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It has been said that at the end of the Victorian period when “it was becoming more and more difficult ... to write new fairy stories that were not just copies of the old”, E. Nesbit (1858–1924), who was “serious even at her most fantastic and hilarious”, “discovered exactly the right mixture of mirth and magic” within the popular genre of the British Kunstmärchen (art-fairytale) (Green 1955: xv-xvi). This article examines Nesbit’s short burlesque Kunstmärchen for children, “The magician’s heart”, in order to show how this new sophisticated fairy story draws upon old traditional ones, but is more than a copy of them in its introduction of new inflexions, tones and values into the traditional material of its sources. Folklorist Antti Aarne’s account of the processes of Märchen mutation over time and space and language, an unsuperseded basic account of these processes, provides a framework against which the assembling of this or any modern Kunstmärchen can be considered.

One Tale for Four and New Morals for Old: The Construction and Themes of E. Nesbit's 'The Magician's Heart'