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| author | Roger Frank <rfrank@pglaf.org> | 2025-10-14 20:02:38 -0700 |
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| committer | Roger Frank <rfrank@pglaf.org> | 2025-10-14 20:02:38 -0700 |
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+} +.xd20e8644 +{ +text-indent:2em; +} +.xd20e9101 +{ +text-indent:4em; +} +</style> +</head> +<body> + +<p style='text-align:center; font-size:1.2em; font-weight:bold'>The Project Gutenberg eBook of Basque Legends, by Wentworth Webster</p> +<div style='display:block; margin:1em 0'> +This eBook is for the use of anyone anywhere in the United States and +most other parts of the world at no cost and with almost no restrictions +whatsoever. You may copy it, give it away or re-use it under the terms +of the Project Gutenberg License included with this eBook or online +at <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you +are not located in the United States, you will have to check the laws of the +country where you are located before using this eBook. +</div> + +<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Title: Basque Legends<br> +With an Essay on the Basque Language</div> +<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Author: Wentworth Webster</div> +<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Contributor: Julien Vinson</div> +<p style='display:block; text-indent:0; margin:1em 0'>Release Date: January 9, 2011 [eBook #34902]<br> +[Most recently updated: December 15, 2022]</p> +<p style='display:block; text-indent:0; margin:1em 0'>Language: English</p> + <p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em; text-align:left'>Produced by: Jeroen Hellingman and the Online Distributed +Proofreading Team at https://www.pgdp.net/ for Project Gutenberg (This file was produced from images generously +made available by The Internet Archive/American Libraries.)</p> +<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK BASQUE LEGENDS ***</div> + +<div class="front"> +<div class="div1"><span class="pagenum">[<a href= +"#toc">Contents</a>]</span> +<p class="firstpar"></p> +<div class="figure xd20e137width"><img src="images/frontispiece.jpg" +alt="Acheria, the Fox.—p. 43." width="478" height="720"> +<p class="figureHead">Acheria, the Fox.—p. 43.</p> +</div> +</div> +<div class="titlePage"> +<div class="docTitle"> +<div class="mainTitle">Second Edition.</div> +<div class="mainTitle">Basque Legends:</div> +<div class="subTitle">Collected, Chiefly in the Labourd,</div> +</div> +<div class="byline">By <span class="docAuthor"><i>Rev.</i> Wentworth +Webster, M.A., Oxon.</span></div> +<div class="docTitle"> +<div class="subTitle">With an Essay<br> +On<br> +The Basque Language,</div> +</div> +<div class="byline">By <span class="docAuthor">M. Julien +Vinson,</span><br> +Of the Revue de Linguistique, Paris.</div> +<div class="docTitle"> +<div class="subTitle">Together with<br> +Appendix: Basque Poetry.</div> +</div> +<div class="docImprint">London:<br> +Griffith and Farran,<br> +Successors to Newbery and Harris,<br> +Corner of St. Paul’s Churchyard;<br> +And<br> +Walbrook & Co., 52, Fleet Street, E. C.<br> +<span class="docDate">1879.</span><br> +<i>All Rights Reserved.</i></div> +</div> +<div class="div1"><span class="pagenum">[<a href= +"#toc">Contents</a>]</span> +<p class="firstpar xd20e199">Printed by<br> +W. O. Walbrook,<br> +at the<br> +Fleet Street Printing Works,<br> +52, Fleet Street, London.</p> +</div> +<div class="div1"><span class="pagenum">[<a href= +"#toc">Contents</a>]</span> +<p class="firstpar xd20e199">To<br> +M. Antoine D’Abbadie,<br> +of Abbadia,<br> +Member of the Institute of France,<br> +this<br> +Translation of Legends,<br> +originally told in the language of his ancestors,<br> +in grateful acknowledgment<br> +of<br> +kindly courtesy and of ever-ready assistance,<br> +is<br> +dedicated<br> +by his obliged and obedient servant,</p> +<p class="xd20e199">Wentworth Webster. <span class="pagenum">[<a id= +"xd20e242" href="#xd20e242" name="xd20e242">v</a>]</span></p> +</div> +<div id="toc" class="div1"><span class="pagenum">[<a href= +"#toc">Contents</a>]</span> +<div class="figure"><img src="images/head7.png" alt="Contents." width= +"720" height="153"></div> +<h2 class="main">Contents.</h2> +<ul> +<li> <span class= +"tocPagenum">Page</span></li> +<li><a href="#introduction"><span class="sc">Introduction</span></a> + <span class="tocPagenum">vii</span></li> +<li><a href="#ch1">I.—<span class="sc">Legends of the +Tartaro</span></a> <span class= +"tocPagenum">1</span></li> +<li><a href="#ch1.1">The Tartaro</a> +<span class="tocPagenum">4</span></li> +<li><a href="#ch1.2">M. d’Abbadie’s Version</a> + <span class="tocPagenum">4</span></li> +<li><a href="#ch1.3">Variations of above</a> +<span class="tocPagenum">5</span></li> +<li><a href="#ch1.4">Errua, the Madman</a> +<span class="tocPagenum">6</span></li> +<li><a href="#ch1.5">Variations of above</a> +<span class="tocPagenum">10</span></li> +<li><a href="#ch1.6">The Three Brothers, the Cruel Master, and the +Tartaro</a> <span class= +"tocPagenum">11</span></li> +<li><a href="#ch1.7">The Tartaro and Petit Perroquet</a> + <span class="tocPagenum">16</span></li> +<li><a href="#ch2">II.—<span class="sc">The Heren-Suge.—The +Seven-Headed Serpent</span></a> <span class= +"tocPagenum">20</span></li> +<li><a href="#ch2.1">The Grateful Tartaro and the Heren-Suge</a> + <span class="tocPagenum">22</span></li> +<li><a href="#ch2.2">Variation of above</a> +<span class="tocPagenum">32</span></li> +<li><a href="#ch2.3">The Seven-Headed Serpent</a> + <span class="tocPagenum">33</span></li> +<li><a href="#ch2.4">The Serpent in the Wood</a> + <span class="tocPagenum">38</span></li> +<li><a href="#ch3">III.—<span class="sc">Animal Tales</span></a> + <span class="tocPagenum">42</span></li> +<li><a href="#ch3.1">Acheria, the Fox</a> +<span class="tocPagenum">43</span></li> +<li><a href="#ch3.2">The Ass and the Wolf</a> +<span class="tocPagenum">45</span></li> +<li><a href="#ch4">IV.—<span class="sc">Basa-Jaun, Basa-Andre, +and Lamiñak</span></a> <span class= +"tocPagenum">47</span></li> +<li><a href="#ch4.1">Basa-Jauna</a> +<span class="tocPagenum">49</span></li> +<li><a href="#ch4.2">The Servant at the Fairy’s</a> + <span class="tocPagenum">53</span></li> +<li><a href="#ch4.3">The Fairy in the House</a> + <span class="tocPagenum">55</span></li> +<li><a href="#ch4.4">The Pretty but Idle Girl</a> + <span class="tocPagenum">56</span></li> +<li><a href="#ch4.5">The Devil’s Age</a> +<span class="tocPagenum">58</span></li> +<li><a href="#ch4.6">The Fairy-Queen Godmother</a> + <span class="tocPagenum">59</span></li> +<li><a href="#ch5">V.—<span class="sc">Witchcraft and +Sorcery</span></a> <span class= +"tocPagenum">64</span></li> +<li><a href="#ch5.1">The Witches at the Sabbat</a> + <span class="tocPagenum">66</span></li> +<li><a href="#ch5.2">The Witches and the Idiots</a> + <span class="tocPagenum">67</span></li> +<li><a href="#ch5.3">The Witch and the New-Born Infant</a> + <span class="tocPagenum">69</span></li> +<li><a href="#ch5.4">The Changeling</a> +<span class="tocPagenum">73</span> <span class="pagenum">[<a id= +"xd20e469" href="#xd20e469" name="xd20e469">vi</a>]</span></li> +<li><a href="#ch6">VI.—<span class="sc" lang="fr">Contes des +Fées</span></a> <span class= +"tocPagenum">76</span></li> +<li><a href="#ch6.a"><i>(A) Tales like the Keltic</i></a> + <span class="tocPagenum">77</span></li> +<li><a href="#ch6.1">Malbrouk</a> <span class= +"tocPagenum">77</span></li> +<li><a href="#ch6.2">The Fisherman and his Sons</a> + <span class="tocPagenum">87</span></li> +<li><a href="#ch6.3">Tabakiera, the Snuff-Box</a> + <span class="tocPagenum">94</span></li> +<li><a href="#ch6.4">Mahistruba, the Master Mariner</a> + <span class="tocPagenum">100</span></li> +<li><a href="#ch6.5">Dragon</a> <span class= +"tocPagenum">106</span></li> +<li><a href="#ch6.6">Ezkabi-Fidel</a> +<span class="tocPagenum">111</span></li> +<li><a href="#ch6.7">Variation of above</a> +<span class="tocPagenum">120</span></li> +<li><a href="#ch6.8">The Lady-Pigeon and her Comb</a> + <span class="tocPagenum">120</span></li> +<li><a href="#ch6.9">Suggested Explanation of above</a> + <span class="tocPagenum">130</span></li> +<li><a href="#ch6.10">Laur-Cantons</a> +<span class="tocPagenum">132</span></li> +<li><a href="#ch6.11">The Young School-Boy</a> +<span class="tocPagenum">136</span></li> +<li><a href="#ch6.12">The Son who Heard Voices</a> + <span class="tocPagenum">137</span></li> +<li><a href="#ch6.13">The Mother and her Idiot Son; or, the Clever +Thief</a> <span class= +"tocPagenum">140</span></li> +<li><a href="#ch6.14">Juan Dekos, the Blockhead (Tontua)</a> + <span class="tocPagenum">146</span></li> +<li><a href="#ch6.15">Variation of the above—Juan de Kalais</a> + <span class="tocPagenum">151</span></li> +<li><a href="#ch6.16">The Duped Priest</a> +<span class="tocPagenum">154</span></li> +<li><a href="#ch6.b"><i>(B) <span lang="fr">Contes des +Fées</span>, derived directly from the French</i></a> + <span class="tocPagenum">158</span></li> +<li><a href="#ch6.17">Ass’-Skin</a> +<span class="tocPagenum">158</span></li> +<li><a href="#ch6.18">Variations of above</a> +<span class="tocPagenum">165</span></li> +<li><a href="#ch6.19">The Step-Mother and Step-Daughter</a> + <span class="tocPagenum">166</span></li> +<li><a href="#ch6.20">Beauty and the Beast</a> +<span class="tocPagenum">167</span></li> +<li><a href="#ch6.21">Variation of above</a> +<span class="tocPagenum">172</span></li> +<li><a href="#ch6.22">The Cobbler and his Three Daughters +(Blue-Beard)</a> <span class= +"tocPagenum">173</span></li> +<li><a href="#ch6.23">Variations of above</a> +<span class="tocPagenum">175</span></li> +<li><a href="#ch6.24">The Singing Tree, the Bird which tells the Truth, +and the Water which makes Young</a> +<span class="tocPagenum">176</span></li> +<li><a href="#ch6.25">Variation of above</a> +<span class="tocPagenum">181</span></li> +<li><a href="#ch6.26">The White Blackbird</a> +<span class="tocPagenum">182</span></li> +<li><a href="#ch6.27">The Sister and her Seven Brothers</a> + <span class="tocPagenum">187</span></li> +<li><a href="#ch6.28">Variations, etc.</a> +<span class="tocPagenum">191</span></li> +<li><a href="#ch6.bibl"><i>List of Publication of Foreign Legends in +France</i></a> <span class= +"tocPagenum">192</span></li> +<li><a href="#ch7">VII.—<span class="sc">Religious +Tales</span></a> <span class= +"tocPagenum">194</span></li> +<li><a href="#ch7.1">Fourteen</a> <span class= +"tocPagenum">195</span></li> +<li><a href="#ch7.2">Variation of above—Jesus Christ and the Old +Soldier</a> <span class= +"tocPagenum">199</span></li> +<li><a href="#ch7.3">The Poor Soldier and the Rich Man</a> + <span class="tocPagenum">200</span></li> +<li><a href="#ch7.4">The Widow and her Son</a> +<span class="tocPagenum">202</span></li> +<li><a href="#ch7.5">The Story of the Hair-Cloth Shirt (La Cilice)</a> + <span class="tocPagenum">206</span></li> +<li><a href="#ch7.6">The Saintly Orphan Girl</a> + <span class="tocPagenum">209</span></li> +<li><a href="#ch7.7">The Slandered and Despised Girl</a> + <span class="tocPagenum">211</span></li> +<li><a href="#basquelanguage"><span class="sc">An Essay on the Basque +Language</span></a> <span class= +"tocPagenum">219</span></li> +<li><a href="#basquepoetry"><span class="sc">Appendix—Basque +Poetry</span></a> <span class= +"tocPagenum">235</span></li> +</ul> +<p><span class="pagenum">[<a id="xd20e780" href="#xd20e780" name= +"xd20e780">vii</a>]</span></p> +</div> +<div id="introduction" class="div1"><span class="pagenum">[<a href= +"#toc">Contents</a>]</span> +<div class="figure"><img src="images/head8.png" alt="Introduction." +width="720" height="156"></div> +<h2 class="main">Introduction.</h2> +<p class="firstpar">The study of the recent science of Comparative +Mythology is one of the most popular and attractive of minor scientific +pursuits. It deals with a subject-matter which has interested most of +us at one period of our lives, and turns the delight of our childhood +into a charm and recreation for maturer age. Nor is it without more +useful lessons. In it we see more clearly than perhaps elsewhere the +reciprocal influence, which none can wholly escape, of words and +language upon thought, and again of thought and fancy upon words and +language; how mere words and syllables may modify both conception and +belief; how the metaphor, which at first presented an object more +clearly and vividly to the mind than any more direct form of speech +could do, soon confuses and at last wholly distorts the original idea, +and buries its meaning under a new and foreign superstructure. We may +mark here, too, by numerous examples, how slowly the human mind rises +to the conception of any abstract truth, and how continually it falls +back upon the concrete fact which it is compelled to picture to itself +in order to state in words the simplest <span class="pagenum">[<a id= +"xd20e786" href="#xd20e786" name="xd20e786">viii</a>]</span>mental +abstraction. The phrase, “The dawn flies before the sun,” +passing into the myth of Daphne and Apollo, is a lesson in psychology +no less than in philology and in comparative mythology.</p> +<p>Now, both the interest and the value of these studies are enhanced +in proportion as they become complete. Our conclusions approach nearer +to certainty, and will gradually pass from theory to demonstration, as +we find the same legends and modes of thought and expression on natural +phenomena constantly reappearing among the most distant and the most +isolated peoples, in languages which in their complex forms tell of the +infancy of human speech, and also in those whose worn-down frame speaks +of the world’s old age.</p> +<p>Of the peoples now settled in Western Europe, the Basques are those +which are the most separate from other populations; distinct in +language, they represent, in a more or less mixed state, some older +stratum of European ethnology. Their language, too, as regards the mass +of the people, is still practically unwritten.<a class="noteref" id= +"xd20e792src" href="#xd20e792" name="xd20e792src">1</a> Here there is a +chance of finding legends in a purer and older form than among any +other European people; and in what they have borrowed from others, we +may have an almost unique crucial test of the time which it takes for +such traditions to pass orally from people of one language to another +and totally different one. None of these legends have been published or +even noticed till within the last two years, when M. d’Abbadie +read the legend of the Tartaro before the <span lang= +"fr">Société <span class="pagenum">[<a id="xd20e797" +href="#xd20e797" name="xd20e797">ix</a>]</span>des Sciences et des Arts +de Bayonne</span>, and M. Cerquand his “<span lang= +"fr">Légendes et Récits Populaires du Pays +Basque</span>,” before the sister society at Pau.<a class= +"noteref" id="xd20e803src" href="#xd20e803" name= +"xd20e803src">2</a></p> +<p>Of course we must expect to find such legends very much altered, and +in a state of almost inextricable confusion, and this not only through +forgetfulness, and through the lapse of time since their origin, not +only by the influence of a total change of religion, but they are also +mingled and inter-penetrated with totally new ideas; the old and the +new will be found side by side in striking and sometimes grotesque +contrast. As in Campbell’s “Tales of the West +Highlands,” personages of mythical antiquity go to kirk, and +indulge in other decidedly post-Reformation practices, so in these +Basque tales the reader must not be startled by the introduction of +maize and tobacco, of cannon and gunpowder, of dances at the mairie, +and the use of the guillotine, in stories which, perhaps, originally +told of the movements of the stars, of the wars of the forces of the +atmosphere, of the bright beauty of the rising, or of the glowing glory +of the setting sun.<a class="noteref" id="xd20e808src" href="#xd20e808" +name="xd20e808src">3</a> The body is the same in all ages, but the +dress varies with the changing fashions. To borrow an illustration from +a slightly older science, this is not a simple case of contorted and +overlying strata to be restored to their original order, but rather of +strata worn down, <span class="pagenum">[<a id="xd20e814" href= +"#xd20e814" name="xd20e814">x</a>]</span>reconstructed, and deposited +anew, and even modified in their latest stage by the interference of +human action. And thus our problem becomes an exceedingly complex and +difficult one, and our readers must not be disappointed if our +conclusions are not so clear and positive as might be wished. The +present is merely a tentative, and not, in any sense, a final essay +towards its solution.</p> +<p>How are these legends told now, and how have they been preserved? +They are told by the Basque peasants, either when neighbours +meet—after the fashion made familiar to us by American novelists +in the “Husking Bee”—for the purpose of stripping the +husks from the ears of maize, an operation generally performed in one +or two long sessions; or at the prolonged wedding and other feasts, of +which we have evidence in the tales themselves, or else in the long +nights round the wintry hearth of their lonely dwellings. For it is one +of the charms of the Basque land that the houses are scattered all over +the face of the country, instead of being collected into crowded +villages; and it is, perhaps, to this fact chiefly that we owe the +preservation of so much old-world lore, and of primitive ideas, among +this people. The reader must not be surprised at the length of some of +our specimens. The details of the incidents of the longest are +religiously preserved and, as told at home, they are probably more +lengthy (as anyone will understand who has ever taken anything down +from recitation) than as here given. Many an unlettered Basque peasant +could serve an irritable stranger as Glendower did Hotspur, when he +kept him “at least nine hours <span class="pagenum">[<a id= +"xd20e818" href="#xd20e818" name="xd20e818">xi</a>]</span>in reckoning +up the several devils’ names that were his lackeys.”</p> +<p>In La Soule the “Pastorales,” or Basque dramas, which +last from six to eight hours of uninterrupted action, are learnt in the +same way by word of mouth during the long evenings of winter.