Abstract
Kunstmarchen (art fairytales) are everybody's business, and so no one's, for Kunstmarchen studies fall uneasily between the areas of folklore and folktale, on the one hand, and fantasy fiction and children's literature on the other. The classic Bengali Kunstmarchen, Kheer-er putul or The Condensed-Milk Doll (1896), by Abanindranath Tagore, uses traditional folk nursery rhymes. The A. considers the generic implications of drawing upon these rhymes, their part in providing a mise-en-scene, their thematic resonances with the new text, the formal play involved in deploying them, the possible influence of Lewis Carroll for the technique of using them in a new text, and their use in a companion text by Tagore.
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