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like that of The Merchant of Venice. This is the ideal fairy story for the little child. It is unique in that it is the only instance in which a tale written by an author has become a folk-tale. It was written by Southey, and appeared in The Doctor, in London, in 1837. Southey may have used as his source, Scrapefoot, which Joseph Jacobs has discovered for us, or he may have used Snow White, which contains the episode of the chairs. Southey has given to the world a nursery classic which should be retained in its purity of form. The manner of the Folk, in substituting for the little old woman of Southey's tale, Goldilocks, and the difference that it effects in the tale, proves the greater interest children naturally feel in the tale with a child. Similarly, in telling The Story of Midas to an audience of eager little people, one naturally takes the fine old myth from Ovid as Bulfinch gives it, and puts into it the Marigold of Hawthorne's creation. And after knowing Marigold, no child likes the story without her. Silver hair is another substitute for the little Old Woman in The Three Bears. The very little child's reception to Three Bears will depend largely on the previous experience with bears and on the attitude of the person telling the story. A little girl who was listening to The Three Bears for the first time, as she heard how the Three Bears stood looking out of their upstairs window after Goldilocks running across the wood, said, "Why did n't Goldilocks lie down beside the Baby Bear?" To her the Bear was associated with