In the East

There is a theme common to the many different stories of this type that involves poor persons daydreaming of future wealth arising from a temporary possession. When they get carried away by their fantasy and start acting it out, they break the container on which their dream is founded and find themselves worse off. One of the earliest is included in the Indian Panchatantra as "The brahman who built air-castles".^[2] There a man speculates about the wealth that will flow from selling a pot of grain that he has been given, progressing through a series of sales of animals until he has enough to support a wife and family. The child misbehaves, his wife takes no heed, so he kicks her and in doing so upsets the pot that was to make his fortune. Other variants include Bidpai's "The Poorman and the Flask of Oil",^[3] "The Barber's Tale of his Fifth Brother" from The 1001 Nights^[4] and the Jewish story of "The Dervish and the Honey Jar".^[5]

The Western fable

At its first appearance in the 14th century Dialogus creaturarum, the story was told as a cautionary fable of a milkmaid who engages in detailed financial calculations of her profits.^[6] In a Castilian form it is told under the title "Of what happened to a woman called Truhana" in Don Juan Manuel's Tales of Count Lucanor (1335), illustrating the lesson that you should 'Confine your thoughts to what is real'. In this case it is the jar of honey from which she hopes to enrich herself that Truhana unbalances from her head.^[7]

The story gained lasting popularity after it was included in La Fontaine's Fables (VII.10).^[8] The charm of La Fontaine's poetic form apart, however, it differs little from the version recorded in his source, Bonaventure des Périers' Nouvelles récréations et joyeux devis (1558). There the fable is made an example of the practice of alchemists, who are like 'a good woman that was carrying a pot of milk to market and reckoning up her account as follows: she would sell it for half a sou and with that would buy a dozen eggs which she would set to hatch and have from them a dozen chicks; when they were grown she would have them castrated and then they would fetch five sous each, so that'd be at least a crown with which she would buy two piglets, a male and a female, and farrow a dozen more from them once they were grown, and they'd sell for twenty sous a piece after raising, making twelve francs with which she'd buy a mare that would have a fine foal. It would be really nice as it grew up, prancing about and neighing. And so happy was the good woman imagining this that she began to frisk in imitation of her foal, and that made the pot fall and all the milk spill. And down tumbled with it her eggs, her chickens, her capons, her mare and foal, the whole lot.'^[9] This has led to the proverb "Don't count your chick(en)s until they hatch.

The Merry Milkmaid, after Marcellus Laroon (c.1688)

In Britain the earliest appearance of the fable was in Bernard Mandeville's selection of adaptations from La Fontaine, which was published under the title Aesop dress'd (1704).^[10] The false connection with Aesop was continued by the story's reappearance in Robert Dodsley's Select fables of Esop and other fabulists (1761).^[11] Titled there “The country maid and her milk pail”, it is prefaced with the sentiment that 'when men suffer their imagination to amuse them with the prospect of distant and uncertain improvements of their condition, they frequently sustain real losses by their inattention to those affairs in which they are immediately concerned'. The story is briefly told and ends with the pail being dislodged when the girl scornfully tosses her head in rejection of all the young men at the dance she was to attend, wearing a new dress to be bought with the proceeds of her commercial activities.

A different version was versified by Jefferys Taylor as "The Milkmaid" in his Aesop in Rhyme (1820).^[12] As in Bonaventure des Périers' telling, the bulk of the poem is given over to the long reckoning of prices. It ends with the maid toppling her pail by superciliously tossing her head in rejection of her former humble circumstances. The moral on which Taylor ends his poem is 'Reckon not your chickens before they are hatched’, where a later collection has 'Count not...'^[13] The proverb fits the story and its lesson so well that one is tempted to speculate that it developed out of some earlier oral version of the fable, but the earliest recorded instance of it is in Thomas Howell's New Sonnets and Pretty Pamphlets (1570).^[14] The idiom used by La Fontaine in the course of his long conclusion is 'to build castles in Spain', of which he gives a few examples that make it clear that the meaning he intends is 'to dream of the impossible'. Avoiding that may well be what Bonaventure des Périers intended in telling his story too, but in the English versions the moral to be drawn is that to bring a plan to completion more than dreaming is required.

A version of the fable was written by the German poet Johann Wilhelm Ludwig Gleim in the 18th century.^[15] It differs little from other retellings, apart from its conclusion. The woman confesses what has happened to her husband, who advises her to live in the here and now and be content with what she has rather than ‘building castles in air’. Here he uses the German equivalent of La Fontaine's idiom. The story has also provided German with another idiomatic phrase, 'milkmaid's reckoning' (Milchmädchenrechnung), used of drawing naïve and false conclusions.