss the channel.

[Faith Moore]

Trailer for September's book when it drops. So do make sure you're subscribed.

[Summer Session Co-Host]

Tell a friend about the show.

[Faith Moore]

Spread the word.

[Summer Session Co-Host]

I would love to have even more new people when we start again in.

[Faith Moore]

September with a new book.

[Summer Session Co-Host]

So text a link to the show or a specific episode to someone that you think might enjoy it and see if you can get some of your.

[Faith Moore]

Friends or your colleagues or your family members to start listening to the show.

[Summer Session Co-Host]

Which is really fun because then you have people in real life that you can talk to about the stories and books that we're reading on the show. And I know that's really fun for those of you who have seen started to do that already. So that's one thing you can do.

[Faith Moore]

If you haven't already.

[Summer Session Co-Host]

Please tap the five stars or leave a positive review if you're able to.

[Faith Moore]

Support the show financially.

[Summer Session Co-Host]

There's a link in the show notes to do that.

[Faith Moore]

And if you'd like to join our online community, which is called the Drawing.

[Summer Session Co-Host]

Room, it's an online kind of chat room where we type to each other and we have lots of cool conversations going on. It's very active over there. If you'd like to be a part of that, this is a great time to join. We have a tea time coming up, which is our monthly voice chat, like a group phone call where I am there and I talk to you and you can talk back to me if.

[Faith Moore]

You choose, or you can just listen.

[Summer Session Co-Host]

The next one is coming up. It's July 30, it's a Wednesday at 8pm Eastern. And I would love to hear some new voices and of course all of my wonderful old voices in the in the chat as well. So I hope that you will sign up for that if that's of interest to you and if you can make it on the 30th. And I would love to Hear.

[Faith Moore]

Hear you there.

[Summer Session Co-Host]

See you there.

[Faith Moore]

Hear you there.

[Summer Session Co-Host]

Whatever it is, I would love to have you be there. So I hope that you'll join us there.

[Faith Moore]

All right, so what I'd like to.

[Summer Session Co-Host]

Do now is read two comments that.

[Faith Moore]

I got from last time when we started this conversation about maidenhood and we read Snow White from the Brothers Grimm.

[Summer Session Co-Host]

I'd like to read two comments that I think will kind of help us to launch back into this conversation and to kind of pick up some of the threads that we were discussing before. And then we we're going to be reading a new story, several versions of the same story. So we've got a lot of read aloud today, a lot of story time today. So I'm actually not going to do a whole bunch of talking at the beginning. I'm going to answer these questions. I'm going to do a little bit of intro about what we're going to be hearing today. And then the next time we talk about this, I'm going to come back around via your questions to the topics that we're going to discuss after we hear the story. So two questions, a little bit of chatting, a little bit of intro into this topic and then lots of reading today. So that's what we're going to be doing today. And of course, keep your questions and comments coming because we're going to use those to discuss these stories that we're.

[Faith Moore]

Going to read today.

[Summer Session Co-Host]

The next time we come back to them, which is actually going to be in two weeks next week I'm going to be away and we're going to have an interview I'm really excited about. I think you're going to like it. I hope you're going to like it. So we're going to have that interview. And then in two weeks from right now, we're to going going to come back and discuss and kind of deep dive a little bit into the stories that we're going to listen to today. So let's get into these questions from last time.

[Faith Moore]

The first one comes from Paula Fernandez.

[Summer Session Co-Host]

She writes, I liked how in Grimm's version of Snow White, it wasn't because.

[Faith Moore]

Of the prince's kiss that caused her to come to life again.

[Summer Session Co-Host]

And the next one is from Elizabeth. She said, I'm a little weirded out by the prince in this version of Snow White. He sees this dead girl lying in a coffin and thinks, I've got to have her for my own.

[Faith Moore]

Why? What was he planning to do with her?

[Summer Session Co-Host]

Okay, so as I said today, we're going to continue talking about maidenhood and the symbolism inherent in fairy tales that deal with maidenhood and a girl's transition from child to adult, from girl to woman. And all of this, we're going to be reading, as I say, some stories. We're going to read three stories today, or three versions of the same story. And these are stories that you may not be as familiar with as you probably were with Snow White. You may think, think you know this story that we're going to read, but.

[Faith Moore]

My guess is that you're going to.

[Summer Session Co-Host]

Be surprised by these. So as you'll see when I get into today's topic, and as I just said, I'm not going to do a whole lot of talking up front about these stories the way I did talk a lot up front last week about Snow White, because I want you to experience the stories for yourself without spoilers, and also because I want you to see what you can do on your own with the symbolism that we've already discussed in Snow White. And then when we come back, as I say, in two weeks, we'll talk more specifically about the stories that we've.

[Faith Moore]

Heard and how they tie into the.

[Summer Session Co-Host]

Symbolism that we've been discussing.

[Faith Moore]

But I did just want to highlight.

[Summer Session Co-Host]

These two comments about the prince in Snow White. First, because this idea of questionable princes, right, and how exactly sleeping curses are broken and why it's going to come up again today. So it's worth reminding ourselves of what's going on here. But also because I think these two questions together speak to something that's become kind of like a huge part of the. The narrative around fairy tales, the modern narrative around fairy tales. And so it's worth bringing up. So both of these comments, Paula's and Elizabeth's, they point to modern day notions that there's something a little bit problematic about princes in fairy tales, particularly the kinds of princes that wake princesses up from sleeping. Okay, I'm not gonna go into this a ton right now, but the idea is that how can you consent to being kissed if you're asleep? Okay, if you want my full take on this, you can pick up a copy of my book that I talked about a couple episodes ago, Saving Cinderella. You can take a look at the first chapter, which is all about Snow White, and it covers this. But essentially there's this idea that a person who just kisses a seemingly dead woman is a little weird. And likewise, as Elizabeth points out, a person who really, really needs to have a in and take her home with him is in fact totally suspect. And by the way, you are going to meet some princes in today's stories who do even worse things than this. So if you're looking for the poster child for, like, questionable behavior around people under sleeping curses, you need look no further than today's stories. But I bring all of this up, not really to dissect with you whether or not it's okay to kiss a sleeping woman, though, again, read my book if you want to know what my take actually is on. On that. That's not my point here, though.

