The Laughing Prince, by Parker 
Fillmore 
 
The Project Gutenberg EBook of The Laughing Prince, by Parker 
Fillmore This eBook is for the use of anyone anywhere at no cost and 
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Title: The Laughing Prince Jugoslav Folk and Fairy Tales 
Author: Parker Fillmore 
Illustrator: Jay Van Everen 
Release Date: November 4, 2006 [EBook #19713] 
Language: English 
Character set encoding: ASCII 
*** START OF THIS PROJECT GUTENBERG EBOOK THE 
LAUGHING PRINCE *** 
 
Produced by Jason Isbell, Irma Spehar, and the Online Distributed 
Proofreading Team at http://www.pgdp.net 
 
=THE LAUGHING PRINCE=
A book of Jugoslav Fairy Tales and Folk Tales. 
RETOLD BY PARKER FILLMORE 
With illustrations and decorations by Jay Van Everen. 
When Mr. Fillmore started his study of the folk lore of Eastern Europe, 
he tapped a mine of treasure for children. The gorgeousness of the 
imagery in the stories, their rollicking humor, the adventures, were 
entirely new to child and adult readers. The stories in this third volume 
reflect the folk lore of many races, for the country now known as 
Jugoslavia has been one of the great highways and battlefields of the 
world where Orient and Occident, Greek and Roman, Turk and Slav 
have fought out their national aspirations. Basically, it has the Slavic 
exuberance of imagination and humor, but it has also absorbed much of 
the spirit and tales of the Near and Far East. 
Harcourt, Brace & World, Inc. 757 THIRD AVENUE, NEW YORK 
17, N. Y. 
80-120 
BY PARKER FILLMORE 
CZECHOSLOVAK FAIRY TALES THE SHOEMAKER'S APRON 
Illustrated by Jan Matulka 
 
THE LAUGHING PRINCE 
A Book of Jugoslav Fairy Tales and Folk Tales 
BY 
PARKER FILLMORE 
WITH ILLUSTRATIONS AND DECORATIONS
BY 
JAY VAN EVEREN 
[Illustration] 
NEW YORK 
HARCOURT, BRACE & WORLD, INC. 
COPYRIGHT, 1921, BY 
PARKER FILLMORE 
RENEWED BY LOUISE FILLMORE 
0.1.68 
PRINTED IN THE UNITED STATES OF AMERICA 
 
TO BUTTON 
[Illustration] 
[Illustration] 
 
NOTE 
In calling this A Book of Jugoslav Fairy Tales and Folk Tales I have 
used the word Jugoslav in its literal sense of Southern Slav. The 
Bulgars are just as truly Southern Slavs as the Serbs or Croats or any 
other of the Slav peoples now included within the state of Jugoslavia. 
Moreover in this case it would be particularly difficult to make the 
literary boundaries conform strictly to the political boundaries since 
much the same stories and folk tales are current among all these Slav 
peoples of the Balkan Peninsula. The special student taking the variants
of the same story might discover special differences that would mark 
each variant as the product of some one locality. The work of such a 
student would have philological and ethnological value but not a very 
strong appeal to the general reader. My appeal is first of all to the 
general reader--to the child who loves fairy tales and to the adult who 
loves them. I hope they will both find these stories entertaining and 
amusing quite aside from any interest in their source. 
Yet these tales as presented do give the reader a true idea of the 
amazing vigor and the artistic inventiveness of the Jugoslav 
imagination, and also of the various influences, Oriental and Northern 
as well as Slavic, which have made that imagination what it is to-day. 
Here are gay picaresque tales of adventure--how they go on and on and 
on!--charming little stories of sentiment, a few folk tales of stark 
simplicity and grim humor, one story showing a superficial Turkish 
influence, and one spiritual allegory as deep and moving as anything in 
the Russian. 
The renderings in every case are my own and are not in any sense 
translations. I have taken the old stories and retold them in a new 
language. To do them justice in this new language I have found it 
necessary to present them with a new selection of detail and with an 
occasional shifting of emphasis. I do not mean by this that I have 
invented detail in any unwarranted fashion. I haven't had to for any folk 
tale, however bald, contains all sorts of things by implication. The true 
story teller, it seems to me, is he who is able to grasp these implications 
and turn them to his own use. 
I must confess that the setting in which I have placed the famous old 
Serbian nonsense story, In my young days when I was an old, old man, 
is my own invention. The nonsense story needs a setting and as it 
chanced I had one ready as I have long wanted to tell the world what 
was back of the determination of that princess who refused to eat until 
some one had made    
    
		
	
	
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