The Brownies and Other Tales — Inside the Classic

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Ewing, Juliana Horatia, 1841-1885 Project Gutenberg 2005
Christian life -- Juvenile fiction; Christmas stories; Conduct of life -- Juvenile fiction; Children's stories; Animal welfare -- Juvenile fiction Readers of public-domain and historical texts
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Words: 52,554
Reading time: 229 min
Text sections: 5
This collection of five tales by Juliana Horatia Ewing uses recurring images of Christmas trees, toys, and domestic disorder to explore childhood responsibility and imagination, with a narrative voice that shifts between playful dialogue and vivid dream sequences.
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There was more room than comfort in the ruined old farm-house, and the two boys slept on a bed of cut heather, in what had been the old malt-loft. Johnnie was soon in the land of dreams, growing rosier and rosier as he slept, a tumbled apple among the grey heather. But not so lazy Tommy. The idea of a domesticated Brownie had taken full possession of his mind; and whither Brownie had gone, where he might be found, and what would induce him to return, were mysteries he longed to solve. "There's an owl living in the old shed by the mere," he thought. "It may be the Old Owl herself, and she knows, Granny says. When Father's gone to bed, and the moon rises, I'll go." Meanwhile he lay down.

The moon rose like gold, and went up into the heavens like silver, flooding the moors with a pale ghostly light, taking the colour out of the heather, and painting black shadows under the stone walls. Tommy opened his eyes, and ran to the window. "The moon has risen," said he, and crept softly down the ladder, through the kitchen, where was the pan of water, but no Brownie, and so out on to the moor. The air was fresh, not to say chilly; but it was a glorious night, though everything but the wind and Tommy seemed asleep. The stones, the walls, the gleaming lanes, were so intensely still; the church tower in the valley seemed awake and watching, but silent; the houses in the village round it had all their eyes shut, that is, their window-blinds down; and it seemed to Tommy as if the very moors had drawn white sheets over them, and lay sleeping also.

"Hoot! hoot!" said a voice from the fir plantation behind him. Somebody else was awake, then. "It's the Old Owl," said Tommy; and there she came, swinging heavily across the moor with a flapping stately flight, and sailed into the shed by the mere. The old lady moved faster than she seemed to do, and though Tommy ran hard she was in the shed some time before him. When he got in, no bird was to be seen, but he heard a crunching sound from above, and looking up, there sat the Old Owl, pecking and tearing and munching at some shapeless black object, and blinking at him--Tommy--with yellow eyes.

"Oh dear!" said Tommy, for he didn't much like it.

The Old Owl dropped the black mass on to the floor; and Tommy did not care somehow to examine it.

"Come up! come up!" said she hoarsely.

She could speak, then! Beyond all doubt it was _the_ Old Owl, and none other. Tommy shuddered.

"Come up here! come up here!" said the Old Owl.

The Old Owl sat on a beam that ran across the shed. Tommy had often climbed up for fun; and he climbed up now, and sat face to face with her, and thought her eyes looked as if they were made of flame.

"Kiss my fluffy face," said the Owl.

Her eyes were going round like flaming catherine wheels, but there are certain requests which one has not the option of refusing. Tommy crept nearer, and put his lips to the round face out of which the eyes shone. Oh! it was so downy and warm, so soft, so indescribably soft. Tommy's lips sank into it, and couldn't get to the bottom. It was unfathomable feathers and fluffiness.

"Now, what do you want?" said the Owl.

"Please," said Tommy, who felt rather re-assured, "can you tell me where to find the Brownies, and how to get one to come and live with us?"

"Oohoo!" said the Owl, "that's it, is it? I know of three Brownies."

"Hurrah!" said Tommy. "Where do they live?"

"In your house," said the Owl.

"In our house!" he exclaimed. "Whereabouts? Let me rummage them out. Why do they do nothing?"

"One of them is too young," said the Owl.

"But why don't the others work?" asked Tommy.

"They are idle, they are idle," said the Old Owl, and she gave herself such a shake as she said it, that the fluff went flying through the shed, and Tommy nearly tumbled off the beam in his fright.

"Then we don't want them," said he. "What is the use of having Brownies if they do nothing to help us?"

"Perhaps they don't know how, as no one has told them," said the Owl.