[Faith Moore]

My point is just to remind you.

[Summer Session Co-Host]

That questions like that are largely irrelevant when it comes to these stories. Because like I was saying last week, the prince in a fairy tale like.

[Faith Moore]

This, right, where the girl is falling.

[Summer Session Co-Host]

Asleep to her girlhood and then waking up to her womanhood, or even where she doesn't fall asleep, but she's clearly transitioning from one phase of life to the next. The point of the prince in a story like that is almost entirely symbolic. He represents the Now Woman's ab.

[Faith Moore]

To bear children, and so he behaves toward her like a person who wants.

[Summer Session Co-Host]

To have children with her, right? He lusts after her, he finds her beautiful, he. He wants to kiss her, he falls in love with her, etc. Etc.

[Faith Moore]

Right?

[Summer Session Co-Host]

Not because in real life it's okay to carry off a dead body, no questions asked, but because symbolically, he's there to show us that the transformation of girl to woman is complete. Because the minute you start thinking of him as a real guy making, like, human choices, he becomes pretty suspect.

[Faith Moore]

But we're not meant to do that.

[Summer Session Co-Host]

I really don't think that we are.

[Faith Moore]

Just, like, we're not meant to believe.

[Summer Session Co-Host]

That, like, witches are real and live in houses made of sugar and bread or whatever.

[Faith Moore]

We can't take these stories literally because if we do, they stop making any sense.

[Summer Session Co-Host]

Okay, so now I want to transition.

[Faith Moore]

Into the topic of today's episode where.

[Summer Session Co-Host]

We'Re going to meet even more weird princes, okay? Because today we're going to be reading the story of Sleeping Beauty. We're actually going to be reading, like I said, three different versions of this story, just like we did with Cinderella. We're going to start with the Italian version by Basile. Then we're going to move on to the French version by Perrault, and we're going to finish off with the German version as written down by the Brothers Grimm. And as you listen to these three versions of what is essentially the same story, you can kind of watch the sort of Disneyfication of this story happening before your very eyes, you will see, I think, how the story went from really very strange and actually kind of hard to stomach in a lot of ways, to the version of Sleeping Beauty that we all know from either the Disney movie or, like, children's storybooks that we might have had as kids or that we might be reading to our kids today. And I've chosen Sleeping Beauty for our second maidenhood episode because of how similar.

[Faith Moore]

The symbolism is to Snow White.

[Summer Session Co-Host]

There are lots of other fairy tales that deal with girlhood or womanhood and the transition from girl to woman and things like that.

[Faith Moore]

But I think these two, Snow White.

[Summer Session Co-Host]

And Sleeping Beauty really encapsulate the symbolism that you will then see playing out in various other ways in other stories that you may encounter either here later in the summer or on your own.

[Faith Moore]

At some other point.

[Summer Session Co-Host]

So remember, the symbolism that we're talking about with these stories is symbolism surrounding a girl's transition to womanhood. Okay?

[Faith Moore]

That change from being a child to.

[Summer Session Co-Host]

Being a person capable of being bearing children. In Snow White, we talked about the symbolic reason that Snow White falls asleep and then is woken up by a prince.

[Faith Moore]

Remember, she's falling asleep to her girlhood and waking up to her womanhood, which.

[Summer Session Co-Host]

Is symbolically represented by a man, because.

[Faith Moore]

A man is needed if you're going.

[Summer Session Co-Host]

To make a baby. This is what I was just talking about before. Right. You'll see that same symbolism playing out in Sleeping Beauty as well.

[Faith Moore]

Also, in Snow White, we had the.

[Summer Session Co-Host]

Idea of the older mother figure being.

[Faith Moore]

Jealous of the young girl who's on the cusp of of womanhood and wanting.

[Summer Session Co-Host]

To kill her to maintain her dominance as the beautiful, fertile woman. You're actually going to see that in.

[Faith Moore]

At least one of the versions of.

[Summer Session Co-Host]

Sleeping Beauty that we're going to read today. Though you could argue actually also that.

[Faith Moore]

The fairy who isn't invited to Sleeping.

[Summer Session Co-Host]

Beauty's christening party and ultimately curses her to die, just as she's transitioning from girl to woman. That character could play a similar role to Snow White Stepmother as well, I think. So as you're listening to these three versions, think about the symbolism that we discussed in Snow White and see how it is playing out in a very similar way in Sleeping Beauty.

[Faith Moore]

And then, of course, write to me.

[Summer Session Co-Host]

Tell me your thoughts, ask me your questions, and as I say, we'll do more comparing of these two stories and their symbolism in another episode coming up.

[Faith Moore]

I do want to just mention that.

[Summer Session Co-Host]

The Basila version, the earliest version that I'm going to read today, it can be kind of hard to swallow if.

[Faith Moore]

You are taking the story elements literally.

[Summer Session Co-Host]

There's some weird stuff going on in this one. Let's just say that. But remember the symbolism, okay? We're really focusing on the symbolism here. She falls asleep a girl, and she wakes up a woman.

[Faith Moore]

So in her sleep, the transformation happens.

[Summer Session Co-Host]

And in this version, the Basile version, that is really, really clear if you look at it symbolically and that sense.

[Faith Moore]

That the thing that happens to girls.

[Summer Session Co-Host]

To make them women is the onset.

[Faith Moore]

Of menarche and the fact of being.