</p> +<p>These legends are still most thoroughly believed in. They still form +part of the faith of these simple people—not at all, we need +hardly say, in the use of mythological or atmospheric allegory, but as +narratives of veritable fact. They believe them as they do the +histories of the Bible or the “Lives of the Saints.” In +fact, the problem of reconciling religion and science presents itself +to their minds in this strange guise—how to reconcile these +narratives with those of the Bible and of the Church. The general +solution is that they happened before the time of which the Bible +speaks, or before Adam fell. They are “<span lang="eu">Lege +zaharreko istorriguak</span>”—“histories of the +ancient law”—by which is apparently meant the time before +Christianity. “This happened, sir, in the time when all animals +and all things could speak,” was said again and again by our +narrators at the commencement of their story; not one doubted the +literal truth of what they told. Their naïve good faith +occasionally severely tested our own gravity. Appeal was often made to +our supposed superior knowledge to confirm the facts. The varying tone +of the voice told how truly the speakers sympathised with what they +uttered. At times sobs almost interrupted utterance, when the frequent +apostrophe came: “Think how this poor so-and-so must have +suffered!” More often bursts <span class="pagenum">[<a id= +"xd20e827" href="#xd20e827" name="xd20e827">xii</a>]</span>of laughter +at traditional jokes, too poor to raise a smile on less unsophisticated +lips, broke the recital. Very determined, too, is their adherence to +what they believe to be the genuine text of these old tales. “I +don’t understand it, but the history says so;” “It is +<i>so</i>;<span class="corr" id="xd20e832" title= +"Not in source">”</span> “The story says so,” was +positively affirmed again and again—<i>e.g.</i>, in one of the +Peau d’Ane or Cinderella stories, when the lady has dazzled her +admirer by her dress of silver (moonlight?), then of gold (sunlight?), +then of diamonds (dew-drops?), at last, on the wedding-day, the bride +and bridegroom <i>dress each other</i>. “I don’t know +why,” interrupted the story-teller, “but the story says +so.” Could anything tell more quaintly of the marriage of the sun +and dawn? The sun decking the morning clouds with his light and beauty, +and they again robing him in their soft and tender colouring.</p> +<p>But we must pass on to the tales themselves. None of these, we +think, will be found to be genuinely or exclusively Basque; the oldest +we take to be those most widely known, and which are most distorted. +The heads under which we have arranged them are: (1) Legends of the +Tartaro, or Cyclops; (2) of the Heren-Suge, the Seven-Headed Serpent; +(3) of purely Animal Tales, which are neither fables nor allegories; +(4) of Basa-Jauna, Basa-Andre, and of the Lamiñak, or Fairies; +(5) Tales of Witchcraft; (6) those which, for want of a better name, we +have entitled Contes des Fées, in which the fairy is an Eastern +magician—these we have divided into sections, (<i>a</i>) those +which resemble the Keltic and other tales, and (<i>b</i>) those which +are probably borrowed directly from the French; our last division (7), +<span class="pagenum">[<a id="xd20e850" href="#xd20e850" name= +"xd20e850">xiii</a>]</span>Religious Tales and Legends, are probably +from mediæval sources common to Latin Christianity, but they are +interesting as specimens of the tales which probably delighted the +highest born of our own ancestors in the middle ages, and now linger +only among the peasantry in out-of-the-way corners of Europe. Some of +these tales seem to us to be more gracefully told, and have more of +human interest in them, than any of the others.</p> +<p>We fear scientific men will be disappointed in this collection. +Notwithstanding that we have been careful to collect from those who +know the Basque only, or who certainly knew only Basque when they first +learnt these tales, yet they are evidently much mixed with French and +Spanish. Our translations are literal to baldness; the only liberty we +have taken is in softening down the exceeding directness and grossness +of some portions. Not one tale is in the least licentious—but the +Basque language calls a spade a spade, and not an implement of +husbandry.<a class="noteref" id="xd20e854src" href="#xd20e854" name= +"xd20e854src">4</a> The Carlist war of the last four years has +prevented our getting any legends from the Spanish Basque provinces, +and has even to some extent hindered our work in the French Pays +Basque, by providing an almost exclusive object of interest. In the +more remote districts of the Pays Basque itself, which we have not been +able to revisit since we commenced this collection, purer forms of some +of these legends may be found, and others of which we have no +example;<a class="noteref" id="xd20e859src" href="#xd20e859" name= +"xd20e859src">5</a> but these <span class="pagenum">[<a id="xd20e870" +href="#xd20e870" name="xd20e870">xiv</a>]</span>which we give are +really representative. Though collected mainly in the neighbourhood of +St. Jean de Luz, we have tested them by enquiry of natives of all the +provinces, and find that they are equally well known in La Soule and in +Basse Navarre as in the Labourd. We never met with a Basque peasant who +could not tell us what are the Tartaro, the Heren-Suge, Basa-Jaun, and +the Lamiñak.</p> +<p>As a curious coincidence, we may notice how closely some of the +Basque names of the stars parallel those given in Miss Frere’s +delightful “Old Deccan Days.” In the narrator’s +narrative, pp. 27, 28, we read, “She (the grandmother) would show +us the hen and chickens” (the Pleiades)—the same in Basque, +“<span lang="eu">Oiloa chituekin</span>;” “The three +thieves climbing up to rob the Ranee’s silver +bedstead”—the three stars in Orion’s belt, in Basque, +the three kings, or brothers, or <i>robbers</i>; the milky way, +“the great pathway of light on which He went up to heaven,” +has also obtained in Basque a Christianized +name—”<span lang="eu">Erromako zubia</span>, or +Bidea,” “the bridge or road to Rome.” Again, +“All the cobras in my grandmother’s stories were +seven-headed,” so the Heren-Suge in the Basque country is always +seven-headed. Little or nothing can be gathered from the names of the +actors, the heroes or heroines of these tales. They are mostly +anonymous, but the name, when given, is almost always borrowed from the +French. This is disappointing, and much increases the difficulty of +tracing the origin; but it is analogous to the fact that scarcely a +single purely <span class="pagenum">[<a id="xd20e883" href="#xd20e883" +name="xd20e883">xv</a>]</span>Basque name is to be found among the +so-called kings and chieftains of the Basques during the early middle +ages.<a class="noteref" id="xd20e885src" href="#xd20e885" name= +"xd20e885src">6</a> Among the classic writers, too, and among the +soldiers and followers of our Anglo-Gascon princes, hardly a name +indubitably Basque is to be found.</p> +<p>For all more special details and discussions we refer to the +Introductions to the separate sections. The few references given to the +parallel legends of other countries are not intended to be at all +complete, much less exhaustive. The Pays Basque is not a land of +libraries, and it is not easy to collect these legends on the spot, and +at the same time to get together the books necessary for a comparison +of them with those of other countries. The few we offer are only those +which have fallen in our way, and though worthless to the specialist, +may be of some little aid as suggestions to the ordinary +reader.<a class="noteref" id="xd20e896src" href="#xd20e896" name= +"xd20e896src">7</a> For the same purpose we annex a list of the first +publication of the chief collections of foreign legends in +France.<a class="noteref" id="xd20e902src" href="#xd20e902" name= +"xd20e902src">8</a> It is curious to remark that, while the +masterpieces of French literature seem never to have penetrated beyond +the surface of society, these legends have pierced to the very bottom +of the social mass, and have become real living household words, even +to those many millions of Frenchmen who do not understand one word of +French.</p> +<p>There remains the pleasant task of thanking some of <span class= +"pagenum">[<a id="xd20e910" href="#xd20e910" name= +"xd20e910">xvi</a>]</span>the many friends who have assisted us in this +collection. I had hoped to have joined the name of M. J. Vinson, the +well-known Basque and Dravidian scholar, to my own as joint-author of +this simple work. I should hardly have had the courage to have +undertaken it had I not been assured of his invaluable assistance in +difficulties about the language of the originals. Unavoidable +circumstances have, however, prevented his seeing the Basque of many of +the later tales, and he therefore prefers that the “Essay on the +Basque Language” should alone bear his name. I cannot but accede +to his wishes; but, at the same time, I offer him my most grateful +thanks for the unfailing and unwearied help which he so kindly afforded +me for many months. The legends contributed by him are noticed in their +proper place. Our first acknowledgments are due to M. d’Abbadie, +of Abbadia, the well-known “<span lang="fr">Membre de +l’Institut</span>,” for his kind assistance and ready +communication of the legends in his possession, and which were the +starting point of our work. Next, and even more, to Madame M. Bellevue, +of Dajieu-baita, through whose kind intervention the majority of these +tales were collected, and who assisted in the translation of almost +all. And then to the sisters Estefanella and Gagna-haurra Hirigaray, +who contributed more than twenty tales; to Dr. Guilbeau and other +friends at St. Jean de Luz who have taken a friendly interest in our +work, and to all those whose names are appended to the tales they +furnished. It would be presumptuous to hope that our readers will find +as much pleasure in perusing these tales as we have had in collecting +them. <span class="pagenum">[<a id="pb1" href="#pb1" name= +"pb1">1</a>]</span></p> +<div class="footnotes"> +<hr class="fnsep"> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e792" href="#xd20e792src" name="xd20e792">1</a></span> See on this +head M. Vinson’s Essay in Appendix.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e803" href="#xd20e803src" name="xd20e803">2</a></span> The second +part of M. Cerquand’s “Légendes et Récits +Populaires du Pays Basque” (Pau, 1876), appeared while the +present work was passing through the press. It is chiefly occupied with +legends of Basa-Jaun and Lamiñak.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e808" href="#xd20e808src" name="xd20e808">3</a></span> Not that we +suppose all these tales to be atmospheric myths; we adopt this only as +the provisional hypothesis which appears at present to cover the +largest amount of facts. It seems certainly to be a “vera +causa” in <i>some</i> cases; but still it is only one of several +possible “veræ causæ,” and is not to be applied +to all.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e854" href="#xd20e854src" name="xd20e854">4</a></span> <i>Cf.</i> +Campbell’s “Introduction,” p. xxviii.:—“I +have never heard a story whose point was obscenity publickly told in a +Highland cottage; and I believe such are rare. If there was an +occasional coarse word spoken, it was not coarsely meant.”</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e859" href="#xd20e859src" name="xd20e859">5</a></span> One class, +of which we have given no example, is that of the Star Legend given by +M. Cerquand, “<span lang="fr">Légendes et Récits +Populaires du Pays Basque</span>,” p. 19, and reprinted, with +variations, by M. Vinson, “<span lang="fr">Revue de +Linguistique</span>,” Tom. VIII., 241–5, January, 1876.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e885" href="#xd20e885src" name="xd20e885">6</a></span> <i>Cf.</i> +“<span lang="fr">Etudes Historiques sur la Ville de Bayonne, par +MM. Balasque et Dulaurens</span>,” Vol. I., p. 49.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e896" href="#xd20e896src" name="xd20e896">7</a></span> We have +purposely omitted references to Greek and Latin mythology, as these are +to be found “passim” in the pages of Max <span class="corr" +id="xd20e898" title="Source: Muller">Müller</span> and of Cox. The +preparation for the Press was made at a distance from our own library, +or more references to Spanish and patois sources would have been +given.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e902" href="#xd20e902src" name="xd20e902">8</a></span> See page +<a href="#premiereseditions" class="pageref">192</a>.</p> +</div> +</div> +</div> +<div class="body"> +<div id="ch1" class="div1"><span class="pagenum">[<a href= +"#toc">Contents</a>]</span> +<div class="figure"><img src="images/head3.png" alt= +"I.—Legends of the Tartaro." width="720" height="156"></div> +<h2 class="main">I.—Legends of the Tartaro.</h2> +<p class="firstpar">Who, or what is the Tartaro? “Oh! you mean +the man with one eye in the middle of his forehead,” is the +prompt and universal answer. The Tartaro is the Cyclops, the +sun’s round eye, <span class="trans" title= +"kyklōps"><span class="Greek" lang= +"el">κύκλωψ</span></span>. But the +word Tartaro has apparently nothing to do with this. M. Cerquand, in +his “Legendes et Récits Populaires du Pays Basque,” +derives the word from <i>Tartare</i>, Tartar, in the same way as the +French word <i>Ogre</i> is said to be derived from <i>Hongrois</i>, +<i>Ugri</i>. The only objection to this highly probable derivation +(made still more probable by a Souletin variation, Moiriak) is the +comparatively late date (the 13th century) of the first appearance of +the Tartars in Europe.<a class="noteref" id="xd20e944src" href= +"#xd20e944" name="xd20e944src">1</a> It is besides perfectly true that +in many tales the Tartaro replaces, and is identical with the giant or +ogre; but this does not appear to us to be the original conception of +this mythological monster, nor have we ever heard from an unlettered +Basque such a description of him. To them he is simply a +Cyclops—a huge man, with an eye in the centre of his +forehead.</p> +<p>It is an interesting question—Is there any connection between +the Basque Tartaro and the Cyclops of the Odyssey and of the classics? +First, we must remark that the Cyclops legend is not peculiar either to +the Greek <span class="pagenum">[<a id="pb2" href="#pb2" name= +"pb2">2</a>]</span>and Latin writers, or even to the Aryan nations; +<i>e.g.</i>, in his communication of the Tartaro legends to the +Société des Sciences de Bayonne, M. d’Abaddie +relates how he heard the tale told in June, 1843, in Eastern Africa, in +Lat. N. 9.2, E. Lon. 34.48, by a man who had never before quitted the +country. It is then only the special form of the legend, and not the +primary idea, that the Greeks <i>may</i> have borrowed from the +Basques. But there is this to observe—that, with both Greeks and +Latins, the Cyclops myth is an occidental and not an oriental one, and +is more strictly localised than almost any other. This may be accounted +for by saying that the sun’s great fiery eye is rather that of +the setting than of the rising sun; that the red-hot stake is the ruddy +mountain peak, or the tall fir-trunk, seen against the western horizon, +and illumined by his descending rays. But in the stories of Theocritus +and Ovid, where the sun-myth is not so apparent, the home of the +Cyclops is still Sicily. Our first Tartaro legend reads very like a +rough outline of Ovid’s story of “Acis and Galatea.” +Now, W. Von Humboldt in his “<span lang="de">Prüfung der +Untersuchung über die Urbewohner Hispaniens vermittelst der +Vaskischen Sprache</span>” (Berlin, 1821), in cap. xlv., p. 167, +and, again, con. vii., p. 178, arguing on quite different grounds, +places Sicily as the most easterly habitation of the Basques within +historic times.<a class="noteref" id="xd20e979src" href="#xd20e979" +name="xd20e979src">2</a> We leave it then to classical scholars to +consider whether the Italic races in <span lang="la">Magna +Græcia</span> and Sicily may not have come in contact with the +Basques there, and from them have adopted their special form of the +Cyclops legend.</p> +<p>As we said above, the Tartaro sometimes replaces the giant or the +ogre; at other times we find him as Basa-Jaun, or even as an animal, +substituted for <i>Acheria</i>, the fox. He is, in his proper form, a +huge one-eyed giant, occasionally a cannibal, but not without a rough +“bonhomie” when satiated with food and drink. +Intellectually far below the <span class="pagenum">[<a id="pb3" href= +"#pb3" name="pb3">3</a>]</span>feebler race of mankind, he is +invariably beaten in his contests with them, notwithstanding his +enormous strength; he loses all his wagers, and is generally lured on +to commit involuntary suicide. In some aspects he reminds one of +Milton’s “Lubbar Fiend,” and in his constant defeats +and being constantly outwitted, recals one of the types of the Devil in +mediæval story. At times he appears in gentler guise, as when he +aids the young prince to his rights, and supplies Petit Yorge with the +means of victory over the Heren-Suge. What the talking ring is which +appears in so many of these stories we confess ourselves unable to +interpret; it is found in the Keltic, but, as far as we are aware, not +in the classic legends.</p> +<p>One peculiarity of the Basque, and especially of the Tartaro +legends, is that the hero of them is so often a madman, an idiot, or a +fool. If we can trust our memory, the case is the same in the Slavonic +representatives of Odysseus.<a class="noteref" id="xd20e1000src" href= +"#xd20e1000" name="xd20e1000src">3</a> But the Basques seem to dwell +upon and to repeat the idea in a peculiar way; they ring the changes on +all states, from the wild madman, like the Scandinavian Berserker, +through the idiot and fool, to the mere blockhead and ninny. Errua, +Enuchenta, Ergela, Sosua, Tontua, are terms employed to designate the +heroes who have sometimes, to our modern apprehension, little of the +idiot or fool, except the name. Can it be that the power which put out +the sun’s fiery eye was looked upon as a beneficent being in a +burning tropic land, while, as the legend travelled northward, the act +seemed more like that of madness, or of senseless stupidity?</p> +<p>One type of these Tartaro tales will at once recal Grimm’s +“Valiant Little Tailor,” and some of the more modern +versions of “Jack the Giant-Killer.” But though the +incidents are identical, it is hardly possible that they can be thus +borrowed. Several of our narrators were <i>utterly</i> ignorant of +French, and learnt the tale as children from old <span class= +"pagenum">[<a id="pb4" href="#pb4" name="pb4">4</a>]</span>people, who +died a few years since at upwards of 80. The first translation of +Grimm’s Tales into French was published in the year 1845.</p> +<div class="div2" id="ch1.1"><span class="pagenum">[<a href= +"#toc">Contents</a>]</span> +<h3 class="main">The Tartaro.</h3> +<p class="firstpar">Once upon a time there was the son of a king who +for the punishment of some fault became a monster. He could become a +man again only by marrying. One day he met a young girl who refused +him, because she was so frightened at him. And the Tartaro wanted to +give her a ring, which she would not accept. However, he sent it her by +a young man. As soon as the ring was upon her finger it began to say, +“Thou there, and I here.”<a class="noteref" id= +"xd20e1017src" href="#xd20e1017" name="xd20e1017src">4</a> It kept +always crying out this, and the Tartaro pursued her continually; and, +as the young girl had such a horror of him, she cut off her finger and +the ring, and threw them into a large pond, and there the Tartaro +drowned himself.