I have scarcely anything to add to the general account of the collection
of Celtic Fairy Tales which I gave in the predecessor to this
volume, pages 237-42. Since the appearance of that volume in 1891,
the publication of such tales has gone on apace. Mr. Curtin has
published in the New York Sun no less than fifty more Irish fairy
tales, one of which he has been good enough to place at my disposal
for the present volume. Mr. Larminie has published with Mr. E. Stock
a volume of West Irish Fairy Tales, of which I have also the privilege
of presenting a specimen. A slight volume of Welsh Fairy Tales,
published by Mr. Nutt, and a few fairy anecdotes contained in the Prize
Essay on Welsh Folk-lore by the Rev. Mr. Evans, sum up Cambria's
contribution to our subject during the past three years. The fifth
volume of the Waifs and Strays of Celtic Tradition, just about to
appear at the moment of writing, is the sole addition to Celtic Fairy
Tales from the country of J. F. Campbell. Taken altogether, something
like a hundred previously unpublished tales from Celtdom have
been rendered accessible to the world since I last wrote, a by no means
insignificant outcome in three years. It is at any rate clear, that the
only considerable addition to our folk-lore knowledge in these isles
must come from the Gaelic area. The time of harvest can be but
short; may the workers be many, willing, and capable.
XXVII. THE FATE OF THE CHILDREN OF LIR.
Sources.—Abridged from the text and translation published by the
Society for the Preservation of the Irish Language in 1883. This
merely follows the text and version given by Professor O'Curry in
Atlantis, iv. He used three Dublin MSS., none of them, however, of
earlier date than the eighteenth century. Dr. Joyce gives a free
paraphrase in his Old Celtic Romances.
Parallels.—For "Jealous Stepmother," see the bibliographical
references in the list of incidents at the end of my paper on the
"Science of Folk-tales" in the Transactions of the Folk-lore Congress,
sub voce. Add Miss Roalfe Cox in Folk-lore Journal, vii. app. 37;
also the same list sub voce "Swan Maiden Transformation." In
modern Irish literature Griffin has included the tale in his Tales of
the Jury-room, and Tom Moore's "Song of Fiounala" beginning
"Silent, O Moyle" is founded upon it.
Remarks.—The "Fate of the Children of Lir" is always referred to
along with "The Story of Deirdre" (cf. the Celtic Fairy Tales, ix.), and
the "Children of Tuireann" as one of the Three Sorrowful Tales of
Erin. But there is no evidence of equal antiquity to the other two
stories, of which one is as old as the eleventh century. From the
interspersed verse O'Curry concluded, however, that the story was at
least of considerable antiquity, and the references to the unknown
Saint Mochaomhog confirm his impression. The Hill of the White
Field is near Newton Hannton, in the county of Armagh. The Lake
of the Red Eye is Lough Derg, in the Shannon above Killaloe.
Fingula is Fair Shoulder. The tradition that swans are inviolable
is still extant in Ireland. A man named Connor Griffin killed eleven
swans: he had previously been a prosperous man, and shortly afterwards
his son was drowned in the Shannon, his goods were lost, and
his wife died (Children of Lir, Dublin edit., note, p. 87). In County
Mayo it is believed that the souls of pure virgins are after death
enshrined in the forms of swans; if anybody injures them, it is thought
he will die within a year (Walter's Natural History of the Birds of
Ireland, pp. 94-5). Mr. Gomme concludes from this that the swan
was at one time a British totem (Arch. Rev., iii. 226-7).
At first sight the tale seems little more than an argument against
the Bill for Marriage with a Deceased Wife's Sister, but the plaintive
lays of Fingula, the touching detail of the swans flying over the desolate
hill and White Field, give a touch of Celtic glamour to the whole
story. There is probably also a deep religious significance implied in
the fact that the wicked Aunt Stepmother's spell is broken when the
transformed Children of Lir come across the first Christian they meet.
Mr. Nutt has kindly communicated the following remarks on this
tale:—
The Fate of the Children of Lir belongs formally to the so-called
mythological cycle, the personages of which are the Tuatha de Danann.
The Irish annalists of the 10th-11th centuries described these as
members of one of the races which possessed Ireland in pre-Christian
times before the coming of the Milesians. But even in the most
strongly euhemerised accounts the mythic nature of these beings is
apparent, and most modern scholars are agreed that they are in fact
the members of a Pagan Irish Pantheon. They live on to this very
day in Irish folk-belief as chiefs and rulers of the fairies.
The MS. evidence for some of the stories concerning the Tuatha de
Danann is as old as that for the oldest heroic cycle (the Ultonian of
Conchobar and Cuchulainn). But the Tuatha de Danann legends have
retained throughout Irish literature greater plasticity and vitality than
those of the Ultonian cycle, and many stories are not older in their
present state than the 14th and 15th centuries. This is probably the
case with the present story. The oldest known MS. only goes back to
1718, but this and the MS. of 1721, used by O'Curry for his edition, are
certainly copied from much older MSS.