[Summer Session Co-Host]

Able to bear children, you can pick up the symbolic meaning really clearly in.

[Faith Moore]

This version, even if in the literal.

[Summer Session Co-Host]

Sense there are some serious problems with it. Okay. The Perrault version takes a really strange turn and is also kind of creepy and weird if you take it literally.

[Faith Moore]

But notice, again, the similarities with Snow.

[Summer Session Co-Host]

White and the connections to the wicked.

[Faith Moore]

Stepmother plotline from that story. Those are cropping up again in this one, too.

[Summer Session Co-Host]

And in all the three versions, keep.

[Faith Moore]

Track of the parents, okay? And the parental figures, and watch what happens to them as Sleeping Beauty goes.

[Summer Session Co-Host]

Through this transformation that we're talking about. So that's actually kind of all I'm going to say at this point, because I want you to listen to these three versions first, and I don't want to spoil them for you, because, like I'm saying, unlike Snow White, which really only has that one original version, which was then adapted fairly faithfully for Disney, Sleeping Beauty has a lot of really weird and wacky stuff in its various versions. And I don't want to spoil that for you before you listen. So I'm gonna just let you listen now.

[Faith Moore]

And then when we discuss this again.

[Summer Session Co-Host]

With the help of your questions, we will look at these stories a little bit more. Okay? So do write in, because that will really help facilitate this conversation. And just a quick note, if you.

[Faith Moore]

Are listening, with very small children, today's.

[Summer Session Co-Host]

Stories may be ones that you want to listen to on your own first before making your own decisions about whether to share them with your kids. So that, as I always say, that is completely up to you. You're the parents of your kids. But I will just say, these ones, I think more than any of the others, are the ones that I would maybe watch out for a little bit.

[Faith Moore]

All right, write to me, faithk moore.com click on contact.

[Summer Session Co-Host]

Send me all your questions and thoughts.

[Faith Moore]

As I say, next week we will.

[Summer Session Co-Host]

Have an interview, and after that, we'll be back, and we'll talk all about these weird and wacky Versions of Sleeping Beauty. Alright, let's get started with three versions of Sleeping Beauty.

[Faith Moore]

It's story time. Sun, Moon and Thalia by Giambattista Basile, published in the Pentameron. There once lived a great lord who was blessed with the birth of of a daughter, whom he named Talia. And he sent for the sages and astrologers in his estates to foretell him what lot and fortune would befall her. And they met and counseled together and cast the horoscope over her. And at length they came to the conclusion that she would incur great danger from a chip of flax. So flax is a kind of plant. So this fortune teller is telling the.

[Summer Session Co-Host]

Lord that his daughter is going to.

[Faith Moore]

Be harmed in some way by a piece of. Of a plant. Her father therefore forbade that any flax or hemp or any other matter of the kind should be brought within his house so that she could escape the predestined danger. One day of the days when Talia had grown into a young and beauteous damsel, she was looking out of a window when she beheld, passing that way, an ancient dame who was spinning. And Talia, never having seen a distaff or a spindle, so these are sewing tools for winding wool or thread, like a sort of skin stick that the thread gets wound around, was pleased to see the twistings of the spindle, and she felt so much curiosity as to what thing it was that she bade the old dame come to her. And taking the distaff from her hand, she began to stretch the flax. Unfortunately, one of the chips of the flax entered her nail, and Talia fell dead upon the ground. When the affrighted old woman beheld this, she hastened down the stairs, and is hastening still. As soon as the wretched father heard of this disaster which had taken place, he bade them, after having paid for this tub full of sour wine, with casks full of tears, lay her out in the palace, it was one of his country mansions, and put her seated on a velvet throne under a dais of brocade and closing the doors, being desirous to forget all and to drive from his memory his great misfortune, he abandoned forever the house wherein he had suffered so great a loss. Such was his case. After a time a king went forth to the chase, meaning he went hunting. And by decree of the decreer, meaning it happened by fate, he passed that way. And one of his falcons, escaping from his hand, flew within the house by way of one of the windows, and not returning at the call, the king bade one of his sweet. Meaning one of his entourage knock at the door, believing the palace to be inhabited. But though he knocked for a length of time, nobody came to answer the summons. So the king bade them bring a vintager's ladder. For he himself would clamber up and search the house to discover what was within it. Thereupon he mounted and entered. And sought in all the chambers and nooks and corners. And marvelled with exceeding marvel to find no living person within it. At last he came to the saloon. And when the king beheld Thalia, who seemed as one ensorceled, meaning one bewitched. He believed that she slept. And he called her. But she remained insensible and crying aloud. He felt his blood course hotly through his veins in contemplation of so many charms. And he lifted her in his arms and carried her to a bed. Whereon he gathered the first fruits of love. Meaning he slept with her. And, leaving her upon the bed, returned to his own kingdom. Where, in the pressing business of his realm, he for a time thought no more of this incident. Now Talia was delivered after nine months. Of a couple of beautiful creatures. One a boy and the other a girl. In them could be seen two rare jewels. And they were attended by two fairies who came to that palace and put them at their mother's breasts. Breasts. And once they sought the nipple. And not finding it, they began to suck at the fingers. And they sucked so much that the chip of the flax came forth. And Thalia awoke as if from a long sleep. And beholding beside her the two priceless gems, she held them to her breast and gave them the nipple to suck. And the babes were dearer to her than her own life. Finding herself alone in that palace with two children by her side. She knew not what had happened to her. But she noticed that the table was laid. And refreshments and viands brought in to her. Without seeing any attendants. In the meanwhile, the king remembered Thalia. And saying that he would go a birding and a hunting. He fared to the palace and found her awake. And with two cupids of beauty. And he was glad, with exceeding gladness. And he related to Thalia who he was and how he had seen her and what had taken place. And when she heard this, their friendship was knitted with tighter bonds. And he remained with her for a few days. After that time he bade her farewell and promised to return soon and take her with him to his kingdom. And he fared to his realm. But he could not find any rest, and at all hours he had in his mouth the names of Talia and of sun and Moon. Thus were the two children hight, meaning sun and Moon were the names of the two children, and when he took his rest, he called either one or other of them. Now the king's wife began to suspect that something was wrong from the delay of her husband in the chase, and hearing him name continually Talia, sun and Moon, she waxed hot with another kind of heat than the sun's, meaning she's jealous. And therefore sending for the secretary, she said to him, hearken to me, O my son. Thou art abiding between two rocks, between the post and the door, between the poker and the great, and thou wilt tell me with whom the king, my master, and my husband is in love. I will give thee and largesse thee with treasures untold. And an thou hidest from me the truth, I will not let them find thee neither dead nor alive. Our gossip was frightened, meaning the secretary was frightened with sore affright, and his greed of gain being strong above fear, blinding his eyes to all honour and all sense of justice, a pointless sword of faith. He related to her all things like bread. And bread. And wine. And wine. So the queen is asking a servant to tell her what's going on with her husband, and the servant tells her everything about Thalia, sun and Moon. And the queen, hearing how matters stood, dispatched the secretary to Talia in the name of the king, bidding her send the children, for he wished to see them. And Thalia with great joy did as she was commanded. Then the queen, that heart of Medea, told the cook to slay them and prepare several tasteful dishes for her wretched husband. But the cook, who was tender hearted, seeing these two beautiful golden apples, felt pity and compassion of them, and he carried them home to his wife and bade her hide them. And he made ready two lambs in their stead in a thousand different ways. And when the king came, the queen with great pleasure bade the viands be served up. And whilst the king ate with delight, saying, oh, how good is this priest of Lenphusa. Oh, how tasteful is this other dish. By the soul of mine ancestors, she.