"I wish you would tell me where to find them," said Tommy; "I could tell them."

"Could you?" said the Owl. "Oohoo! oohoo!" and Tommy couldn't tell whether she were hooting or laughing.

"Of course I could," he said. "They might be up and sweep the house, and light the fire, and spread the table, and that sort of thing, before Father came down. Besides, they could _see_ what was wanted. The Brownies did all that in Granny's mother's young days. And then they could tidy the room, and fetch the turf, and pick up my chips, and sort Granny's scraps. Oh! there's lots to do."

"So there is," said the Owl. "Oohoo! Well, I can tell you where to find one of the Brownies; and if you find him, he will tell you where his brother is. But all this depends upon whether you feel equal to undertaking it, and whether you will follow my directions."

"I am quite ready to go," said Tommy, "and I will do as you shall tell me. I feel sure I could persuade them. If they only knew how every one would love them if they made themselves useful!"

"Oohoo! oohoo!" said the Owl. "Now pay attention. You must go to the north side of the mere when the moon is shining--('I know Brownies like water,' muttered Tommy)--and turn yourself round three times, saying this charm:

'Twist me, and turn me, and show me the Elf-- I looked in the water, and saw--'

When you have got so far, look into the water, and at the same moment you will see the Brownie, and think of a word that will fill up the couplet, and rhyme with the first line. If either you do not see the Brownie, or fail to think of the word, it will be of no use."

"Is the Brownie a merman," said Tommy, wriggling himself along the beam, "that he lives under water?"

"That depends on whether he has a fish's tail," said the Owl, "and this you can discover for yourself."

"Well, the moon is shining, so I shall go," said Tommy. "Good-bye, and thank you, Ma'am;" and he jumped down and went, saying to himself as he ran, "I believe he is a merman all the same, or else how could he live in the mere? I know more about Brownies than Granny does, and I shall tell her so;" for Tommy was somewhat opinionated, like other young people.

The moon shone very brightly on the centre of the mere. Tommy knew the place well, for there was a fine echo there. Round the edge grew rushes and water plants, which cast a border of shadow. Tommy went to the north side, and turning himself three times, as the Old Owl had told him, he repeated the charm--

"Twist me, and turn me, and show me the Elf-- I looked in the water, and saw--"

Now for it! He looked in, and saw--the reflection of his own face.

"Why, there's no one but myself!" said Tommy. "And what can the word be? I must have done it wrong."

"Wrong!" said the Echo.

Tommy was almost surprised to find the echo awake at this time of night.

"Hold your tongue!" said he. "Matters are provoking enough of themselves. Belf! Celf! Delf! Felf! Gelf! Helf! Jelf! What rubbish! There can't be a word to fit it. And then to look for a Brownie, and see nothing but myself!"

"Myself," said the Echo.

"Will you be quiet?" said Tommy. "If you would tell one the word there would be some sense in your interference; but to roar 'Myself!' at one, which neither rhymes nor runs--it does rhyme though, as it happens," he added; "and how very odd! it runs too--

'Twist me, and turn me, and show me the Elf-- I looked in the water, and saw myself,'

which I certainly did. What can it mean? The Old Owl knows, as Granny would say; so I shall go back and ask her."

"Ask her!" said the Echo.

"Didn't I say I should?" said Tommy. "How exasperating you are! It is very strange. _Myself_ certainly does rhyme, and I wonder I did not think of it long ago."

"Will you mind your own business, and go to sleep?" said Tommy. "I am going; I said I should."

And back he went. There sat the Old Owl as before.

"Oohoo!" said she, as Tommy climbed up. "What did you see in the mere?"

"I saw nothing but myself," said Tommy indignantly.

"And what did you expect to see?" asked the Owl.

"I expected to see a Brownie," said Tommy; "you told me so."

"And what are Brownies like, pray?" inquired the Owl.

"The one Granny knew was a useful little fellow, something like a little man," said Tommy.

"Ah!" said the Owl, "but you know at present this one is an idle little fellow, something like a little man. Oohoo! oohoo! Are you quite sure you didn't see him?"

"Quite," answered Tommy sharply. "I saw no one but myself."

"Hoot! toot! How touchy we are! And who are you, pray?"

"I'm not a Brownie," said Tommy.

"Don't be too sure," said the Owl. "Did you find out the word?"

