Johnny Nut and the Golden Goose — Story, Setting & Ideas

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In Category - Folklore
Deulin, Charles, 1822-1877, Lynen, Amédée, 1852-1938 [Illustrator], Lang, Andrew, 1844-1912 [Translator] Project Gutenberg 2014
Conduct of life -- Juvenile fiction; Children -- Conduct of life -- Juvenile fiction; Family -- Juvenile fiction; Animal welfare -- Juvenile fiction; Voyages and travels -- Juvenile fiction; Farmers -- Juvenile fiction; Geese -- Juvenile fiction Readers of public-domain and historical texts
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Edition facts

Words 7,317
Reading time 32 min
Text sections 2

For Johnny Nut and the Golden Goose — Story, Setting & Ideas, the stored edition analysis reports 7,317 words, 32 min estimated reading time, and 2 detected text sections.

The text analysis averages about 21.2 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 “Conduct of life -- Juvenile fiction,” connecting these edition facts with the source record’s subject description.

Andrew Lang's translation of Charles Deulin's French folktale follows Johnny Nut, a cow-boy seeking roast goose, through a chain of absurd encounters that culminate in a princess's laughter. The narrative's structure relies on repetitive, cumulative episodes and a procession of stuck-together characters, echoing oral tradition.
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upper,’ for his intentions were strictly honourable.

But the further he went the more Johnny didn’t find the way; and at last, as the maid was pretty heavy, he set her down by a tavern door and went in and asked for a pot of beer.

OW, in the tavern were Tuné, the tailor, with a coat he had made for a customer, and Nanasse, and Polydore, and Rumble his dog, four of the wildest wags in that country-side.

Tuné went out of the tavern to see what kind of night it was, and there was the sack and something in it that moved. So he opened the sack, and what should he find but a pretty tall maid, trussed like a fowl.

Well, he let her out and she told him all about it, and, as she was not dying to marry our Johnny, off she ran to her own village as hard as she could go.

‘What am I to fill the sack with?’ thought Tuné. ‘By George, I’ll put in Polydore’s yellow dog, Rumble.’

So he whistled to Rumble and put him in the sack.

By this time Johnny had finished his ale, and he came out, hoisted the sack on his shoulder, and marched away without asking questions. Tune followed at a little distance, and, as Rumble knew a friend was there, why, he entered into the fun and said never a bark.

At last Johnny reached Hergnies, and where should he go to but to the parson’s, of course, to get married! Then it occurred to him that he had never asked the maid if she would have him! He put down the sack and opened it.

‘I say, maid,’ quoth he, ‘shall us get married, us two?’

‘G-r-r-r-r-r-r!’ says the maid.

Johnny, in a fright, let go his hold of the cord, the sack fell open, out jumped Rumble, and flew at his throat.

Johnny sprang into a willow-tree and climbed up it, but, lo and behold! the tree was rotten, and down came tree and Johnny and all on the back of Rumble! Now, Rumble was expecting nothing of that sort, and, with one wild yowl, he flew away like the wind, and never stopped till the town gates of Condé were closed behind him!

HEN once the voice of Rumble was lost in the distance, Johnny climbed out of the tree and found that none of his bones were broken.

All of a sudden in the hollow of the tree trunk he saw something shining like a will o’ the wisp.

He put in his hands and pulled out A Goose with Golden Feathers!

‘Here’s luck at last,’ says Johnny, ‘I’ve lost a maid and found a golden goose! I’ll have it roasted this very night,’ and off he went to the best inn in the village.

Now the inn was full of people going to the fair on St. Calixtus’s day, which was a great festival.

However, Johnny, being but a village idiot, had never heard anything about all that.

Up he comes and goes to the landlord, who didn’t know where to turn, he had so many customers, all going to the fair.

‘Cook my goose!’ says Johnny, as bold as brass.

‘Oh, you go to--Jerusalem,’ says the landlord, ‘we don’t cook _gold geese here_, not to-day, we don’t.’

