MASTER JACOB

- By Howard Pyle
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American illustrator and author (1853–1911) For the 1950s Arizona governor, see John Howard Pyle.Howard PyleBorn(1853-03-05)March 5, 1853Wilmington, Delaware, U.S.DiedNovember 9, 1911(1911-11-09) (aged 58)Florence, Kingdom of ItalyKnown forIllustration, writing for childrenNotable work The Merry Adventures of Robin Hood Otto of the Silver Hand Men of Iron The Story of King Arthur and His Knights The Story of the Grail and the Passing of King Arthur StyleBrandywine SchoolSpouseAnne PooleRelativesKatharine Pyle (sister)Signature Howard Pyle (March 5, 1853 – November 9, 1911) was an American illustrator, painter, and author, primarily of books for young people. He was a native of Wilmington, Delaware, and he spent the last year of his life in Florence, Italy. In 1894, he began teaching illustration at the Drexel Institute of Art, Science, and Industry (now Drexel University). Among his students there were Violet Oakley, Maxfield Parrish, and Jessie Willcox Smith.[1] After 1900, he founded his own school of art and illustration named the Howard Pyle School of Illustration Art. Scholar Henry C. Pitz later used the term Brandywine School for the illustration artists and Wyeth family artists of the Brandywine region, several of whom had studied with Pyle.[2] He had a lasting influence on a number of artists who became notable in their own right; N. C. Wyeth, Frank Schoonover, Thornton Oakley, Allen Tupper True, Stanley Arthurs, and numerous others studied under him. His 1883 classic publication The Merry Adventures of Robin Hood remains in print, and his other books frequently have medieval European settings, including a four-volume set on King Arthur. He is also well known for his illustrations of pirates, and is credited with creating what has become the modern stereotype of pirate dress.[3] He published his first novel Otto of the Silver Hand in 1888. He also illustrated historical and adventure stories for periodicals such as Harper's Magazine and St. Nicholas Magazine. His novel Men of Iron was adapted as the movie The Black Shield of Falworth (1954). Pyle travelled to Florence, Italy in 1910 to study mural painting. He died there in 1911 of a sudden kidney infection (Bright's disease). Life[edit] The Battle of Bunker Hill, Howard Pyle, 1897, showing the second British advance up Breed's Hill. This painting's whereabouts are unknown as it was probably stolen from the Delaware Art Museum in 2001.[4] Pyle was born in Wilmington, Delaware, the son of William Pyle and Margaret Churchman Painter. As a child, he attended private schools[5] and was interested in drawing and writing from a very young age. He was an indifferent student, but his parents encouraged him to study art, particularly his mother.[1] He studied for three years at the studio of F. A. Van der Wielen in Philadelphia,[6] and this constituted the whole of his artistic training, aside from a few lessons at the Art Students League of New York.[1] In 1876, he visited the island of Chincoteague off Virginia and was inspired by what he saw. He wrote and illustrated an article about the island and submitted it to Scribner's Monthly. One of the magazine's owners was Roswell Smith, who encouraged him to move to New York and pursue illustration professionally.[1] Pyle initially struggled in New York; his lack of professional experience made it difficult for him to translate his ideas into forms for publication. He was encouraged by several working artists, however, including Edwin Austin Abbey, A. B. Frost, and Frederick S. Church. The Battle of Nashville, c. 1906, Governor’s Reception Room at the Minnesota State Capitol He finally published a double-paged spread in the Harper's Weekly issue of March 9, 1878 and was paid $75—five times what he had expected.[6] He became increasingly successful and was an established artist by the time that he returned to Wilmington in 1880.[1] Pyle continued illustrating for magazines. He also collaborated on several books, particularly in American history. He wrote and illustrated his own stories, beginning with The Merry Adventures of Robin Hood in 1883. This book won international attention from critics such as William Morris.[1] Over the following decades, he published many more illustrated works for children, many of which are still in print today. Pyle married singer Anne Poole on April 12, 1881, and the couple had seven children.