THE MAIDEN ON THE MOOR

Tangentially inspired by an old English ballad (LC's 398.2 designation is questionable), this tale of a maiden found unconscious on a snowy moor has grand atmosphere but some unresolved mysteries. The maiden, taken in and cared for by a shepherd, awakens and begs the shepherd's smallest dog to slay her; in death she becomes both a goose soaring into the sky and a new maiden. The shepherd, till this moment in despair over the disappearance of the original maiden (whom he has come to love), joyfully welcomes the new one as his life's companion, knowing nothing of the sorcery and shape-shifting. Readers never learn why the goose was imprisoned in human form, nor how she came to be on the moor, nor why she did not confide her plight to the shepherd. Bleak Scottish moors are the background for colored-pencil illustrations in chill tones of gray, buff, and midnight blue, with the maiden rendered in pre-Raphaelite, alabaster beauty. Howell (The Ugly Duckling, Putnam, 1990, etc.) makes fuller use of the original ballad than Singer (Sky Words, Macmillan, 1994, etc.), by working flowers named there into decorative panels and borders. An illuminated initial capital and Celtic interlaces on many pages help establish the mood of antiquity. An adapted version of the ballad appears as a preface. (Picture book. 8-12)