The Tale of Lal A Fantasy — Background and Themes

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In Category - Young Readers Enchanted Adventures

Authors: Paton, Raymond Digital Source: Project Gutenberg Gutenberg Release Year: 2008 First Publication Year: Not confirmed

Key Word: Fantasy fiction; London (England) -- Juvenile fiction Target Reader: Readers of public-domain and historical texts

Book Edition: Project Gutenberg digital edition Book Language: en

Edition facts

Words 61,850

Reading time 269 min

Text sections 6

The Tale of Lal A Fantasy — Background and Themes can be approached with a clearer sense of reading commitment from its source measurements: 61,850 words, 4 hr 29 min estimated reading time, and 6 detected text sections.

The text analysis averages about 17.8 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 “Fantasy fiction,” connecting these edition facts with the source record’s subject description.

Source: Project Gutenberg record #26869

Raymond Paton's 1914 fantasy follows children Ridgwell and Christine as they observe a Lord Mayor's procession in London, with a talking lion named Lal. The narrative voice blends whimsical explanation with playful asides, shifting between childlike wonder and authorial commentary on perception and imagination.

Editorial Edition Score 4.7/5

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Description quality20 pts
Title & short description10 pts
Source metadata20 pts
Text length15 pts
Chapters / structure15 pts
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Edition quality

File: pg26869

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Ridgwell was now lost in amazement, and regarded the Lion in open-mouthed astonishment.

The Lion purred contentedly. It was a nice homely sounding, domestic purr, and many times deeper and more impressive than that of a cat. "What's your name?" demanded the Lion, whilst Ridgwell was still gasping.

"Very appropriate too," said the Lion. "Here you are sitting in safety on the Ridge with me, and you are Well, aren't you?"

"There you are then," said the Lion. "_Ridge-Well_, what more do you want? Now I suppose you wish to know who I am? Well, I don't mind telling you. I am the Pleasant-Faced Lion. I am the only real Lion of the four, consequently I have a more intelligent expression than the others. The other three are only just common lions, and are always asleep. Now _I_ come to life once in every generation and have a talk to the children, or to any one grown up who is imaginative enough to understand me. I like children, they are a hobby of mine. I am not in my usual spirits to-day," continued the Lion, "I have caught cold."

"Have you?" said Ridgwell. "I am very sorry."

"Yes, they washed me for Trafalgar Day in some beastly solution which was most unsuitable to me. I cannot shake off the cold. Hang on!" shouted the Lion suddenly, "I am going to sneeze, and I may shake you off the pedestal." Whereupon the Lion grabbed Ridgwell gently with his paw to steady him, and after sneezing heavily, proceeded. "After washing me for Trafalgar Day, which was most unnecessary, they hung a ridiculous wreath round my neck with a large N in leaves upon it. To add to the injury, an absurd person stood staring at me and explained to her children that the N stood for Napoleon. Bah!!!" growled the Lion. "Bah!!! Ignorance!"

"What did it stand for?" asked Ridgwell.

"Nile," grunted the Lion. "Short for Battle of the Nile."

"But I am so astonished. I did not know that you could talk, Mister Lion."

"Oh, for Heaven's sake don't call me Mister Lion, call me Lal."

"Why Lal?" inquired Ridgwell.

"Short for Lionel," whispered the Lion. "Lionel is my proper name."

"Oh, I see, but, Mister----"

"There you go again," said the Lion. "Call me Lal and be friendly."

"Indeed I am very friendly, Mister--I mean Lal; but there are so many things I don't understand."

"Common complaint of little boys," grumbled the Lion, "and you are going to see a lot more things in a minute that you will find most amazing. For instance, would you like to see a tournament?"

"Rather, Lal, I've always longed to see a tournament, but they never have such things now, do they? Aren't they all ended in England?"

"On the contrary," declared the Lion, "one is about to begin."

"Here in front of your eyes, and if you like you shall stay and see it. St. George outside Westminster has challenged the Griffin at Temple Bar to fight. All the really important Statue folk will be present. King Richard I from outside the Houses of Parliament will ride up to see fair play. Charles I. will come over from Whitehall across the road; Oliver Cromwell will most likely put in an appearance, if he can only make up his mind to leave his mound outside the Commons in those big boots of his."

"But, Lal," questioned Ridgwell, "surely Charles I. and Cromwell won't come to the Tournament together? Will they speak and be friendly?"

