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XII. THE SWAN MAIDENS

The Swan Maidens occur very widely spread and have been studied with great diligence by Mr. E. S. Hartland in two chapters (x., xi.) of his Science of Fairy Tales (pp. 255-347). In consonance with his general principle of interpretation, Mr. Hartland is mainly concerned with the traces of primitive thought and custom to be seen in the Swan Maidens. Originally these were, according to him, probably regarded as actual swans, the feathery robe being a later symbolic euphemism, though I would incidentally remark that the whole of the story as a story depends upon the seizure of a separate dress involving the capture of the swan bride. Mr. Hartland is inclined to believe partly with F. Liebrecht in Zur Volkskunde, pp. 54-65, that these mysterious visitors from another world are really the souls of deceased persons (probably regarded as totemistic ancestresses). In some forms of the story, enumerated by Mr. Hartland, the captured wife returns to her original home, not when she recovers her robe of feathers but when the husband breaks some tabu (strikes her, chides her, refers to her sisters, sees her nude, etc.).

From the standpoint of "storyology" from which we are mainly considering the stories here purely as stories, the Swan Maidens formula is especially interesting as showing the ease with which a simple theme can be elaborated and contaminated by analogous ones. The essence of the story is the capture of a bride by a young man who seizes her garment and thus gets her in manu, as the Roman lawyers say. She bears him children, but, on recovering her garment, flies away and is no more heard of. Sometimes she superfluously imposes a tabu upon her husband, which he breaks and she disappears (Melusine variant; compare Lohengrin). This is the effective and affecting incident of which Matthew Arnold makes such good use in his Merman. It could obviously be used, as Mr. Hartland points out, in a quasi-mythological manner to account for supernatural ancestry, as in the cases of the physicians of Myddvai in Wales, or of the Counts of Lusignan. But on this simple basis folk tellers have developed elaborations derived from other formulæ. In several cases, notably in the Arabian Nights (Jamshah and Hasan of Bassora), the capture of the swan maiden is preceded by the Forbidden Chamber formula. Then when the bride flies away there is the Bride-Quest, which is often helped by Thankful Animals and aided by the Magical Weapons. When the hero reaches the home of the bride he has often to undergo a Recognition-Test, or even is made to undertake Acquisition Tasks derived from the Jason formula; and even when he obtains his wishes in many versions of the story there is the Pursuit with Obstacles also familiar from the same formula.

Cosquin, ii., 16, has, with his usual analytical grasp, seen the separable character of these various series of incidents. He, however, attempts to show that all of them, including the germ of the Swan Maidens, are to be found in the East, and is successful in affiliating the Greek of Hahn, No. 15, with the two stories of the Arabian Nights mentioned above, as well as the Siberian version given by Radloff, iv., 321, the hero of which has even derived his name from the Jamshah of the Thousand and One Nights.

In my own version I have utilized a few of these incidents but reserve most of them for their proper story environment. I have introduced, from the Campbell version, the phrase "seven Bens, and seven Glens, and seven Mountain Moors," which so attracted Stevenson's Catriona, in order to point out as a remarkable coincidence that Hasan of Bassora, in the Arabian Nights, flies over "seven Waddys, seven Seas, and seven Mountains." It is difficult to understand that such a remarkable phrase should recur accidentally in Bagdad and in the West Highlands. Without some actual intermediation, oral or literary, the hypothesis of universal human tendency can scarcely explain such a coincidence.

XIII. ANDROCLES AND THE LION

This well-known story occurs first in the fables of Phædrus, though not in the extant form, only being preserved in the mediæval prose version known as Romulus. It is also referred to in Appian, Aulus Gellius, and Seneca (see the references in my History of Æsop, p. 243, Ro. III., i.). It is told in Caxton's Esope, p. 62, from whom I have borrowed a few touches. He calls his hero Androclus, whereas Painter, in his Palace of Pleasure, ed. Jacobs, i., 89-90, calls the slave Androdus. We moderns, including Mr. Bernard Shaw, get our "Androcles" from Day's Sanford and Merton. It also occurs in Gesta Romanorum, 104, edit., Oesterley, who gives a long list of parallels in almost all the countries of Europe.

Benfey, in the introduction to his edition of Pantschatantra, i., 112, contends that the story is of Oriental origin, showing Buddhistic traits in the kindly relations between the slave and the lion; but the parallels he gives are by no means convincing, though the general evidence for Oriental provenance of many of Phædrus' fables gives a certain plausibility to this derivation. From our present standpoint this is of less importance since Androcles, though it has spread through Europe and is current among the folk, is clearly of literary origin and is one of the few examples where we can trace such literary spread.