</p> +<p class="signed"><span class="sc">Estefanella Hirigarray</span>,<br> +of Ahetze.</p> +</div> +<div class="div2" id="ch1.2"><span class="pagenum">[<a href= +"#toc">Contents</a>]</span> +<h3 class="main">M. d’Abbadie’s Version.</h3> +<p class="firstpar">Our next story was communicated by M. +d’Abbadie to the <span lang="fr">Société des +Sciences et des Arts de Bayonne</span>. The narrator is M. +l’Abbé Heguiagaray, the Parish Priest of Esquiule in La +Soule:—</p> +<p>In my infancy I often heard from my mother the story of the Tartaro. +He was a Colossus, with only one eye in the middle of his forehead. He +was a shepherd and a hunter, but a hunter of men. Every day he ate a +sheep; then, after a snooze, every one who had the misfortune to fall +into his hands. His dwelling was a huge barn, with thick walls, a high +roof, and a very strong door, which he alone knew how <span class= +"pagenum">[<a id="pb5" href="#pb5" name="pb5">5</a>]</span>to open. His +mother, an old witch, lived in one corner of the garden, in a hut +constructed of turf.</p> +<p>One day a powerful young man was caught in the snares of the +Tartaro, who carried him off to his house. This young man saw the +Tartaro eat a whole sheep, and he knew that he was accustomed to take a +snooze, and that after that his own turn would come. In his despair he +said to himself that he must do something. Directly the Tartaro began +to snore he put the spit into the fire, made it red-hot, and plunged it +into the giant’s one eye. Immediately he leapt up, and began to +run after the man who had injured him; but it was impossible to find +him.</p> +<p>“You shall not escape. It is all very well to hide +yourself,” said he; “but I alone know the secret how to +open this door.”</p> +<p>The Tartaro opened the door half-way, and let the sheep out between +his legs. The young man takes the big bell off the ram, and puts it +round his neck, and throws over his body the skin of the sheep which +the giant had just eaten, and walks on all fours to the door.</p> +<p>The Tartaro examines him by feeling him, perceives the trick, and +clutches hold of the skin; but the young man slips off the skin, dives +between his legs, and runs off.</p> +<p>Immediately the mother of the Tartaro meets him, and says to +him:</p> +<p>“O, you lucky young fellow! You have escaped the cruel tyrant; +take this ring as a remembrance of your escape.”</p> +<p>He accepts, puts the ring on his finger, and immediately the ring +begins to cry out, “Heben nuk! Heben nuk!” (“Thou +hast me here! Thou hast me here!”)</p> +<p>The Tartaro pursues, and is on the point of catching him, when the +young man, maddened with fright, and not being able to pull off the +ring, takes out his knife, and cuts off his own finger, and throws it +away, and thus escapes the pursuit of the Tartaro.</p> +<hr class="tb"> +<p id="ch1.3">In other versions the young man goes into the forest with +some pigs, meets the Tartaro there, is carried by him home, +<span class="pagenum">[<a id="pb6" href="#pb6" name= +"pb6">6</a>]</span>blinds him with the red-hot spit, and escapes by +letting himself down through a garret window. The Tartaro pursues, +guided by his ring, which at last he throws to the young man to put on, +when it cries out as above, and the young man cuts off his finger, and +throws it down a precipice or into a bog, where the ring still cries +out, and the Tartaro following, is dashed to pieces and drowned.</p> +</div> +<div class="div2" id="ch1.4"><span class="pagenum">[<a href= +"#toc">Contents</a>]</span> +<h3 class="main">Errua, the Madman.</h3> +<p class="firstpar">Like many others in the world, there was a man and +woman who had a son. He was very wicked, and did nothing but mischief, +and was of a thoroughly depraved disposition. The parents decided that +they must send him away, and the lad was quite willing to set off.</p> +<p>He set out then, and goes far, far, far away. He comes to a city, +and asks if they want a servant. They wanted one in a (certain) house. +He goes there. They settle their terms at so much a month, and that the +one who is not satisfied should strip the skin off the other’s +back.<a class="noteref" id="xd20e1071src" href="#xd20e1071" name= +"xd20e1071src">5</a></p> +<p>The master sends his servant to the forest to get the most crooked +pieces of wood that he can find. Near the forest there was a vineyard. +What does the servant do but cut it all up, and carries it to the +house. The master asks him where the wood is. He shows him the +vine-wood cut up. The master said nothing to him, but he was not +pleased.</p> +<p>Next day the master says to him, “Take the cows to such a +field, and don’t break any hole in the fence.”</p> +<p>What does the lad do? He cuts all the cows into little pieces, and +throws them bit by bit into the field. The master was still more angry; +but he could not say anything, for fear of having his skin stripped +off. So what does he do? He buys a herd of pigs, and sends his servant +to the mountain with the herd. <span class="pagenum">[<a id="pb7" href= +"#pb7" name="pb7">7</a>]</span></p> +<p>The master knew quite well that there was a Tartaro in this +mountain, but he sends him there all the same.</p> +<p>Our madman goes walking on, on, on. He arrives at a little hut. The +Tartaro’s house was quite close to his. The pigs of the Tartaro +and those of the madman used to go out together. The Tartaro said one +day to him—</p> +<p>“Will you make a wager as to who will throw a stone +farthest?”</p> +<p>He accepted the wager. That evening our madman was very sad. While +he was at his prayers, an old woman appeared to him, and asks +him—</p> +<p>“What is the matter with you? Why are you so sad?”</p> +<p>He tells her the wager that he has made with the Tartaro. The old +woman says to him—</p> +<p>“If it is only that, it is nothing.”</p> +<p>And so she gives him a bird, and says to him—</p> +<p>“Instead of a stone, throw this bird.”</p> +<p>The madman was very glad at this. The next day he does as the old +woman told him. The Tartaro’s stone went enormously far, but at +last it fell; but the madman’s bird never came down at all.</p> +<p>The Tartaro was astonished that he had lost his wager, and they make +another—which of the two should throw a bar of iron the farthest. +The madman accepted again. He was in his little house sadly in prayer. +The old woman appears again. She asks him—</p> +<p>“What’s the matter with you?”</p> +<p>“I have made a wager again, which of the two will throw the +bar of iron the farthest, and I am very sorry.”</p> +<p>“If it is only that, it is nothing. When you take hold of the +bar of iron, say, ‘Rise up, bar of iron, here and +Salamanca.’” (<span lang="eu">Altchaala palenka, hemen eta +Salamanka.</span>)<a class="noteref" id="xd20e1115src" href= +"#xd20e1115" name="xd20e1115src">6</a></p> +<p>Next day the Tartaro takes his terrible bar of iron, and +<span class="pagenum">[<a id="pb8" href="#pb8" name= +"pb8">8</a>]</span>throws it fearfully far. The young man could hardly +lift up one end, and he says—</p> +<p>“Rise up, bar of iron, here and Salamanca.”</p> +<p>When the Tartaro heard that (he cried out)—</p> +<p>“I give up the wager—you have won,” and he takes +the bar of iron away from him. “My father and my mother live at +Salamanca; don’t throw, I beg of you, I implore you—you +will crush them.”</p> +<p>Our madman goes away very happy.</p> +<p>The Tartaro says to him again:</p> +<p>“I will pull up the biggest oak in the forest, and you pull up +another.”</p> +<p>He says, “Yes.” And the later it grew in the day, the +sadder he became. He was at his prayers. The old woman comes to him +again, and says to him—</p> +<p>“What’s the matter with you?”</p> +<p>He tells her the wager he has made with the Tartaro, and how he will +pull up an oak. The old woman gives him three balls of thread, and +tells him to begin and tie them to all the oaks in the forest.<a class= +"noteref" id="xd20e1141src" href="#xd20e1141" name= +"xd20e1141src">7</a></p> +<p>Next day the Tartaro pulls up his oak, an enormously, enormously big +one; and the madman begins to tie, and to tie, and to tie.</p> +<p>The Tartaro asks him:</p> +<p>“What are you doing that for?”</p> +<p>“You (pulled up) one, but I all these.”</p> +<p>The Tartaro replies,</p> +<p>“No! No! No! What shall I do to fatten my pigs with without +acorns? You have won; you have won the wager.”</p> +<p>The Tartaro did not know what to think about it, and saw that he had +found one cleverer than himself, and so he asks him if he will come and +spend the night at his house.</p> +<p>The madman says, “Yes.”</p> +<p>He goes to bed then with the Tartaro. But he knew that <span class= +"pagenum">[<a id="pb9" href="#pb9" name="pb9">9</a>]</span>there was a +dead man under the bed. When the Tartaro was asleep what does the +madman do? He places the dead man by the Tartaro’s side, and gets +under the bed himself. In the middle of the night the Tartaro gets up, +and takes his terrible bar of iron and showers blows upon blows, ping +pan, ping pan, as long and as hard as he could give them.</p> +<p>The Tartaro gets up as usual, and goes to see his pigs, and the +madman also comes out from under the bed; and he goes to see the pigs +too. The Tartaro is quite astounded to see him coming, and does not +know what to think of it. He says to himself that he has to do with a +cleverer than he; but he asks him if he has slept well.</p> +<p>He answers, “Yes, very well; only I felt a few +flea-bites.”</p> +<p>Their pigs had got mixed, and as they were fat, he had to separate +them in order to go away with his. The Tartaro asked the madman what +mark his pigs had.</p> +<p>The madman says to him, “Mine have some of them one mark, some +of them two marks.”</p> +<p>They set to work to look at them, and they all had these same +marks.</p> +<p>Our madman goes off then with all the hogs. He goes walking on, on, +on, with all his pigs. He comes to a town where it was just market day, +and sells them all except two, keeping, however, all the tails, which +he put in his pockets. As you may think, he was always in fear of the +Tartaro. He sees him coming down from the mountain. He kills one of his +hogs, and puts the entrails in his own bosom under his waistcoat. There +was a group of men near the road. As he passed them he took out his +knife, and stabs it into his chest, and takes out the pig’s +bowels, and our madman begins to run very much faster than before, with +his pig in front of him.</p> +<p>When the Tartaro comes up to these men, he asks if they have seen +such a man.</p> +<p>“Yes, yes, he was running fast, and in order to go faster just +here he stabbed himself, and threw away his bowels, and still he went +on all the faster.” <span class="pagenum">[<a id="pb10" href= +"#pb10" name="pb10">10</a>]</span></p> +<p>The Tartaro, too, in order to go faster, thrusts his knife into his +body, and falls stark dead.<a class="noteref" id="xd20e1188src" href= +"#xd20e1188" name="xd20e1188src">8</a></p> +<p>The madman goes to his master’s. Near the house there was a +marsh quite full of mud. He puts his live pig into it, and all the +tails too. He enters the house, and says to the master that he is there +with his pigs. The master is astounded to see him.</p> +<p>He asks him, “Where are the pigs, then?”</p> +<p>He says to him, “They have gone into the mud, they were so +tired.”</p> +<p>Both go out, and begin to get the real pig out, and between the two +they pull it out very well. They try to do the same thing with the +others; but they kept pulling out nothing but tails.</p> +<p>The madman says, “You see how fat they are; that is why the +tails come out alone.”</p> +<p>He sends the servant to fetch the spade and the hoe. Instead of +bringing them he begins to beat the mistress, whack! whack! and he +cries to the master, “One or both?”</p> +<p>The master says to him, “Both, both.”</p> +<p>And then he beats the servant maid almost to pieces. He goes then to +the master, taking with him the spade and the hoe, and he sets to +beating him with the spade and the hoe, until he can no longer defend +himself, and then he thrashes the skin off his back, and takes his pig +and goes off home to his father and mother; and as he lived well he +died well too.</p> +<p class="signed"><span class="sc">Pierre Bertrand</span><br> +learnt it from his Grandmother, who died a few years since, aged +82.</p> +</div> +<div class="div2" id="ch1.5"><span class="pagenum">[<a href= +"#toc">Contents</a>]</span> +<h3 class="main">Variations of Errua.</h3> +<p class="firstpar">We have several variations of this tale, some like +the above, very similar to Grimm’s “Valiant Little +Tailor,” others like Campbell’s “Highland +Tales.” In one tale there are two <span class="pagenum">[<a id= +"pb11" href="#pb11" name="pb11">11</a>]</span>brothers, an idiot and a +fool (Enuchenta eta Ergela). The idiot goes out to service first, and +gets sent back for his stupidity. Then the fool goes, and outwits both +his master and the Tartaro, whose eye he burns out with a red-hot spit, +as in the first instance. In another the servant frightens the Tartaro +at the outset by cracking two walnuts, and saying that they were bones +of Christians he was cracking. Another wager is as to which shall carry +most water from a fountain. The Tartaro fills two hogsheads to carry, +but the lad says to him, “Only that; I will take the whole +fountain;” and he begins to stir the water about with a stick. +But the Tartaro cries out, “No! No! No! I give up. Where shall I +go and drink if you carry away all my water?” Another variation +is as follows:—</p> +</div> +<div class="div2" id="ch1.6"><span class="pagenum">[<a href= +"#toc">Contents</a>]</span> +<h3 class="main">The Three Brothers, the Cruel Master, and the +Tartaro.</h3> +<p class="firstpar">Like many others in the world, there lived a mother +with her three sons. They were not rich, but lived by their work. The +eldest son said one day to his mother—</p> +<p>“It would be better for us if I should go out to +service.”</p> +<p>The mother did not like it, but at last she let him go. He goes off, +far, far, far away, and comes to a house, and asks if they want a +servant. They say “Yes,” and they make their agreement.</p> +<p>The master was to give a very high salary—100,000 +francs—but the servant was to do everything that the master +ordered him, and, if he did not do it, the master was to tear the skin +off his back at the end of the year, and to dismiss him without +pay.<a class="noteref" id="xd20e1232src" href="#xd20e1232" name= +"xd20e1232src">9</a></p> +<p>The servant said to him,</p> +<p>“All right; I am strong, and I will work.”</p> +<p>On the morrow the master gives him a great deal of <span class= +"pagenum">[<a id="pb12" href="#pb12" name="pb12">12</a>]</span>work, +but he does it easily. The last months of the year the master presses +him much more, and one day he sends him into a field to sow fourteen +bushels of wheat in the day. The lad goes sadly, taking with him a pair +of oxen. He returns to the house very late in the evening. The master +says to him,</p> +<p>“Have you done your work?”</p> +<p>He says, “No.”</p> +<p>“Do you remember the agreement we made? I must tear the skin +off your back: that is your salary.”</p> +<p>He tears the skin off, as he had said, and sends him away home +without anything. His mother was in great grief at seeing him come home +so thin and weak, and without any money.</p> +<p>He tells what has happened, and the second brother wishes to start +off at once, saying that he is strong, and that he will do more work. +The mother did not like it, but she was obliged to let him go.</p> +<p>He goes to the same house as his brother, and makes the same terms +with the master. When he had almost finished his year, his master sends +him too to sow fourteen bushels of wheat. He starts very early in the +morning, with two pair of oxen; but the night came before he had sown +it all. The master was very glad at the sight of that. He strips his +skin off his back also, and sends him away without any money. Think of +the vexation of this mother in seeing both her sons return in this +fashion.</p> +<p>The third wishes to start off at once. He assures his mother that he +will bring back both the money and the skin of his back. He goes to +this same gentleman. He tells this one, too, that he will give him a +high salary, on condition that he will do all that he shall tell him to +do, otherwise he shall have the skin torn off his back, and be sent +away without anything, at the end of the year.</p> +<p>He had made him work hard and well for ten months, and then wished +to try him. He sent him to the field, and told him to sow fourteen +bushels of wheat before night. He answers, “Yes.” +<span class="pagenum">[<a id="pb13" href="#pb13" name= +"pb13">13</a>]</span></p> +<p>He takes two pairs of oxen, and goes off to the field. He ploughs a +furrow all round the field, and throws his fourteen bushels of wheat +into it. He then makes another furrow, to cover it up, and at night +time he goes home to the house. The master is astonished. He asks him +if he has sown it.</p> +<p>“Yes, it is all under ground; you may be sure of +it.”</p> +<p>The master was not pleased; he had his fears.</p> +<p>The next day he sends him with sixteen head of cattle to such a +field, and says to him,</p> +<p>“You must take all these cattle into the field without +unlocking the gate or making a gap.”</p> +<p>Our lad takes a hatchet, a hoe, and a fork. Off he goes, and when he +gets to the field he kills them all, one by one. He cuts them up with +the hatchet, and throws them with the fork into the field.</p> +<p>He comes home at nightfall, and says to his master that all the +cattle are in the field as he had told him. The master was not pleased, +but he said nothing.</p> +<p>The next day he told him to go to such a forest and to bring a load +of wood from there, but all the sticks quite, quite straight. Our lad +goes off and cuts down in the chestnut copse all the young chestnut +trees which his master had planted, and which were very fine ones; and +he comes home. When the master saw that, he was not pleased, and said +to him,</p> +<p>“To-morrow you shall go again with the oxen; and you must +bring a load of wood quite crooked, all quite crooked; if you bring +only one straight, so much the worse for you.”</p> +<p>The lad goes off, and pulls up a fine vineyard. After he had loaded +his cart, he comes home. When the master saw that, he could not say +anything; but he did not know what to think of it.</p> +<p>He sends him into a forest. There was a Tartaro there; and all the +persons, and all the animals who went there, he ate them all. The +master gives him ten pigs, and also food for ten days, telling him that +the hogs would fatten themselves <span class="pagenum">[<a id="pb14" +href="#pb14" name="pb14">14</a>]</span>well there, because there were +plenty of acorns, and that he must return at the end of ten days.</p> +<p>Our lad begins, and he goes on, and on, and on. He meets an old +woman, who says to him:</p> +<p>“Where are you going to, lad?”</p> +<p>“To such a forest, to fatten these pigs.”</p> +<p>The woman says to him:</p> +<p>“If you are not a fool, you will not go there. That horrible +Tartaro will eat you.”