The interesting question for storiologists is whether the themes of
the story—the swan-metamorphosis consequent upon the stepmother's
jealousy, and the protecting rôle assigned to the sister—are of
old native or of recent imported nature. In support of the first hypothesis,
it may be noted that the theme of stepmotherly jealousy was
current in Ireland in the 10th century at the latest, as it is woven into
the saga of the Destruction of Daderga's Fort (see my article "Folk-lore,"
ii.). The final episode of the sudden aging of the miraculously
long-lived swans is also genuinely Irish, but its true significance is
obscured in our story in a way that sufficiently demonstrates the late
and secondary character of the text. The idea is that the dwellers in
Faery, whether fairy-folk or mortals penetrating thither, enjoy perpetual
life, forfeited by the latter the moment they return to this earth. As
children of the Tuatha de Danann, Fionngula and her brothers are
deathless, and the episode as it stands in our text results from a contamination
of the original form of the story in which the swan-metamorphosis
was annulled under certain conditions (the removal of the
chains), when the original shape was resumed, and the familiar story of
the mortal returning from Faery after hundreds of years, which he
deems to be but a short space of time, shrinking into dust the moment
he touches earth.
There is a well-known Continental folk-tale—the "Seven Swans" (or
Ravens)—of which we possess several mediæval (12th to 13th century)
versions, all connected with the romance of the "Swan Knight."
M. Gaston Paris has studied the whole story group (Romania, xix. 314,
&c.) with the following results: The folk-tale of the seven swans
had originally nothing to do with the saga of the swan-knight. The
connection apparent in the 12th century texts is artificial; the swans
owe their shape-shifting capacity to the superhuman nature of their
mother; this trait has been almost effaced even in the oldest versions.
The distinguishing mark of the swans in all the versions is the
possession of silver or gold chains, which are what may be called
metamorphosis tokens; it follows from this that the contamination
of the two story-types ("Seven Swans" and "Swan Knight") must be
older than the oldest version of the first story, as these chains can
only be derived from the one with which in the Swan Knight saga
the swan draws the knight back.
In Romania (xxi. 62, seq.) M. Ferd. Lot examines the question in the
light of our tale. He points out that it indicates clearly the superhuman
nature of the mother, and that as the silver chains figure in
the story, they cannot be due in the Continental versions to contamination
with the Swan Knight saga, as M. Gaston Paris imagines.
M. Lot evidently inclines to look upon them as talismans, the abandonment
of which was the original cause of the metamorphosis, and
the handling of which at the end brings about the change back to
human shape. He points out that these chains form an essential part
of the gear of beings appearing in bird guise (especially if they belong to
Faery); thus in the 10th-century "Sickbed of Cuchulainn" the goddesses
Fand and Liban appear as two swans united by a golden chain; in
the 8th to 9th century Conception of Cuchulainn, Dechtire, the mother
of the hero by the god Lug, appears with her companions in the
guise of many-hued birds linked together by chains of silver (or red
gold in one version). The MS. evidence for these tales reaches back
to the early 11th century.
Curiously enough, M. Lot has not cited the closest parallel to our
tale from old Irish literature, and one which is certainly connected
with it in some measure, the fine story called the "Dream of Angus." A
story of this title is cited in the epic catalogue of the Book of Leinster
(which dates back to the early 11th century) as one of the introductory
stories to the Tain bo Cuailgne. This assumed its present shape substantially
between 650 and 750. The introductory stories had originally
no connection with it, and were invented or re-shaped in the 8th to
10th centuries, after the Tain had taken undisputed place as the leading
Irish epic. The tale may therefore be ascribed provisionally to the
9th century, if we can only be sure that the existing version, preserved
in a single MS. of the 15th century, is a faithful copy of the original.
There need be no doubt as to this. The text is due to a Christian
scribe, and, like nearly all portions of the mythological cycle, betrays
signs of Christian influence, though not of Christian remodelling.
Such influence is, however, far more likely to have exerted itself in
the first stage of the written existence of these tales, when the memory
of organised paganism was still tenacious, than later, when the tales
had become subject-matter for the play of free poetic fancy. The
story, printed and translated by Dr. E. Muller, Rev. Celt., iv. 342, &c.,
is as follows: Angus (the chief wizard of the Tuatha de Danann) is
visited in sleep by a maiden whose beauty throws him into love sickness.
The whole of Ireland is scoured to find her; the Dagda is
appealed to in vain. At length, Bodb, fairy king of Munster, finds
her at Loch bel Dracon (this is not the only trace of the impression
which the story of Bel and the Dragon made upon the Irish mind).
She lives there with 150 swans; one year they are in swan shape
the next in human shape. They appear as white birds with silvery
chains and golden caps around their heads. Angus changes himself
into a swan to be with her, and it is recorded of the music they
made that "people fell asleep for three days and three nights." The
soporific power of music is that which is chiefly commended in old
Irish literature.
I think it is obvious that the writer of our story was familiar with
this and other legends in which swan-maids encircled with gold and
silver chains appear, and that we may fairly draw the following conclusions
from the preceding facts: There existed an Irish folk-tale
of a king with two wives, one a water or sea fairy, whose children
derive from her the capacity of shape-shifting dependent upon certain
talismans; jealousy impels the human wife to tamper with these talismans,
and the children are condemned to remain in their animal form.
