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Mint Editions - Sara Coleridge

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153 pages

English

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Description

Phantasmion is the king of a fantastical realm who is forced into a series of trials that require him to seek help from unexpected allies. It’s a captivating adventure full of vibrant characters and internal and external conflicts.

King Phantasmion is desperate to protect Palmland from agressive invaders. His people are being targeted by multiple groups including humans and evil spirits. When Phantasmion embarks on a journey, he is taunted and manipulated by mischievous figures. He goes through multiple trials that require help from outside forces. He develops friendships with different people along the way. These surprising connections lead to a rousing finale that separates the real heroes and villains.

Inspired by her own children, Coleridge produced a novel that’s lively and entertaining. Phantasmion: A Fairy Tale is an unforgettable story about the resilience of an imaginary prince. It’s a positive narrative that promotes perseverance and the power of peace.

With an eye-catching new cover, and professionally typeset manuscript, this edition of Phantasmion: A Fairy Tale is both modern and readable.

Sujets

19th century

Classics

Fiction

Informations

Publié par	Mint Editions
Date de parution	24 mars 2021
Nombre de lectures	0
EAN13	9781513285511
Langue	English
Poids de l'ouvrage	2 Mo

Informations légales : prix de location à la page 0,0500€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

Extrait

Phantasmion
A Fairy Tale
Sara Coleridge

Phantasmion: A Fairy Tale was first published in 1837.
This edition published by Mint Editions 2021.
ISBN 9781513280493 | E-ISBN 9781513285511
Published by Mint Editions®
minteditionbooks .com
Publishing Director: Jennifer Newens
Design & Production: Rachel Lopez Metzger
Project Manager: Micaela Clark
Typesetting: Westchester Publishing Services

L’E NVOY OF P HANTASMION
Go, little book, and sing of love and beauty,
To tempt the worldling into fairy land;
Tell him that airy dreams are sacred duty,
Bring better wealth than aught his toils command—Toils fraught with mickle harm.
But if thou meet some spirit high and tender, On blessed works and noblest love intent,
Tell him that airy dreams of nature’s splendour, With graver thoughts and hallowed musings blent,
Prove no too earthly charm.