[Summer Session Co-Host]

Ever replied, eat, eat that of thine own. Thou eatest.

[Faith Moore]

The king heeded, not for twice or three times this repetition, but at last, seeing that the music continued, answered, I know perfectly well that I am eating of mine own, because thou hast brought not into this house and waxing wroth with exceeding Wrath, meaning, getting angrier and angrier, he arose and went forth to a villa at some distance of his palace to solace his soul and alleviate his anger. In the meanwhile, the queen, not being satisfied of the evil already done, sent for the secretary and bade him fare to the palace and bring Talia thither, saying that the king longed for her presence and was expecting her. As soon as she heard these words, Thalia forthwith departed, believing that she obeyed the commands of her lord, for she longed with excessive longing to behold her light and joy, knowing not what was preparing for her as she arrived in the presence of the queen, whose face changed by the fierce fire which burned within and looked like the face of Nero. And she addressed her thus, saying, welcome and farewell. Come. O thou, Madam Rattle, thou art a fine piece of goods. Thou ill weed, who art enjoying my husband?

[Summer Session Co-Host]

Is it thou who art the lump.

[Faith Moore]

Of filth that hath caused me such a turning of head? Wend thy ways, meaning, get out of here. For in sooth thou art welcome in purgatory, where I will compensate thee for all the damage thou hast done to me. Thalia, hearing these words, began to excuse herself, saying that it was not her fault because the king, her husband, had taken possession of her territory when she was drowned in the sleep. But the queen would not listen to her excuses and bade a large fire to be lit in the courtyard of the palace and commanded that Talia should be cast therein. The damsel, perceiving that matters had taken a bad turn, knelt before the queen and besought her to allow her at least to doff the garments she wore, meaning she wants to take off her clothes. And the queen, not for pity of the unhappy damsel, but to gain also those robes which were purflued with gold and pearls, bade her undress, saying, thou canst doff thy raiment. I am satisfied. And Thalia began to take them off. And at every piece of garment she drew off, she uttered a loud scream. And having doffed the robe, the skirt, the body and the underbodice, she was on the point of withdrawing her last garment when she uttered a last scream, louder than the rest, and they dragged her towards the pile to make cinders of her, to warm Carantes breeches. But the king suddenly appeared, and, finding this spectacle, wished to know the matter and, asking for his children, heard that the wife, who reproached him for his treachery had caused them to be slaughtered and served as meat for him. Now when the wretched king heard this, he Gave himself up to despair and said, alas. Then I myself am the wolf of my own sweet lambs.

[Summer Session Co-Host]

Alas.

[Faith Moore]

And why did these my veins know not the fountains of their own blood? Meaning how could he not have known that he was eating his own children?

[Summer Session Co-Host]

Ah, what evil deed is this which thou hast done?

[Faith Moore]

Begone, thou shalt get thy dessert as the stumps, and I will not send. That tyrant faced one of the Coliseum to do her penance, and thus, saying, he commanded that the queen should be cast into the fire which she had prepared for Thalia and the secretary with her, because he had been the handle of this bitter play and weaver of this wicked plot, and he was going to do the same with the cook, whom he believed to be the slaughterer of his children, when the man cast himself at his feet, saying, in very sooth, O my lord, for the service I have done thee, there should be naught else than a pile of living fire, and no other help than a pole from behind, and no other entertainment than stretching and shrinking within the blazing fire would be needful. And no other advantage should I seek.

[Summer Session Co-Host]

Than to have my ashes, the ashes.

[Faith Moore]

Of a cook, mixed up with the queen's. Meaning, if he'd actually killed the children and cooked them, he would deserve to be killed now. But this is not the reward that.

[Summer Session Co-Host]

I expect for having saved thy children.