This folk-tale was, probably at some time in the 14th or 15th century,
arbitrarily fitted into the cadre of the Tuatha de Danann cycle, and
entirely re-fashioned in a spirit of pious edification by a man who was
in his way a great and admirable artist. The origin and nature of the
story, all the elements of which are genuinely national, assured for it
wide and lasting popularity. The evolution of the Irish folk-tale is in
no way dependent upon that of the Continental folk-tale of the Seven
Swans, but it is possible that the Celtic presentiment of the chain-girdled
swans may have influenced it as well as the Swan Knight
Romance.
XXVIII. JACK THE CUNNING THIEF.
Sources.—Kennedy, Stories of Ireland, pp. 38-46; Campbell, West
Highland Tales, i. 320 seq.; "The Shifty Lad," Dasent, Popular Tales
from the Norse, pp. 232-51, "Master Thief." Köhler has a number
of variants in his notes on Campbell: Orient und Occident, Band ii.
Mr. Clouston has a monograph on the subject in his Popular Tales,
ii. 115-65. A separate treatise on the subject has been given by
S. Prato, 1882, La Leggenda di Rhampsinite. Both these writers
connect the modern folk-tales with Herodotus' story of King Rampsinites.
Mr. Knowles in his Folk-tales of Kashmir, has a number of
adventures of "Sharaf the Thief." The story of "Master Thief" has
been heard among the tramps in London workhouses (Mayhew,
London Labour and London Poor, iii. 119).
Remarks.—Thievery is universally human, and at first sight it might
seem that there was no connection between these various versions of
the "Master Thief." But the identity of the tricks by which the
popular hero-thief gains his ends renders it impossible that they should
have been independently invented wherever they are found.
XXIX. POWEL, PRINCE OF DYFED.
Source.—Lady Guest's Mabinogion, with the names slightly anglicised,
and omitting the opening incident.
Parallels.—For the incident of tearing off the hands, cf. Morraha;
the enchanted hill and maiden occur at the beginning of "Tuairisgeul
Môr" in Scottish Celtic Review, i. 61, and are fully commented upon
by Mr. Nutt, l.c. 137.
XXX. PADDY O'KELLY AND THE WEASEL.
Sources.—Hyde, Beside the Fire, pp. 73-91.
Parallels.—On green hills as the homes of the fairies: see note on
"Childe Roland," English Fairy Tales, p. 241. The transformation
of witches into hares is a frequent motif in folk-lore.
XXXI. THE BLACK HORSE.
Sources.—From J. F. Campbell's manuscript collection now deposited
at the Advocates' Library in Edinburgh (MS. 53, vol. xi.). Collected
in Gaelic, February 14, 1862, by Hector MacLean, from Roderick
MacNeill, in the island of Menglay: MacNeill learnt the story about
1840 from a Barra man. I have omitted one visit of the Black Horse
to Greece, but otherwise left the tale untouched. Mr. Nutt gave a
short abstract of the story in his report on the Campbell MSS. in
Folk-lore, i. 370.
Parallels.—Campbell gives the following parallels in his notes on
the tale, which I quote verbatim. On the throwing into the well he
remarks: "So this incident of 'Lady Audley's Secret' was in the mind
of a Barra peasant about 1840. Part of a modern novel may be as old
as Aryan mythology, which was one point to be proved." [The incident
of throwing into the well almost invariably forms a part of the
tales of the White Cat type.]
With regard to the Black Horse, Campbell notes that a Gaelic
riddle makes a Black Horse identical with the West Wind, and adds:
"It is for consideration whether this Horse throws light on the sacred
Wheel in Indian Sculptures; it is to be noted that a Black Horse is the
sacrificial colour."
"The Cup is a well-known myth about winning a Fairy Cup which
pervades Scandinavian England in many forms." "A silver ring, two
quaint serpents' heads pointing opposite ways, is a common Scandinavian
wedding-ring; many were to be got in Barra and elsewhere
in 1869, sold by emigrants bound for America."
"Those who can account for myths must settle the geography of the
Snow Mountain. Avalanches and glaciers are in Iceland, in the
Caucasus, and in Central Asia. There are none within sight of
Menglay. Hindoo cosmogony, which makes the world consist of
seven rings, separated by seas and by a wall of mountains, may
account for this in some sort."
On the spikes driven into the Horse, Campbell compares the Norse
story of "Dapple-grim" and the Horse sacrifice of the Mahabharata.
On the building of the Magic Castle, Campbell remarks: "Twashtri
was the Carpenter of the Vedic gods: can this be his work?"
On the Horse's head being struck off Campbell comments: "This
was the last act in the Aryan Horse's sacrifice, and the first step in the
Horse apotheosis."
Remarks.—Campbell has the following note at the end of the tale,
from which it would seem that in 1870 at least he was very nearly
being an Indiamaniac.
"So ends this horse-riding story. Taking it as it is, with the test of
language added, nothing short of an Asian origin will account for it.