[6] In 1889, he and his wife sailed to Jamaica, leaving their children in the care of relatives. While they were overseas, their son Sellers died unexpectedly. This loss likely inspired his children's book The Garden Behind the Moon, which is about death and bears the dedication: "To the little Boy in the Moon Garden This Book is dedicated by His Father."[6][7] From 1894 to 1900, he taught illustration at the Drexel Institute. In 1900, he created his own school in Wilmington where he taught a small number of students in depth. In 1903, Pyle painted his first murals for the Delaware Art Museum. He took up mural painting more seriously in 1906 and painted The Battle of Nashville in Saint Paul, as well as two other murals for courthouses in New Jersey[1] (the Essex and Hudson County Courthouses). Pyle developed his own ideas for illustrating pirate dress, as few examples existed of authentic pirate outfits and few, if any, drawings had been preserved. He created a flamboyant style incorporating elements of Gypsy dress. His work influenced the design of costumes for movie pirates from Errol Flynn to Johnny Depp. It has been noted as highly impractical for working sailors.[3] In 1910, Pyle and his family went to Italy where he planned to study the old masters. Suffering poor health, he felt depressed and drained of energy. After one year in the country, he suffered a kidney infection and died in Florence at the age of 58.[1] In 1937, his niece Caroline Ashton Pyle married his student N. C. Wyeth's son Nathaniel Convers Wyeth.[8] Major works[edit] Sir Kay breaketh his sword at ye Tournament, one of Pyle's Arthurian illustrations Pyle wrote and illustrated a number of books, in addition to numerous illustrations done for Harper's Weekly, other periodical publications, and various works of fiction for children and young adults. The Merry Adventures of Robin Hood[edit] Main article: The Merry Adventures of Robin Hood Pyle synthesized many traditional Robin Hood legends and ballads in this work, while toning them down to make them suitable for children. For instance, he modified the late 17th century ballad "Robin Hood's Progress to Nottingham", changing it from Robin killing fourteen foresters for not honoring a bet to Robin defending himself against an attempt on his life by one of the foresters. Pyle has Robin kill only two men, one who shoots at him first when he was a youth, the other a hated assassin named Guy of Gisborne whom the Sheriff sent to slay him. Tales are changed in which Robin steals all that an ambushed traveler carried, such as "Robin Hood and the Bishop of Hereford", so that the victim keeps a third and another third is dedicated to the poor. Pyle did not have much concern for historical accuracy, but he renamed the queen in the story "Robin Hood and Queen Katherine" as Eleanor (of Aquitaine). This made her compatible historically with King Richard the Lion-Hearted, with whom Robin eventually makes peace. Many of the tales in the Robin Hood book dated to the late Middle Ages. His achievement was to integrate them into a unified story, which he also illustrated. For example, he included "Robin Hood and the Curtal Friar" in the narrative order to reintroduce Friar Tuck. He needed a cooperative priest for the wedding of outlaw Allan a Dale to his sweetheart Ellen. In the original "A Gest of Robyn Hode", the life is saved of an anonymous wrestler who had won a bout but was likely to be murdered because he was a stranger. Pyle adapted it and gave the wrestler the identity of David of Doncaster, one of Robin's band in the story "Robin Hood and the Golden Arrow". In his novelistic treatment of the tales, he thus developed several characters who had been mentioned in only one ballad, such as David of Doncaster or Arthur a Bland. Men of Iron[edit] Men of Iron is an 1891 novel about squire Myles Falworth who hopes to become a knight, thereby redeeming his family's honor. His father was falsely implicated in a plot to kill King Henry IV. The adventure tale follows Myles through his intensive training for knighthood and ends with him becoming a knight and challenging the wicked Lord Brookhurst Alban to trial by combat. The novel was adapted into the 1954 film The Black Shield of Falworth starring Tony Curtis and Janet Leigh. Other works[edit] Otto of the Silver Hand, about the son of a robber baron during the medieval period. Rejected of Men:[9] A Story of To-day (1903), setting the story of Jesus as if it had occurred during early twentieth-century America. Portfolio of Etchings:[10] In 1903 the Bibliophile Society of Boston commissioned