[Faith Moore]

In spite of the gall of the queen who desired to slay them, to return within thy body that part which was thine own body. The king, hearing these words, his senses forsook him, and his wits were bewildered, and he seemed to be dreaming, and he could not believe what his own ears had heard. Therefore, turning to the cook, he said, if it be true that thou hast saved my children, be sure that I will take thee away from turning the spit, and I will put thee in the kitchen of this breast to turn and twist as thou likest all my desires, giving thee such a reward as shall enable thee to call thyself a happy man in this world. Meaning, if it's true that the cook saved his children, he will love him forever and give him a huge reward. Whilst the king spake these words, the wife of the cook, seeing her husband's need, brought forth the two children, sun and moon, before their sire, and he never tired at playing the game of three with his wife and children, making a mill wheel of kisses. Now with one, and then with other, and giving a rich gift and largess to the cook, he made him a gentleman of his chamber, and took Thalia to wife and she enjoyed a long life with her husband and her children, thus knowing full well that at all times, he whom fortune favoreth, even in sleep, good reigneth for him. The Sleeping Beauty in the Wood By Charles Perrault Once upon a time there lived a king and queen who were grieved, more grieved than words can tell, because they had no children. They tried the waters of every country, made vows and pilgrimages, and did everything that could be done, but without result. At last, however, the queen found that her wishes were fulfilled, and in due course she gave birth to a daughter. A grand christening was held, and all the fairies that could be found in the realm, they numbered seven in all, were invited to be godmothers to the little princess. This was done so that by means of the gifts which each in turn would bestow upon her, in accordance with the fairy custom of those days, the princess might be endowed with every imaginable perfection. When the christening ceremony was over, all the company returned to the king's palace, where a great banquet was held in honor of the fairies. Places were laid for them in magnificent style, and before each was placed a solid gold casket containing a spoon, fork and knife of fine gold, set with diamonds and rubies. But just as all were sitting down to table, an aged fairy was seen to enter, whom no one had thought to invite. The reason being that for more than 50 years she had never quitted the tower in which she lived, and people had supposed her to be dead or bewitched. By the king's orders, a place was laid for her. But it was impossible to give her a golden casket like the others, for only seven had been made for the seven fairies. The old creature believed that she was intentionally slighted and muttered threats between her teeth. She was overheard by one of the young fairies who was seated nearby. The latter, guessing that some mischievous gift might be bestowed upon the little princess, hid behind the tapestry as soon as the company left the table. Her intention was to be the last to speak, and so to have the power of counteracting, as far as possible any evil which the old fairy might do. Presently, the fairies began to bestow their gifts upon the princess. The youngest ordained that she should be the most beautiful person in the world. The next, that she should have the temper of an angel. The third, that she should do everything with wonderful grace. The fourth, that she should dance to perfection. The fifth, that she should sing like a nightingale. And the sixth, that she should play every kind of music with the utmost skill. It was now the turn of the aged fairy Shaking her head in token of spite rather than of infirmity, she declared that the princess should prick her hand with a single spindle and die of it. A spindle is like a stick that thread or wool is round around, and sometimes there's a sharp point on one end of it. A shudder ran through the company at this terrible gift. All eyes were filled with tears. But at that moment, the young fairy stepped forth from behind the tapestry.

[Summer Session Co-Host]

Take comfort, your majesties, she cried in a loud voice.

[Faith Moore]

Your daughter shall not die. My power, it is true, is not enough to undo all that my aged kinswoman has decreed. The princess will indeed prick her hand with a spindle. But instead of dying, she shall merely fall into a profound slumber that will last a hundred years. At the end of that time, a king's son shall come to awaken her. The king, in an attempt to avert the unhappy doom pronounced by the old fairy, at once published an edict on forbidding all persons under pain of death to use a spinning wheel or keep a spindle in the house. At the end of 15 or 16 years, the king and queen happened one day to be away on pleasure bent.

[Summer Session Co-Host]

Meaning they're off having fun.

[Faith Moore]

The princess was running about the castle and going upstairs from room to room. She came at length to a garret at the top of a tower, where an old serving woman sat alone with her distaff. So a distaff is like a spindle spinning. This good woman had never heard speak of the king's proclamation forbidding the use of spinning wheels. What are you doing, my good woman? Asked the princess. I am spinning, my pretty child, replied the dame, not knowing who she was.

[Summer Session Co-Host]

Oh, what fun.

[Faith Moore]