A Gaelic riddle makes 'a black horse' mean the invisible wind, and
a theorist might suppose this horse to be the air personified. As
Greece is mentioned, he might be Pegasus, who had to do with wells.
But he had wings, and he was white, and there is nothing in classical
fable like this Atlantic myth. 'The enchanted horse' of Arabian
Nights was a flying machine, and his adventures are quite different.
This is not the horse of Chaucer's Squire's Tale. He is more like
'Hrimfaxi,' the horse of the Edda, who drew the car of Nött in
heaven, and was ridden round the earth in twelve hours, followed by
Dagr and his glittering horse Skinfaxi. The black horse who always
arrives at sunrise is like the horse of night, but there is no equivalent
story in the Edda. 'Dapple-grim' in Norse tales is clad in a spiked
bull's hide, and is mixed up with a blazing tar-barrel, but his adventures
won't fit, and he was grey.
"The story is but an imperfect skeleton. The cup was to give strength;
he had to open seven gates after he got the cup, but it does nothing.
The hood is to hide with; he went in and out of the palace unseen
after he had got the hood, but it plays no part. The light shoes were
the shoes of swiftness of course, but they never showed their paces.
Baldr's horse was led to the funeral pile with all his gear; and Odin
laid the gold ring Draupnir on the pile. Such rites might account for
the ring in the blazing lake. Hermothr's ride northwards and downwards
to the abode of Hel to seek Baldr, his leap over the grate, and
his return with the ring (Edda 25), might account for one adventure.
"The many-coloured horses of the sun in the Indian mythology and
solar myths may account for all these horses, astronomically or meteorologically.
The old Aryan Aswa Medha or sacrifice of a black horse,
and the twelve adventures of Arjuna as told in the Mahabharata, are
something like this story in some general vague way. But the simplest
explanation of this Menglay myth, fished out of the Atlantic, is to
admit that 'the black horse' and all this mythical breed came west
with men who rode from the land where horses were tamed, which is
unknown."
XXXII. THE VISION OF MACCONGLINNEY.
Source.—Kindly condensed by Mr. Alfred Nutt from Prof. Meyer's
edition of The Vision published in book form in 1892. This contains two
versions, a longer one from a fourteenth century MS., Leabhar Breac or
Speckled Book, and a shorter one from a sixteenth century MS. in the
Library of Trinity College, Dublin. A translation of the former version
was given by the late W. M. Hennessy in Fraser's Magazine, September,
1873. Prof. Wollner, who contributed to Prof. Meyer's edition an
introduction dealing with the story from the standpoint of comparative
literature, considers that the later version reproduces the original
common source more nearly.
Parallels.—At first sight The Vision seems to picture the Land of
Cockayne (on which see Poeschel, Das Mährchen vom Schlaraffenlande,
Halle, 1878), but as Prof. Wollner remarks, the Irish form is much
more simple and primitive, and represents rather an agricultural
conception of a past aurea aetas. The conception of enormous appetite
being due to the presence of a voracious animal or demon within the
body is widespread among the folk. Prof. Wollner gives numerous
parallels, l.c. XLVII.-LIII. The common expression "to wolf one's
food" is said to be derived from this conception. On the personification
of disease, see Tylor, Primitive Culture, ii. 148.
I can myself remember a tale somewhat similar to The Vision which
I heard from my nurse in Australia, I fancy as a warning against
gluttony. She told me of a man, who in swallowing large pieces of
food had swallowed a little hairy monster, which grew and grew and
grew and caused the man to be eating all day to satisfy his visitors.
He was cured by being made to fast, and then a bowl of brandy was
brought in front of his mouth into which the hairy thing, attracted by
the fumes, jumped and was drowned.
Remarks.—We have here an interesting example of the personification
of disease in the form of a demon, of which some examples occur
in the Gospels. The rollicking Rabelaisian tone in which the story is
told prevents us, however, from attributing any serious belief in the
conception by the Irish Monk the author of the tale, who was parodying,
according to Prof. Wollner, the Visions of the Saints. Still he would be
scarcely likely to use the conception, even for purposes of parody, unless
it were current among the folk, and it occurs among them even at the
present day. (See Hyde, Beside the Fire, p. 183.)
XXXIII. DREAM OF OWEN O'MULREADY.
Sources.—Kindly translated by Mr. Leland L. Duncan from Gaelic
Journal, vol. iv. p. 57 seq.
Parallels.—Croker's Daniel O'Rourke may be compared in part.
Remarks.—At first sight a mere droll, the story has its roots in
the most primitive philosophy. Owen's problem is to get in the Land
of Dreams. Now Dreamland, so all our students of Mythology are
agreed, is the source and origin of our belief in souls and spirits.
Owen's problem therefore resolves itself into this: where was he to go
in order to come into closest contact with the world of spirits. Mark
what he does—he clears the hearth and has his bed made in it. Now
it is round the hearth that the fullest associations with the spirit life
are clustered. The late M. Fustel de Coulanges in his Cité Antique
traces back most of the Greek and Roman religions and a large
number of their institutions to the worship of the ancestors localised
on the hearth. The late Professor Hearn extended his line of
research to the whole of the Aryans in his Aryan Household. It will
thus be seen from this course of reasoning, that Owen was acting
on the most approved primitive principles in adopting this curious
method of obtaining dreams. The story is not known elsewhere than
in Ireland, and we are therefore at liberty to apply the method of
survivals to this case.