"No," said Tommy. "I could find no word with any meaning that would rhyme but 'myself.'"

"Well, that runs and rhymes," said the Owl. "What do you want? Where's your brother now?"

"In bed in the malt-loft," said Tommy.

"Then now all your questions are answered," said the Owl, "and you know what wants doing, so go and do it. Good-night, or rather good-morning, for it is long past midnight;" and the old lady began to shake her feathers for a start.

"Don't go yet, please," said Tommy humbly. "I don't understand it. You know I'm not a Brownie, am I?"

"Yes, you are," said the Owl, "and a very idle one too. All children are Brownies."

"But I couldn't do work like a Brownie," said Tommy.

"Why not?" inquired the Owl. "Couldn't you sweep the floor, light the fire, spread the table, tidy the room, fetch the turf, pick up your own chips, and sort your grandmother's scraps? You know 'there's lots to do.'"

"But I don't think I should like it," said Tommy. "I'd much rather have a Brownie to do it for me."

"And what would you do meanwhile?" asked the Owl. "Be idle, I suppose; and what do you suppose is the use of a man's having children if they do nothing to help him? Ah! if they only knew how every one would love them if they made themselves useful!"

"But is it really and truly so?" asked Tommy, in a dismal voice. "Are there no Brownies but children?"

"No, there are not," said the Owl. "And pray do you think that the Brownies, whoever they may be, come into the house to save trouble for the idle healthy little boys who live in it? Listen to me, Tommy," said the old lady, her eyes shooting rays of fire in the dark corner where she sat. "Listen to me, you are a clever boy, and can understand when one speaks; so I will tell you the whole history of the Brownies, as it has been handed down in our family from my grandmother's great-grandmother, who lived in the Druid's Oak, and was intimate with the fairies. And when I have done you shall tell me what you think they are, if they are not children. It's the opinion I have come to at any rate, and I don't think that wisdom died with our great-grandmothers."

"I should like to hear if you please," said Tommy.

The Old Owl shook out a tuft or two of fluff, and set her eyes a-going and began:

"The Brownies, or, as they are sometimes called, the Small Folk, the Little People, or the Good People, are a race of tiny beings who domesticate themselves in a house of which some grown-up human being pays the rent and taxes. They are like small editions of men and women, they are too small and fragile for heavy work; they have not the strength of a man, but are a thousand times more fresh and nimble. They can run and jump, and roll and tumble, with marvellous agility and endurance, and of many of the aches and pains which men and women groan under, they do not even know the names. They have no trade or profession, and as they live entirely upon other people, they know nothing of domestic cares; in fact, they know very little upon any subject, though they are often intelligent and highly inquisitive. They love dainties, play, and mischief. They are apt to be greatly beloved, and are themselves capriciously affectionate. They are little people, and can only do little things. When they are idle and mischievous, they are called Boggarts, and are a curse to the house they live in. When they are useful and considerate, they are Brownies, and are a much-coveted blessing. Sometimes the Blessed Brownies will take up their abode with some worthy couple, cheer them with their romps and merry laughter, tidy the house, find things that have been lost, and take little troubles out of hands full of great anxieties. Then in time these Little People are Brownies no longer. They grow up into men and women. They do not care so much for dainties, play, or mischief. They cease to jump and tumble, and roll about the house. They know more, and laugh less. Then, when their heads begin to ache with anxiety, and they have to labour for their own living, and the great cares of life come on, other Brownies come and live with them, and take up their little cares, and supply their little comforts, and make the house merry once more."

"How nice!" said Tommy.

"Very nice," said the Old Owl. "But what"--and she shook herself more fiercely than ever, and glared so that Tommy expected nothing less than that her eyes would set fire to her feathers and she would be burnt alive. "But what must I say of the Boggarts? Those idle urchins who eat the bread-and-milk, and don't do the work, who lie in bed without an ache or pain to excuse them, who untidy instead of tidying, cause work instead of doing it, and leave little cares to heap on big cares, till the old people who support them are worn out altogether."

"Don't!" said Tommy. "I can't bear it."

"I hope when Boggarts grow into men," said the Old Owl, "that their children will be Boggarts too, and then they'll know what it is!"

"Don't!" roared Tommy. "I won't be a Boggart. I'll be a Brownie."