Rejoined the princess. How do you do it? Let me try and see if I can do it equally well. Partly because she was too hasty, partly because she was a little heedless, but also because the fairy decree had ordained it. No sooner had she seized the spindle than she pricked her hand and fell down in a swoon. In great alarm, the good dame cried out for help. People came running from every quarter to the princess. They threw water on her face, chafed her with their hands, and rubbed her temples with the royal essence of Hungary. But nothing would restore her. Then the king, who had been brought upstairs by the commotion, remembered the fairy prophecy, feeling certain that what had happened was inevitable since the fairies had decreed it. He gave orders that the princess should be placed in the finest apartment in the palace, upon a bed embroidered in gold and silver. You would have thought her an angel. So fair was she to behold. The trance had not taken away the lovely color of her complexion. Her cheeks were delicately flushed, her lips like coral. Her eyes indeed were closed, but her gentle breathing could be heard, and it was therefore plain that she was not dead. The king commanded that she should be left to sleep in peace until the hour of her awakening should come. When the accident happened to the princess, the good fairy who had saved her life by condemning her to save sleep a hundred years was in the kingdom of Mataquin, 12,000 leagues away. She was instantly warned of it, however, by a little dwarf who had a pair of seven league boots, which are boots that enable one to cover seven leagues at a single step. The fairy set off at once, and within an hour her chariot of fire, drawn by dragons, was seen approaching. The king handed her down from her chariot, and she approved of all that he had done. But being gifted with great powers of foresight, she bethought herself that when the princess came to be awakened, she would be much distressed to find herself all alone in the old castle. And this is what she did. She touched with her wand everybody except the king and queen who was in the castle. Governesses, maids of honor, ladies in waiting, gentlemen, officers, stewards, cooks, scullions, errand boys, guards, porters, pages, footmen. She touched likewise all the horses in the stables with their grooms, the big mastiffs in the courtyard, and little Puff, the pet dog of the princess, who was lying on the bed beside his mistress. The moment she had touched them, they all fell asleep, to awaken only at the same moment as their mistress. Thus they would always be ready with their service whenever she should require it. The very spits before the fire, loaded with partridges and pheasants, subsided into slumber, and the fire as well. All was done in a moment, for the fairies do not take long over their work. Then the king and queen kissed their dear child without waking her, and left the castle. Proclamations were issued forbidding any approach to it, but these warnings were not needed. But for within a quarter of an hour there grew up all round the park, so vast a quantity of trees, big and small, with interlacing brambles and thorns, that neither man nor beast could penetrate them. The tops alone of the castle towers could be seen, and these only from a distance. Thus did the fairies magic contrive that the princess, during all the time of her slumber, should have naught whatever to fear from prying eyes. At the end of a hundred years, the throne had passed to another family from that of the sleeping princess. One day the king's son chanced to go a hunting that way, and seeing in the distance some towers in the midst of a large and dense forest, he asked what they were. His attendants told him in reply the various stories which they had heard. Some said there was an old castle haunted by ghosts, priests, others that all the witches of the neighborhood held their revels there. The favorite tale was that in the castle lived an ogre who carried thither all the children whom he could catch there he devoured them at his leisure. And since he was the only person who could force a passage through the wood, nobody had been able to pursue him. While the prince was wondering what to believe, an old peasant took up the tale. Your Highness, said He, more than 50 years ago, I heard my father say that in this castle lies a princess, the most beautiful that has ever been seen. It is her doom to sleep there for a hundred years, and then to be awakened by a king's son for whose coming she waits. This story fired the young prince. He jumped immediately to the conclusion that it was for him to see so gay an adventure through, and impelled alike by the wish for love and glory, he resolved to set about it on the spot. Hardly had he taken a step towards the wood, when the tall trees, the brambles and the thorns separated of themselves and made a path for him. He turned in the direction of the castle and espied it at the end of a long avenue. This avenue he entered, and was surprised to notice that the trees closed up again as soon as he had passed, so that none of his retinue were able to follow him. A young and gallant prince is always brave, however. So he continued on his way and presently reached a large forecourt. The sight that now met his gaze was enough to fill him with an icy fear. The silence of the place was dreadful, and death seemed all about him. The recumbent figures of men and animals had all the appearance of being lifeless, until he perceived by the pimply noses and ruddy faces of the porters that they merely slept. It was plain, too, from their glasses, in which were still some dregs of wine, that they had fallen asleep while drinking. The prince made his way into a great courtyard paved with marble, and, mounting the staircase, entered the guard room. Here the guards were lined up on either side in two ranks, their muskets on their shoulders, snoring their hardest through several apartments crowded with ladies and gentlemen in waiting, some seated, some standing, but all asleep. He pushed on, and so came at last to a chamber which was Decked all over with gold. There he encountered the most beautiful sight he had ever seen. Reclining upon a bed, the curtains of which on every side were drawn back, was a princess of seemingly some 15 or 16 summers, whose radiant beauty had an almost unearthly luster. Trembling in his admiration, he drew near and went on his knees beside her. At the same moment, the hour of disenchantment having come, the princess awoke and bestowed upon him a look more tender than a first glance might seem to warrant. Is it you, dear prince? She said. You have been long in coming. Charmed by these words, and especially by the manner in which they were said, the prince scarcely knew how to express his delight and gratification. He declared that he loved her better than he loved himself. His words were faltering, but they pleased the more for that, the less there is of eloquence, the more there is of love. Her embarrassment was less than his, and that is not to be wondered at, since she had had time to think of what she would say to him. It seems, although the story says nothing about it, that the good fairy had beguiled her long slumber with pleasant dreams. To be brief. After four hours of talking, they had not succeeded in uttering one half of the things they had to say to each other. Now the whole palace had awakened with the princess. Everyone went about his business, and since they were not all in love, they presently began to feel mortally hungry. The lady in waiting, who was suffering like the rest, at length lost patience, and in a loud voice called out to the princess and that supper was served. The princess was already fully dressed, and in most magnificent style. As he helped her to rise, the prince refrained from telling her that her clothes with the straight collar which she wore were like those to which his grandmother had been accustomed, and in truth, they in no way detracted from her beauty. They passed into an apartment hung with mirrors and were there served with supper by the stewards of the household, while the fiddles and oboes played some old music, and played it remarkably well, considering they had not played at all for just upon a hundred years. A little later, when supper was over, the chaplain married them in the castle chapel, and in due course, attended by the courtiers in waiting, they retired to rest. They slept but little, however. The princess indeed had not much need of sleep, and as soon as morning came, the prince took his leave of her. He returned to the city and told his father, who was awaiting him with some anxiety, that he had lost himself while hunting in the forest, but had obtained some Black bread and cheese from a charcoal burner in whose hovel he had passed the night. His royal father, being of an easy going nature, believed the tale, but his mother was not so easily hoodwinked. She noticed that he now went hunting every day, and that he always had an excuse handy when he had slept two or three nights from home. She felt certain, therefore, that he had some love affair. Two whole years passed since the marriage of the prince and princess, and during that time they had two children. The first, a daughter, was called dawn, while the second, a boy, was named Day, because he seemed even more beautiful than his sister. Many a time the queen told her son that he ought to settle down in life. She tried in this way to make him confide in her, but he did not dare to trust her with his secret. Despite the affection which he bore her. He was afraid of his mother, for she came from a race of ogres, and the king had only married her for her wealth. It was whispered at the court that she had ogreish instincts, and that when little children were near her, she had the greatest difficulty in the world to keep herself from pouncing on them. No wonder the prince was reluctant to say a word. But at the end of two years the king died and the prince found himself on the throne. He then made public announcement of his marriage and went in state to fetch his royal consort from her castle. With her two children beside her, she made a triumphal entry into the capital of her husband's realm. Some time afterwards the king declared war on his neighbor, the Emperor Cantalabeut. He appointed the Queen Mother as regent in his absence and entrusted his wife and children to her care. He expected to be away at the war for the whole of the summer, and as soon as he was gone, the queen mother sent her daughter in law and the two children to a country mansion in the forest. This she did, that she might be able the more easily to gratify her horrible longings. A few days later she went there and in the evening summoned the chief steward. For my dinner. Tomorrow, she told him, I will eat little Dawn. Oh, madam. Exclaimed the steward. That is my will, said the queen. And she spoke in the tones of an ogre who longs for raw meat. You will serve her with piquant sauce, she added. So piquant sauce is a sauce that's pleasantly tart or spicy. The poor man, seeing plainly that it was useless to trifle with an ogress, took his big knife and went up to little Don's chamber. She was at that time four Years old. And when she came running with a smile to greet him, flinging her arms around his neck and coaxing him to give her some sweets, he burst into tears and let the knife fall from his hand. Presently he went down to the yard behind the house and slaughtered a young lamb. For this he made so delicious a sauce that his mistress declared that she had never eaten anything so good. At the same time, the steward carried Little Don to his wife and bade the latter hide her in the quarters which they had below the yard. Eight days later, the wicked queen summoned her steward again. For my supper, she announced, I will eat Little Day. The steward made no answer. Being determined to trick her as he had done previously, he went in search of Little Day, whom he found with a tiny foil in his hand, making brave passes, though he was but three years old, at a big monkey. So he's got a pretend sword and he's playing at fighting with a monkey. He carried him off to his wife, who stowed him away in hiding with Little Don. To the ogress, the steward served up in place of Day a young kid, meaning a baby goat, so tender that she found it surpassingly delicious. So far, so good. But there came an evening when this evil queen again addressed the steward. I have in mind, she said, to eat the Queen with the same sauce as you served with her children. This time the poor steward despaired of being able to practice another deception. The young queen was 20 years old. Without counting the hundred years she had been asleep. Her skin, though white and beautiful, had become a little tough, and what animal could he possibly find that would correspond to her? He made up his mind that if he would save his own life, he must kill the queen, and went upstairs to her apartment, determined to do the deed once and for all. Goading himself into a rage, he drew his knife and entered the young queen's chamber. But a reluctance to give her no moment of grace made him repeat respectfully the command which he had received from the queen Mother.