XXXIV. MORRAHA.
Sources.—The second story in Mr. W. Larminie's West Irish Folk-tales,
pp. 10-30. The framework was collected from P. McGrale of
Achill Island, Co. Mayo. The story itself was from Terence Davis of
Rendyle, Co. Galway. There is evidently confusion in the introductory
portion between Niall's mother and wife.
Parallels.—Campbell's No. 1 has a very close parallel to the
opening. Mr. Larminie refers to a similar tale collected by
Kennedy. Another version from West Munster has been recently
published in the Gaelic Journal, iv. 7, 26, 35. The evasion of the
promise to give up the sword at the end seems a favourite incident in
Achill folk-tales; it occurs in two others of Mr. Larminie's stories.
On the framework, see note on "Conal Yellow claw" (Celtic Folk-tales,
V.). I have there suggested that the plan comes from the East,
ultimately from Buddha.
XXXV. THE STORY OF THE MCANDREW FAMILY.
Sources.—Supplied by Mrs. Gale, now in the United States, from
the recitation of her mother who left Ireland over fifty years ago.
Parallels.—"Noodle Tales" like this are found everywhere in
Europe, and have been discussed by Mr. Clouston in a special monograph
in The Book of Noodles, 1889. The "sell" at the end is similar
to that in the "Wise Men of Gotham." Kennedy (Fireside Stories
of Ireland) gives a similar set of adventures, p. 119 seq.
Remarks.—Mrs. Gale remarks that it was a common superstition
in Ireland, that if a raven hovered over the head of cattle, a withering
blight had been set upon the animals. As birds of carrion they were
supposed to be waiting for the carcases.
XXXVI. THE FARMER OF LIDDESDALE.
Sources.—MacDougal, Waifs and Strays, III. ix. pp. 216-21.
Parallels.—Campbell, West Highland Tales, "The Master and the
Man," iii. 288-92.
Remarks.—I need scarcely suggest the identification of the Ploughman
with the——. As usual in folk-tales, that personage does
not get the best of the bargain. The rustic Faust evades his contract
by a direct appeal to the higher powers. This is probably characteristic
of Scotch piety.
XXXVII. THE GREEK PRINCESS AND THE
YOUNG GARDENER.
Sources.—Kennedy, Fireside Stories, pp. 47-56.
Parallels.—Campbell, West Highland Tales, lvi.; Mac Iain Direach,
ii. 344-76. He gives other variants at the end. The story is clearly
that of the Grimms' "Golden Bird," No. 57. They give various
parallels in their notes. Mrs. Hunt refers to an Eskimo version in
Rae's White Sea Peninsula, called "Kuobba the Giant and the Devil."
But the most curious and instructive parallel is that afforded by the
Arthurian Romance of Walewein (i.e., Gawain), now only extant in
Dutch, which, as Professor W. P. Ker has pointed out in Folk-lore,
v. 121, exactly corresponds to the popular tale, and thus carries it back
in Celtdom to the early twelfth century at the latest.
XXXVIII. THE RUSSET DOG.
Source.—I have made up this Celtic Reynard out of several fables
given by Campbell, West Highland Tales, under the title "Fables,"
vol. i. pp. 275 seq.; and "The Keg of Butter" and the "The Fox and
the little Bonnach," vol. iii. Nos. lxv. lxvi.
Parallels.—The Fox's ruse about a truce among the animals is a
well-known Æsop's Fable; see my edition of Caxton's Æsop, vol. ii.
p. 307, and Parallels, vol. i. p. 267. The trick by which the cock gets
out of the fox's mouth is a part of the Reynard Cycle, and is given by
Chaucer as his "Nonne Preste's Tale." How the wolf lost his tail is
also part of the same cycle, the parallels of which are given by
K. Krohn, Bär (Wolf) und Fuchs (Helsingfors, 1889), pp. 26-8. The
same writer has studied the geographical distribution of the story in
Finland, accompanied by a map, in Fennia, iv. No. 4. I have given a
mediæval Hebrew version in my Jews of Angevin England, pp. 170-2.
See also Gerber, Great Russian Animal Tales, pp. 48-50. The wolf
was originally the bear, as we see from the conclusion of the incident,
which professes to explain why the wolf is stumpy-tailed. "The Keg
of Butter" combines two of the Grimm stories, 2, 189. "The Little
Bonnach" occurs also in English and has been given in two variants in
English Fairy Tales, No. xxviii.; and More English Fairy Tales,
No. lvii.
Remarks.—It would lead me too far afield to discuss here the sources
of Reynard the Fox, with which I hope shortly to deal at length elsewhere.