‘Well, if you won’t be obliging and cook my goose,’ says Johnny Nut, ‘why, I’ll give it to Saint Calixtus. A pretty poor saint he’ll be if he does not give me a goose fit to put on the spit in exchange for my goose of gold!’

So he got supper somehow, and went with his goose to sleep in the stable.

HE landlord of the inn had three fair daughters, all as curious as their mother Eve. All night long they turned and tossed in their beds, thinking about the golden goose and longing to see it.

As soon as the first cock crew, up gets the oldest daughter.

‘It is so hot I really can’t sleep,’ said she, and went on tip-toe to the stable, as quiet as pussy, for fear of waking Johnny.

In the moonlight the golden goose was shining like a star.

‘I’ll take one of the pretty feathers,’ said the girl, and put out her hand to touch it But she could not pluck the feather and she could not pull her hand away!

When the second cock crew, up got the second daughter.

‘It is far too hot to sleep,’ said she, and she ran downstairs to her sister. But as soon as she had touched her _she_ could not move a step from the place!

Then the third cock crew, and up got the youngest daughter, and ran to the stable after her sisters.

‘Take care! don’t come here!’ they cried, but she did not understand, and she thought--

‘Why, if they are there, I can go too!’

But as soon as she touched her sisters, there she was, as fast as could be to the golden goose!

A quarter of an hour later Johnny wakened, and stretched himself, and shook some of the straw out of his hair, and then took his goose under his arm, and off he went, never noticing the girls, whom he had _not_ left behind him.

They tried to stop him, but Johnny thought they wanted to rob him of his goose, and he ran, and they ran, and they all ran as fast as their legs would carry them.

When they were out of the village, the girls were also out of breath, and they entreated Johnny to stop. So he said he would stop if they would show him the right road, and the sun was up by the time they reached the next village.

UST at that very moment, who should come by who should come by but the Vicar of Condé, with his two Curates, the Churchwardens, the Beadle himself, the man that played the fiddle, the man that played the cornet, and all the wicked little choirboys.

They were all marching off to sing the Mass on St. Calixtus’s day.

The Vicar at that time was a stout clergyman, as big as a barrel, but he was a very holy man, and very severe about good and modest behaviour.

Naturally, when he saw the landlord’s daughters all strutting away behind our Johnny, he was Shocked!

‘Are you not ashamed of yourselves,’ he cried out, ‘great lasses like you, to run about the country after a lad?’

So he plucked the youngest girl by the sleeve to stop her, but, behold! no sooner had he touched her than he could not leave hold, and _he_ had to march after the golden goose!

‘Oh, sir, oh, sir!’ cried the Beadle (who was a long, thin-legged man, like a heron), and he ran up, caught hold of the Vicar by his gown, and there he stuck.

The Vicar cried for help to the rest of his company, so first the Curates, then the Organist, then the man with the violin, then the cornet-player, and, lastly, all the wicked little choir-boys, rushed to hold the Vicar back, but they were all caught, and had all to run after Johnny, while Johnny just followed his goose!

Pilgrims came to do him honour from all the country round, and, as Saint Calixtus was famous for curing lame people, they made a very singular procession.

The maimed and the halt and the blind were there, humpbacks by the dozen, cripples by the score, men with wooden legs, men with iron hooks instead of hands, men with wry necks--in short, they were a funny spectacle.

They would not have been funny, but very pitiful, if they had really been lame and blind, but the truth is that they were all persons whom the good Saint had cured, and now they were only making believe, for one day in the year, to suffer from their old complaints. But, to tell the truth, they looked so odd that the images of the other Saints in the chapel were set, on that day, with their faces to the wall, for fear they should break out laughing.

When the High Mass had been sung, all the worthy cripples threw away their sham humps, and bandages, and wooden legs, and they laughed, and danced, and skipped, and revelled, so that it was a pleasure to see so many people enjoying themselves.

OW you must be told that the King of that country had a daughter _as lovely as the day,_ who had never laughed in all her life!