</p> +<p>This woman was carrying a basket of walnuts on her head, and he said +to her:</p> +<p>“If you will give me two of these walnuts I will beat the +Tartaro.”</p> +<p>She willingly gives them to him, and he goes on, and on, and on. He +meets another old woman, who was winding thread. She says to him:</p> +<p>“Where are you going, lad?”</p> +<p>“To such a forest.”</p> +<p>“Don’t go there. There is a horrible Tartaro there, who +will be sure to eat you, and your pigs as well.”</p> +<p>“I must go there all the same, and I will conquer him, if you +will give me two of your balls of thread.”</p> +<p>She gives him them, willingly; and he goes on farther, and finds a +blacksmith, and he, too, asks him where he is going? And he answers, +“To such a forest, to fatten my pigs.”</p> +<p>“You may just as well go back again. There is a terrible +Tartaro there, who will be sure to eat you.”</p> +<p>“If you will give me a spit, I will beat him.”</p> +<p>“I will give it you, willingly,” and he gives it him +with goodwill.</p> +<p>Our lad goes on, and comes to this forest. He cuts off the tails of +all his pigs, and hides them in a safe place. The Tartaro appears, and +says to him:</p> +<p>“How did you come here? I am going to eat you.”</p> +<p>The lad says to him:</p> +<p>“Eat a pig if you like, but don’t touch me.” +<span class="pagenum">[<a id="pb15" href="#pb15" name= +"pb15">15</a>]</span></p> +<p>He takes his two nuts, and rubs them one against the other.</p> +<p>“I have two balls here, and if one of them touches you, you +are dead.”</p> +<p>The Tartaro is frightened, and goes away in silence. After having +eaten a pig, he comes back again, and says to him:</p> +<p>“We must make a wager—which of the two will make the +greatest heap of wood?”</p> +<p>The Tartaro begins to cut and to cut. Our lad leaves him alone, and +when he has made a terrible big heap, he begins to go round all the +trees with his balls of thread, and says to him.</p> +<p>“You, that; but I, all this;” and he goes on tying and +tying. The Tartaro gives in, saying “that he is more clever than +he.” As he had stopped his ten days, he makes in the night a +great fire, and makes his spit red-hot in it; and while the Tartaro was +sleeping, he plunges this spit into his only eye. After having taken +his pigs’ tails, he goes away from the forest without any pigs, +because the Tartaro had eaten one every day. Near his master’s +house there was “a well of the fairy.”<a class="noteref" +id="xd20e1344src" href="#xd20e1344" name="xd20e1344src">10</a> Our lad +sticks in there the tails of all his hogs, excepting one, as well as he +could. He then goes running to his master, telling him that all the +pigs were coming home very gaily, and that they had got so hot in +coming so fast that they had all gone under the mud. “I wished to +drag one out by pulling, but only the tail came away; here it +is.”</p> +<p>He goes off then with the master to this marsh; but the master did +not dare go in there to pull them out. He goes off sadly with his +servant home, not knowing what to think about it. There he counts him +out his 100,000 francs, and he went home proudly to his mother and his +brothers. There they lived happily, and their master was left with +100,000 francs less. That served him right for having so much. +<span class="pagenum">[<a id="pb16" href="#pb16" name= +"pb16">16</a>]</span></p> +</div> +<div class="div2" id="ch1.7"><span class="pagenum">[<a href= +"#toc">Contents</a>]</span> +<h3 class="main">The Tartaro and Petit Perroquet.</h3> +<p class="firstpar">Like many others in the world, there was a mother +and her son. They were very wretched. One day the son said to his +mother that he must go away, to see if he could do anything. He goes +far, far, far away. He traverses many countries, and still goes on and +on. He arrives in a great city, and asks if they know of a place for a +servant. They tell him that there is one in the king’s house. +There they tell him that he is to be gardener. But he tells them that +he does not know how to use a hoe at all, but that, all the same, he +would learn it with the others. He was very nice-looking. He soon +learnt it, and was liked by everybody.</p> +<p>This king had a daughter, and she often noticed Petit Perroquet, +because he was polite to everybody. In this city there was a prince, +and he was paying court to this young princess, and he was seized with +dislike and jealousy of Petit Perroquet. One day this prince<a class= +"noteref" id="xd20e1362src" href="#xd20e1362" name= +"xd20e1362src">11</a> went to find the king. He said to him,</p> +<p>“You do not know what Petit Perroquet says?—that he +could bring the Tartaro’s horse here.”</p> +<p>The king sends for Petit Perroquet, and says to him,</p> +<p>“It seems that you have said that you could bring the +Tartaro’s horse here?”</p> +<p>“I certainly did not say it.”</p> +<p>“Yes, yes,” said the king, “you said +it.”</p> +<p>“If you will give me all that I ask for, I will +try.”</p> +<p>He asks for a great deal of money, and sets off. He travels on, and +on, and on, and he had to pass a wide river. He speaks to the ferryman, +and pays the passage money, and tells him that perhaps he will have a +heavy load on his return, but that he will be well paid. <span class= +"pagenum">[<a id="pb17" href="#pb17" name="pb17">17</a>]</span></p> +<p>He lands on the other side; but he had yet a long way to go in the +forest, because the Tartaro lived in a corner of the mountain. At last +he arrives, and knocks at the door. An old, old woman comes to him, and +says to him,</p> +<p>“Be off from here as quickly as possible; my son smells the +smell of a Christian a league off.”</p> +<p>“To eat me here, or to eat me elsewhere, it is all the same to +me.”</p> +<p>But he goes outside, and hides himself under a great heap of cut +ferns. He had scarcely been there a moment, when he hears a deep +breathing and a grinding of teeth, which sounded like thunder. He stops +where he is, trembling. The Tartaro goes to his house, and asks his +mother if there is not some Christian or other hidden here.</p> +<p>“No, no,” says she. “But eat away, your dinner is +all ready.”</p> +<p>“No, no! I must eat this Christian first.”</p> +<p>He goes hunting, looking, looking into every corner. He goes to the +heap of ferns, and pulls off some to put them on one side; but our +Petit Perroquet was quite, quite at the bottom. The Tartaro was just on +the point of finding him, but he grew tired, and went indoors, and +began to eat and to drink enormously. Our Petit Perroquet creeps out of +his ferns, and goes off to the stable. The horse had a big bell round +his neck, but he fills it with ferns (this bell was as large as the big +bell in the church of St. Jean de Luz). He mounts on the horse’s +back, and very soon he arrives at the ferry, and the ferryman comes to +meet him. Together they get the horse into the ferry-boat as well as +they could, and they cross over. He gave him a handsome reward. As soon +as he was on the other side, the Tartaro appeared, crying out to him to +give him his horse back again, and that he would give him all he could +wish for. He replies, “No,” and goes off full gallop. When +he came near the king’s palace he took the fern out of the bell, +and everybody comes running out of doors or to the windows. All the +world was astonished to see Petit Perroquet return.</p> +<p>The king was in ecstasy. He did not know what to say, <span class= +"pagenum">[<a id="pb18" href="#pb18" name="pb18">18</a>]</span>but he +liked him even more than he did formerly, and the princess did also. +The other prince was not at all pleased, and he begins to think of some +other plot. He goes off to find the king, and he says to him,</p> +<p>“Do you not know that Petit Perroquet says that he could bring +the Tartaro’s diamond?”</p> +<p>The king sends for Petit Perroquet, and says to him,</p> +<p>“It seems that you say you can get the Tartaro’s +diamond?”</p> +<p>“I certainly did not say any such thing.”</p> +<p>“Yes, yes—you said it.”</p> +<p>“No, no! I did not say it; but I will try, if you give me all +I shall ask for.”</p> +<p>And he asks for a great deal of money.</p> +<p>He goes off, and reaches the ferry, and pays the ferryman well, and +goes far, far, far away into the forest, till he gets to the house of +the Tartaro. The old woman tells him to be off from there; and he goes +and hides himself again in the ferns. And he stops there until the +Tartaro comes to the house, just as he did the first time. He turns +over nearly all the ferns, and leaves him scarcely covered. He stops +quietly there all the time that the Tartaro was having his huge supper, +and when he thinks he has finished, and is taking his nap, he creeps +out very, very gently. The Tartaro always put his diamond under his +pillow, and he takes it away without waking him, and escapes, running +off as fast as if to break his feet. The ferryman is there, and he +crosses him over, and he pays him well. The Tartaro appears on the +other side again, and calls out to him telling him to give him back his +diamond, and that he would give him all that he could wish for. He +answers, “No, no!” and runs on to the king’s +house.</p> +<p>When he arrived there, the king did not know what to do. One feasted +him, and another feasted him, and all the world was busied about him, +and everyone loved him more and more, and the princess as well as the +rest. The wicked prince did not know what to think of it. He was eaten +up with jealousy, and he thought of something else, and said to the +king: <span class="pagenum">[<a id="pb19" href="#pb19" name= +"pb19">19</a>]</span></p> +<p>“Petit Perroquet says that he can bring the Tartaro +himself.”</p> +<p>The king sends for Petit Perroquet, and says to him:</p> +<p>“It appears that you have said that you will bring the Tartaro +himself here.”</p> +<p>“No, no, no, I did not say anything at all like that; but if +you will give me all I ask for, I will try. You must have a carriage +made of iron, half-a-yard thick, and three horses to draw it, and lots +of money. When all that is ready, I will set out.”</p> +<p>He asks, also, for a barrel of honey, another of feathers, and two +horns, and starts off.</p> +<p>When he comes to the ferry, it was no easy thing to get this +carriage into the boat. When he has got to the other side, he first +puts himself into the barrel of honey, and then into the barrel of +feathers, and ties the horns on to his head, and then mounts as +postilion. He then comes to the Tartaro’s house, and just then he +happened to be at home. Petit Perroquet knocks at the door. The Tartaro +himself comes to open, and asks:</p> +<p>“Who are you? You!”</p> +<p>“I!!—I am the oldest of all the devils in +hell.”</p> +<p>He opens the carriage door for him, and says:</p> +<p>“Get in there.”</p> +<p>The Tartaro gets in, and Petit Perroquet, very glad, starts off, and +arrives at the ferry. He crosses, as he best can, with his carriage and +horses. He pays the ferryman generously, and comes to the king’s +palace. They were all terrified when they saw that he had the Tartaro +there. They tried to shoot him with cannon, but he caught the bullets, +and sent them back as if they had been balls to play with. They could +not kill him in that way, so they finished him with other arms.</p> +<p>As Petit Perroquet had well gained her, they gave him the princess +in marriage. He sent for his mother to the court, and as they lived +well, so they died happily.</p> +<p class="signed"><span class="sc">Pierre Bertrand.</span> <span class= +"pagenum">[<a id="pb20" href="#pb20" name="pb20">20</a>]</span></p> +</div> +<div class="footnotes"> +<hr class="fnsep"> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e944" href="#xd20e944src" name="xd20e944">1</a></span> There seems +to be a Basque root “Tar,” which appears in the words, +“Tarro, Tarrotu, <i>v.</i>, <span lang="fr">devenir un peu +grand</span>. Tarrapataka, <i>adv.</i>, marchant avec +précipitation et en faisant du +bruit.”—Salaberry’s “<span lang= +"fr">Vocabulaire Bas-Navarrais</span>,” sub voce. <i>Cf.</i> +Campbell’s “Tales of the Western Highlands,” Vol. +II., 94:—“He heard a great <i>Tartar</i> noise,” +Tartar being printed as if it were a Gaelic word.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e979" href="#xd20e979src" name="xd20e979">2</a></span> <i>Cf.</i> +also Müller’s “<span lang="la">Fragmenta Historicorum +Græcorum</span>” (Didot, Paris, 1841), Vol. I., p. 246. +“Ephori Fragmenta,” 51, with the references there +given.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e1000" href="#xd20e1000src" name="xd20e1000">3</a></span> +<i>Cf.</i> also the Gaelic, “The Story and the Lay of the Great +Fool,” Campbell, Vol. III., pp. 146–154.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e1017" href="#xd20e1017src" name="xd20e1017">4</a></span> This +talking giant’s ring appears in Campbell’s “Popular +Tales of the West Highlands,” Vol. I., p. 111, in the tale called +“<span lang="gd">Conall cra Bhuidhe</span>.” He also refers +(p. 153) to Grimm’s tale of the “Robber and his +Sons,” where the same ring appears:—“He puts on the +gold ring which the giant gave him, which forces him to cry out, +‘Here I am!’ He bites off his own finger, and so +escapes.”</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e1071" href="#xd20e1071src" name="xd20e1071">5</a></span> +<i>Cf.</i> Campbell’s “Mac-a-Rusgaich,” Vol. II., +305:—“I am putting it into the covenant that if either one +of us takes the rue, that a thong shall be taken out of his skin, from +the back of his head to his heel.”</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e1115" href="#xd20e1115src" name="xd20e1115">6</a></span> +Salamanca was the reputed home of witchcraft and devilry in De +Lancre’s time (1610). He is constantly punning on the word. It is +because “Sel y manque,” etc. See also the story of Gerbert, +Pope Sylvester II., in the 10th century.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e1141" href="#xd20e1141src" name="xd20e1141">7</a></span> This +incident is found in Cenac-Moncaut’s Gascon tale, <span lang= +"fr">“Le Coffret de la Princesse.” “Litterature +Populaire de la Gascogne,”</span> p. 193 (Dentu, Paris, +1868).</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e1188" href="#xd20e1188src" name="xd20e1188">8</a></span> For this +incident compare the death of the giant in one of the versions of +“Jack the Giant-Killer;” and especially “the Erse +version of Jack the Giant-Killer.” Campbell, Vol. II., p. +327.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e1232" href="#xd20e1232src" name="xd20e1232">9</a></span> This +agreement is found also in the Norse and in Brittany. See +“<span lang="fr">Contes Populaires de la Grande +Bretagne</span>,” by Loys Brueyre, pp. 25, 26. This is an +excellent work. The incident of Shylock, in the “Merchant of +Venice,” will occur to every one.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e1344" href="#xd20e1344src" name="xd20e1344">10</a></span> +Literally, “Marsh of the Basa-Andre.” The +“<span lang="fr">Puits des Fées</span>” are common +in France, especially in the Landes and in the Gironde.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e1362" href="#xd20e1362src" name="xd20e1362">11</a></span> Only in +this, and one other tale, is the word “prince” used instead +of “king’s son.” Compare the Gaelic of Campbell in +this respect. This tale is probably from the French, and the Tartaro is +only a giant.</p> +</div> +</div> +<div id="ch2" class="div1"><span class="pagenum">[<a href= +"#toc">Contents</a>]</span> +<div class="figure"><img src="images/head2.png" alt= +"II—The Heren-Suge.—The Seven-Headed Serpent." width="720" +height="153"></div> +<h2 class="main">II—The Heren-Suge.—The Seven-Headed +Serpent.</h2> +<p class="firstpar">It would only be spoiling good work by bad to +attempt to re-write the exhaustive essay which appears, under the +heading of “St. George,” in Baring Gould’s +“Curious Myths of the Middle Ages.” He there traces the +atmospheric myth in which the Dragon is the storm-cloud, the Maiden the +earth, and the Hero the sun, through all the forms of the great Aryan +legend, in Indian, Egyptian, Phœnician, Italic, Keltic, Teutonic, +and Scandinavian mythology. He shows that it was merely by a mistaken +metaphor<a class="noteref" id="xd20e1455src" href="#xd20e1455" name= +"xd20e1455src">1</a> that St. George came to assume the place, and wear +the glories of the solar hero; and that England only followed in the +wake of other countries, in making him her national Saint and +Patron.</p> +<p>We will, therefore, now only glance at some of the Basque and +Pyrenean forms of this wide-spread myth. M. Cerquand boldly places one +form of the story, which is attached to the house of Belzunce, among +historical legends. But the history of Belzunce and the Dragon stands +in the same relation <span class="pagenum">[<a id="pb21" href="#pb21" +name="pb21">21</a>]</span>to the original myth as does that of Guy, +Earl of Warwick, Moor of Moor Hall, and of scores of other heroes. In a +Basque version, collected by ourselves, the concluding words show that +in this form it is simply an Eponymous legend, to account for the name, +“and that is whence comes the name of Belzunce.” The oldest +Pyrenean version with which we are acquainted is that of the +“Serpent d’Isabit.” We give the outlines of it from +memory, as we heard, and read it, at Bagnères de Bigorre.</p> +<p>The serpent lay with his head resting on the summit of the Pic du +Midi de Bigorre, his neck stretched down towards Barèges, while +his body filled the whole valley of Luz, St. Sauveur, and +Gédres, and his tail was coiled in the hollow below the cirque +of Gavarnie. He fed but once in three months, or the whole country +would have been desolate. With a strong inspiration of his breath, he +drew into his capacious maw, across the valleys, whole flocks of sheep +and goats, herds of oxen, men, women, children, the population of whole +villages at once. He was now asleep, and inert, after such a repast. +The whole male population of several valleys assembled to consult on +what should be done. After long and fruitless debate an old man arose +and spoke:—“We have nearly three months yet before he will +wake; let us cut down all the forests on the opposite hills; then let +us bring all our forges and all the iron we possess, and with the wood +thus cut down let us melt it all into one red-hot fiery mass; then we +will hide ourselves behind the rocks, and make all the noise we can to +try and awaken the monster.” So said, so done. The serpent awoke +in a rage at having his slumbers broken, he saw something bright on the +opposite side of the valley, and drew in a long breath, and the fiery +mass, with a roar like a thunderbolt, flew across the valley, right +down the monster’s throat. Then, what convulsions ensued; rocks +were uptorn or split open, the mountains were shattered, the glaciers +beaten into dust as the serpent twisted and lashed about in his agony. +To quench his agony of thirst <span class="pagenum">[<a id="pb22" href= +"#pb22" name="pb22">22</a>]</span>he descended to the valley, and drank +up all the streams from Gavarnie to Pierrefitte. Then, in his last +convulsion, he threw himself back upon the mountain side and expired; +his head rested in a deep hollow; as the fire within him slowly cooled, +the water he had swallowed poured out of his mouth, and formed the +present Lac d’Isabit. In M. Cerquand’s legend of the Dragon +d’Alçay, the red-hot iron is replaced by “a +cow’s skin full of gunpowder.” In all the Basque legends of +this class the hero dies.