"No, no," confessed the Lion, "we still have great trouble with those two, they never speak. You see Cromwell is jealous of Charles, because Charles is mounted upon a nice horse, and rides past Cromwell and never notices him at all. Now Cromwell has to go about on foot, squeaking and squelching in those big boots, so that he never gets up to Charles, which annoys Cromwell very much."

"Well, you see, Cromwell wants to shout out 'Ha!!!' at Charles, and he never gets a chance. Cromwell gets left out very much in the cold," continued the Lion, "Richard I. never notices him either."

"Why is that?" asked Ridgwell.

"It's like this," said the Lion, "and it's only reasonable when you come to think of it. Richard I. spent nearly the whole of his time fighting to preserve a shrine, whilst Cromwell spent most of his time destroying them. Of course that annoys Richard, so Richard simply looks through Cromwell whenever they meet. Nothing would induce him to notice Cromwell."

"I should think that must annoy Cromwell," debated Ridgwell.

Continue Reading →

The author's preface immediately signals a departure from conventional storytelling: three things—facts, common-sense, and probability—are deliberately omitted. This framing primes the reader for a narrative that privileges imagination over realism, a stance reinforced by the opening description of Trafalgar Square as seen through the eyes of Japanese, French, Spanish, and Cubist artists, each transforming the familiar landmark into something entirely subjective.

Paton's voice is conversational and self-aware, with the Writer character directly addressing the children and, by extension, the reader. The prose shifts between descriptive passages and dialogue, creating a layered narrative where the author's presence is always felt.

The Writer as Narrator and Character

The narrative is mediated through a character called the Writer, who explains events to Ridgwell and Christine. This device allows Paton to comment on his own story, as when the Writer notes that Alderman Gold was once thin because he was a miser, but grew fat as he became happier. The Writer's voice is playful and explanatory, often breaking the fourth wall: he produces a red silk handkerchief and waves it wildly at the Lord Mayor's coach. This self-conscious narration creates a cozy, intimate tone, as if the reader is also seated in the room, listening to the tale unfold.

The children's questions drive the exposition, and the Writer's answers are both informative and whimsical. For instance, when Ridgwell wonders how the footmen keep their balance and their powdered wigs, the Writer replies that it likely requires practice and a secret preparation. Such exchanges keep the pace light and the mood affectionate.

Shifts in Pace: From Descriptive Set-Pieces to Dialogue

The excerpt shows two distinct pacing modes. The opening preface and the description of Trafalgar Square through different artists' eyes is a static, reflective set-piece, dense with visual detail and conceptual play. The prose slows to allow the reader to consider each artist's transformation of the scene. Then, with the arrival of the procession, the pace quickens: the crowd stirs, trumpets sound, and the Writer becomes excited, waving his handkerchief. The dialogue becomes rapid, with short exchanges between the children and the Writer.

This alternation between descriptive meditation and lively conversation gives the narrative a rhythmic quality. The long, painterly paragraphs of the preface contrast with the brisk, colloquial lines of the procession scene. Readers attuned to shifts in tempo will notice how Paton uses these changes to move between reflection and action.

Recurring Details: Lions, Policemen, and Ceremony

Several details recur in the excerpt, suggesting motifs that may run through the book. The lion Lal is mentioned as disliking policemen and crowds, and his pedestal is bumped by jostling people. The Lord Mayor's procession is described with precise attention to carriages, horses, robes, and chains, emphasizing ceremony and spectacle. The Writer's mention of a promised sign from Lal that night hints at a future event, but the excerpt does not reveal whether it occurs.

The children's perspective filters these details: Ridgwell notices the footmen's balance, Christine asks about tea. Their concrete concerns ground the fantastical elements. The Writer's oak cabinet with mysterious cupboards adds a touch of domestic magic, promising a reward for the Lord Mayor that is both ordinary (a cigar and a drink) and suggestive of hidden stories.

Readers should pay attention to how Paton uses the Writer as a lens: his explanations are not always reliable, and his asides often contain clues about the story's internal logic. The shifting pace between description and dialogue rewards those who notice when the narrative lingers and when it hurries. The excerpts suggest a book that values the act of storytelling as much as the story itself.

That rainy afternoon, Lal’s gentle jumble of wonder and wry asides stayed with me long after the children’s procession faded. I found myself thinking about how Paton lets a thought double back on itself. Later, almost without deciding to, I picked up The Creators: A Comedy — A Closer Reading and felt that same quiet tug between innocence and knowing.