Pyle to create a series of paintings of scholars and bibliophiles for a limited, four-volume set of books titled The bibliomania, or book-madness. The paintings proved popular and the Bibliophile Society commissioned American engraver William H. W. Bicknell [d] to create copper etched copies of Pyle's five oil paintings from The Bibliomania books. The etched prints in the Portfolio of Etchings from the Special Collections and Archives at Albertsons Library, BSU,[11] portray the following literary figures: Richard de Bury and the Young Edward III Caxton at his Press Erasmus reading to Colet and More The remaining etchings are titled: “Friar” Bacon in His Study, and "Izaak" Walton The Wonder Clock (1887), a collection of twenty-four tales, one for each hour of the day. Each tale was prefaced by a whimsical verse telling of traditional household goings-on at that hour. His sister Katharine Pyle wrote the verses. Pyle created the tales based on traditional European folktales. Pepper and Salt, or Seasoning for Young Folk, traditional tales for younger readers which he also illustrated. After his death, a publisher collected a number of his pirate stories and illustrations and published them as Howard Pyle's Book of Pirates (1921). Buccaneer of the Caribbean, from Howard Pyle's Book of Pirates Pirates fight in Who Shall Be Captain?, 1911, from Howard Pyle's Book of Pirates Critical response[edit] He lost his hold and fell, taking me with him from "The Grain Ship" by Morgan Robertson, in Harper's Monthly Magazine, March 1909 Pyle was widely respected during his life and continues to be well regarded by illustrators and fine artists. His contemporary Vincent van Gogh wrote in a letter to his brother Theo that Pyle's work "struck me dumb with admiration."[12] Pyle's reputation stems from his innovation in form and illustration, creating an American school of illustration and art, and for the revival of children's books. His illustrations are vivid and imaginative, yet not overly fantastic or contrived, lending them an air of colorful realism. Twentieth-Century Literary Criticism notes: As time passed, Pyle's historical position as the founder of a distinctly American school of illustration and art, as the innovator who introduced the total-design approach, and as the great reinventor of children's books, would outshine any single work he did, so that he is remembered less for any one project than for his total stance.[6] He had a lasting influence on a number of artists who became notable in their own right. Some of his more notable students were N. C. Wyeth, Frank Schoonover, Elenore Abbott, Ethel Franklin Betts, Anna Whelan Betts, Harvey Dunn, Clyde O. DeLand, Philip R. Goodwin, Thornton Oakley, Violet Oakley, Ellen Bernard Thompson Pyle, Olive Rush, Blanche Grant, Ethel Leach, Allen Tupper True, Elizabeth Shippen Green, Arthur E. Becher, William James Aylward, Jessie Willcox Smith, and Charlotte Harding. Pyle taught his students at his home and studio in Wilmington, which is still standing and is listed on the National Register of Historic Places. Pyle was an early member of The Franklin Inn Club in Philadelphia. According to Robert Vitz, the Howard Pyle School of Art developed a common set of themes in its work: attention to realism and expression of optimism and a faith in the goodness of America.[6] His work also continued to inspire well after his death; for example, comic book artist Tony Harris (born 1969) has cited Pyle as a major influence on his work.[13] Pyle is remembered primarily as an illustrator, but his books have also been analyzed for their literary qualities, particularly The Merry Adventures of Robin Hood. Taimi M. Ranta and Jill P. May have examined their influence on children's literature. May writes from a feminist sensibility.[6] Susan F. Beegel has studied his influence on Ernest Hemingway.[6] Alethia Helbig has reviewed his poetry, which since his death has not been as highly valued as it was in his own time.[6] Malcolm Usrey wrote that Otto of the Silver Hand has all the marks of a good historical novel: it has an exciting plot, with ample conflict and believable characters; it uses language and dialect appropriate to its setting and the characters; it has a significant, universal theme, and it presents the details of daily life in Germany of the thirteenth century accurately and unobtrusively, making the period real and alive.[6] Selected bibliography[edit] Drawing desk on which Pyle produced his King Arthur drawings, at the Delaware Art Museum Unless noted otherwise, all titles are listed in The Dictionary of American Biography.