</p> +<p>But these legends differ widely from the following tales; there is +in them no princess to be rescued, no charcoal-burner, no marriage, or +any other wonders. Were it not for their still closer resemblance to +the Gaelic tales, we should suspect the following legends to be simply +translations of some French legend of St. George. As we remarked +before, like the Deccan cobras, the Heren-Suge is always seven-headed. +It is strange, too, to notice that the princess always behaves in the +same chivalrous way. “One is enough to die.” The union, +too, of Tartaro and Heren-Suge in the same tale is curious.</p> +<div class="div2" id="ch2.1"><span class="pagenum">[<a href= +"#toc">Contents</a>]</span> +<h3 class="main">The Grateful Tartaro and the Heren-Suge.</h3> +<p class="firstpar">Like many of us who are, have been, and shall be in +the world, there was a king, and his wife, and three sons. The king +went out hunting one day, and caught a Tartaro. He brings him home, and +shuts him up in prison in a stable, and proclaims, by sound of trumpet, +that all his court should meet the next day at his house, that he would +give them a grand dinner, and afterwards would show them an animal such +as they had never seen before.</p> +<p>The next day the two sons of the king were playing at ball against +(the wall of) the stable where the Tartaro was confined, and the ball +went into the stable. One of the boys goes and asks the +Tartaro—</p> +<p>“Throw me back my ball, I beg you.” <span class= +"pagenum">[<a id="pb23" href="#pb23" name="pb23">23</a>]</span></p> +<p>He says to him, “Yes, if you will deliver me.”</p> +<p>He replies, “Yes, yes,” and he threw him the ball.</p> +<p>A moment after, the ball goes again to the Tartaro. He asks for it +again; and the Tartaro says:</p> +<p>“If you will deliver me, I will give it you.”</p> +<p>The boy says, “Yes, yes,” takes his ball, and goes +off.</p> +<p>The ball goes there for the third time, but the Tartaro will not +give it before he is let out. The boy says that he has not the key. The +Tartaro says to him:</p> +<p>“Go to your mother, and tell her to look in your right ear, +because something hurts you there. Your mother will have the key in her +left pocket, and take it out.”</p> +<p>The boy goes, and does as the Tartaro had told him. He takes the key +from his mother, and delivers the Tartaro. When he was letting him go, +he said to him:</p> +<p>“What shall I do with the key now? I am undone.”</p> +<p>The Tartaro says to him:</p> +<p>“Go again to your mother, and tell her that your left ear +hurts you, and ask her to look, and you will slip the key into her +pocket.”</p> +<p>The Tartaro tells him, too, that he will soon have need of him, and +that he will only have to call him, and he will be his servant for +ever.</p> +<p>He puts the key back; and everyone came to the dinner. When they had +eaten well, the king said to them that they must go and see this +curious thing. He takes them all with him. When they are come to the +stable, he finds it empty. Judge of the anger of this king, and of his +shame. He said:</p> +<p>“I should like to eat the heart, half cooked, and without +salt, of him who has let my beast go.”</p> +<p>Some time afterwards the two brothers quarreled in presence of their +mother, and one said to the other:</p> +<p>“I will tell our father about the affair of the +Tartaro.”</p> +<p>When the mother heard that, she was afraid for her son, and said to +him:</p> +<p>“Take as much money as you wish.” <span class= +"pagenum">[<a id="pb24" href="#pb24" name="pb24">24</a>]</span></p> +<p>And she gave him the Fleur-de-lis.<a class="noteref" id= +"xd20e1522src" href="#xd20e1522" name="xd20e1522src">2</a> “By +this you will be known everywhere as the son of a king.”</p> +<p>Petit Yorge<a class="noteref" id="xd20e1530src" href="#xd20e1530" +name="xd20e1530src">3</a> goes off, then, far, far, far away. He spends +and squanders all his money, and does not know what to do more. He +remembers the Tartaro, and calls him directly. He comes, and Petit +Yorge tells him all his misfortunes; that he has not a penny left, and +that he does not know what will become of him. The Tartaro says to +him:</p> +<p>“When you have gone a short way from here you will come to a +city. A king lives there. You will go to his house, and they will take +you as gardener. You will pull up everything that there is in the +garden, and the next day everything will come up more beautiful than +before. Also, three beautiful flowers will spring up, and you will +carry them to the three daughters of the king, and you will give the +most beautiful to the youngest daughter.”<a class="noteref" id= +"xd20e1535src" href="#xd20e1535" name="xd20e1535src">4</a></p> +<p>He goes off, then, as he had told him, and he asks them if they want +a gardener. They say, “Yes, indeed, very much.” He goes to +the garden, and pulls up the fine cabbages, and the beautiful leeks as +well. The youngest of the king’s daughters sees him, and she +tells it to her father, and her father says to her:</p> +<p>“Let him alone, we will see what he will do afterwards.” +And, indeed, the next day he sees cabbages and leeks such as he had +never seen before. Petit Yorge takes a flower to each of the young +ladies. The eldest said:</p> +<p>“I have a flower that the gardener has brought me, which has +not its equal in the world.”</p> +<p>And the second says that she has one, too, and that no one has ever +seen one so beautiful. And the youngest said that hers was still more +beautiful than theirs, and the others <span class="pagenum">[<a id= +"pb25" href="#pb25" name="pb25">25</a>]</span>confess it, too. The +youngest of the young ladies found the gardener very much to her taste. +Every day she used to bring him his dinner. After a certain time she +said to him,</p> +<p>“You must marry me.”</p> +<p>The lad says to her,</p> +<p>“That is impossible. The king would not like such a +marriage.”</p> +<p>The young girl says, too,</p> +<p>“Well, indeed, it is hardly worth while. In eight days I shall +be eaten by the serpent.”</p> +<p>For eight days she brought him his dinner again. In the evening she +tells him that it is for the last time that she brought it. The young +man tells her, “No,” that she will bring it again; that +somebody will help her.</p> +<p>The next day Petit Yorge goes off at eight o’clock to call the +Tartaro. He tells him what has happened. The Tartaro gives him a fine +horse, a handsome dress, and a sword, and tells him to go to such a +spot, and to open the carriage door with his sword, and that he will +cut off two of the serpent’s heads. Petit Yorge goes off to the +said spot. He finds the young lady in the carriage. He bids her open +the door. The young lady says that she cannot open it—that there +are seven doors, and that he had better go away; that it is enough for +one person to be eaten.</p> +<p>Petit Yorge opens the doors with his sword, and sat down by the +young lady’s side. He tells her that he has hurt his ear, and +asks her to look at it;<a class="noteref" id="xd20e1567src" href= +"#xd20e1567" name="xd20e1567src">5</a> and at the same time he cuts off +seven pieces of the seven robes which she wore, without the young lady +seeing him. At the same instant comes the serpent, and says to him,</p> +<p>“Instead of one, I shall have three to eat.”</p> +<p>Petit Yorge leaps on his horse, and says to him, <span class= +"pagenum">[<a id="pb26" href="#pb26" name="pb26">26</a>]</span></p> +<p>“You will not touch one; you shall not have one of +us.”</p> +<p>And they begin to fight. With his sword he cuts off one head, and +the horse with his feet another;<a class="noteref" id="xd20e1579src" +href="#xd20e1579" name="xd20e1579src">6</a> and the serpent asks +quarter till the next day. Petit Yorge leaves the young lady there. The +young lady is full of joy; she wishes to take the young man home with +her. He will not go by any means (he says); that he cannot; that he has +made a vow to go to Rome; but he tells her that “to-morrow my +brother will come, and he will be able to do something, too.” The +young lady goes home, and Petit Yorge to his garden. At noon she comes +to him with the dinner, and Petit Yorge says to her,</p> +<p>“You see that it has really happened as I told you—he +has not eaten you.”</p> +<p>“No, but to-morrow he will eat me. How can it be +otherwise?”</p> +<p>“No, no! To-morrow you will bring me my dinner again. Some +help will come to you.”</p> +<p>The next day Petit Yorge goes off at eight o’clock to the +Tartaro, who gives him a new horse, a different dress, and a fine +sword. At ten o’clock he arrives where the young lady is. He bids +her open the door. But she says to him that she cannot in any way open +fourteen doors; she is there, and that she cannot open them, and he +should go away; that it is enough for one to be eaten; that she is +grieved to see him there. As soon as he has touched them with his +sword, the fourteen doors fly open. He sits down by the side of the +young lady, and tells her to look behind his ear, for it hurts him. At +the same time he cuts off fourteen bits of the fourteen dresses she was +wearing. As <span class="pagenum">[<a id="pb27" href="#pb27" name= +"pb27">27</a>]</span>soon as he had done that, the serpent comes, +saying joyfully,</p> +<p>“I shall eat not one, but three.”</p> +<p>Petit Yorge says to him, “Not even one of us.”</p> +<p>He leaps on his horse, and begins to fight with the serpent. The +serpent makes some terrible bounds. After having fought a long time, at +last Petit Yorge is the conqueror. He cuts off one head, and the horse +another with his foot. The serpent begs quarter till the next day. +Petit Yorge grants it, and the serpent goes away.</p> +<p>The young lady wishes to take the young man home, to show him to her +father; but he will not go by any means. He tells her that he must go +to Rome, and set off that very day; that he has made a vow, but that +to-morrow he will send his cousin, who is very bold, and is afraid of +nothing.</p> +<p>The young lady goes to her father’s, Petit Yorge to his +garden. Her father is delighted, and cannot comprehend it at all. The +young lady goes again with the dinner. The gardener says to her,</p> +<p>“You see you have come again to-day, as I told you. To-morrow +you will come again, just the same.”</p> +<p>“I should be very glad of it.”</p> +<p>On the morrow Petit Yorge went off at eight o’clock to the +Tartaro. He said to him that the serpent had still three heads to be +cut off, and that he had still need of all his help. The Tartaro said +to him,</p> +<p>“Keep quiet, keep quiet; you will conquer him.”</p> +<p>He gives him a new dress, finer than the others, a more spirited +horse, a terrible dog,<a class="noteref" id="xd20e1616src" href= +"#xd20e1616" name="xd20e1616src">7</a> a sword, and a bottle of good +scented water.<a class="noteref" id="xd20e1619src" href="#xd20e1619" +name="xd20e1619src">8</a> He said to him,</p> +<p>“The serpent will say to you, ‘Ah! if I had a spark +between my head and my tail, how I would burn you and your lady, and +your horse and your dog.’ And you, you will say to him then, +‘I, if I had the good-scented water to <span class= +"pagenum">[<a id="pb28" href="#pb28" name="pb28">28</a>]</span>smell, I +would cut off a head from thee, the horse another, and the dog +another.’ You will give this bottle to the young lady, who will +place it in her bosom, and, at the very moment you shall say that, she +must throw some in your face, and on the horse and on the dog as +well.”</p> +<p>He goes off then without fear, because the Tartaro had given him +this assurance. He comes then to the carriage. The young lady says to +him,</p> +<p>“Where are you going? The serpent will be here directly. It is +enough if he eats me.”</p> +<p>He says to her, “Open the door.”</p> +<p>She tells him that it is impossible; that there are twenty-one +doors. This young man touches them with his sword, and they open of +themselves. This young man says to her, giving her the bottle,</p> +<p>“When the serpent shall say, ‘If I had a spark between +my head and my tail, I would burn you,’ I shall say to him, +‘If I had a drop of the good-scented water under my nose;’ +you will take the bottle, and throw some over me in a +moment.”</p> +<p>He then makes her look into his ear, and, while she is looking, he +cuts off twenty-one pieces from her twenty-one dresses that she was +wearing. At the same moment comes the serpent, saying, with joy,</p> +<p>“Instead of one, I shall have four to eat.”</p> +<p>The young man said to him,</p> +<p>“And you shall not touch one of us, at any rate.”</p> +<p>He leaps on his spirited horse, and they fight more fiercely than +ever. The horse leaped as high as a house, and the serpent, in a rage, +says to him,</p> +<p>“If I had a spark of fire between my tail and my head, I would +burn you and your lady, and this horse and this terrible +dog.”</p> +<p>The young man says,</p> +<p>“I, if I had the good-scented water under my nose, I would cut +off one of your heads, and the horse another, and the dog +another.” <span class="pagenum">[<a id="pb29" href="#pb29" name= +"pb29">29</a>]</span></p> +<p>As he said that, the young lady jumps up, opens the bottle, and very +cleverly throws the water just where it was wanted. The young man cuts +off a head with his sword, his horse another, and the dog another; and +thus they make an end of the serpent. This young man takes the seven +tongues with him, and throws away the heads. Judge of the joy of this +young lady. She wanted to go straight to her father with her preserver +(she says), that her father must thank him too; that he owes his +daughter to him. But the young man says to her that it is altogether +impossible for him; that he must go and meet his cousin at Rome; that +they have made a vow, and that, on their return, all three will come to +her father’s house.</p> +<p>The young lady is vexed, but she goes off without losing time to +tell her father what has happened. The father is very glad that the +serpent was utterly destroyed; and he proclaims in all the country that +he who has killed the serpent should come forward with the proofs of +it.</p> +<p>The young lady goes again with the dinner to the gardener. He says +to her,</p> +<p>“I told you true, then, that you would not be eaten? Something +has, then, killed the serpent?”</p> +<p>She relates to him what had taken place.</p> +<p>But, lo! some days afterwards there appeared a black +charcoal-burner, who said that he had killed the serpent, and was come +to claim the reward. When the young lady saw the charcoal-burner, she +said immediately, that most certainly it was not he; that it was a fine +gentleman, on horseback, and not a pest of a man like him. The +charcoal-burner shows the heads of the serpent; and the king says that, +in truth, this must be the man. The king had only one word to say, she +<i>must</i> marry him. The young lady says, she will not at all; and +the father began to compel her, (saying) that no other man came +forward. But, as the daughter would not consent, to make a delay, the +king proclaims in all the country, that he who killed the serpent would +be capable of doing something else, too, and that, on <span class= +"pagenum">[<a id="pb30" href="#pb30" name="pb30">30</a>]</span>such a +day, all the young men should assemble, that he would hang a diamond +ring from a bell, and that whosoever riding under it should pierce the +ring with his sword, should certainly have his daughter.<a class= +"noteref" id="xd20e1675src" href="#xd20e1675" name= +"xd20e1675src">9</a></p> +<p>From all sides arrive the young men. Our Petit Yorge goes off to the +Tartaro, and tells him what has happened, and that he has again need of +him. The Tartaro gives him a handsome horse, a superb dress, and a +splendid sword. Equipped thus, Petit Yorge goes with the others. He +gets ready. The young lady recognizes him immediately, and says so to +her father. He has the good luck to carry off the ring on his sword; +but he does not stop at all, but goes off galloping as hard as his +horse can go. The king and his daughter were in a balcony, looking on +at all these gentlemen. They saw that he still went on. The young lady +says to her father:</p> +<p>“Papa, call him!”</p> +<p>The father says to her, in an angry tone,</p> +<p>“He is going off, because apparently he has no desire to have +you.” And he hurls his lance at him. It strikes him on the leg. +He still rides on. You can well imagine what chagrin for the young +lady.</p> +<p>The next day she goes with the gardener’s dinner. She sees him +with his leg bandaged. She asks him what it is.</p> +<p>The young lady begins to suspect something, and goes to tell to her +father how the gardener had his leg tied up, and that he must go and +ask him what is the matter. That he had told her that it was nothing. +<span class="pagenum">[<a id="pb31" href="#pb31" name= +"pb31">31</a>]</span></p> +<p>The king did not want to go, (and said) that she must get it out of +the gardener; but to please his daughter, he says he will go there. He +goes then, and asks him, “What is the matter?” He tells him +that a blackthorn has run into him. The king gets angry, and says +“that there is not a blackthorn in all his garden, and that he is +telling him a lie.”</p> +<p>The daughter says to him,</p> +<p>“Tell him to show it us.”</p> +<p>He shows it to them, and they are astonished to see that the lance +is still there. The king did not know what to think of it all. This +gardener has deceived him, and he must give him his daughter. But Petit +Yorge, uncovering his bosom, shows the “fleur-de-lis” +there. The king did not know what to say; but the daughter said to +him,</p> +<p>“This is my preserver, and I will marry no one else than +him.”</p> +<p>Petit Yorge asks the king to send for five dressmakers, the best in +the town, and five butchers. The king sends for them.</p> +<p>Petit Yorge asks the dressmakers if they have ever made any new +dresses which had a piece out; and on the dressmakers saying +“No,” he counts out the pieces and gives them to the +dressmakers, asking if it was like that that they had given the dresses +to the princess. They say, “<i>Certainly not.</i>”</p> +<p>He goes, then, to the butchers, and asks them, if they have ever +killed animals without tongues? They say, “No!” He tells +them, then, to look in the heads of the serpent. They see that the +tongues are not there, and then he takes out the tongues he has.