XIV. DAY DREAMING

I have given the story of the barber's fifth brother from the Arabian Nights as another example of the rare instances of tales that have become current among the folk, but which can be definitely traced to literary sources, though possibly, in the far-off past, it was a folk tale arising in the East. The various stages by which the story came into Europe have been traced by Benfey in the introduction to his edition of Pantschatantra, § 209, and after him by Max Mueller in his essay "On the Migration of Fables" (Chips from a German Workshop, iv., 145-209; it was thus a chip from another German's workshop). It came to Europe before the Arabian Nights and became popular in La Fontaine's fable of Perrette who counted her chickens before they were hatched, as the popular phrase puts it. In such a case one can only give a reproduction of the literary source, and it is a problem which of the various forms which appear in the folk books should be chosen. I have selected that from the Thousand and One Nights because I have given elsewhere the story of Perrette (Jacobs, Æsop's Fables, No. 45), and did not care to repeat it in this place. I have made my version a sort of composite from those of Mr. Payne and Sir Richard Burton, and have made the few changes necessary to fit the tale to youthful minds. It is from the quasi-literary spread of stories like this that the claim for an Oriental origin of all folk tales has received its chief strength, and it was necessary, therefore, to include one or two of them in Europa's Fairy Book (Androcles is another). But the mode of transmission is quite different and definitely traceable and, for the most part, the tales remain entirely unchanged; whereas, in the true folk tale, the popular story-tellers exercised their choice, modifying incidents and giving local colour.

XV. KEEP COOL

There is no doubt about the European character of this tale, which is found in Brittany, Picardy, Lorraine, among the Basques, in Spain, Corsica, Italy, Tyrol, Germany (though not in Grimm), among Lithuanians, Moravians, Roumanians, Greeks, Irish, Scotch, Danes, Norwegians (Cosquin, ii., 50). The central idea of the Rage-Wager is retained throughout, and in many places the punishment is the same—the loss of a strip of skin. In all but three instances the story is told of three brothers, which practically proves its identity. I have given the Irish version in More Celtic Fairy Tales.

The "sells" however change considerably, though in most of them the final dénoument comes with the death or wounding of the wife. The pigs' tails incident is also very common and is indeed found in another set of tales, more of the Master Thief type. Campbell's No. 45 had an entirely different set, some of them very amusing. Mac-A-Rusgaich has all three meals at once and lies down. He holds the plough and does nothing else; he sees after the mountain; literally casts ox-eyes at the master, and makes a sheep foot-path out of sheep's feet. I have taken from Campbell the direction to wash horses and stable within and without, though it does not occur elsewhere. Yet Mac-A-Rusgaich has a bout with a giant, in which he slits an artificial stomach, like Jack the Giant Killer; and this incident occurs in four other of the European tales, again showing identity. "Keep cool" is thus an interesting example of identity of framework, with variation of incident.

XVI. THE MASTER THIEF

The sneaking regard of the folk-mind for the clever rogue who can outwit the guardians of order (the ever-present enemy of the folk) was shown in early days by the myth of Rhampsinitus in Herodotus, ii., 121, which is found to this day among the Italians (see Crane, No. 44, and S. Prato, La Leggenda del Tesoro di Rampsinite, Como, 1882). But the more usual European form is that I have chosen for the text, the formula of which might be summed up as follows:

Apprenticeship in thievery—Purse or life—Hanging "sell"—Master Thief—Three Tests—Horse from Stable—Sheet off bed—Priest in bag—Horse from under (Thumb-Bung).

Almost the whole of this is found as early as Straparola i., 2, where Cassandrino is ordered by the provost of Perugia to steal his bed and his horse and to bring to him in a sack the rector of the village.

The purse incident occurs in Brittany, Piedmont, Tuscany, and Tyrol; in Iceland (Arnason, p. 609) occurs the man twice hanged which also occurs in Norway, Ireland, Saxony, Tuscany, and in Germany (Kuhn and Schwartz, 362); in Servia (Vuk, 46) the Master Thief steals sheep by throwing two shoes successively in the road, which also occurs in Bengal (Day, xi.); the theft of the horse occurs in Brittany, Norway, Ireland, Tuscany, Scotland (Campbell, 40), Flanders, in Basque and Catalan, Russia and Servia. The third test of kidnapping the priest occurs in Brittany, Flanders, Norway, Basque, Catalan, Scotland, Ireland, Lithuania, Tuscany. In Iceland the persons carried away are a king and a queen.

The three tests of the Master Thief, the stealing of bed, horse, and priest, occur as early as Straparola, i., 2, who also has a somewhat similar story of the "Scholar in Magic," viii., 5, which contains the zigzag transformation of the Arabian Nights. Both forms occur in Grimm, 68, 192. While the three tests are fairly uniform throughout Europe, the introduction by which the lad becomes a thief and proves himself a Master Thief varies considerably; and I have had to make a selection rather than a collation.