[1] The Merry Adventures of Robin Hood (1883) Within the Capes (1885) Pepper and Salt; or, Seasoning for Young Folk (1886) The Rose of Paradise (1888) The Wonder Clock (1888), with his sister Katharine Pyle Otto of the Silver Hand (1888) A Modern Aladdin (1892) Men of Iron (1892) Twilight Land (1895) The Story of Jack Ballister's Fortunes (1895) The Garden Behind the Moon (1895) The Ghost of Captain Brand (1896) Washington (Text by Woodrow Wilson, then a history professor; published in 1897) Story of the Revolution (Text by Henry Cabot Lodge; published in 1898) The Price of Blood (1899) History of the American People (Text by Woodrow Wilson; published in 1902) Rejected of Men (1903) The Story of King Arthur and His Knights (1903) The Story of the Champions of the Round Table (1905) The Story of Sir Launcelot and His Companions (1907) The Story of the Grail and the Passing of King Arthur (1910) Stolen Treasure (1907) The Ruby of Kishmoor (1908) Howard Pyle's Book of Pirates (A collection of previously published material, assembled in 1921) See also[edit] Children's literature portalEngland portalHistory portalVisual arts portal Delaware Art Museum Le Trésor de Rackham le Rouge National Museum of American Illustration References[edit] ^ a b c d e f g h i Abbott, Charles David (1935). "Howard Pyle". In Malone, Dumas (ed.). Dictionary of American Biography. Vol. V. 15. pp. 287–290. OCLC 1256465953. ^ McDonald, Edward D.; Edward M. Hinton (1942). Drexel Institute of Technology 1891–1941. Haddon Craftsmen, Inc. pp. 126–130. ISBN 1-4067-6374-8. ^ a b Crimmins, Peter (November 16, 2011). "Pirates of pizazz: Delaware Art Museum celebrates century with Pyle's iconic images". Newsworks. WHYY. Archived from the original (text and video) on December 10, 2015. Retrieved November 18, 2011. ^ Fishman, Margie (2014-05-18). "First painting auctioned by museum could bring $13.4 million". The News Journal. Wilmington, DE, US. Retrieved 2021-11-24. ^ Willard S. Morse; Gertrude Brinckle (1921). Howard Pyle: A Record of His Illustrations and Writings. Wilmington, Delaware: Wilmington Society of the Fine Arts. p. v. ^ a b c d e f g h i j Baise, Jennifer (1999), Twentieth Century Literary Criticism (print), vol. 81, Gale ^ "The Garden Behind the Moon". C. Scribner's Sons. 1895. ^ "Milestones, Jan. 25, 1937". Time. 1937-01-25. ISSN 0040-781X. Retrieved 2023-02-16. ^ The title is from Isaiah 53:3 (KJV), "He is despised and rejected of men; a man of sorrows and acquainted with grief: and we hid as it were our faces from him; he was despised, and we esteemed him not." ^ "Etchings by W. H. W. Bicknell after Original Paintings by Howard Pyle". AbeBooks. Archived from the original on 2024-02-01. ^ Cordova, Memo (2016-04-01). "The Father of Illustration: From Boston to Boise". ScholarWorks - Boise State University Scholarship and Research. Library Faculty Publications and Presentations. The Albertsons Library, BSU. Retrieved 2024-03-27. ^ Malyon, John (2015). "Howard Pyle Online". Artcyclopedia. Alberta, Canada: Specifica, Inc. Retrieved 2021-11-18. ^ Shapiro, Marc (August 1997). "Wizard Profile: Tony Harris". Wizard. No. 72. p. 208. Further reading[edit] Coyle, Heather C. (2011). Howard Pyle: American Master Rediscovered. Wilmington, DE: Delaware Art Museum. ISBN 9780977164431. May, Jill P.; Robert E. May; Howard Pyle (2011). Howard Pyle: Imagining an American School of Art. University of Illinois Press. p. 262. ISBN 978-0-252-03626-2. Philadelphia Art Alliance (1923). Report of the private view of the exhibition of works by Howard Pyle, at the Art Alliance, Philadelphia, January 22, 1923. Printed for the Philadelphia Art Alliance, Ad-Service Print. Co. OCLC 34340261. Etext of Twilight Land Pyle biography and etext of Robin Hood External links[edit] Wikisource has original text related to this article: Howard Pyle Wikimedia Commons has media related to Howard Pyle. Wikiquote has quotations related to Howard Pyle. Online Books by Howard Pyle at Online Books Page Works by Howard Pyle at Project Gutenberg Works by or about Howard Pyle at Internet Archive Works by Howard Pyle at LibriVox (public domain audiobooks) Howard Pyle artwork at American Art Archives Thor and Hymir's Fishing. Illustration for Harper's Magazine, 1902. vteNovels by Howard PyleNovels The Merry Adventures of Robin Hood (1883) Otto of the Silver Hand (1888) Men of Iron (1891) The Story of King Arthur and His Knights (1903) The Story of the Champions of