Dutch Fairy Tales for Young Folks

by William Elliot Griffis

So as painter or sculptor select men and women to pose for them in their study as their heroes and heroines, and just as they picture plump little boys and girls as cherubs and angels, so the Dutchman would make of the cubs and the father beast of prey his models for coats of arms.

Poor lions! They did not know, but they soon found out how tiresome it was to pose. They must hold their paws up, down, sideways or behind, according as they were told. They must stand or kneel, for a long time, in awkward positions. They must stick out their tongues to full length, walk on their hind legs, twist their necks, to one side or the other, look forward or backward, and in many tiresome ways do just as they were ordered. They must also make of their tails every sort of use, whether to wrap around posts or bundles, to stick out of their cage, or put between their legs, as they ran away, or to whisk them around, as they roared; or hoist them up high when rampant.

In some cases, they were expected, even, to put on spectacles, and pretend to be reading, to hold in their paws books and scrolls, or town arms, or shop signs. They must pose, not only as companions of Daniel, in the lions' den at Babylon, which was proper; but also to sit, as companion of St. Mark, and even to stand on their legs on the top of a high column, without falling off.

In a word, this artist belonged to the college of heralds, and he introduced the king of beasts into Dutch heraldry.

So from that day forth, the life of that family of African lions, from the daddy to the youngest cub, was made a burden. When at home in the jungle and even in the cage, the father lion's favorite position was that of lolling on one side, with his paws stretched out, and half asleep and all day, until he went out, towards dark, to hunt. Now, he must stand up, nearly all day. Daddy lion had to do most of the posing, until the poor beast's front legs and paws were weary with standing so long. Moreover, the hair was all worn off his body at the place where he had to sit on the hard wooden floor. He must do all this, on penalty of being punched with a red hot poker, if he refused. A charcoal furnace and long andirons were kept near by, and these were attended to by a Dutch boy. Or, it might be that the whole family of lions were not allowed to have any dinner till Daddy obeyed and did what he was told, though often with a snarl or a roar.

First, Leo must rise upon his hind legs and look in front of him. This posture was not hard, for in his native jungle, he had often thus obtained a breakfast of venison for his wife and family. But oh, to stand a half hour on two legs only, when he had four, and would gladly have used all of them, was hard. Yet this was the position, called "the lion rampant," which kings liked best.

But the king's uncles, nephews, nieces, cousins, and his wife's relations generally, every one of them, wanted a lion on his or her stationery and pocket handkerchiefs, as well as on their shields and flags. So the old lion was tortured--the hot poker being always in sight--and he was made to take a great variety of positions. The artist called out to Leo, just as a driver says to his cart horse, "whoa," "get up," "golong," etc. When he yelled in this fashion, the lion had to obey.

Pretty soon lions in heraldry, on flags, armor, town arms, family crests and city seals became all the fashion. The whole country went lion-mad. There were lions carved in stone, wood and iron, and every sort and kind, possible or impossible. Some of them seemed to be engaged in a variety of tricks, as if they belonged to a circus, or were having a holiday. They laughed, giggled, yawned, stuck out their tongues, held boards for hotels, bundles for the shopkeepers, or barrels for beer halls, and made excellent shop signs, which the boys and girls enjoyed looking at.

Mrs. Leo was not in much demand, for Mr. Leo did not approve of his wife's appearing in public. She was kept busy in taking care of her cubs. Daddy Lion had to do multiple work for his family, until the cubs were grown. Yet long before this time had come, their Dad had died and been stuffed for a museum. How this first king of beasts in the Netherlands came to his untimely end was on this wise.

Not satisfied with posing Leo in every posture, and with all possible gestures, his master, the artist, wanted him to look "heraldical"; that is, like some of the mythical beasts that were combinations of any and all creatures having fins, fur, feathers, or scales, such as the dragon or griffin. One day, he attempted to make out of a live lion a fanciful creature of curlicues and curliewurlies. So he strapped the lion down, and used a curling iron on his mane until he looked like a bearded bull of Babylon. Then he combed out, and, with curl papers, twisted the long line of hair, which is seen in front of Leo's stomach. In like manner, he treated the bunches of hair that grow over the animal's kneepans and elbows. Last of all, he took a hair brush, and smoothed out the tuft, at the end of the animal's long tail. Then the artist made a picture of him in this condition, all curled and rich in ringlets, like a dandy.