But I would remark that in this case, as in several others we
have observed, the stories, which are certainly reproductions, have
received the characteristic Celtic dress. It follows that we cannot
conclude anything as to the origin of a tale from the fact that it is
told idiomatically. On the other hand, the stories of "The Fox and
Wrens" and "The Fox and the Todhunter," and "How the Fox gets
rid of his Fleas," have no parallels elsewhere, and show the possibility
of a native beast tale or cycle of tales.
XXXIX. SMALLHEAD AND THE KING'S SON.
Source.—Mr. Curtin's "Hero Tales of Ireland," contributed to the
New York Sun.
Parallels.—Campbell's No. xvii., "Maol a Chliobain," is the same
story, which is also found among the Lowlanders, and is given in my
English Fairy Tales, No. xxii., "Molly Whuppie," where see notes
for other parallels of the Hop o' My Thumb type of story. King
Under the Waves occurs in Campbell, No. lxxxvi.
XL. THE LEGEND OF KNOCKGRAFTON.
Source.—Croker, Fairy Legends of South of Ireland.
Parallels.—Parnell's poem, Edwin and Sir Topaz, contains the
same story. As he was born in Dublin, 1679, this traces the tale back
at least 200 years in Ireland. Practically the same story, however, has
been found in Japan, and translated into English under the title,
"Kobutori; or, The Old Man and the Devils." In the story published
by Kobunsha, Tokio, the Old Man has a lump on the side of his face.
He sees the demons dancing, and getting exhilarated, joins in. Thereupon
the devils are so delighted that they wish to see him again, and
as a pledge of his return take away from him his lump. Another old
man, who has a similar lump on the other side of his face, hearing of
this, tries the same plan, but dances so badly that the devils, not
wishing to see him again, and mistaking him for the other old man,
give him back the lump, so that he has one on each side of his face.
I may add here that Mr. York Powell informs me that No. xvii. of
the same series, entitled, "Shippietaro," contains a parallel to the
"Hobyahs" of More English Tales.
Remarks.—Here we have a problem of diffusion presented in its
widest form. There can be little doubt that "The Legend of Knockgrafton"
and "Kobutori," one collected in Ireland and to be traced
there for the last 200 years, and the other collected at the present day
in Japan, are one and the same story, and it is impossible to imagine
they were independently produced. Considering that Parnell could
not have come across the Japanese version, we must conclude that
"Kobutori" is a recent importation into Japan. On the other hand, as
"the Hobyahs" cannot be traced in England, and was collected from a
Scottish family settled in the United States, where Japanese influence
has been considerable, it is possible that this tale was derived from
Japan within the memory of men still living. It would be highly
desirable to test these two cases, in which we seem to be able to
observe the process of the diffusion of Folk Tales going on before our
eyes.
XLI. ELIDORE.
Source.—Giraldus Cambrensis, Itinerarium Cambriæ, I. viii. I have
followed the Latin text tolerably closely.
Parallels.—Mr. Hartland has a paper on "Robberies in Fairyland,"
in Arch. Rev., iii. 39 seq. Davies, Mythology of the British Druids,
p. 155, tells a story of a door in a rock near a cave in the mountains
of Brecknock, which was left open for Mayday, and men used to
enter, and so reach that fairy island in the middle of the lake. The
visitors were treated very hospitably by their fairy hosts, but on the
condition that they might eat all, but pocket none; for once, a visitor
took away with him a fairy flower, and as soon as he got outside the
door the flower vanished, and the door was never more opened. "The
Luck of Edenhall," still in existence, is supposed to be a trophy
brought back from a similar visit.
Remarks.—Mr. Hartland suggests that these legends, and the
relics connected with them, are in some way connected with the
heathen rites prevalent in these islands before the introduction of
Christianity, which may have lingered on into historic times. The
absence of sunlight in this account of the House of the Fairies, as in
"Childe Rowland" (on which see note in English Fairy Tales), may
be regarded as a point in favour of Mr. MacRitchie's theories as to
the identification of the fairies with the mound-dwellers. The object
of the expectoration was to prevent Elidore's seeing his way back.
Thus the fairies prevent the indiscretions of the human midwives
they employ.
XLII. THE LEECHING OF KAYN'S LEG.
Source.—MacInnes, Folk-Tales from Argyleshire, vii., combined
with Campbell of Tiree's version.
Parallels.—The earliest version, from an Egerton MS. of the
fifteenth century, has been printed by Mr. S. H. O'Grady in his Silva
Gadelica, No. 20, with an English version, pp. 332-42. Mr. Campbell
of Tiree has given a short Gaelic version in the Transactions of the
Gaelic Society of Inverness, 78-100. Campbell of Islay collected the
fullest version of this celebrated story, which is to be found among
his manuscript remains now in Edinburgh. Mr. Nutt has given his
English abstract in Folk-lore, i. 373-7, in its original form. The
story must have contained twenty-four tales or episodes of stories,
nineteen of which are preserved in J. F. Campbell's version. For
parallels to the various incidents, see Mr. Nutt's notes on MacInnes,
pp. 470-3. The tale is referred to in MacNicol, Remarks on Dr.
Johnson's Journey to the Hebrides, 1779.