the Round Table (1905) The Story of Sir Launcelot and His Companions (1907) The Story of the Grail and the Passing of King Arthur (1910) Adaptations The Black Shield of Falworth (1954) vteSociety of Illustrators' Hall of Fame1958–19591958 Norman Rockwell 1959 Dean Cornwell Harold von Schmidt 1960–19691960 Fred Cooper 1961 Floyd Davis 1962 Edward A. Wilson 1963 Walter Biggs 1964 Arthur William Brown 1965 Al Parker 1966 Albert Dorne 1967 Robert Fawcett 1968 Peter Helck 1969 Austin Briggs 1970–19791970 Rube Goldberg 1971 Stevan Dohanos 1972 Ray Prohaska 1973 Jon Whitcomb 1974 Charles Dana Gibson Tom Lovell N. C. Wyeth 1975 Bernie Fuchs Maxfield Parrish Howard Pyle 1976 Harvey Dunn John Falter Winslow Homer 1977 J. C. Leyendecker Wallace Morgan Robert Peak 1978 Norman Price Frederic Remington Coby Whitmore 1979 Edwin Austin Abbey Lorraine Fox Ben Stahl 1980–19891980 Howard Chandler Christy James Montgomery Flagg Saul Tepper 1981 Stan Galli John Gannam Frederic R. Gruger 1982 John Clymer Carl Erickson Henry P. Raleigh 1983 Franklin Booth Mark English Noel Sickles 1984 John La Gatta Neysa McMein James Williamson 1985 Arthur Burdett Frost Charles Marion Russell Robert Weaver 1986 Al Hirschfeld Rockwell Kent 1987 Maurice Sendak Haddon Sundblom 1988 René Bouché Pruett Carter Robert T. McCall 1989 Erté John Held Jr. Arthur Ignatius Keller 1990–19991990 Robert Riggs Morton Roberts Burt Silverman 1991 Jessie Willcox Smith William Arthur Smith Donald Teague 1992 Joe Bowler Edwin A. Georgi Dorothy Hood 1993 Robert McGinnis Thomas Nast Coles Phillips 1994 Harry Anderson Elizabeth Shippen Green Ben Shahn 1995 James Avati McClelland Barclay Joseph Clement Coll Frank Schoonover 1996 Anton Otto Fischer Winsor McCay Violet Oakley Mead Schaeffer Herbert Tauss 1997 Chesley Bonestell Joe DeMers Diane Dillon Leo Dillon Maynard Dixon Harrison Fisher Frank McCarthy 1998 Boris Artzybasheff Robert M. Cunningham Kerr Eby Frank Frazetta Edward Penfield Martha Sawyers 1999 Mitchell Hooks Andrew Loomis Antonio Lopez Stanley Meltzoff Thomas Moran Rose O'Neill Adolph Treidler 2000–20092000 James Bama Nell Brinkley Charles Livingston Bull David Stone Martin Alice and Martin Provensen J. Allen St. John 2001 John James Audubon Will H. Bradley Howard Brodie F. O. C. Darley Charles R. Knight Franklin McMahon 2002 E. Simms Campbell Milton Glaser Jean-Leon Huens Daniel Schwartz 2003 Elaine Duillo David Levine Bill Mauldin Jack Potter 2004 John Berkey John Groth Robert Andrew Parker Saul Steinberg 2005 Jack Davis Brad Holland Herbert Paus Albert Beck Wenzell 2006 Gilbert Bundy Bradshaw Crandell Keith Ferris Harold Foster Frank H. Netter Alvin J. Pimsler Jack Unruh 2007 David Grove Gary Kelley Edward Windsor Kemble Russell Patterson George Stavrinos 2008 Benton Clark Matt Clark Kinuko Y. Craft Naiad Einsel Walter Einsel 2009 Mario Cooper Paul Davis Laurence Fellows Arnold Roth Herbert Morton Stoops 2010–20192010 Charles Edward Chambers Earl Oliver Hurst Orson Lowell Wilson McLean Chris Van Allsburg 2011 Kenneth Paul Block Alan E. Cober Robert Heindel Fred Otnes Jerry Pinkney 2012 Ludwig Bemelmans R. O. Blechman John Collier Edward Gorey John Sloan Nancy Stahl 2013 Ted CoConis George Herriman Sanford Kossin Arthur Rackham Charles M. Schulz Murray Tinkelman 2014 Mary Blair Walter Everett Al Jaffee Syd Mead William Cameron Menzies Alex Raymond Edward Sorel 2015 Bernard D'Andrea Walter M. Baumhofer Will Eisner Virgil Finlay Ted Lewin and Betsy Lewin Pat Oliphant Arthur Szyk 2016 Marshall Arisman Rolf Armstrong Guy Billout Peter de Sève William Glackens Beatrix Potter Richard M. Powers 2017 Mort Drucker Bart Forbes Anita Kunz Ralph Steadman Burne Hogarth George Petty Gustaf Tenggren 2018 Robert Crumb Kate Greenaway René Gruau Jack Kirby Heinrich Kley Hilary Knight James McMullan Kay Nielsen C. F. Payne 2019 Alice Barber Stephens Mary Petty Frank Godwin Mark Summers Vincent Di Fate Roz Chast 2020–20292020 Thomas Blackshear Edmund Dulac Jean Henri Gaston Giraud (Mœbius) Jeffrey Catherine Jones Barbara Nessim Drew Struzan 2021 Braldt Bralds Margaret Brundage Walter Percy Day Dale Messick Craig Mullins Floyd Norman 2022 Charles Addams George Booth Emory Douglas Brian and Wendy Froud Reynold Ruffins Sarah S. 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1 Once upon a time there was a man whose name was just Master Jacob and nothing more.
2 All that Master Jacob had in the world was a good fat pig, two black goats, a wife, and a merry temper - which was more than many a better man than he had, for the matter of that.