[Summer Session Co-Host]

Do it. Do it. She cried, baring her neck to him.

[Faith Moore]

Carry out the order you have been given. Then once more I shall see my children, my poor children that I loved so much. Nothing had been said to her when the children were stolen away, and she believed them to be dead. The poor steward was overcome by compassion. No, no, madam, he declared. You shall not die, but you shall certainly see your children again. That will be in my quarters where I have hidden them. I shall make the queen eat a young hind in place of you, and thus trick her once more without more Ado. He led her to his quarters, and, leaving her there to embrace and weep over her children, proceeded to cook a hind with such art that the queen mother ate it for her supper with as much appetite as if it had indeed been the young queen. The Queen mother felt well satisfied with her cruel deeds and planned to tell the king on his return that savage wolves had devoured his consort and his children. It was her habit, however, to prowl often about the courts and alleys of the mansion in the hope of scenting raw meat. And one evening, she heard the little boy Day crying in a basement cellar. The child was weeping because his mother had threatened to whip him for some naughtiness. And she heard at the same time the voice of dawn begging forgiveness for her brother. The ogress recognized the voices of the queen and her children and was enraged to find she had been tricked. The next morning, in tones so affrighting that all trembled, she ordered a huge vat to be brought into the middle of the courtyard. This she filled with vipers and toads, with snakes and serpents of every kind, intending to cast into it the queen and her children, and the steward with.

[Summer Session Co-Host]

His wife and servant girl.

[Faith Moore]

By her command, these were brought forward with their hands tied behind their backs. There they were, and her minions were making ready to cast them into the vat when into the courtyard rode the king. Nobody had expected him so soon, but he had travelled post haste. Filled with amazement, he demanded to know what this horrible spectacle meant. None dared tell him. And at that moment, the ogress, enraged at what confronted her, threw herself head foremost into the vat and was devoured on the instant by the hideous creatures.

[Summer Session Co-Host]

She had placed in it.

[Faith Moore]

The king could not but be sorry, for after all, she was his mother. But it was not long before he found ample consolation in his beautiful wife and children. Briar Rose Written down by Jacob and Wilhelm Grimm. A king and queen once upon a time reigned in a country a great way off, where there were in those days fairies. Now, this king and queen had plenty of money and plenty of fine clothes to wear and plenty of good things to eat and drink and a coach to ride out in every day. But though they had been married many years, they had no children, and this grieved them very much indeed. But one day, as the queen was walking by the side of the river at the bottom of the garden, she saw a poor little fish that had thrown itself out of the water and lay gasping and nearly dead on the bank. Then the queen took pity on the little fish and threw it back again into the river. And before it swam away, it lifted its head out of the water and said, I know what your wish is, and it shall be fulfilled. In return for your kindness to me, you will soon have a daughter. What the little fish had foretold soon came to pass. And the queen had a little girl so very beautiful that the king could not cease looking on it for joy, and said he would hold a great feast and make merry and show the child to all the land. So he asked his kinsmen and nobles and friends and neighbors, but the queen said, I will have the fairies also, that they might be kind and good to our little daughter. Now there were 13 fairies in the kingdom. But as the king and Queen had only 12 golden dishes for them to eat out of, they were forced to leave one of the fairies without asking her. So 12 fairies came, each with a high red cap on her head and red shoes with high heels on her feet and a long white wand in her hand.