She was as sad and sorry as the mournful Bell that rings for a death, and so they called her the _Passing Belle_; it was a sort of joke. *

* The French country people call the Passing Bell La Dolente, and this unhappy Princess they named La Belle Dolente. If any child cannot understand this, she may consult her nice French grammar, and her French and English dictionary, and turn it over in her mind till next Christmas.

Now, as she was an only child, the ‘Passing Belle had been spoiled from her very cradle. Cakes, toys, diversions, such as playing at funerals, had been lavished on her, but she never, never smiled.

They tried her with Punch and Judy, they tried her with pantomimes, they took her to the play, but there never came a smile on the pale lips of the Passing Belle.

She would not have laughed for a King’s ransom; nay, if you had ordered her off to instant execution, and laid her head on the block, you could not have wrung a smile from her!

The King, who had a strong sense of humour, was in despair. Finally he had a proclamation printed:--

Every one thought it was hopeless to get a laugh from the Passing Belle. Then the King, who was a very religious man, determined to take her to the shrine of Saint Calixtus. Of course, if the Saint could make her smile, she would become a nun, and perhaps, in the long run, would have been as solemn and _lugubrious_ as ever.

LL the Court came, and all the Court nearly died with laughing at the procession of the halt, and lame, and blind. ‘Go it, ye cripples,’ cried his Majesty, in convulsions of merriment! Some of the people were like X’s, and some like Y’s, and some like Z’s, and plenty of K’s and S’s, all the cross letters were there, all the letters but straight upright I. Meanwhile the courtiers held their sides and screamed, and the tears came into their eyes; but the Princess yawned like a pretty little trout out of water! She did not see what there was to laugh at!

Besides, if she _had_ laughed, perhaps they would have made her marry a man with a hump upon his back, or two wooden legs and a glass eye.

The fun was over, the King got up, the courtiers all rose, when past came Johnny and the golden goose and all his company.

Now when the Princess beheld our Johnny, and the landlord’s three daughters, and the fat Vicar, and the thin Beadle, and the two Curates, and the Organist, the violin-player, the man with the comet, and all the wicked little choir-boys, all stuck fast together, and all treading on each other’s heels, she fell into such convulsions of laughter that she dropped into the Queen’s arms, and chuckled till she was nearly dead.