3 "See now," says Master Jacob, "I will drive the fat pig to the market tomorrow; who knows but that I might strike a bit of a sale."
4 "Do," says Master Jacob's wife, for she was of the good sort, and always nodded when he said "yes," as the saying goes.
5 Now there were three rogues in the town over the hill, who lived in plenty; one was the priest, one was the provost, and one was the master mayor; and which was the greatest rogue of the three it would be a hard matter to tell, but perhaps it was the priest.
6 "See, now," says the priest to the other two, "Master Jacob, who lives over yonder way, is going to bring his fat pig to market tomorrow. If you have a mind for a trick, we will go snacks in what we win, and each of us will have a rib or two of bacon hanging in the pantry, and a string or so of sausages back in the chimney without paying so much as a brass button for them."
7 Well, of course that was a tune which the others were willing to dance. So the rogue of a priest told them to do thus and so, and to say this and that, and they would cheat Master Jacob out of his good fat pig as easily as a beggar eats buttered parsnips. So the next morning off starts Master Jacob to the market, driving his fat pig before him with a bit of string around the leg of it. Down he comes into the town, and the first one whom he meets is the master priest.
8 "How do you find yourself, Master Jacob?" says the priest, "and where are you going with that fine, fat dog?"
9 "Dog!" says Master Jacob, opening his eyes till they were as big and as round as saucers.5 "Dog! Prut! It is a fine a pig as ever came into this town, I would have you know."
10 "What!" says the priest. "Do you try to tell me that that is a pig, when I can see with both of my ears and all of my eyes that it is a great, fat dog?"
11 "I say it is a pig!" says Master Jacob.
12 "I say it is a dog!" says the priest.
13 "I say it is a pig!" says Master Jacob.
14 "I say it is a dog!" says the priest.
15 "I say it is a pig!" says Master Jacob.
16 Just then who should come along but the provost, with his hands in his pockets and his pipe in his mouth, looking as high and mighty as though he owned all of that town and the sun and the moon into the bargain?
17 "Look, friend," says the priest. "We have been saying so and so and so and so, just now. Will you tell me, is that a pig, or is it a dog?"
18 "Prut!" says the provost, "how you talk, neighbor! Do you take me for a fool I should like to know? Why, it is as plain as the nose on your face that it is a great, fat dog."
19 "I say it is a pig!" bawled7 Master Jacob.
20 "I say it is a dog!" says the provost.
21 "I say it is a pig!" says Master Jacob.
22 "I say it is a dog!" says the provost.
23 "I say it is a pig!" says Master Jacob.
24 "Come, come," says the priest, "let us have no high words over the matter. No, no; we will take it to the mayor. If he says that it is a pig we two will give you ten shillings;8 and if he says it is a dog, you will give the animal to us as a penance.
25 Well, Master Jacob was satisfied with that, for he was almost certain that it was a pig. So off they marched to the mayor's house. There the priest told all about the matter, for he was used to talking. "And now," says he, "is it a pig, or is it a dog?"
26 "Why," says the mayor, "I wish I may be choked to death with a string of sausages if it is not a dog, and a big dog and a fat dog into the bargain."
27 So there was an end of the matter, and Master Jacob had to march off home without his pig and with no more in his pockets than he had before. All the same, he saw what kind of trick had been played on him, and, says he to himself, "What is sauce for the goose is sauce for the gander. If one can pipe, another can whistle; I'll just try a bit of a trick myself." So he went to his wife and told her that he had a mind to do thus and so, and that she must do this and that; for he thought of trying his hand at a little trickery as well as other folks.
28 Now, as I told you before, Master Jacob had two goats, both of them as black as the inside of your hat at midnight; moreover, they were as like as two spoons in the same dish; for no one could have told them apart unless he had lived with them year in and year out, rainy weather and clear, as Master Jacob had done.
29 Well, the next day Master Jacob tied a rope around the neck of one of the goats, took down a basket from the wall, and started off to the town over the hill, leading his goat behind him. By and by he came to the market place and began buying many and one things, until his basket was as full as it could hold. After a while whom should he see coming along but the priest and the provost and the mayor, walking arm-in-arm as bold as you please.
30 "Hello, Master Jacob," said they, "and what have you there?"
31 "The blessed saints only know that, "said Master Jacob, "It may be a black cat for all that I know; it was a black goat when I left home this morning.
32 And what was Master Jacob going to do with his little black goat? That was what they should like to know.
33 "Oh," said Master Jacob, "I am about to send my little black goat on an errand; if you will wait you shall see for yourselves."