C ONTENTS P REFACE I. T HE F AIRY P OTENTILLA APPEARS TO THE YOUNG P RINCE P HANTASMION II. P OTENTILLA FULFILS HER PROMISE TO P HANTASMION III. P HANTASMION SEES AND HEARS STRANGE THINGS BY THE SEA SHORE IV. P HANTASMION ASCENDS THE M OUNT OF E AGLES V. P HANTASMION ENTERS THE L AND OF R OCKS VI. P HANTASMION PAYS A SECOND VISIT TO THE K ING ’ S I SLAND VII. A FTER PASSING THE NIGHT IN A THICKET , P HANTASMION TALKS WITH T ELZA , THE NURSE OF I ARINE VIII. P HANTASMION IS GUIDED BY THE FISHERMAN TO P OLYANTHIDA IX. K ARADAN TAKES POSSESSION OF THE SILVER PITCHER X. H ERMILLIAN CHARGES K ARADAN WITH POISONING HIS OWL XI. P HANTASMION IS ENTERTAINED BY HIS HOST ’ S FAMILY IN THE GARDEN XII. A FTER MEETING WITH ADVENTURES IN THE WOOD , P HANTASMION GOES TO SEEK P ENSELIMER XIII. P ENSELIMER TELLS HIS STORY TO P HANTASMION XIV. P HANTASMION VISITS THE DESERTED PALACE XV. P HANTASMION RETURNS TO P ALMLAND XVI. P HANTASMION RESCUES THE INFANT BROTHER OF I ARINE XVII. P HANTASMION MEETS WITH I ARINE AND A LBINET ON THE BANKS OF THE B LACK L AKE XVIII. P HANTASMION MAKES USE OF HIS MAGICAL DRUM XIX. G LANDRETH IS MORE THAN EVER AMAZED AND DISCOMFITED BY THE NOISE OF THE MAGIC DRUM XX. G LANDRETH QUITS THE ISLAND , AND P HANTASMION OBTAINS AN INTERVIEW WITH I ARINE XXI. P HANTASMION JOINS I ARINE ON THE LAKE XXII. P HANTASMION ESCAPES FROM PRISON AND PRESENTS HIMSELF TO I ARINE IN DISGUISE XXIII. P OTENTILLA WEAVES A WONDROUS WEB FOR P HANTASMION XXIV. P HANTASMION RETURNS TO P ALMLAND BY SEA XXV. I ARINE VISITS THE HOUSE OF M ALDERYL IN COMPANY WITH P ENSELIMER XXVI. I ARINE HAS A FEARFUL ADVENTURE ON THE MOUNTAIN XXVII. P HANTASMION GOES TO FIGHT G LANDRETH AND ENCOUNTERS P ENSELIMER XXVIII. P HANTASMION IS DETAINED IN M ALDERYL ’ S CAVE XXIX. P HANTASMION IS DISENCHANTED BY O LOOLA XXX. Z ELNETH IS CARRIED TO THE S YLVAN PALACE , WHITHER P HANTASMION GOES IN SEARCH OF I ARINE XXXI. P HANTASMION LEAVES THE S YLVAN PALACE AND Z ELNETH RECEIVES SUCCOUR FROM F EYDELEEN XXXII. P HANTASMION ENTERS THE SUNLESS VALLEY XXXIII. P HANTASMION RESCUES L EUCOIA FROM CAPTIVITY XXXIV. P HANTASMION HEARS THE SECOND PART OF P ENSELIMER ’ S STORY XXXV. P HANTASMION MEETS A NUMEROUS COMPANY AT THE MANSION OF M AGNART XXXVI. U LANDER CONDUCTS L EUCOIA TO THE FOREST XXXVII. A FTER THE DEATH OF A LBINIAN I ARINE LEAVES THE G OATHERD ’ S COTTAGE XXXVIII. P HANTASMION VAINLY ATTEMPTS THE DESTRUCTION OF G LANDRETH , BUT , ENTERING THE BOWELS OF THE EARTH , HE MEETS WITH ONE WHO ASSURES HIM OF VICTORY AND VENGEANCE XXXIX. A RZENE WANDERS IN SEARCH OF K ARADAN TO A BAY , WHENCE HE HAS JUST SET SAIL WITH I ARINE XL. T HE ALLIED FORCES ARE EQUIPPED WITH ARMOUR IN THE HEART OF THE VOLCANIC MOUNTAIN XLI. I ARINE FINDS HER MOTHER IN THE SEQUESTERED PENINSULA XLII. P HANTASMION AND HIS ALLIES JOIN BATTLE WITH G LANDRETH IN THE VALLEY OF THE B LACK L AKE XLIII. A NTHEMMINA DIES IN THE PRESENCE OF I ARINE AND P HANTASMION XLIV. P HANTASMION AND I ARINE ARE WAFTED TO THE NARROW BAY , WHENCE THEY SAIL WITH Z ELNETH AND L EUCOIA TO R OCKLAND XLV. I ARINE FINDS HER BROTHERS IN THE GROVE WHERE P HANTASMION FIRST SAW P OTENTILLA

