‘We were ten maidens in the green corn, Small red leaves in the mill-water: Fairer maidens never were born, Apples of gold for the King’s daughter.
‘We were ten maidens by a well-head, Small white birds in the mill-water: Sweeter maidens never were wed, Rings of red for the King’s daughter.’
In the following stanzas the admirable qualities of each of the ten princesses are portrayed, and the symbolical intermediate lines run thus:
‘Seeds of wheat in the mill-water-- ... White bread and brown for the King’s daughter-- ... Fair green weed in the mill-water-- ... White wine and red for the King’s daughter-- ... Fair thin reeds in the mill-water-- ... Honey in the comb for the King’s daughter-- ... Fallen flowers in the mill-water-- ... Golden gloves for the King’s daughter-- ... Fallen fruit in the mill-water-- ... Golden sleeves for the King’s daughter-- ...’
The King’s son then comes, chooses the one princess and disdains the other nine. The symbolical lines point out the contrast between the brilliant fate of the chosen one and the gloomy destiny of the despised sisters:
‘A little wind in the mill-water; A crown of red for the King’s daughter--A little rain in the mill-water; A bed of yellow straw for all the rest; A bed of gold for the King’s daughter--Rain that rains in the mill-water; A comb of yellow shell for all the rest,--A comb of gold for the King’s daughter--Wind and hail in the mill-water; A grass girdle for all the rest, A girdle of arms for the King’s daughter--Snow that snows in the mill-water; Nine little kisses for all the rest, An hundredfold for the King’s daughter.’
The King’s daughter thus appears to be very fortunate, and to be envied by her nine sisters. But this happiness is only on the surface, for the poem now suddenly changes:
‘Broken boats in the mill-water; Golden gifts for all the rest, Sorrow of heart for the King’s daughter.
‘“Ye’ll make a grave for my fair body,” Running rain in the mill-water; “And ye’ll streek my brother at the side of me,” The pains of hell for the King’s daughter.’
What has brought about this change in her fate the poet purposely leaves obscure. Perhaps he wishes to have us understand that the King’s son has no right to sue for her hand, being her brother, and that the chosen princess for shame at the incest perishes. This would be in keeping with Swinburne’s childish devilry. But I am not dwelling on this aspect of the poem, but on its symbolism.