The King, wild with delight, threw his royal arms around the neck of our Johnny, shouting, ‘Take her, you dog; she is yours, my bonny boy!’ and all the courtiers, falling on each other’s breasts, cried=

````She’s laughed to-day!=

But our Johnny moved on, quite grave, to the altar of Saint Calixtus, and there he laid the golden goose, after which all the people who followed him were able to get free. The charm was broken.

Next day was the marriage. They ate a whole flock of roast geese from Hergnies, and they drank two vats of the local beer. In short, merrier times never were, in all the merry country of Flanders, where the beer is so excellent.

FTER the King died, Johnny succeeded to the vacant throne, and the Chronicles report that he did not govern less wisely than other monarchs, prime ministers, and politicians generally, before or since.

The people of his own good town of Valenciennes had a statue made of Johnny Nut, in walnut-wood, and a statue of his wife, and there they stand on a tower, and strike time on the big clock; so you see this story is quite true. Do not you believe any learned man who tells you that Johnny is the Sun, and that the Goose is the Sun, and that the Passing Belle is the Moon, or nonsense of that kind, which, my dear children, is _too common!_

I think the Moral is that we should always be kind to animals, respectful to Old Age, and, above all, that we should be _Easily Amused._

End of the Project Gutenberg EBook of Johnny Nut and the Golden Goose, by Andrew Lang and Charles Deulin

Andrew Lang's translation of Charles Deulin's Johnny Nut and the Golden Goose opens with a preface that situates the tale within a network of international parallels—Tongan, Zulu, and Grimm's—while claiming a French Flemish origin. The story itself begins with a starkly specific setting: the village of Saint Saulve, 'Valenciennes way,' and a protagonist defined by his origin under a walnut tree. The narrative voice is colloquial and direct, addressing the reader with phrases like 'Now, whether he came back as poor as he started' and 'that's what we are going to tell you!' This oral quality, combined with the tale's episodic structure, invites attention to how repetition and accumulation drive the plot forward.

Repetition as Narrative Engine

The tale's structure hinges on a repetitive, cumulative pattern. Johnny Nut's journey is a series of encounters where each new character—the landlord's three daughters, the fat Vicar, the thin Beadle, the two Curates, the Organist, the violin-player, the man with the comet, and the wicked little choir-boys—becomes stuck to the golden goose and to each other. The phrasing 'all stuck fast together, and all treading on each other's heels' is echoed in the procession that finally makes the Princess laugh. This repetition is not merely decorative; it builds momentum and creates a visual comedy of entanglement. The narrative rarely varies the formula: a character touches the goose, adheres, and the chain grows. This technique, drawn from oral tradition, transforms a simple quest into a mechanical, almost farcical accumulation.

Movement Between Scenes and Settings

The story moves through a series of named villages—Saint Saulve, Escau-bridge, Hergnies—and finally to the King's court and the shrine of Saint Calixtus. Each shift in setting is abrupt, signaled by phrases like 'So, at long and at last' or 'Now you must be told that the King of that country.' The geography is vague but functional: distances are measured in 'a dozen miles off, Condé way,' and the journey is a straight line from poverty to royal reward. The most striking transition is from the countryside to the court, where the procession of cripples and the Princess's laughter scene occupies a single, crowded space. The narrative lingers on the spectacle of the 'halt, and lame, and blind' before Johnny's entrance, creating a contrast between staged humor and accidental comedy.

Recurring Images of Food and Hunger

Food, particularly roast goose, is the tale's central image and motivation. Johnny's desire to 'taste roast goose' drives the entire plot, and the story ends with a wedding feast of 'a whole flock of roast geese from Hergnies' and 'two vats of the local beer.' This circular structure—from hunger to satiety—is underscored by the golden goose itself, which is both a magical object and a source of food. The narrative repeatedly emphasizes Johnny's poverty: 'never in his living days had Johnny Nut dined on anything better than potatoes.' The contrast between his meager diet and the abundance of the final feast is stark. Even the Princess's laughter is triggered by a visual gag involving the goose and its attached followers, linking humor to the promise of consumption.

The Princess's Laughter and the Breaking of the Charm

The climax hinges on the Princess's laughter, which is described as 'convulsions of laughter' that leave her 'chuckling till she was nearly dead.' The narrative builds to this moment by emphasizing her previous inability to laugh: 'she never, never smiled,' despite attempts with 'Punch and Judy,' 'pantomimes,' and 'the play.' The King's proclamation—'WHOEVER CAN MAKE THE PRINCESS GIGGLE SHALL WIN HER FOR HIS BRIDE'—sets up a contest that Johnny wins not through effort but through the absurdity of his procession. After the laughter, Johnny 'moved on, quite grave, to the altar of Saint Calixtus' and laid the golden goose there, breaking the charm. This action suggests that the goose's power is tied to its removal; the story does not explain the logic, leaving the resolution as a matter of ritual rather than causation.

The tale's structure—repetitive, episodic, and driven by a single object—mirrors the oral tradition from which Deulin drew. Lang's translation preserves the colloquial tone and the cumulative rhythm, making the story feel like a performance. Readers may notice how the narrative's movement between scenes is less about geography than about the accumulation of characters and the escalation of absurdity. The ending, with its abrupt shift to marriage and feast, leaves the golden goose's magic unexplained, inviting reflection on how folktales often prioritize pattern over logic.

I found myself thinking, after closing Johnny Nut, how those stuck-together wanderers felt less like a joke and more like a quiet echo of something older—maybe even sacred. That same hushed wonder surfaced later in Myths and Dreams — Reading Notes, where folklore’s lingering heartbeat feels almost tangible. It’s odd how a goose chase can lead you to a dream’s edge.

Emma Wright
1 month ago

John Green
3 weeks ago

Olivia Lopez
1 week ago

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