</p> +<p>The king, having seen all that, has nothing more to say. He gives +him his daughter. Petit Yorge says to him, that he must invite his +father to the wedding, but on the part of the young lady’s +father; and that they must serve him up at dinner a sheep’s +heart, half cooked, and without salt. They make a great feast, and +place this heart before this <span class="pagenum">[<a id="pb32" href= +"#pb32" name="pb32">32</a>]</span>father. They make him carve it +himself, and he is very indignant at that. The son then says to +him:</p> +<p>“I expected that;” and he adds, “Ah! my poor +father, have you forgotten how you said that you wished to eat the +heart, half cooked, and without salt, of him who let the Tartaro go? +That is not my heart, but a sheep’s heart. I have done this to +<span class="corr" id="xd20e1721" title="Source: recal">recall</span> +to your memory what you said, and to make you recognize me.”</p> +<p>They embrace each other, and tell each other all their news, and +what services the Tartaro had done him. The father returned happy to +his house, and Petit Yorge lived very happily with his young lady at +the king’s house; and they wanted nothing, because they had +always the Tartaro at their service.</p> +<p class="signed"><span class="sc">Laurentine.</span></p> +<p id="ch2.2">In a variation of the above tale, from the narration of +Mariño Amyot, of St. Jean Pied de Port, the young prince, as a +herdsman, kills with a hammer successively three Tartaros who play at +cards with him; he then finds in their house all their riches and +horses, barrels full of gold and silver, etc., and also three +“<i>olano</i>,” which is described as an animal who serves +the Tartaro, like a dog, but much larger and more terrible, but also +more intelligent and able to do any message. He kills the serpent with +the aid of the “<i>olanos</i>,” and the princess helps by +striking the serpent’s tail with a sword,<a class="noteref" id= +"xd20e1738src" href="#xd20e1738" name="xd20e1738src">10</a> instead of +sprinkling the “sweet-scented water.” The +“<i>olano</i>” then steals dishes off the king’s +table for the prince. The charcoal-burner comes; but at last the prince +shows the tongues and pieces of dress, and all ends happily, except for +the charcoal-burner, who is placed on the top of seven barrels of +powder, and fire is applied beneath, and then nobody sees him any more. +<span class="pagenum">[<a id="pb33" href="#pb33" name= +"pb33">33</a>]</span></p> +<p>The commencement of the next is so different that we give it at +length.</p> +</div> +<div class="div2" id="ch2.3"><span class="pagenum">[<a href= +"#toc">Contents</a>]</span> +<h3 class="main">The Seven-Headed Serpent.</h3> +<p class="firstpar">Like many others in the world, there was a mother +with her three sons. The eldest said to her that he wished to go from +country to country, until he should find a situation as servant, and +that she should give him a cake.</p> +<p>He sets out. While he is going through a forest he meets an old +woman, who asks him for a morsel of his cake.<a class="noteref" id= +"xd20e1757src" href="#xd20e1757" name="xd20e1757src">11</a> He says to +her, “No!” that he would prefer to throw it into the muddy +clay. And the lad asks her if she knows of a servant’s place. She +says, “No.” He goes on from forest to forest, until the +night overtakes him. There comes to him a bear. He says to him,</p> +<p>“Ant of the earth! who has given you permission to come +here?”</p> +<p>“Who should give it me? I have taken it myself.”</p> +<p>And the bear devours him.</p> +<p>The second son asks his mother to give him a cake, for he wishes to +go as a servant, like his brother. She gives him one, and he goes away +like his brother. He meets an old woman, who says to him,</p> +<p>“Give me a little of your cake.”</p> +<p>“I prefer to throw it into this muddy clay rather than to give +you any of it.”</p> +<p>He asks her if she knows of a servant’s place. She replies, +“No.” And on he goes, on, on, on, deeper into the forest. +He meets a huge bear. He says to him,</p> +<p>“Ant of the earth! Who has given you permission to come +here?” <span class="pagenum">[<a id="pb34" href="#pb34" name= +"pb34">34</a>]</span></p> +<p>“Who should give it me? I have taken it myself.”</p> +<p>And the bear devours him.</p> +<p>The third son asks his mother to give him a cake, for he wishes to +go off, like his brothers. He sets off, and walks on, and on, and on. +And he finds an old woman. She asks him,</p> +<p>“Where are you going?”</p> +<p>“I want a situation as servant.”</p> +<p>“Give me a little bit of your cake.”</p> +<p>“Here! Take the whole as well, if you like.”</p> +<p>“No, no! A little bit is enough for me.”</p> +<p>And he asks her if she knows of a servant’s place. She says to +him,</p> +<p>“Yes; you will find it far beyond the forest. But you will +meet an enemy here; but I will give you a stick, with the touch of +which you may kill him.”<a class="noteref" id="xd20e1798src" +href="#xd20e1798" name="xd20e1798src">12</a></p> +<p>He goes on, and on, and on. There comes to him a bear, and says to +him,</p> +<p>“Ant of the ground! Who has given you permission to come +here?”</p> +<p>“Who has given it me? I have taken it myself.”</p> +<p>The lad gives him a little blow with his stick, and the bear gives a +howl—</p> +<p>“Oy, oy, oy!—spare my life! Oy, oy, oy!—spare my +life!”</p> +<p>But he said to him,</p> +<p>“Tell me, then, how many you are in the place where you +live?”</p> +<p>“Seven.”</p> +<p>He gives him another blow, and he falls stark dead.</p> +<p>He goes on, on, on, until he finds a palace. He goes in, and +asks,</p> +<p>“Do you want a servant?” <span class="pagenum">[<a id= +"pb35" href="#pb35" name="pb35">35</a>]</span></p> +<p>They say to him,</p> +<p>“Yes, yes; our shepherd has gone away, and we want +one.”</p> +<p>They send him to bed; and the next day they give him a fine flock of +sheep, and tell him not to go on the mountain, because it is full of +large and savage animals, and to pay great attention, because the sheep +always want to go there. The next day he goes off with his sheep, and +all of them run away to this mountain, because the herbage was very +good there. Our shepherd had, fortunately, not forgotten his stick, for +at that moment there appeared before him a terrible bear.</p> +<p>“Who has given you permission to come here?”</p> +<p>“I have taken it myself.”</p> +<p>“I must eat you.”</p> +<p>He approaches, but our shepherd gives him a little blow with his +stick, and he begins to cry out,</p> +<p>“Oy, oy, oy!—spare my life!”</p> +<p>“Tell me, then, how many you are where you live?”</p> +<p>“We were seven yesterday, but to-day we are only six, with +me.”</p> +<p>He gives him another blow, and he falls stark dead. And the shepherd +hides him as well as he can in a hedge, and then he returns home with +his sheep, well filled. That evening the sheep gave him a great deal of +milk, and he made fine cheeses with it.<a class="noteref" id= +"xd20e1850src" href="#xd20e1850" name="xd20e1850src">13</a> The master +and mistress were delighted to have such a servant. The next day he +goes off again. As soon as he opened the stable-door the sheep start +off running to the good pasture and fine herbage, and the same things +(happen again). At the end of a moment there appears a bear, who asks +him why he comes there into those parts. Our shepherd, with his stick, +gives him a little blow on the neck, and the bear begins to cry,</p> +<p>“Ay, ay, ay!—spare my life!” <span class= +"pagenum">[<a id="pb36" href="#pb36" name="pb36">36</a>]</span></p> +<p>He asks him,</p> +<p>“How many are you there where you live?”</p> +<p>“We were seven, but at present we are five with me.”</p> +<p>And he gives him a little blow, and he falls stiff and dead. And in +five days he kills all the bears in the same way; and when he saw the +last one come, he was frightened to see a beast so immense and so +fearful, and which came dragging himself along, he was so old. He says +to him,</p> +<p>“Why have you come into these parts?”</p> +<p>And at the same time the shepherd gives him a little blow. He begins +to cry out to him to spare his life, and that he would give him great +riches and beautiful apartments, and that they should live together. He +spares his life, and sends the flock back to the house. They go through +hedges and hedges, and “through the fairies’ +holes,”<a class="noteref" id="xd20e1869src" href="#xd20e1869" +name="xd20e1869src">14</a> and arrive at last at a fine palace. There +they find the table set out with every kind of food and drink. There +were also servants to attend on them, and there were also horses all +ready saddled, and with harness of gold and silver. There was nothing +but riches there. After having passed some days there like that, our +shepherd said to himself that it would be better to be master and owner +of all that fortune. So he gives a blow to the bear, and kills him +stark dead.</p> +<p>After having dressed himself splendidly, he gets on horseback, and +goes from country to country, and comes to a city, and hears the bells +sounding, dilin-don, dilin-don, and all the people are in excitement. +He asks, “What is the matter?” They tell him how that there +is in the mountain a serpent with seven heads, and that one person must +be given to him every day. This serpent has seven heads. They draw lots +to know who must be given to the serpent. The lot had fallen on the +king’s daughter, and every one was in grief and distress, and all +were going, with the king at their <span class="pagenum">[<a id="pb37" +href="#pb37" name="pb37">37</a>]</span>head, to accompany her to the +mountain. They left her at the foot of the mountain, and she went on +mounting alone to the top. This young man goes after her, and says to +her,</p> +<p>“I will accompany you.”</p> +<p>The king’s daughter says to him,</p> +<p>“Turn back, I beg you. I do not wish you to risk your life +because of me.”</p> +<p>He says to her,</p> +<p>“Have no fear for me. I have a charm of might.”</p> +<p>At the same time they hear an extraordinary noise and hissing, and +he sees the serpent coming like the lightning. As our man has his stick +with him, he gives him a little blow on one of his heads, and one by +one the seven heads fall off, and our princess is saved.</p> +<p>In order to go to the mountain, she was dressed in her most +beautiful robes. She had seven of them on. He took a little piece from +each of the seven robes, and he likewise takes the tongue from each of +the heads, and puts them in these little pieces of silk. He then takes +the king’s daughter on his horse, and descends the mountain. The +daughter goes home to her father, and our gentleman to the bear’s +house. The news that the seven-headed serpent is killed spreads +quickly. The king had promised his daughter, and the half of his +kingdom, to the man who should have killed him. The serpent was killed, +as we have said. Three charcoal-burners, passing by on the mountain, +see the serpent, and take the seven heads, and go to the king, asking +to have a reward. But, as they were three, they were in a difficulty; +and they were sent away until the council was assembled, and to see if +any other person would come. As nobody appeared, they were going to +draw lots who should be the husband of the king’s daughter. There +was great excitement that day, and there was also a great stir when +this young man arrived in the city. He asks what it is. They tell him +what it is. He was splendidly dressed, and had a magnificent horse. He +asks to see the king, and, as he was handsomely dressed, he is received +immediately. <span class="pagenum">[<a id="pb38" href="#pb38" name= +"pb38">38</a>]</span>He asks if the seven heads of the serpent had +seven tongues in them; and they cannot find them. Then he shows the +seven tongues. He sends, too, for the princess’ seven robes, and +he shows the seven pieces that are wanting, as well as the seven +tongues. When they see that, all exclaim—</p> +<p>“This is the true saviour of the king’s +daughter!”</p> +<p>And they are married.</p> +<p>The three charcoal-burners, after having been dressed in a coat of +sulphur, were burnt alive in the midst of the market-place.</p> +<p>Our gentleman and lady lived very happily, sometimes at her +father’s house and at other times at their own +bear’s-house; and, as they had lived well, they died happily. +Then I was there, and now I am here.</p> +<hr class="tb"> +<p>Our next tale will show the serpent in a new character, and might +have been included under the variations of “Beauty and the +Beast.”</p> +</div> +<div class="div2" id="ch2.4"><span class="pagenum">[<a href= +"#toc">Contents</a>]</span> +<h3 class="main">The Serpent in the Wood.</h3> +<p class="firstpar">Like many others in the world, there was a widower +who had three daughters. One day the eldest said to her father, that +she must go and see the country. She walked on for two hours, and saw +some men cutting furze, and others mowing hay.</p> +<p>She returned to the house, astonished at having seen such wonderful +things. She told her father what wonderful things she had seen, and her +father replied:</p> +<p>“Men cutting furze! Men mowing hay!!”</p> +<p>The second daughter asks, too, to go like her sister, and she +returned after having seen the same things. And the third daughter said +that she ought to go, too.</p> +<p>“Child, what will you see?”</p> +<p>“I, like my sisters, something or other.” <span class= +"pagenum">[<a id="pb39" href="#pb39" name="pb39">39</a>]</span></p> +<p>She set off on the same road as the others; and she, like the +others, saw men cutting furze, and men mowing hay. She went on further, +and she saw some washerwomen; and she went still a little further on +till she had walked for three hours, and she saw some wood-cutters +cutting firewood. She asked them if she should see anything more if she +went a little further. They told her that she would see some more +wood-cutters cutting firewood.</p> +<p>She went very much farther into the wood, and she was caught, and +kept prisoner by a serpent. She remained there crying, and not able to +eat anything; and she remained like that eight days, very sad; then she +began to grow resigned, and she remained there three years. At the end +of three years she began to wish to return home. The serpent told her +to come back again at the end of two days; that his time was nearly +finished, and that he was a king’s son condemned for four +years<a class="noteref" id="xd20e1925src" href="#xd20e1925" name= +"xd20e1925src">15</a> (to be a serpent). He gave her a distaff and +spindle, of silver-gilt, and a silk handkerchief. He said to her:</p> +<p>“If you do not find me here on your return, you will have to +wear out seven pairs of shoes, six of leather and one pair of iron ones +(before you will be able to find me).”</p> +<p>When she came home, her father would not let her go back to the +house where she had passed such a long time with a son of a king, +condemned to be a serpent. She said that his time was almost finished, +and that in gratitude she ought to return; that he had said that he +would marry her. The father had her put in prison, confined in a room +very high up. The fourth day she escaped, and went to the place, but +she did not find the king’s son. She had already shoes on her +feet. She had almost worn them out. After that she bought another pair. +She kept journeying on and on, and asking if it were far, and they told +her that it was very far. She bought still another pair of shoes, and +these, too, got worn out on the road. She bought a fifth pair, and +<span class="pagenum">[<a id="pb40" href="#pb40" name= +"pb40">40</a>]</span>after them the sixth also. She then asked if she +were near yet, and they told her that she was still very far. Then she +bought the seventh pair of shoes, of iron. And when she had gone a +short way in these shoes, she asked if it were far from there to the +son of the king. The seventh pair of shoes were almost worn out when +she came to a city, and heard sounds of music. She inquired what was +happening in the city.</p> +<p>“Such a king’s son is being married to-day.”</p> +<p>She went to the house, and knocked at the door. A servant came.</p> +<p>“What do you want?”</p> +<p>She asked if there were any work to spin, and she would spin it.</p> +<p>And the servant went to tell it to the mistress. The lady ordered +the servant to bring her in. She brought her in. And when she was in +the kitchen, she showed the silk handkerchief which the king’s +son had given her; and she began to blow her nose with that. The lady +was quite astonished to see the girl blow her nose with such a +beautiful handkerchief, as if it were nothing,<a class="noteref" id= +"xd20e1947src" href="#xd20e1947" name="xd20e1947src">16</a> when her +son had one just like it for his marriage-day. So she told her son, +when he came back from the church, that she had a spinster who came +from a great distance, and said to him:</p> +<p>“She has a silk handkerchief just like yours!”</p> +<p>And the king’s son said to his mother:</p> +<p>“I, too, must see this spinster that you have there.” +And he began to go there.</p> +<p>And his mother said to him,</p> +<p>“But why must you see her?”</p> +<p>“I wish to see her.”</p> +<p>He went to the kitchen, and in his presence she used her silk +handkerchief. <span class="pagenum">[<a id="pb41" href="#pb41" name= +"pb41">41</a>]</span></p> +<p>He said to her,</p> +<p>“Show me that.”</p> +<p>She said to him,</p> +<p>“It is too dirty to put into your hands, sir.”</p> +<p>The gentleman says to her,</p> +<p>“I wish to see it, and show it to me.”</p> +<p>(Then) he recognised the young girl. She showed him (too) the +distaff and spindle.</p> +<p>At table, when everybody was engaged telling stories, this king +said:</p> +<p>“I also have a story to tell.”</p> +<p>Everybody was silent, and turned to look at him, and he said:</p> +<p>“Formerly, I had a key to a chest of drawers, and I lost it, +and had a new one made. (After that, I found the old one.)”</p> +<p>And he turned to his wife:</p> +<p>“Should I use the old one or the new one?”</p> +<p>And she replied:</p> +<p>“If the first was a good one, why should you make use of the +new one?”</p> +<p>Then he gave her this answer:</p> +<p>“Formerly, I had a wife, and now I have taken you. I leave +you, and take the former one. Do you go off, then, to your own +house.”</p> +<p class="signed"><span class="sc">Gagna-haurra Hirigaray.</span><br> +(Learnt at Guethary.)</p> +<p>For the version of the Heren-Suge tales which most closely +approaches the Gaelic, see below, “Keltic Legends,” +“The Fisherman and his Sons,” p. 87.</p> +<div class="figure xd20e2009width"><img src="images/ornament2.png" alt= +"Ornament." width="215" height="141"></div> +<p><span class="pagenum">[<a id="pb42" href="#pb42" name= +"pb42">42</a>]</span></p> +</div> +<div class="footnotes"> +<hr class="fnsep"> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e1455" href="#xd20e1455src" name="xd20e1455">1</a></span> One of +the oddest instances of mistaken metaphors that we know of occurs in +“<span lang="fr">La Vie de St. Savin, par J. Abbadie, Curé +de la Paroisse</span>” (Tarbes, 1861). We translate from the +Latin, which is given in a note:—“Intoxicated with divine +love, he was keeping vigil according to his custom, and when he could +not find a light elsewhere, he gave light to his eyes from the light +that was in his breast. The small piece of wax-taper thus lit passed +the whole night till morning without being +extinguished.”