34 Then what did he do but hang the basket around the goat's neck. "Go home to your mistress," said he, "and tell her to boil the beef and cabbage for dinner today; and, stop! tell her to go to Neighbor Nicholas's house and borrow a good big jug of beer, for I have a masterful thirst this morning." Then he gave the goat a slap on the back, and off it went as though the ground were hot under it. But whether it ever really went home or not, I never heard.
35 As for the priest, the provost, and the mayor, you may guess how they grinned at all of this. Good land sake's alive! And did Master Jacob really mean to say that the little black goat would tell the mistress all that?
36 Oh, yes; that it would. It was a keen blade, that little black goat, and if they would only come home with him, Master Jacob would show them.
37 So off they all went, Master Jacob and the priest and the provost and the mayor, and after a while they came to Master Jacob's house. Yes, sure enough, there was a black goat feeding in the front yard, and how should the priest and the provost and the mayor know that it was not the same one that they had seen at the market-place! And just then out came Master Jacob's wife. "Come in, Jacob," says she, "the cabbage and the meat are all ready. As for the beer, Neighbor Nicholas had none to spare, so I just borrowed a jugful of Neighbor Frederick, and it is as good as the other for certain and sure."
38 Dear, dear! How the three cronies did open their eyes when they heard all of this! They would like to have such a goat as that, indeed they would. Now, if Master Jacob had a mind to sell his goat, they would give as much as twenty dollars for it.
39 Oh, no; Master Jacob could not think of selling his nice little, dear little black goat for twenty dollars.
40 For thirty, then.
41 No; Master Jacob would not sell his goat for thirty dollars, either.
42 Well, they would give as much as forty.
43 No; forty dollars was not enough for such a goat as that.
44 So they bargained and bargained till the upshot of the matter was that they paid Master Jacob fifty dollars, and marched off with the goat as pleased as pleased could be.
45 Well, the three rogues were not long in finding out what a trick had been played upon them, I can tell you. So, in a day or two, whom should Master Jacob see coming down the road but the priest, the provost, and the master mayor, and anybody could see with half an eye that they were in an awful fume.
46 "Hi!" says Master Jacob, "there will be hot water boiling presently." In he went to his good wife. "Here," says he, "take this bladder of blood that we were going to make into pudding, and hide it under your apron, and then when I do this and that, you do thus and so."
47 Presently in came the priest, the provost, and the mayor, bubbling and sizzling like water on slake lime. "What kind of a goat was that that you sold us?" bawled they, as soon as they could catch their breaths.
48 "My black goat," says Master Jacob.
49 Then look! He would run on no errands, and would do nothing that it was told. It was of no more use about the house than five wheels to a wagon. Now Master Jacob might just go and put his hat on and come along with them, for they were about to take him away to prison.
50 "But stop a bit," says Master Jacob. "Did you say 'by the great horn spoon,' when you told the goat to do this or that?"
51 No; the cronies had done nothing of the kind, for Master Jacob had said nothing about a great horn spoon when he sold them the goat.
52 "Why didn't you remind me?" says Master Jacob to his good wife.
53 "I didn't think of it," says she.
54 "You didn't" says he.
55 "No," says she.
56 "Then take that!" says he, and he out with a great sharp knife and jabbed it into the bladder under her apron, so that the blood ran out like everything.
57 "Ugh! Says the good wife, and then fell down and lay quite still, just for all the world as though she were dead.
58 When the three cronies saw this, they gaped like fish out of water. Just look now! Master Jacob had gone and killed his good wife, and all for nothing at all. Dear, dear! What a hasty temper the man had. Now he had gotten himself into a pretty scrape, and would have to go before the judge and settle the business with him.
59 "Tut! Tut!" says Master Jacob, "the broth is not all in the ashes yet. Perhaps I am a bit hasty, but we will soon mend this stocking."
60 So he went to the closet in the corner of the room, and brought out a little tin horn. He blew a turn or two over his wife, whereat she sneezed, and then sat up as good and as sound as ever.
61 As for the priest and the provost and the mayor, they thought that they had never seen anything so wonderful in all of their lives before. They must and would have that tin horn if it was to be had; now, how much would Master Jacob take for it, money down?
62 Oh, Master Jacob did not want to part with his horn: all the same, if he had to sell it, he would just as life that they should buy it as anybody. So they bargained and bargained, and the end of the matter was that they paid down another fifty dollars and marched off with the little tin horn, blowing away at it for dear life.