P REFACE
Phantasmion, the product of the enforced leisure on a sick bed of Sara Coleridge, was first given to the world in 1837; and although the book received warm and hearty commendation both privately and publicly from those who read it, the success which then attended it neither equalled in any degree its own singular merit, nor was what might have been expected, from the approbation the book met with at the hands of those best qualified to judge. I have always believed that this was in great measure owing to the mode of its publication. It was an expensive book, with no author’s name, without a single illustration, and the edition was limited to two hundred and fifty copies. The publisher, Mr Pickering, doubted apparently the possibility of its being popular; and except that he printed it with all the care and beauty which marked every book he put forth, he seems almost to have determined that, as far as depended upon him, it should have no chance of becoming so. A small edition of a long fairy tale, by an unnamed author, published at nine shillings, had little chance in those days of forcing its way into general circulation. The few copies sold slowly, and were at length exhausted. The book has long been out of print; and even amongst men of letters, and men interested in the character and Admiring the genius of Sara Coleridge, it is almost unknown or forgotten.
The book, as now revived,appeals to a larger audience and a new generation; to readers who know the author, and who are already to some extent acquainted with the power, the grace, the refinement of her mind. They will be prepared to find in this, her only work of fiction, her longest continuous original composition, the delicate imagination, the melody of verse, the clear and pic turesque language, the virginal purity of conception, which are to be found in this book by those who look for them. Indeed, these things do not need searching for; they lie upon the surface.
It may be said that this is exaggerated language to use about a fairy tale, which is nothing but a fairy tale; into which no moral is intruded, the characters of which are slightly indicated only, and never elaborately de veloped; and which is itself an example of a kind of composition old-fashioned, out of date, and entirely at odds with the spirit and temper of the time we live in. No one, however, who reads this book through is likely to say that I have described it too favourably; and this edition is an attempt at least to ascertain whether it is not fitted for general readers, and may not achieve a general and lasting popularity.
Some time ago it would have been by no means super fluous to plead for fairy tales as entitled to a distinct and useful place in the cultivation of the intellect, and as having an important function to perform in a sensible and practical education. But this is hardly necessary now. We have, indeed, still too much of the directly moral and instructive tale, of stories wherein the interest turns upon small incidents of daily life, which are invested with a moral importance altogether unreal and exaggerated; the tendency of the whole tale being too often to foster a morbid self-introspection, and a diseased and effeminate religion. But there are signs of a healthy change; and if the number of good books, and books of what is called useful knowledge, is still somewhat overwhelming the use of works of pure fancy is at least, now generally admitted, and the good sense of culti vating the imagination is not disputed. Indeed, in England, and for most of us it would be hard-hearted to dispute it. When we think of the grim and unlovely lives, which the great body of the English people is doomed to lead, their dreary toil, their dull homes, their harsh surroundings, it is surely wise as well as merciful, to try to give them glimpses of things more beautiful and lofty than their daily life affords, and to enrich at least their minds with pictures of brighter scenes, and their hearts with happier thoughts, than are before them and within them, in the state in which their lot is for the most part cast. Phantasmion does not pretend to teach directly any moral lesson; it is not a sermon in disguise; but most people will be better and happier while they read it, and after they have read it too.
It stands alone, or almost alone, in fairy literature in the nature of its fancies, and in the extent and completeness of its narrative. Its supernatural beings have no English originals; perhaps indeed they have rather a German than an English character. The Legends of Number Nip, and the exquisite fancy of Undine are their nearest prototypes. But the various powers and spirits of earth, and sea, and sky, some gentle and comparatively weak, like Feydeleen the Flower Spirit, some stern and terrible, like Oloola the Spirit of the Storm; or Valhorga the gigantic Earth Spirit, havemore of the bright and fresh Greek, or early Latin imagination in them than any other or later mythology.
The scenery of the tale is that of Cumberland and Westmorland, only under a brighter sky and with a softer climate. To me the descriptive power of it seems very uncommon, The characters are, as I have said, slightly drawn; the passion is not deep or strong; yet we are carried On by a very interesting story, and few readers but will regret when they end it. The English is pure and clear and vigorous. The verses are very lovely, always full of delicate fancy, sometimes rising into high imagination, and exhibiting, in the management of lyrical measures, often difficult and peculiar, the metrical melody and refinement, which in her case at least were an hereditary gift. As a rule, the poems are closely connected with the prose which surrounds them, and cannot without great disadvantage be taken out of their dramatic setting. It is not always so however; and many of them would be exquisite songs and lyrics if printed independently, and read as separat