The Little Lame Prince Rewritten for Young Readers by Margaret Waters — Story, Setting & Ideas

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Waters, Margaret, Craik, Dinah Maria Mulock, 1826-1887, Hofsten, Hugo von [Illustrator] Project Gutenberg 2007 Not confirmed
Fairy tales; Princes -- Juvenile fiction; People with disabilities -- Juvenile fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 17,541
Reading time 77 min
Text sections 3

For The Little Lame Prince Rewritten for Young Readers by Margaret Waters — Story, Setting & Ideas, the stored edition analysis reports 17,541 words, 1 hr 17 min estimated reading time, and 3 detected text sections.

The text analysis averages about 18.2 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “Fairy tales,” connecting these edition facts with the source record’s subject description.

This editorial note examines how the catalog subjects 'Princes -- Juvenile fiction' and 'People with disabilities -- Juvenile fiction' align with the excerpts, focusing on the protagonist's physical limitation, his magical aids, and the tension between his royal identity and his confinement.
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Editorial Edition Score 4.5/5

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  • Description quality20 pts
  • Title & short description10 pts
  • Source metadata20 pts
  • Text length15 pts
  • Chapters / structure15 pts
  • EPUB file integrity20 pts

Total of 100 points, scaled to a 2.5-5.0 range. Editions with an empty description or a missing EPUB file are not scored.

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Read the Text

He was the most beautiful prince that ever was born.

Being a prince, people said this; and it was true. When he looked at the candle, his eyes had an earnest expression quite startling in a new-born baby. His nose was aquiline; his complexion was healthy; he was round, fat, and straight-limbed--a splendid baby.

His father and mother, King and Queen of Nomansland, and their subjects were proud and happy, having waited ten years for an heir. The only person not quite happy was the king's brother, who would have been king had the baby not been born, but his Majesty was very kind to him, and gave him a Dukedom as large as a country.

The Prince's christening was to be a grand affair; there were chosen for him four and twenty godfathers and godmothers, who each had to give him a name, and promise to do their utmost for him. When he came of age, he himself had to choose the name--and the godfather or godmother--that he liked best.

All was rejoicing and the rich gave dinners and feasts for the poor.

The only quiet place in the Palace was the room, which though the prince was six weeks old, his mother, the Queen, had not quitted. Nobody thought she was ill as she said nothing about it herself, but lay pale and placid, giving no trouble to anybody.

Christening day came at last and it was as lovely as the Prince himself. All the people in the Palace were beautifully dressed in the clothes which the Queen had given them.

By six in the morning all the royal household had dressed itself in its very best; and then the little Prince was dressed in his magnificent christening robe; which he did not like at all, but kicked and screamed like any common baby. When he had calmed down, they carried him to the bed where the Queen lay.

She kissed and blessed him, and then she gave him up with a gentle smile, saying she "hoped he would be very good, that it would be a very nice christening, and all the guests would enjoy themselves," and turned peacefully over on her bed. She was a very uncomplaining person--the Queen, and her name was Dolorez.

Everything went on as if she had been present. All, even the King himself, had grown used to her absence, for she was not strong, and for years had not joined in the gaieties. The noble company arrived from many countries; also the four-and-twenty godfathers and godmothers, who had been chosen with care, as the people who would be most useful to his Royal Highness should he ever want friends.

They came, walking two and two, with their coronets on their heads--dukes and duchesses, princes and princesses; they all kissed the child and pronounced the name which each had given him. Then the four-and-twenty names were shouted out, one after another, and written down, to be kept in the state records.

Everybody was satisfied except the little Prince, who moaned faintly under his christening robes, which nearly smothered him.

Though very few knew it, the Prince in coming to the chapel had met with an accident. A young lady of rank, whose duty it was to carry him to and from the chapel, had been so busy arranging her train with one hand, that she stumbled and let him fall. She picked him up--the accident was so slight it seemed hardly worth speaking of. The baby had turned pale, but did not cry. No one knew that anything was wrong. Even if he had moaned, the silver trumpets were loud enough to drown his voice. It would have been a pity to let anything trouble such a day.