"That's right," nodded the Old Owl. "I said you were a boy who could understand when one spoke. And remember that the Brownies never are seen at their work. They get up before the household, and get away before any one can see them. I can't tell you why. I don't think my grandmother's great-grandmother knew. Perhaps because all good deeds are better done in secret."

"Please," said Tommy, "I should like to go home now, and tell Johnnie. It's getting cold, and I am so tired!"

"Very true," said the Old Owl, "and then you will have to be up early to-morrow. I think I had better take you home."

"I know the way, thank you," said Tommy.

"I didn't say _show_ you the way, I said _take_ you--carry you," said the Owl. "Lean against me."

"I'd rather not, thank you," said Tommy.

"Lean against me," screamed the Owl. "Oohoo! how obstinate boys are to be sure!"

Tommy crept up very unwillingly.

"Lean your full weight, and shut your eyes," said the Owl.

Tommy laid his head against the Old Owl's feathers, had a vague idea that she smelt of heather, and thought it must be from living on the moor, shut his eyes, and leant his full weight, expecting that he and the Owl would certainly fall off the beam together. Down--feathers--fluff--he sank and sank, could feel nothing solid, jumped up with a start to save himself, opened his eyes, and found that he was sitting among the heather in the malt-loft, with Johnnie sleeping by his side.

"How quickly we came!" said he; "that is certainly a very clever Old Owl. I couldn't have counted ten whilst my eyes were shut. How very odd!"

But what was odder still was, that it was no longer moonlight, but early dawn.

"Get up, Johnnie," said his brother, "I've got a story to tell you."

And while Johnnie sat up, and rubbed his eyes open, he related his adventures on the moor.

"Is all that true?" said Johnnie. "I mean, did it really happen?"

"Of course it did," said his brother; "don't you believe it?"

"Oh yes," said Johnnie. "But I thought it was perhaps only a true story, like Granny's true stories. I believe all those, you know. But if you were there, you know, it is different--"

"I was there," said Tommy, "and it's all just as I tell you: and I tell you what, if we mean to do anything we must get up: though, oh dear! I should like to stay in bed. I say," he added, after a pause, "suppose we do. It can't matter being Boggarts for one night more. I mean to be a Brownie before I grow up, though. I couldn't stand boggarty children."

"I won't be a Boggart at all," said Johnnie, "it's horrid. But I don't see how we can be Brownies, for I'm afraid we can't do the things. I wish I were bigger!"

"I can do it well enough," said Tommy, following his brother's example and getting up. "Don't you suppose I can light a fire? Think of all the bonfires we have made! And I don't think I should mind having a regular good tidy-up either. It's that stupid putting-away-things-when-you've-done-with-them that I hate so!"

The Brownies crept softly down the ladder and into the kitchen. There was the blank hearth, the dirty floor, and all the odds and ends lying about, looking cheerless enough in the dim light. Tommy felt quite important as he looked round. There is no such cure for untidiness as clearing up after other people; one sees so clearly where the fault lies.

"Look at that door-step, Johnnie," said the Brownie-elect, "what a mess you made of it! If you had lifted the moss carefully, instead of stamping and struggling with it, it would have saved us ten minutes' work this morning."

This wisdom could not be gainsaid, and Johnnie only looked meek and rueful.

"I am going to light the fire," pursued his brother;--"the next turfs, you know, _we_ must get--you can tidy a bit. Look at that knife I gave you to hold last night, and that wood--that's my fault though, and so are those scraps by Granny's chair. What are you grubbing at that rat-hole for?"

Johnnie raised his head somewhat flushed and tumbled.

"What do you think I have found?" said he triumphantly. "Father's measure that has been lost for a week!"

"Hurrah!" said Tommy, "put it by his things. That's just a sort of thing for a Brownie to have done. What will he say? And I say, Johnnie, when you've tidied, just go and grub up a potato or two in the garden, and I'll put them to roast for breakfast. I'm lighting such a bonfire!"

The fire was very successful. Johnnie went after the potatoes, and Tommy cleaned the door-step, swept the room, dusted the chairs and the old chest, and set out the table. There was no doubt he could be handy when he chose.