In some forms the farmer has three sons, of whom the youngest adopts thievery as a profession, which indeed it was in the Middle Ages (as we know from the Cul-le-jatte of The Cloister and the Hearth). In Hahn, 3, the Master Thief has to bring a "Drakos" instead of a priest. Curiously enough, in Gonzenbach, 83, the Master Thief has to bring back a "dragu."

In many of the variants the Master Thief executes his tricks in order to gain the King's daughter by a sort of Bride Wager. But in most cases he does them in order to escape the natural consequences of his thievery.

XVII. THE UNSEEN BRIDEGROOM

The adult reader will of course recognize that this is the story of Cupid and Psyche, as told by Apuleius, and translated with such felicity by Pater in his Marius, Pt. i., ch. 5. Though the names of the gods and goddesses—Venus, Mercury, Jupiter, Juno, Proserpine, etc.—are scattered through the tale, it is now acknowledged on all hands that it has nothing to do with mythology but is a fairy tale pure and simple, as indeed is acknowledged by Apuleius who calls it a "fabella anilis." From this point of view it is of extreme interest to the student of the folk-tale as practically the same tale, with the Unseen Bridegroom, the Sight Taboo, the Jealous Mother-in-law, the Tasks, and the Visit to the Nether-World, occur in contemporary folk-tales scattered throughout Europe, from Norway (Dasent, "East o' the Sun and West o' the Moon") to Italy (Gonzenbach No. 15, Pitre No. 18 given in Crane No. 1, King of Love); for the variants elsewhere see Koehler on Gonzenbach. The earliest form of the modern versions is found in Basile (1637), Pentamerone v., 4, The Golden Root.

Now there are several circumstances showing the identity of the ancient and modern forms of this story. All of them contain the punishment for curiosity motive, which is doubled both in Apuleius (with the coffer at the end) and in Basile and Crane. In several of the folk-tales the Ant-Help occurs in the performance of the tasks, and in Apuleius the successive visits to Juno and Ceres evidently represent the visits to the Queen-mother's sisters, often known as ogresses, found in Dasent, Basile, and in Grimm 88. It is possible, of course, that in some cases dim memories of Apuleius have percolated down to the folk, as is shown by the name of the hero in Pitre's version Il Re d'Amore. Kawczynski (Abh. d. Krakauer Akad. 1909, xlv. 1) declares for the derivation of the whole series of folk-tales from Apuleius but against this is the doubt whether this author was at all known during the Middle Ages.

But, to prove that the folk-tales were not derived directly or solely from the classical romance they, in almost every case, had a series of adventures not found there, including the incidents, Obstacles to Pursuit, False Bride, and Sale of Bed. Now these incidents really belong to another formula, that of the Master-Maid, in which an ogre's or giant's daughter, helps the hero to perform tasks, flees away with him, is pursued by the ogre, loses her beloved through an Oblivion Kiss and has to win him again from his False Bride by purchasing the right of spending three nights with him. These incidents come in logically in the Master-Maid formula but are dragged in without real relevance into Cupid and Psyche; yet they occur as early as Basile where there is a dim reminiscence of the Oblivion Kiss. In reconstructing the formula I have therefore omitted these incidents, reserving them for their proper place (see Master-Maid).

Cupid and Psyche is of special interest to the student of the folk-tale since it is a means of testing the mythological, the anthropological, and the Indian theories of its origin. The mythological interpretation is nowadays so discredited that it is needless to discuss it, especially as we have seen that the mythological names given by Apuleius are only dragged in perforce. The anthropological explanation, given most fully by Andrew Lang in his admirable introduction to Addington's translation of Apuleius in the Bibliotheque de Carabas, gives savage parallels from all quarters of the globe to the seven chief incidents making up the tale, but leaves altogether out of account the artistic concatenation of the incidents in the tale itself and does not consider the later complications of the European folk-tales connected with it. M. Cosquin and others bring in the Vedic myth of Urvasi and Pururavas, but we have seen reason to reject the notion that the tale is, in its essence, mythological, and therefore need not consider its relation to Indian mythology. Cosquin, however, gives reference to the tale of Tulisa taken down from a washerwoman of Benares in 1833 (Asiatic Journal, new series, vol. 2), which has the invisible husband and the breaking of taboo, the jealous mother-in-law, and the tasks. This is indeed a close parallelism sufficient to raise the general question of relation between the Indian and the European folk-tale. But the earlier existence of the tale in Apuleius and Basile would give the preference to European influence on India rather than vice versa.

I should add that I have followed Apuleius in giving a symbolic name to the heroine of the tale, in order to suggest its relation to the classical folk-tale of Cupid and Psyche, but not of course to indicate that it is in any sense mythological. The Descent-to-hell incident, which is found both in the classical and in the modern European forms and therefore in my reconstruction is only, after all, the application of a common form to the notion of difficult Tasks, which is of the essence of the story.