Such a procession! Heralds in blue and silver; pages in crimson and gold; and a troop of little girls in dazzling white, carrying baskets of flowers, which they strewed all the way before the child and the nurse,--finally the four and twenty godfathers and godmothers, splendid to look at.

The prince was a mere heap of lace and muslin, and had it not been for a canopy of white satin and ostrich feathers, which was held over him whenever he was carried, his presence would have been unnoticed.

"It is just like fairyland," said one little flower-girl to another, "and I think the only thing the Prince wants now is a fairy godmother."

"Does he?" said a shrill, but soft and not unpleasant voice, and a person no larger than a child was seen.

She was a pleasant little, old, grey-haired, grey-eyed woman, dressed all in grey.

"Take care and don't let the baby fall again."

The grand nurse started, flushing angrily.

The catalog subjects for this edition—'Princes -- Juvenile fiction' and 'People with disabilities -- Juvenile fiction'—point to a central tension in the excerpts: Prince Dolor is both a royal heir and a child with a physical impairment. The text establishes his initial perfection ('the most beautiful prince that ever was born') before the accident that leaves him lame, a shift that the catalog subjects do not fully capture. The excerpts show that his disability is not merely a trait but a driver of the plot, as his isolation in the 'Hopeless Tower' and his longing to see other children shape the narrative. The magical cloak and spectacles, which enable him to observe the world, complicate any simple reading of disability as limitation.

Royalty and Vulnerability in the Opening Chapters

The first chapter presents Prince Dolor as a perfect infant—'round, fat, and straight-limbed'—and his birth is celebrated as the long-awaited heir to Nomansland. The only discontented figure is the king's brother, who loses his chance at the throne. This setup primes readers for a conventional fairy-tale prince, but the narrative quickly subverts it. The queen, named Dolor (Latin for 'pain' or 'grief'), dies soon after the christening, and the prince becomes lame. The catalog subject 'Princes -- Juvenile fiction' might suggest a typical royal adventure, but the excerpts emphasize vulnerability: the prince is passive, dependent on others, and confined. His disability is not a punishment but a circumstance that redefines what a prince can be. The text does not explain the cause of his lameness in the provided excerpts, leaving readers to infer from the sudden shift in fortune.

Magical Aids and the Limits of Observation

Prince Dolor receives a series of magical gifts from his godmother: a cloak that flies, spectacles that magnify distant sights, and 'silver ears' that enhance hearing. These items allow him to observe the world from above, but they also underscore his separation from it. When he sees a shepherd boy running, he says, 'How nice it must be to run like that!' and retreats, patting his 'feeble useless legs.' The cloak refuses to let him descend to meet the boy, suggesting that his godmother's magic cannot fully bridge the gap between his condition and the active life he craves. The catalog subject 'People with disabilities -- Juvenile fiction' is thus rendered complex: the magic empowers him to see and hear, but not to participate. The excerpts highlight a poignant tension between expanded perception and continued physical limitation.

Voice and Structure: The Narrator's Direct Address

The narrator frequently addresses the reader with phrases like 'And oh! If you had seen his face' and 'The sound which greets his ears is one which we have heard many times.' This direct engagement creates a sense of intimacy and guides the reader's emotional response. The structure alternates between descriptive passages and dialogue, with the prince speaking to his godmother even when she is invisible. The excerpts also include chapter illustrations and a table of contents, indicating a carefully paced narrative. The catalog subjects do not account for this narrative voice, which shapes how disability and royalty are presented. The tone is sympathetic but not sentimental, and the prince's moments of sorrow—'I wonder why I was born at all'—are presented without moralizing, allowing readers to draw their own conclusions.

Readers should note that the excerpts end before the prince's later adventures or any resolution of his condition. The catalog subjects provide a starting point, but the text itself offers a more nuanced exploration of what it means to be a prince who cannot walk. Pay attention to how the magical objects function not as solutions but as tools that heighten both wonder and longing. The narrative’s direct address and the prince’s internal responses invite reflection on the gap between observation and experience.

There’s something tender about a prince bound to his tower, his only freedom arriving through magic. It reminds me of the older tales where boy heroes had to earn their way, step by step, like the lad in Tom, The Bootblack; or, The Road to Success — Background and Themes. Both boys, in their own quiet ways, were simply looking for a door to open.

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