**** ROTATE **** **** ROTATE **** **** ROTATE **** **** ROTATE ****

Find this Story

Print, a form you can hold

Wireless download to your Amazon Kindle

Look for a summary or analysis of this Story.

Enjoy this? Share it!

PAGE 10

The Boy Who Had A Moon On His Forehead And A Star On His Chin
by [?]

Two or three days were thus passed in feasting, and all that time the King and his people were talking about the prince’s beauty, and wondering who he was.

One day the prince asked the King if he had any children. “None,” he answered. “Do you know who I am?” asked the prince. “No,” said the King. “Tell me who you are.” “I am your son,” answered the prince, “and the gardener’s daughter is my mother.” The King shook his head sadly. “How can you be my son,” he said, “when I have never had any children?” “But I am your son,” answered the prince. “Your four wicked wives told you the gardener’s daughter had given you a stone and not a son; but it was they who put the stone in my little bed, and then they tried to kill me.” The King did not believe him. “I wish you were my son,” he said; “but as I never had a child, you cannot be my son.” “Do you remember your dog Shankar, and how you had him killed? And do you remember your cow Surí, and how you had her killed too? Your wives made you kill them because of me. And,” he said, taking the King to Katar, “do you know whose horse that is?”

The King looked at Katar, and then said, “That is my horse Katar.” “Yes,” said the Prince. “Do you not remember how he rushed past you out of his stable with me on his back?” Then Katar told the King the prince was really his son, and told him all the story of his birth, and of his life up to that moment; and when the King found the beautiful prince was indeed his son, he was so glad, so glad. He put his arms round him and kissed him and cried for joy.

“Now,” said the King, “you must come with me to my palace, and live with me always.” “No,” said the prince, “that I cannot do. I cannot go to your palace. I only came here to fetch my mother; and now that I have found her, I will take her with me to my father-in-law’s palace. I have married a King’s daughter, and we live with her father.” “But now that I have found you, I cannot let you go,” said his father. “You and your wife must come and live with your mother and me in my palace.” “That we will never do,” said the prince, “unless you will kill your four wicked wives with your own hand. If you will do that, we will come and live with you.”

So the King killed his wives, and then he and his wife, the gardener’s daughter, and the prince and his wife, all went to live in the King’s palace, and lived there happily together for ever after; and the King thanked God for giving him such a beautiful son, and for ridding him of his four wicked wives.

Katar did not return to the fairies’ country, but stayed always with the young prince, and never left him.

Told by Múniyá.

NOTES.

FAIRY TALE TRANSLATED BY MAIVE STOKES.

WITH NOTES BY MARY STOKES

1. For these marks see paragraph 4 of the notes to Phúlmati Rání. I think the silver chains with which King Oriant’s children are born (see the Netherlandish story, the Knight of the Swan, quoted in paragraph 3 of the notes to the Pomegranate King) are identical with the suns, moons, and stars that the hero in this and in many other tales possesses. They are his princely insignia and proofs of his royalty. When the boy in this tale twists his right ear his insignia are hidden, and so long as they remain concealed no one can guess he is a king’s son, unless he chooses to reveal himself, as he does, partially, through his sweet singing to the youngest princess. With this partial revelation compare the Sicilian “Stupid Peppe” revealing himself in part by means of the ring he gave to his youngest princess. This ring has the property of flashing brightly whenever he is near. (See the story “Von dem muthigen Königssohn, der viele Abenteuer erlebte” quoted in paragraph 6 of the notes to this story, p. 280.) The shape of the insignia may have been destroyed, as in the case of the sixth swan’s chain, in the Netherlandish story, but its substance remains, and as soon as it reappears the hero clothes himself with his own royal form. Chundun Rájá’s necklace ( Old Deccan Days, p. 230) and Sodewa Bai’s necklace ( ib. p. 236), in which lay their life, belong, perhaps, to these insignia. Their princely owners’ existence depends on their keeping these proofs of their royalty in their own possession, and is suspended whenever the proofs pass into the hands of others.