—Off. S. Savin.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e1522" href="#xd20e1522src" name="xd20e1522">2</a></span> This +<span class="corr" id="xd20e1524" title= +"Source: Fleur-de-lys">Fleur-de-lis</span> was supposed by our narrator +to be some mark tattooed or impressed upon the breast of all +kings’ sons.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e1530" href="#xd20e1530src" name="xd20e1530">3</a></span> This, of +course, is “Little George,” and makes one suspect that the +whole tale is borrowed from the French; though it is just possible that +only the names, and some of the incidents, may be.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e1535" href="#xd20e1535src" name="xd20e1535">4</a></span> +<i>Cf.</i> “Ezkabi Fidel,” 112, below.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e1567" href="#xd20e1567src" name="xd20e1567">5</a></span> In +Campbell’s “Tale of the Sea-Maiden,” instead of +looking in his ear, the king’s daughter put one of her earrings +in his ear, the last two days, in order to wake him; and it is by these +earrings and her ring that she recognises him afterwards, instead of by +the pieces of dress and the serpent’s tongues.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e1579" href="#xd20e1579src" name="xd20e1579">6</a></span> +Campbell, Vol. I., lxxxvii., 8, has some most valuable remarks on the +Keltic Legends, showing the Kelts to be a horse-loving, and not a +seafaring race—a race of hunters and herdsmen, not of sailors. +The contrary is the case with these Basque tales. The reader will +observe that the ships do nothing extraordinary, while the horses +behave as no horse ever did. It is <i>vice versâ</i> in the +Gaelic Tales, even when the legends are identical in many +particulars.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e1616" href="#xd20e1616src" name="xd20e1616">7</a></span> The +three days’ fight, and the dog, appear in Campbell’s +“Tale of the Sea-Maiden,” Vol. I., pp. 77–79.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e1619" href="#xd20e1619src" name="xd20e1619">8</a></span> The +Basque word usually means “<span lang="fr">Eau de +Cologne</span>.”</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e1675" href="#xd20e1675src" name="xd20e1675">9</a></span> This is +a much better game than the ordinary one of tilting at a ring with a +lance, and is a much more severe test of horsemanship. The ring, an +ordinary lady’s ring, is suspended by a thread from a cross-bar, +at such a height that a man can just reach it by standing in his +stirrups. Whoever, starting from a given point, can put a +porcupine’s quill, or a small reed, through the ring, and thus +carry it off at a hand-gallop, becomes possessor of the ring. We have +seen this game played at Monte Video, in South America; and even the +<span class="corr" id="xd20e1677" title= +"Source: Guachos">Gauchos</span> considered it a test of good +horsemanship. Formerly, it seems, the ring was suspended from the +tongue of a bell, which would be set ringing when the ring was carried +away. The sword, of course, was the finest rapier.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e1738" href="#xd20e1738src" name="xd20e1738">10</a></span> One of +those present here interrupted the reciter—“What did she +hit the serpent on the <i>tail</i> for?” “Why, to kill him, +of course,” was the reply; “ask Mr. Webster if serpents are +not killed by hitting them on the tail?”</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e1757" href="#xd20e1757src" name="xd20e1757">11</a></span> I have +a dim recollection of having read something very similar to this either +in a Slavonic or a Dalmatian tale.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e1798" href="#xd20e1798src" name="xd20e1798">12</a></span> This +incident is in the translation of a tale by Chambers, called +“Rouge Etin,” in Brueyre’s “Contes de la Grande +Bretagne,” p. 64. See notes <i>ad loc.</i></p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e1850" href="#xd20e1850src" name="xd20e1850">13</a></span> In the +Pyrénées the ewes are usually milked, and either +“caillé”—a kind of clotted cream—or +cheese is made of the milk. The sheep for milking are often put in a +stable, or fold, for the night.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e1869" href="#xd20e1869src" name="xd20e1869">14</a></span> For the +“fairies’ holes,” see Introduction to the +“Tales of the Lamiñak,” p. 48.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e1925" href="#xd20e1925src" name="xd20e1925">15</a></span> +<i>Cf.</i> “Mahistruba,” p. 100; and “Beauty and the +Beast,” p. 167.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e1947" href="#xd20e1947src" name="xd20e1947">16</a></span> Silk +kerchiefs are generally used, especially by women, as head-dresses, and +not as pocket-handkerchiefs, all through the south of France.</p> +</div> +</div> +<div id="ch3" class="div1"><span class="pagenum">[<a href= +"#toc">Contents</a>]</span> +<div class="figure"><img src="images/head1.png" alt= +"III.—Animal Tales." width="602" height="153"></div> +<h2 class="main">III.—Animal Tales.</h2> +<p class="firstpar">We give two stories as specimens of animal tales, +which are neither allegories, nor fables, and still less satires. The +reader must remember the phrase, “This happened when animals and +all things could talk.” So thoroughly is this believed, that the +first tale of this class recited to us completely puzzled us. The +animals are in them placed so fully on a footing with human +beings—not in the least as our “poor relations,” but +rather as sharper-witted, and quite as happy and well off as +ourselves—that it is difficult at times to determine whether it +is the beast or the man who is the speaker.</p> +<p>Of the latter part of our first story we have heard many variations. +In one given by M. Cerquand, p. 29, note,<a class="noteref" id= +"xd20e2022src" href="#xd20e2022" name="xd20e2022src">1</a> the fox is +represented by Basa-Jauna; in a version from Baigorry, by the Tartaro; +but in three others, from separate localities, he is a fox. The first +two truths are the same in all the versions. In that here given, the +fun is heightened by the fox talking and lisping throughout like a +little child. All these versions we take to be merely fragments of a +much longer story.</p> +<p>In M. Cerquand’s “The Chandelier of St. Sauveur,” +p. 22, the hero’s name is Acherihargaix—“the fox +difficult to be caught;” and we suspect that he, too, was +originally merely an animal. <span class="pagenum">[<a id="pb43" href= +"#pb43" name="pb43">43</a>]</span></p> +<div class="div2" id="ch3.1"><span class="pagenum">[<a href= +"#toc">Contents</a>]</span> +<h3 class="main">Acheria, the Fox.</h3> +<p class="firstpar">One day a fox was hungry. He did not know what to +think. He saw a shepherd pass every day with his flock, and he said to +himself that he ought to steal his milk and his cheese, and to have a +good feast; but he needed some one to help him in order to effect +anything. So he goes off to find a wolf, and he says to him,</p> +<p>“Wolf, wolf! we ought to have a feast with such a +shepherd’s milk and cheese. You, you shall go to where the flocks +are feeding, and from a distance you must howl, ‘Uhur, uhur, +uhur.’ The man, after having milked his sheep, drives them into +the field, with his dog, very early in the morning, and he stops at +home to do his work, and then he makes his cheese; and, when you have +begun to howl ‘Uhur, uhur,’ and the dog to bark, the +shepherd will leave everything else, and will go off full speed. During +this time I will steal the milk, and we will share it when you come to +me.”</p> +<p>The wolf agreed to have a feast, and set out. He did just what the +fox had told him. The dog began to bark when the wolf approached. And +when the man heard that he went off, leaving everything, and our fox +goes and steals the vessel in which the curdled milk was. What does he +do then, before the arrival of the wolf? He gently, gently takes off +the cream, thinly, thinly, and he eats all the contents of the jug. +After he has eaten all, he fills it up with dirt, and puts back the +cream on the top, and he awaits the wolf at the place where he had told +him. The fox says to him, since it is he who is to make the division, +that as the top is much better than the underneath part, the one who +should choose that should have <i>only</i> that, and the other all the +rest. “Choose now which you would like.”</p> +<p>The wolf says to him,</p> +<p>“I will not have the top; I prefer what is at the +bottom.” <span class="pagenum">[<a id="pb44" href="#pb44" name= +"pb44">44</a>]</span></p> +<p>The fox then takes the top, and gives the poor wolf the vessel full +of dirt.<a class="noteref" id="xd20e2050src" href="#xd20e2050" name= +"xd20e2050src">2</a> When he saw that, the wolf got angry; but the fox +said to him,</p> +<p>“It is not my fault. Apparently the shepherd makes it like +that.”</p> +<p>And the fox goes off well filled.</p> +<p>Another day he was again very hungry, and did not know what to +contrive. Every day he saw a boy pass by on the road with his +father’s dinner. He says to a blackbird,</p> +<p>“Blackbird, you don’t know what we ought to do? We ought +to have a good dinner. A boy will pass by here directly. You will go in +front of him, and when the boy goes to catch you, you will go on a +little farther, limping, and when you shall have done that a little +while the boy will get impatient, and he will put down his basket in +order to catch you quicker. I will take the basket, and will go to such +a spot, and we will share it, and will make a good dinner.”</p> +<p>The blackbird says to him, “Yes.”</p> +<p>When the boy passes, the blackbird goes in front of the boy, +limping, limping. When the boy stoops (to catch him), the blackbird +escapes a little further on. At last the boy, getting impatient, puts +his basket on the ground, in order to go quicker after the blackbird. +The fox, who kept watching to get hold of the basket, goes off with it, +not to the place agreed upon, but to his hole, and there he stuffs +himself, eating the blackbird’s share as well as his own.</p> +<p>Then he says to himself,</p> +<p>“I shall do no good stopping here. The wolf is my enemy, and +the blackbird, too. Something will happen to me if I stay here. I must +go off to the other side of the water.”</p> +<p>He goes and stands at the water’s edge. A boatman happened to +pass, and he said to him: <span class="pagenum">[<a id="pb45" href= +"#pb45" name="pb45">45</a>]</span></p> +<p>“Ho! man, ho! Will you, then, cross me over this water? I will +tell you three truths.”</p> +<p>The man said to him, “Yes.”</p> +<p>The fox jumps (into the boat), and he begins to say:</p> +<p>“People say that maize bread is as good as wheaten bread. That +is a falsehood. Wheaten bread is better. That is one truth.”</p> +<p>When he was in the middle of the river, he said:</p> +<p>“People say, too, ‘What a fine night; it is just as +clear as the day!’ That’s a lie. The day is always clearer. +That is the second truth.”</p> +<p>And he told him the third as they were getting near the bank.</p> +<p>“Oh! man, man, you have a bad pair of trousers on, and they +will get much worse, if you do not pass over people who pay you more +than I.”</p> +<p>“That’s very true,” said the man; and the fox +leapt ashore.</p> +<hr class="tb"> +<p>Then I was by the side of the river, and I learnt these three +truths, and I have never forgotten them since.</p> +</div> +<div class="div2" id="ch3.2"><span class="pagenum">[<a href= +"#toc">Contents</a>]</span> +<h3 class="main">The Ass and the Wolf.</h3> +<p class="firstpar"><span class="sc" lang="eu">Astoa Eta +Otsoa.</span></p> +<p>Like many others in the world, there was an ass. He was going along +a ravine, laden with Malaga wine. (You know that asses are very much +afraid of wolves, because the wolves are very fond of the flesh of +asses.) While he was journeying along in that fashion, he sees a wolf +coming at some distance; he could not hide himself anywhere. The wolf +comes up, and the ass says to him:</p> +<p>“Good morning, good morning, Mr. Wolf; in case you should be +thirsty, I have some excellent Malaga to drink.”</p> +<p>“I am not thirsty; no!—but astoundingly hungry; yes! My +dinner to-day shall be your head and ears.” <span class= +"pagenum">[<a id="pb46" href="#pb46" name="pb46">46</a>]</span></p> +<p>“Mr. Wolf, if you were good enough to let me go and hear one +mass——?”</p> +<p>He says to him, “Well! yes.”</p> +<p>Our ass goes off then. When he gets into the church he shuts the +door inside with his foot, and stops quietly there.</p> +<p>When the wolf began to get impatient at waiting, he said:</p> +<p>“Ay, ay, what a long mass! one would say it was Palm +Sunday.”</p> +<p>The ass said to him:</p> +<p>“Dirty old wolf, have patience. I am staying here with the +angels, and I have my life (safe) for to-night.”</p> +<p>“Ay, ay, you bad ass, you are too, too, filthy, you know. If +ever you meet with me again, mass you shall not hear.”</p> +<p>The ass said to him:</p> +<p>“There are no dogs round the fold of Alagaia; if you go there +you would get lots of sheep.”</p> +<p>The wolf gives it up, and sets off for the flock where the ass had +told him to go. When the ass saw that he had gone away he came out of +the church, and went home, and took good care not to come near the +wolf’s place any more.</p> +<div class="figure xd20e2135width"><img src="images/ornament1.png" alt= +"Ornament." width="250" height="227"></div> +<p><span class="pagenum">[<a id="pb47" href="#pb47" name= +"pb47">47</a>]</span></p> +</div> +<div class="footnotes"> +<hr class="fnsep"> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e2022" href="#xd20e2022src" name="xd20e2022">1</a></span> +<span lang="fr">“Légendes et Récits Populaires du +Pays Basque,” par M. Cerquand.</span> Part I., Pau, 1875, and +Part II., p.28, Pau, 1876.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e2050" href="#xd20e2050src" name="xd20e2050">2</a></span> +<i>Cf.</i> Campbell’s tale, “The Keg of Butter,” Vol. +III., 98, where the fox cheats the wolf by giving him the bottoms of +the oats and the tops of the potatoes. See also the references there +given.</p> +</div> +</div> +<div id="ch4" class="div1"><span class="pagenum">[<a href= +"#toc">Contents</a>]</span> +<div class="figure"><img src="images/head7.png" alt= +"IV.—Basa-Jaun, Basa-Andre, and Lamiñak." width="720" +height="153"></div> +<h2 class="main">IV.—Basa-Jaun, Basa-Andre, and +Lamiñak.</h2> +<p class="firstpar">It is somewhat difficult to get a clear view of +what Basa-Jaun and Basa-Andre, the wild man and the wild woman, really +are in Basque mythology. In the first tale here given Basa-Jaun appears +as a kind of vampire, and his wife, the Basa-Andre, as a sorceress, but +we know of no other such representation of the former. Basa-Jaun is +usually described by Basque writers as a kind of satyr, or faun, a +wood-sprite; and Basques; in speaking of him to us, have frequently +used the French term, “Homme de Bouc,” +“He-goat-man,” to describe him. In some tales he appears +rather as a species of brownie, and has received the familiar sobriquet +of Ancho,<a class="noteref" id="xd20e2146src" href="#xd20e2146" name= +"xd20e2146src">1</a> from the Spanish Sancho. In this character he +haunts the shepherds’ huts in the mountains, warms himself at +their fires, tastes their clotted milk and cheese, converses with them, +and is treated with a familiarity which, however, is never quite free +from a hidden terror. His wife, the Basa-Andre, appears sometimes as a +sorceress, sometimes as a kind of land-mermaid, as a beautiful lady +sitting in a cave and “combing her locks with a comb of +gold,” in remote mountain parts.<a class="noteref" id= +"xd20e2156src" href="#xd20e2156" name="xd20e2156src">2</a></p> +<p>The Lamiñak are true fairies, and do not differ more from the +general run of Keltic fairies than the Scotch, Irish, <span class= +"pagenum">[<a id="pb48" href="#pb48" name="pb48">48</a>]</span>Welsh, +and Cornish fairies do from each other. In fact, the legends are often +identical. The Lamiñak were described to us by one who evidently +believed in, and dreaded them, as little people who lived underground. +Another informant stated that they were little people who came down the +chimney. They long to get possession of human beings, and change and +carry off infants unbaptized, but they do not seem to injure them +otherwise. They bring good luck to the houses which they frequent; they +are fond of cleanliness, but always speak and give their orders in +words exactly the opposite of their meaning. In common with Basa-Jaun +and Basa-Andre they hate church bells,<a class="noteref" id= +"xd20e2168src" href="#xd20e2168" name="xd20e2168src">3</a> and though +not actively hostile to Christianity, are driven away as it advances. +They were formerly great builders of bridges, and even of +churches,<a class="noteref" id="xd20e2174src" href="#xd20e2174" name= +"xd20e2174src">4</a> but were usually defrauded of their wage, which +was to have been power over some human soul at the completion of the +contract. Fairies’ wells and fountains are common in the Landes +and neighbouring Gascon provinces, but we know of none in the Pays +Basque.<a class="noteref" id="xd20e2180src" href="#xd20e2180" name= +"xd20e2180src">5</a> We failed distinctly to make out what are the +“fairies’ holes (Lamiña-ziloak),” spoken of in +the Heren-Suge tale (p. 36); as far as we could gather from the +narrator they are simply bare places in hedges, when covered by the web +of the gossamer spider. We know of no dances by moonlight on fairy +rings of green herbage; but if the reader will carefully eliminate from +his memory the rare fancies of Shakespeare and Ben Jonson about Puck, +Oberon, and Titania, he will find little otherwise to differentiate +between the Basque Lamiñak and the fairies of Sir Walter Scott, +of Campbell, and of Croker’s “Irish Legends.” One +peculiarity certainly is that all the Basque Lamiñak are +sometimes said to be all called “Guïllen,”<a class= +"noteref" id="xd20e2183src" href="#xd20e2183" name="xd20e2183src">6</a> +which <span class="pagenum">[<a id="pb49" href="#pb49" name= +"pb49">49</a>]</span>appears to be the same as the French Guillaume, +and our William.</p> +<p>It must be a sign of a failing belief and interest that witches and +fairies are so often confounded. In these few stories it is evident +that the witch is often a fairy, and the fairy a witch.</p> +<div class="div2" id="ch4.1"><span class="pagenum">[<a href= +"#toc">Contents</a>]</span> +<h3 class="main">Basa-Jauna, the Wild Man.</h3> +<p class="firstpar">Once upon a time there lived in one house the +landlady and the farmer’s wife.<a class="noteref" id= +"xd20e2196src" href="#xd20e2196" name="xd20e2196src">7</a> The +farmer’s wife had three sons; one day they said to their mother +to give each of them a ball and a penny roll, that they wished to go +from country to country. The mother was sorry to part with her three +much-loved sons; but all three started off.