Remarks.—Nothing could give a more vivid idea of what might be
called the organisation of the art of story-telling among the Celts than
this elaborate tale. Mr. Nutt is inclined to trace it, even in its present
form, back to the twelfth or thirteenth century. It occurs in an MS.
of the fifteenth century in an obviously unoriginal form which shows
that the story-teller did not appreciate the significance of many
features in the folk-tale he was retelling, and yet it was orally collected
by the great Campbell in 1871, in a version which runs to 142 folio pages.
Formally, its interest consists in large measure in the curious framework
in which the subsidiary stories are imbedded. This is not of the
elaborate kind introduced into Europe from the East by the Crusades,
but more naive, resembling rather, as Mr. Nutt points out to me, the
loosely-knit narratives of Charles Lever in his earlier manner.
XLIII. HOW FIN WENT TO THE KINGDOM OF
THE BIG MEN.
Source.—J. G. Campbell, The Fians (Waifs and Strays, No. iv.), pp.
175-92.
Parallels.—The Voyage to Brobdingnag will occur to many readers,
and it is by no means impossible that, as Swift was once an Irish lad,
The Voyage may have been suggested by some such tale told him in
his infancy. It is not, however, a part of the earlier recorded Ossianic
cycle, though over-sea giants occur as opponents of the heroes in that
as well as in the earlier Ultonian cycle.
XLIV. HOW CORMAC MAC ART WENT TO FAERY.
Source.—Kindly condensed by Mr. Alfred Nutt from an English
version by Mr. S. H. O'Grady in Ossianic Society's Publications,
vol. iii. The oldest known version has been printed from fourteenth
century MSS., by Mr. Whitley Stokes, Irische Texte, iii. I. The story
existed in some form in the early eleventh century, as it is cited in the
epic catalogue contained in the Book of Leinster.
Parallels.—Mr. Nutt in his Studies on the Legend of the Holy
Grail, p. 193, connects this visit of Cormac to the Otherworld with
the bespelled Castle incident in the Grail Legend, and gives other
instances of visits to the Brug of Manannan. Manannan Mac Lir is
the Celtic sea-god.
XLV. RIDERE OF RIDDLES.
Source.—Campbell, West Highland Tales, No. xxii. vol. ii. p. 36,
seq. I have modified the end, which has a polygamous complexion.
Parallels.—Campbell points out that the story is in the main identical
with the Grimms' "Räthsel," No. xxii. There the riddle is: "One slew
none, and yet slew twelve." MacDougall has the same story in Waifs
and Strays, iii. pp. 76 seq.
Remarks.—There can be no doubt that the Celtic and German
Riddle Stories are related genealogically. Which is of the earlier
generation is, however, more difficult to determine. In favour of the
Celtic is the polygamous framework; while on the other hand, it is
difficult to guess how the story could have got from the Highlands to
Germany. The simpler form of the riddle in the German version
might seem to argue greater antiquity.
XLVI. THE TAIL.
Source.—Campbell, No. lvii.
Parallels.—Most story-tellers have some formula of this kind to
conclude their narrations. Prof. Crane gives some examples in his
Italian Popular Tales, pp. 155-7. The English have: "I'll tell you
a story of Jack a Nory," and "The Three Wise Men of Gotham" who
went to Sea in a Bowl:
"If the bowl had been stronger,
My song would have been longer."
Printed by Ballantyne, Hanson & Co.
London and Edinburgh
ENGLISH FAIRY TALES. Collected by Joseph Jacobs.
Illustrated by J. D. Batten. Small demy 8vo, pp. xvi-253,
8 full-page and 60 smaller Illustrations, fancy cloth, price 6s.
This new and charmingly illustrated volume.—Daily Telegraph (Leader).
As a collection of fairy tales to delight children of all ages ranks second to
none.—Daily Graphic (with illustrations).
A delight alike to the young people and their elders.—Globe.
Prettily and brightly adapted.—Star.
A most delightful volume of fairy tales.—England.
A number of charming English fairy tales.—Speaker.
Mr. Jacobs may be congratulated alike on the matter and form of his book.—Manchester
Guardian.
A more desirable child's book ... has not been seen for many a day.—Daily
News (Leader).
From first to last, almost without exception, these stories are delightful.—Athenæum.
The most delightful book of fairy tales, taking form and contents together, ever
presented to children.—E. S. Hartland, in Folk-Lore.
The whole collection is dramatic and humorous.... This delightful book....—Miss
Thackeray, in Atalanta (with illustrations).
A gift-book that will charm any child, and all older folk who have been fortunate
enough to retain their taste for the old nursery stories.—Literary World.
A dainty and an interesting volume.—Notes and Queries.
If we were asked what present would make a child happiest at Christmastide we
think we could with a clear conscience point to Mr. Jacobs' book.—Gloucester
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The most delightful book of its kind that has come in our way for many a day.—Oban
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Brimful of pretty stories.... Retold in a truly delightful manner.—North-Western
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The tales are simply delightful. No amount of description can do them justice.
The only way is to read the book through from cover to cover.—Magazine and
Book Review.