"I'll tell you what I've thought of, if we have time," said Johnnie, as he washed the potatoes in the water that had been set for Brownie. "We might run down to the South Pasture for some mushrooms. Father said the reason we found so few was that people go by sunrise for them to take to market. The sun's only just rising, we should be sure to find some, and they would do for breakfast."

Juliana Horatia Ewing's The Brownies and Other Tales opens with a child sewing and crying on a garden seat, her fair hair blown into her eyes—a domestic scene that quickly becomes a platform for moral inquiry. The Doctor, a recurring adult figure, engages the girl in dialogue that reveals a household in disarray: forgotten chores, lost handkerchiefs, and a toy cupboard in chaos. This initial image of disorder sets the stage for tales that repeatedly return to the tension between childish neglect and the desire for order, often mediated by objects like toys or Christmas trees that take on symbolic weight.

Recurring Images of Domestic Disorder

Across the excerpts, Ewing anchors her stories in physical clutter. The opening tale features a toy cupboard where items are “crammed in anyhow,” and the girl’s hemming is interrupted by a lost handkerchief “tossing about” among the toys. In “Three Christmas Trees,” the child’s room is dark except for firelight, and the spruce fir outside becomes a focal point of longing. These objects—handkerchiefs, toys, trees—are not mere props; they are catalysts for reflection. The Doctor’s comment that the handkerchief “looks as if it had been taking violent exercise” personifies the object, a technique Ewing uses to blur the line between the mundane and the magical. The disorder is never fully resolved, suggesting that the stories are less about correction than about the process of learning to see value in what is neglected.

Movement Between Reality and Dream

Ewing structures several tales around a shift from waking life to visionary experience. In “Three Christmas Trees,” the child’s feverish dream transforms the spruce fir into a Christmas tree with “lighted tapers” and a Christmas Angel, only for the vision to dissolve when he struggles out of bed. The narrative moves fluidly between the concrete—frost on the window, the firelight—and the imagined, as when the child mistakes Jupiter for the angel’s star. This movement is mirrored in the Doctor’s dialogue, which mixes playful banter with earnest advice. The stories do not privilege one state over the other; instead, they hold both in tension, as when the adult narrator later reflects that he could never decide which tree was more beautiful—the dream or the reality.

Voice and Dialogue as Structural Device

Ewing’s narrative voice alternates between omniscient description and direct speech that reveals character. The Doctor’s lines are colloquial and teasing: “You are like London in a yellow fog.” The girl’s replies are fragmented, full of hesitations (“I’m in a row,” “We’re all in it”). This dialogue drives the plot forward without heavy exposition. In “Three Christmas Trees,” the child’s call—“Mother! Mother dear! please open the window”—is the pivot between dream and reality. The adult narrator’s voice, which intrudes at the end to note that the child “lived to be a man,” creates a frame that distances the events while preserving their emotional weight. The effect is a layered storytelling where the reader is never quite sure whether to trust the child’s perspective or the adult’s summary.

The Role of the Natural World

Nature in these tales is both backdrop and participant. The garden seat, the grass where the Doctor lies, the snow that carpets the ground—these elements are described with precise detail. The spruce fir is “very beautiful in its Christmas dress” of snow, and the northern lights “shot up into the dark blue sky.” Yet nature is also indifferent: the child leans out into the night and sees only frost. Ewing uses this contrast to underscore the gap between human desire and external reality. The robin’s greeting—“A Merry Christmas and a Happy New Year”—is repeated by the flames in the dream, linking the natural world to the child’s inner life. The final image of the fir tree standing “in the loveliness of that winter night” suggests that beauty exists independently of human perception, waiting to be noticed.

Readers approaching The Brownies and Other Tales should attend to how Ewing uses objects—a lost handkerchief, a toy cupboard, a Christmas tree—as anchors for moral and emotional exploration. The stories reward attention to shifts in perspective, especially the movement between child and adult voices. The excerpts suggest that Ewing is less interested in tidy resolutions than in the lingering questions that disorder and imagination provoke.

I’ve watched The Brownies and Other Tales sit undisturbed for decades, its dream-sequences and household disorder as familiar as my own hands. It always reminds me of a quiet kinship found in Mary Erskine — Key Ideas to Explore, where childhood burdens and imagination whisper together, patiently waiting for the next reader to notice their gentle, timeless connection.

Isabella Johnson
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Liam Martin
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