[Summer Session Co-Host]

And after the feast was over, they.

[Faith Moore]

Gathered round in a ring and gave all their best gifts to the little princess. One gave her goodness, another beauty, another riches, and so on, till she had all that was good in the world. Just as 11 of them had done blessing her. A great noise was heard in the courtyard, and word was brought that the 13th fairy was come, With a black.

[Summer Session Co-Host]

Cap on her head and black shoes.

[Faith Moore]

On her feet and a broomstick in her hand. And presently up she came into the dining hall. Now, as she had not been asked to the feast, she was very angry and scolded the king and queen very much and set to work to take her revenge. So she cried out, the king's daughter shall in her 15th year be wounded by a spindle and fall down dead. Then the 12th of the friendly fairies who had not yet given her gift, came forward and said that the evil wish must be fulfilled, but that she could soften its mischief. So her gift was that the king's daughter, when the spindle wounded her, should not really die, but should only fall asleep for a hundred years. However, the king hoped still to save his dear child altogether from the threatened evil. So he ordered that all the spindles in the kingdom should be bought up and burnt. But all the gifts of the first 11 fairies were in the meantime fulfilled. For the princess was so beautiful and well behaved and good and wise that everyone who knew her loved her. It happened that on the very day she was 15 years old, the king and queen were not at home, and she was left alone in the palace. So she roved about by herself and looked at all the rooms and chambers, till at last she came to an old tower to which there was a narrow staircase ending with a little door. In the door there was a golden key, and when she turned it, the door sprang open and there sat an old lady spinning away very busily. Why, how now, good mother, said the princess. What are you doing here? Spinning, said the old lady, and nodded her head, humming a tune while buzz went the wheel. How prettily that little thing turns round, said the princess, and took the spindle and began to try and spin. But scarcely had she touched it before the fairy's prophecy was fulfilled. The spindle wounded her, and she fell down lifeless on the ground. However, she was not dead, but had only fallen into a deep sleep. And the king and the queen, who had just come home and all their court fell asleep too. And the horses slept in the stables and the dogs in the court, the pigeons on the housetop, and the very flies slept upon the walls. Even the fire on the hearth left off blazing and went to sleep. The jack stopped, and the spit that was turning about with a goose upon it for the king's dinner, and stood still. And the cook, who was at that moment pulling the kitchen boy by the hair to give him a box on the ear for something he had done amiss, let him go and both fell asleep. The butler, who was slyly tasting the ale, fell asleep with the jug at his lips. And thus everything stood still and slept soundly. A large hedge of thorns soon grew round the palace, and every year it became higher and thicker, till at last the old palace was surrounded and hidden, so that not even the roof or the chimneys could be seen. But there went a report through all the land of the beautiful sleeping Briar Rose, for so the king's daughter was called, so that from time to time several kings sons came and tried to break through the thicket into the palace. This, however, none of them could ever do, for the thorns and bushes laid hold of them, as it were, with hands. And there they stuck fast and died wretchedly. After many, many years there came a king's son into that land. And an old man told him the story of the thicket of thorns and how a beautiful palace stood behind it, and how a wonderful princess called Briar Rose lay in it asleep with all her court. He told too how he had heard from his grandfather that many, many princes had come and had tried to break through the thicket it, but that they had all stuck fast in it. And died. Then the young prince said, all this shall not frighten me. I will go and see this Briar Rose. The old man tried to hinder him, but he was bent upon going. Now that very day the hundred years were ended. And as the prince came to the thicket he saw nothing but beautiful flowering shrubs through which he went with ease. And they shut in after him as thick as ever. Then he came at last to the palace. And there in the court lay the dogs asleep. And the horses were standing in the stables. And on the roof sat the pigeons, fast asleep with their heads under their wings. And when he came into the palace, the flies were sleeping on the walls. The spit was standing still. The butler had the jug of ale at his lips, going to drink a draught. The maid sat with a fowl in her lap, ready to be plucked. And the cook in the kitchen was still holding up her hand as if she was going to beat the boy. Then he went on still farther and all was so still that he could hear every breath he drew. Till at last he came to the old tower and opened the door of the little room in which Briar Rose was. And there she lay, fast asleep on a couch by the window. She looked so beautiful that he could not take his eyes off her. So he stooped down and gave her a kiss. But the moment he kissed her, she opened her eyes and awoke, Smiled upon him. And they went out together. And soon the King and Queen also awoke and all the court and gazed on each other with great wonder. And the horses shook themselves and the dogs jumped up and barked. The pigeons took their heads from under their wings and looked about and flew into the fields. The flies on the walls buzzed again. The fire in the kitchen blazed up. Round went the Jack and round went the spit with the goose for the King's dinner. Upon it the butler finished his draught of ale. The maid went on plucking the fowl and the cook gave the boy the box on his ear. And then the prince and Briar Rose were married. And the wedding feast was given. And they lived happily together all their lives long. Thank you so much for listening. Storytime will return in September with a new book read aloud in twice weekly episodes with a few notes along the way. Like an audiobook with built in notes. The new book will be revealed sometime in August. In the meantime, I'd love to hear your thoughts on this episode. Is there anything you'd like me to clarify? Did something particularly interest you? Please go to my website faithkmoore.com, click on Contact and send me your questions and thoughts. Or you can click on the link in the Show Notes to contact me. I'll feature some of your thoughts as we go along. Speaking of links, please check out the other links in the Show Notes. You can learn more about me, pick up Storytime merch or become a member of our online community. Before I go, I'd like to ask a quick favor. This is an independent podcast. It's produced, recorded and marketed by me, so I need your help. Spread the word about the show by posting about it on social media or texting a link to your friends. 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