XVIII. THE MASTER-MAID

This is one of the oldest and widest spread tales of the world, and the resultant formula was, therefore, more than usually difficult to reconstruct. The essence of the tale consists in the Menial Hero—Three Tasks—Master-Maid Help—Obstacles to Pursuit—Oblivion Kiss—False Bride—Sale of Bed—Happy Marriage. In essentials this is the story of Jason and Medea, where we have the Tasks, the Pursuit, and the False Bride, though the dramatic genius of the Greeks has given a tragic ending to the tale. Lang, in his Custom and Myth, pp. 87-102, has pointed out parallels, not alone in modern folk-tales, like Grimm 92, Campbell 2, Dasent 11, and Basile 11, but even in Madagascar (Folk-Lore Journal, Aug., 1883), and Samoa (Turner 102) while the Flight and Obstacles are found in Japan and Zululand. Even in America there is the Algonquin form of the Tasks (School-craft, Algic Researches ii., 94-104), and the Flight is given in an interesting article in the Century Magazine, 1884. According to Lang's general views, he seems to regard these incidents as being universally human and having no affiliation with one another, though he entitles his essay, "A Far Travelled Tale."

The modern Folk-Tales, however, make it practically impossible that these at least could have arisen independently. Many of them have an introductory set of incidents, Jephtha-Vow, Herd-Boy, Shepherd-Boy, Prince; this I have adopted in my version. But besides this the Tasks are often identical, Cleaning Stable (Dasent, Campbell), Finger-Ladder (Campbell, trace in Cosquin 32), Building Castle (Grimm 113, Hahn 54); the Oblivion Kiss occurs in Scotland, Germany, Spain, Tyrol, Tuscany, Sicily, and Rome, all in connection with similar stories.

The tale has been especially popular in Celtdom. I have enumerated no less than fourteen versions in my notes on the "Battle of the Birds" (Celtic Fairy Tales, p. 265). There we have the Obstacles to Pursuit mainly in the form of forest, mountain, and river, which the late Mr. Alfred Nutt pointed out to be the natural boundaries of the Nether-World in Teutonic Paganism. It is, therefore, possible that our story has been "contaminated" or influenced by the notion of the "Descent to Hell."

Here, as in the parallel case of Cupid and Psyche, we find a classical story, with many of the incidents clearly reproduced in modern Folk-Tales, while others have been inserted to make the tale longer or more of the folk-tale character.

At the same time the story as a whole is found spread from America to Samoa, from India to Scotland, with indubitable signs of being the same story dressed up according to local requirements. The Master-Maid is, accordingly, one of the most instructive of all folk-tales, from the point of view of the problem of diffusion.

XIX. A VISITOR FROM PARADISE

This droll, in its two parts, occurs throughout Europe as has been shown by Cosquin in his elaborate Notes to No. 22. The Visitor from Paradise, for example, occurs in Brittany, Germany, Norway, and Sweden, England, Roumania, Tyrol, and Ireland. In some of the versions the silly wife gives some household treasure to a passer-by because her husband had said that he was keeping this for Christmas, for Easter, or for "Hereafterthis" and the Visitor claims it in that name. (See More English Fairy Tales.) The idea also occurs in the literature of jests in Pauli, 1519, Hans Sachs, and in Trésor du Ridicule, Paris, 1644. Cosquin has also traced it to Ceylon, Orientalist, 1884, p. 62.

The adventure of the door and the robbers is equally widely spread in Normandy, Germany, Austria, Bosnia, Rome, Catalonia, and Sicily. (Gonz., i., 251-2.) It forms part of the tale of "Mr. Vinegar" in English Fairy Tales. The two adventures are, however, rarely combined; Cosquin knows of only two instances. I have, however, ventured to combine them here instead of making two separate tales of them.

In telling the story one has to slur over the pronunciation of "Paradise," making the last vowel short, so as to explain the misunderstanding about "Paris." I have retained the Paris motif as all through the Middle Ages, wayfarers from and to Paris (wandering scholars or clerics) would be familiar sights to the peasantry throughout Europe.

Bolte gives in full (ii., 441-6) a Latin poem by Wickram in 1509 entitled, "De Barta et marito eius per studentem Parisiensem subtiliter deceptis," which is practically identical with the early part of our story and has this misunderstanding about Paris and Paradise. It accordingly occurs in most of the German books of Drolls as those by Bebel and Pauli, and it is possible that the folk versions were derived from this, though they stretch as far as Cairo and North India. See Clouston, Book of Noodles, pp. 205, 214. In some of the folk-tales, there is an introduction in which the Foolish Wife sells three cows, but keeps one of the three as a pledge. Thereupon her husband leaves her until he can find any one as silly, which he does by posing as a Visitor from Paradise. This is more suitable for an introduction for "The Three Sillies."