The drawings by Mr. Batten ... are extremely clever, and are full of
humour and imagination.—Leeds Mercury.
Several charming stories that may be claimed as new acquaintances....
Mr. Batten's illustrations are excellent.—The World.
The book is intended to correspond to "Grimm's Fairy Tales," and it must be
allowed that its pages fairly rival in interest those of the well-known repository of
folk-lore.—Sydney Morning Herald (N.S.W.).
Nothing could be more fascinating; it is indeed two delicious books rolled into
one.—Review of Reviews (with illustrations).
A really valuable and curious selection which will be welcomed by readers of
all ages.... The illustrations by Mr. Batten are often clever and irresistibly
humorous.—Times.
CELTIC FAIRY TALES. Edited by Joseph Jacobs, and
Illustrated by J. D. Batten. Sm. demy 8vo, pp. xvi-267,
with 8 full-page Illustrations and numerous Vignettes, Tail-pieces,
Initials, &c. 6s.
Mr. Joseph Jacobs' book of "Celtic Fairy Tales" is, like his last year's collection
of "English Fairy Tales," one of the best books of stories ever put together,
whether for a young reader or an old.—Scotsman.
The volume is illustrated by Mr. John D. Batten, whose work merits the very
highest praise. The humorous sketches are admirable.—Glasgow Herald.
Humour and seriousness are delightfully mingled in these tales from many
sources.—Leeds Mercury.
An admirable selection of Celtic Fairy Tales, edited with considerable erudition.
The illustrations are graceful and suggestive.—Freeman's Journal.
Delightful stories, exquisite illustrations by John D. Batten, and learned notes.—Ariel.
Mr. Batten's illustrations are quite charming. Neither Tenniel nor C. H. Bennett
have done anything better.—Bookseller.
This is not the first volume of exquisite fairy tales which Mr. Jacobs has given
the young ones.—Newcastle Daily Chronicle.
A stock of delightful little narratives gathered chiefly from the Celtic-speaking
peasants of Ireland.—Daily Telegraph.
A charming volume, skilfully illustrated.—Daily Chronicle.
A perfectly lovely book. And oh! the wonderful pictures inside. Get this book
if you can; it is capital, all through.—Pall Mall Budget.
INDIAN FAIRY TALES. Edited by Joseph Jacobs, and
Illustrated by J. D. Batten. Sm. demy 8vo, pp. xvi-253, with
9 full-page and numerous Vignettes, Tail-pieces, Initials, &c.
The book is good both for the schoolroom and the study.—Daily News (Leader).
Mr. Jacobs' ably edited "Indian Fairy Tales" is a bright example of almost all
that a fairy-book should he.—Daily Chronicle.
If I were asked to select a child's library I should name these three volumes
['English,' 'Celtic,' and 'Indian Fairy Tales'], with Grimm, Hans Andersen, and
one or two good volumes of poetry.—Irish Daily Independent.
We are absolutely sure (which we scarcely ever are) that this book is a most
pleasing volume.—Saturday Review.
The form in which they are presented is admirable, and nothing could be better
in their way than Mr. Batten's designs to illustrate them.—North British Daily
Mail.
Mr. Jacobs brings home to us in a clear and intelligible manner the enormous influence
which Indian Fairy Tales have had upon European literature of the
kind.—Gloucester Journal.
Mr. Jacobs is a delightful companion into a land of enchantment, and his
successive books are treasures.—Notes and Queries.
The present combination will be welcomed not alone by the little ones for whom
it is specially combined, but also by children of larger growth and added years.—Daily
Telegraph.
3. Minor punctuation errors have been corrected without comment and include
missing or end of sentence comma and period errors and missing or misplaced
quotation marks.
4. Spelling Corrections:
- p. 17, "yon" to "you" (a gentleman such as you)
- p. 27, "Pwyll" to "Powel" (he returned to Powel)
- p. 42, "Tiernyon" (2) to "Teirnyon" (21) (... said his wife unto Teirnyon) and (... said Teirnyon)
- p. 120 "daugher" to "daughter" (59) (let my daughter go)
- p. 125, "hegoes" to "he goes" (and down he goes to)
- p. 134, "Ill" to "I'll" (I'll try that upon thee)
- p. 138, "daughers" to "daughters" (69) ("Oh," said the daughters)
- p. 236, "bo" to "book" (Get this book if you can;)
5. Printer Error corrections:
- p. 178, closed-up blank space in unindented sentences between (... Rome to Rome to-morrow.) and (Unless you deceive me ...).
6. Word Variations retained:
- "bagpipes" (1) and "bag-pipes" (1)
- "lapdog" (6) and "lap-dog" (3)
- "MacDougal" (1) and "MacDougall" (1) (re: Waifs and Strays)
- "pishrogue" (1) and "pishtrogue" (1) (Irish fairy spell that distorts reality?)
- "West Irish Folk-Tales" (1) and "West Irish Folk-tales" (1)
- "tablecloth" (2) and "table-cloth" (2) (p. 208-9)
7. The Celtic phrase at the beginning of the book was printed
in Black Letter Gothic Font in the original.