63 By and by they came home, and there stood the goat, nibbling at the grass in front of the house and thinking of no harm at all. "So!" says the provost, "was it you that would do nothing for us without our saying, 'By the great horn spoon?' Take that then!" And he fetched the goat a thwack with his heavy walking-staff so that it fell down, and lay with no more motion than a stone. "There," says he, "that business is done: and now lend me the horn a minute, brother, till I fetch him back again."
64 Well, he blew and he blew, and he blew and he blew, till he was as red in the face as a cherry, but the goat moved never so much as a single hair. Then the priest took a turn at the horn, but he had no better luck than the provost. Last of all the mayor had a try at it; but he might as well have blown the horn over a lump of dough for all the answer he had for his blowing.
65 Then it began to work into their heads that they had been fooled again. Phew! What a passion they were in. I can only say that I am glad that I was not in Master Jacob's shoes. "We'll put him in prison right away," said they, and off they went to do as they said.
66 Master Jacob saw them coming down the road, and was ready for them this time too. He took two pots and filled them with pitch, and over the top of the pitch he spread gold and silver money, so that if you had looked into the pots you would have thought that there was nothing in them but what you saw on the top. Then he took the pots off into the little woods back of the house. Now in the woods was a great deep pit, and all around the pit grew a row of bushes, so thick that nothing was to be seen of the mouth of the hole.
67 By and by came the priest and the mayor and the provost to Master Jacob's house, puffing and blowing and fuming.
68 Rap! Rap! Tap! They knocked at the door, but nobody was there but Master Jacob's wife.
69 Was Master Jacob at home? That was what they wanted to know, for they had a score to settle with him.
70 Oh, Master Jacob's wife did not know just where he was, but she thought that he was in the little woods back of the house yonder, gathering money.
71 Phew! And did money grow so near to the house as all that? This was a matter to be looked into, for if money was to be gathered they must have their share. So off they went to the woods, hot-foot.
72 Yes; there was Master Jacob, sure enough, and what was more, he was carrying two pots, one on each arm.
73 "Hi! Master Jacob, and what have you there?" said they.
74 "Oh, nothing much," says Master Jacob
75 Yes; that was all very good, but they would like to look into those pots that he was carrying; that was what the three cronies said.
76 "Well," says Master Jacob, "you may look into the pots if you choose; all the same, I will tell you that they are both full of pitch, and that there is only just a little money scattered over the top.
77 Yes, yes; that was all very well, but the three cronies knew the smell of money from the smell of pitch. See now, they had been fooled twice already, and were not to be caught again. Now, where did Master Jacob get that money, that was what they wanted to know.
78 "Oh," says Master Jacob, "I cannot tell you that; if you want to gather money you will have to look for it yourselves. But you must not go too near to those thick bushes yonder, for there is a deep pit hidden there, and you will be sure to fall into it."
79 When the priest and the provost and the mayor heard this, they nudged one another with their elbows and winked with one eye. They knew how much of that cheese to swallow. They would just take a look at this wonderful pit, for they thought that the money was hidden in the bushes for sure and certain. So off they went as fast as they could lay foot to the ground.
80 "Just you stay here," said the priest to the others, "while I go and see whether there really is a pit as he said." For he thought to himself that he would go and gather a pocketful of the money before it would be share and share with his comrades. So, into the thicket he jumped, and - plump! - he fell into the great deep pit; and there was an end of number one.
81 By and by the others grew tired of tarrying. "I'll go and see what he is waiting for," says the provost. For he thought to himself, "He is filling his pockets, and I might as well have my share." So, into the thicket he jumped, and - plump! - he fell into the great, deep pit; and there was an end of number two.
82 As for the mayor, he waited and waited. "What a fool am I," said he at last, "to sit here twiddling my thumbs while the two rogues yonder are filling their pockets without me. It is little or nothing but the scraps and the bones that I will come in for."
83 So the upshot of the matter was that he too ran and jumped into the thicket, and heels over head into the great, deep pit, and there was an end of number three. And if Master Jacob ever helped them out, you may depend upon it that he made them promise to behave themselves in time to come.
84 And this is true that I tell you: it would have been cheaper for them to have bought their pork in the first place, for, as it was, they paid a pretty penny for it.
85 As for Master Jacob and his good wife, they had a hundred dollars in good hard money, and if they did not get along in the world with that, why I, for one, want nothing more to do with them.

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GRADE:4

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Rating: B Words in the Passage: 970 Unique Words: 587 Sentences: 212
Noun: 828 Conjunction: 473 Adverb: 206 Interjection: 19
Adjective: 206 Pronoun: 380 Verb: 557 Preposition: 298
Letter Count: 11,948 Sentiment: Positive / Positive / Positive Tone: Conversational Difficult Words: 224
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