</p> +<p>When they were in the midst of a forest they saw that night was +coming on, and the eldest brother said that he would climb up the first +tree. He finds a tall tree, and climbs up to the top, to the very +tip-top, and the second says to him:</p> +<p>“Do you see nothing?”</p> +<p>He says, “No, no; there’s nothing to be seen, nothing; +not a feather! nothing!”</p> +<p>“Come down then; you are an old donkey.”</p> +<p>And the second climbs, and he sees nothing. The third says to +him:</p> +<p>“You are no good at all, you others. I will climb +up.”</p> +<p>And he climbs to the top, to the very tip-top. The others say to +him:</p> +<p>“And do you not see anything?”</p> +<p>He says to them:</p> +<p>“Yes; I see a long column of smoke, but very, very thin, and +far, very far away. Let us go towards that.” <span class= +"pagenum">[<a id="pb50" href="#pb50" name="pb50">50</a>]</span></p> +<p>And the three brothers set out together. At eight o’clock in +the evening they come to a grand castle, and they knock at the door, +and the Basa-Andre (wild woman) comes to answer. She asks:</p> +<p>“Who is there?”</p> +<p>And they reply, “It is we who are here.”</p> +<p>“What do you want, young children? Where are you going to at +this time of night?”</p> +<p>“We ask and beg of you to give us shelter for to-night; we +will be satisfied with a corner of the floor, poor wretches as we +are.”</p> +<p>“I have my husband, the Basa-Jaun, and if he catches you he +will eat you; that’s certain.”</p> +<p>“And if he catches us outside he will eat us all the +same.”</p> +<p>Then she let these three brothers come in, and she hides the three +in three different corners. Afterwards, at nine o’clock, the +Basa-Jaun comes. He made a great noise and blustering, and then the +Basa-Andre goes out, and says to him:</p> +<p>“There is nobody here.”</p> +<p>“Yes, you have somebody; bring them out, or else I will eat +you myself.”</p> +<p>And she goes and brings out the eldest brother, trembling with +fright. The Basa-Jaun says to him,</p> +<p>“Will you be my servant?”</p> +<p>He says to him, “Yes.”</p> +<p>And Basa-Jaun begins again to sniff about.</p> +<p>“You have still somebody else here?”</p> +<p>And she brings out the second, and he says to him:</p> +<p>“Will you be servant to me?”</p> +<p>And he said, “Yes.”</p> +<p>Again, he smelled the smell of some one, and at the third time she +brings out the third, and he says to him:</p> +<p>“All three of you shall sup with me to-night, and afterwards +we shall go to bed. But to-morrow we will all go hunting.” +<span class="pagenum">[<a id="pb51" href="#pb51" name= +"pb51">51</a>]</span></p> +<p>And they go hunting the next day until eight o’clock in the +evening.</p> +<p>Now, they had at home a little sister. She was little then, but in +time she grew up. One day the landlady and the farmer’s wife had +put out the new maize in the garden to dry; and when no one saw her, +the little girl took some from her mistress’ heap, and put it to +her own. When the mistress saw that, she began to cry out, saying to +her,</p> +<p>“Bold hussey that you are, there is no one like you! You will +come to a bad end like your brothers.”</p> +<p>And the young girl began to cry, and goes to find her mother, and +says to her,</p> +<p>“Mother, had I any brothers?”<a class="noteref" id= +"xd20e2274src" href="#xd20e2274" name="xd20e2274src">8</a></p> +<p>She says to her, “Yes, my child.”</p> +<p>“What were they?”</p> +<p>“Child, they went away a long time ago,” she said to +her.</p> +<p>This little girl says,</p> +<p>“I, too, must be off to-day. Give me a distaff to spin with, +and a penny cake.”</p> +<p>She sets off, and comes to the house of the Basa-Jaun, and she +knocks at the door, and she lets her in. While his wife was telling her +that it is the house of the Basa-Jaun, the elder brother comes in; but +they did not recognise one another at all. And afterwards Basa-Jaun +comes, and says, as he enters the house:</p> +<p>“You have something here for me,” says he.</p> +<p>“No,” says she.</p> +<p>“Show it.”</p> +<p>And immediately she shows her. Basa-Jaun says to her:</p> +<p>“Will you engage yourself as my servant?”</p> +<p>She says to him, “Yes, sir.”</p> +<p>Some days afterwards the brothers recognised their sister, and they +embraced each other very much. And this young girl who was so well +before began to grow thin. And one day one of her brothers asked her: +<span class="pagenum">[<a id="pb52" href="#pb52" name= +"pb52">52</a>]</span></p> +<p>“What is the matter with you that you are getting thin like +this?”</p> +<p>And she answered:</p> +<p>“The master every evening asks me to put my little finger +through the door, and he sucks the finger through the door, and I +become every day more sad and more languid.”<a class="noteref" +id="xd20e2313src" href="#xd20e2313" name="xd20e2313src">9</a></p> +<p>One day, when the Basa-Andre was not at home, these brothers and the +sister plotted together to kill Basa-Jaun, if they could catch him in a +ravine in a certain place. And they kill him.</p> +<p>One day the wife asks,</p> +<p>“Where is Basa-Jaun?”</p> +<p>And Basa-Andre takes out three large teeth, and brings them to the +house, and tells this young girl herself, when she heats the water for +her brothers’ feet in the evening, to put one tooth in the water +of each.<a class="noteref" id="xd20e2325src" href="#xd20e2325" name= +"xd20e2325src">10</a> And as soon as the third had finished washing the +three brothers became oxen; and this young girl used to drive all three +into the fields. And this young girl lived there on the birds they (the +oxen) found, and nothing else.</p> +<p>One day, as she was passing over a bridge,<a class="noteref" id= +"xd20e2333src" href="#xd20e2333" name="xd20e2333src">11</a> she sees +Basa-Andre under, and says to her:</p> +<p>“If you do not make these three oxen men as they were before, +I will put you into a red-hot oven.”</p> +<p>She answers her:</p> +<p>“No! go to such a dell, and take thence three hazel +sticks,<a class="noteref" id="xd20e2342src" href="#xd20e2342" name= +"xd20e2342src">12</a> and strike each of them three blows on the +back.”</p> +<p>And she did what she told her, and they were changed <span class= +"pagenum">[<a id="pb53" href="#pb53" name="pb53">53</a>]</span>into men +the same as they were before; and all the brothers and the sister lived +happily together in Basa-Jaun’s castle, and as they lived well +they made a good end also.</p> +<p class="signed"><span class="sc">Estefanella Hirigaray.</span></p> +</div> +<div class="div2" id="ch4.2"><span class="pagenum">[<a href= +"#toc">Contents</a>]</span> +<h3 class="main">The Servant at the Fairy’s.</h3> +<p class="firstpar">Once upon a time there was a woman who had three +daughters. One day the youngest said to her that she must go out to +service. And going from town to town, she met at last a fairy who asked +her:</p> +<p>“Where are you going to, my child?”</p> +<p>And she answered, “Do you know a place for a +servant?”</p> +<p>“Yes; if you will come to my house I will take you.”</p> +<p>She said, “Yes.”</p> +<p>She gave her her morning’s work to do, and said to her:</p> +<p>“We are fairies. I must go from home, but your work is in the +kitchen; smash the pitcher, break all the plates, pound the children, +give them breakfast (by themselves), dirty their faces, and rumple +their hair.”<a class="noteref" id="xd20e2370src" href= +"#xd20e2370" name="xd20e2370src">13</a></p> +<p>While she was at breakfast with the children, a little dog comes to +her and says:</p> +<p>“Tchau, tchau, tchow; I too, I want something.”</p> +<p>“Be off from here, silly little dog; I will give you a +kick.”</p> +<p>But the dog did not go away; and at last she gave him something to +eat—a little, not much.</p> +<p>“And now,” says he, “I will tell you what the +mistress has told you to do. She told you to sweep the kitchen, to fill +the pitcher, and to wash all the plates, and that if it is all well +done she will give you the choice of a sack of charcoal <span class= +"pagenum">[<a id="pb54" href="#pb54" name="pb54">54</a>]</span>or of a +bag of gold; of a beautiful star on your forehead, or of a +donkey’s tail hanging from it. You must answer, ‘A sack of +charcoal and a donkey’s tail.’”</p> +<p>The mistress comes. The new servant had done all the work, and she +was very well satisfied with her. So she said to her:</p> +<p>“Choose which you would like, a sack of charcoal or a bag of +gold?”</p> +<p>“A sack of charcoal is the same to me.”</p> +<p>“A star for your forehead, or a donkey’s +tail?”</p> +<p>“A donkey’s tail would be the same to me.”</p> +<p>Then she gives her a bag of gold, and a beautiful star on her +forehead.<a class="noteref" id="xd20e2398src" href="#xd20e2398" name= +"xd20e2398src">14</a> Then the servant goes home. She was so pretty +with this star, and this bag of gold on her shoulders, the whole family +was astonished at her. The eldest daughter says to her mother:</p> +<p>“Mother, I will go and be a servant too.”</p> +<p>And she says to her, “No, my child, you shall not do +so.”</p> +<p>But as she would not leave her in peace (she assented), and she goes +off like her sister. She comes into the city of the fairies, and meets +the same fairy as her sister did. She says to her:</p> +<p>“Where are you going, my girl?”</p> +<p>“To be a servant.”</p> +<p>“Come to us.”</p> +<p>And she takes her as servant. She tells her like the first one:</p> +<p>“You will dig up the kitchen, break the plates, smash the +pitcher, give the children their breakfasts by themselves, and dirty +their faces.”</p> +<p>There was some of the breakfast left over, and the little dog comes +in, and he went:</p> +<p>“Tchow! tchow! tchow! I too, I should like +something.”</p> +<p>And he follows her everywhere, and she gives him <span class= +"pagenum">[<a id="pb55" href="#pb55" name="pb55">55</a>]</span>nothing; +and at last she drove him off with kicks. The mistress comes home, and +she finds the kitchen all dug up, the pitcher and all the plates +broken. And she asks the servant:</p> +<p>“What do you ask for wages? A bag of gold or a sack of +charcoal? a star on your forehead, or a donkey’s tail +there?”</p> +<p>She chose the bag of gold and a star on her forehead; but she gave +her a sack of charcoal, and a donkey’s tail for her forehead. She +goes away crying, and tells her mother that she comes back very sorry. +And the second daughter also asks permission to go.</p> +<p>“No! no!” (says the mother), and she stops at home.</p> +<p class="signed"><span class="sc">Estefanella Hirigaray.</span></p> +</div> +<div class="div2" id="ch4.3"><span class="pagenum">[<a href= +"#toc">Contents</a>]</span> +<h3 class="main">The Fairy in the House.</h3> +<p class="firstpar">There was once upon a time a gentleman and lady. +And the lady was spinning one evening. There came to her a fairy, and +they could not get rid of her; and they gave her every evening some ham +to eat, and at last they got very tired of their fairy.</p> +<p>One day the lady said to her husband:</p> +<p>“I cannot bear this fairy; I wish I could drive her +away.”</p> +<p>And the husband plots to dress himself up in his wife’s +clothes just as if it was she, and he does so. The wife goes to bed, +and the husband remains in the kitchen alone, and the fairy comes as +usual. And the husband was spinning. The fairy says to him:</p> +<p>“Good-day, madam.”</p> +<p>“The same to you too; sit down.”</p> +<p>“Before you made <i>chirin, chirin</i>, but now you make +<i>firgilun, fargalun</i>.”<a class="noteref" id="xd20e2468src" +href="#xd20e2468" name="xd20e2468src">15</a> <span class= +"pagenum">[<a id="pb56" href="#pb56" name="pb56">56</a>]</span></p> +<p>The man replies, “Yes, now I am tired.”</p> +<p>As his wife used to give her ham to eat, the man offers her some +also.</p> +<p>“Will you take your supper now?”</p> +<p>“Yes, if you please,” replies the fairy.</p> +<p>He puts the frying-pan on the fire with a bit of ham. While that was +cooking, and when it was red, red-hot, he throws it right into the +fairy’s face. The poor fairy begins to cry out, and then come +thirty of her friends.</p> +<p>“Who has done any harm to you?”</p> +<p>“I, to myself; I have hurt myself.”<a class="noteref" +id="xd20e2487src" href="#xd20e2487" name="xd20e2487src">16</a></p> +<p>“If you have done it yourself, cure it yourself.”</p> +<p>And all the fairies go off, and since then there came no more +fairies to that house. This gentleman and lady were formerly so well +off, but since the fairy comes no longer the house little by little +goes to ruin, and their life was spent in wretchedness. If they had +lived well they would have died well too.</p> +<p class="signed"><span class="sc">Estefanella Hirigaray.</span></p> +</div> +<div class="div2" id="ch4.4"><span class="pagenum">[<a href= +"#toc">Contents</a>]</span> +<h3 class="main">The Pretty but Idle Girl.<a class="noteref" id= +"xd20e2511src" href="#xd20e2511" name="xd20e2511src">17</a></h3> +<p class="firstpar">Once upon a time there was a mother who had a very +beautiful daughter. The mother was always bustling about, but the +daughter would not do anything. So she gave her such a good beating +that she sat down on a flat stone to cry. One day the young owner of +the castle went by. He asks:</p> +<p>“What makes such a pretty girl cry like that?”</p> +<p>The woman answers him:</p> +<p>“As she is too pretty she will not work.”</p> +<p>The young man asks if she knows how to sew. <span class= +"pagenum">[<a id="pb57" href="#pb57" name="pb57">57</a>]</span></p> +<p>She answers, “Yes; if she liked she could make seven shirts a +day.”</p> +<p>This young gentleman is much smitten with her. He goes home, and +brings a piece of linen, and says to her:</p> +<p>“Here are seven shirts, and if you finish them by such a time +we will marry together.”</p> +<p>She sat thinking without doing anything, and with tears in her eyes. +Then comes to her an old woman, who was a witch, and says to her:</p> +<p>“What is it makes you so sad?”</p> +<p>She answers, “Such a gentleman has brought me seven shirts to +sew, but I cannot do them. I am sitting here thinking.”</p> +<p>This old woman says to her:</p> +<p>“You know how to sew?”</p> +<p>“I know how to thread the needle; (that is all).”</p> +<p>This woman says to her:</p> +<p>“I will make your shirts for you when you want them, if you +remember my name in a year and a day.” And she adds, “If +you do not remember I shall do with you whatever I like. Marie +Kirikitoun—nobody can remember my name.”</p> +<p>And she agreed. She makes her the seven shirts for the appointed +time. When the young man came the shirts were made, and he takes the +young girl with joy and they are both married.</p> +<p>But this young girl grew continually sadder and sadder; though her +husband made great feasts for her she never laughed. One day they had a +frightfully grand festival. There came to the door an old woman, and +she asks the servant:</p> +<p>“What is the reason that you have such grand +feastings?”</p> +<p>She answers, “Our lady never laughs at all, and her husband +has these grand feasts to make her gay.”</p> +<p>The old woman replied: <span class="pagenum">[<a id="pb58" href= +"#pb58" name="pb58">58</a>]</span></p> +<p>“If she saw what I have heard this day she would laugh most +certainly.”</p> +<p>The servant said to her, “Stay here; I will tell her so at +once.”</p> +<p>They call the old woman in, and she told them that she had seen an +old woman leaping and bounding from one ditch to another, and saying +all the time:</p> +<p>“Houpa, houpa, Marie Kirikitoun; nobody will remember my +name.”</p> +<p>When this young lady heard that, she was merry at once, and writes +down this name at once. She recompensed highly the old woman, and she +was very happy; and when the other old woman came she knew her +name.<a class="noteref" id="xd20e2569src" href="#xd20e2569" name= +"xd20e2569src">18</a></p> +<p class="signed"><span class="sc">Estefanella Hirigaray.</span></p> +</div> +<div class="div2" id="ch4.5"><span class="pagenum">[<a href= +"#toc">Contents</a>]</span> +<h3 class="main">The Devil’s Age.</h3> +<p class="firstpar">There was a gentleman and lady who were very poor. +This man used to sit sadly at a cross-roads. There came to him a +gentleman, who asked: “Why are you so sad?”</p> +<p>“Because I have not wherewith to live.”</p> +<p>He said to him, “I will give you as much money as you like, if +at such a time you tell the age of the devil.”</p> +<p>Our man goes off happy. He leads a merry life with his wife, for +they wanted for nothing. They lived at a great rate. But time went on, +and <i>the</i> time was approaching. This man recollected that he had +not busied himself at all about the devil’s age. He became +pensive. His wife asked him what was the matter with him then? why is +he not happy? that they wanted for nothing; why is he so sad? He tells +her how it is that he got rich, and what compact he had made with a +gentleman. His wife said to him:</p> +<p>“If you have nothing but that, it is nothing at all. +<span class="pagenum">[<a id="pb59" href="#pb59" name= +"pb59">59</a>]</span>Get into a barrel of honey, and when you come out +of it get into another barrel of feathers, and dressed like that go to +the cross-roads and wait for the devil there. You will put yourself on +all fours, and walk backwards and forwards, and go between his legs, +and walk all round him.”</p> +<p>The man does as his wife had told him. The devil comes, and draws +back (when he sees him); and our man goes up quite close to the devil. +The devil being frightened said to him:</p> +<p>“I am so many years old, and I have never seen any animal like +that, and such a frightful one.”<a class="noteref" id= +"xd20e2604src" href="#xd20e2604" name="xd20e2604src">19</a></p> +<p>Our man had heard enough. He went off home at full speed, and told +his wife that they would want for nothing, that he had done as she had +told him, just as if she had been a witch, and that he was no longer +afraid of the devil. They lived rich and happily, and if they lived +well, they died well too.</p> +<p class="signed"><span class="sc">Franchun Beltzarri.</span></p> +</div> +<div class="div2" id="ch4.6"><span class="pagenum">[<a href= +"#toc">Contents</a>]</span> +<h3 class="main">The Fairy-Queen Godmother.<a class="noteref" id= +"xd20e2618src" href="#xd20e2618" name="xd20e2618src">20</a></h3> +<p class="firstpar">There were, like many others in the world, a man +and a woman over-burthened with children, and very poor. The woman no +more knew what to do. She said that she would go and beg. She goes off, +far, far, far away, and she arrives at the city of the fairies. After +she had told them how many children she had, all give her a great many +alms—she was laden with them.</p> +<p>The queen of the fairies gives her besides twenty pounds in gold, +and says to her:</p> +<p>“If you will give me your child when you are +confined—you shall bring it up in your law—I will give you +a great deal of money, if you will do that.”</p> +<p>She told her that the godmother was already decided <span class= +"pagenum">[<a id="pb60" href="#pb60" name="pb60">60</a>]</span>upon, +but that she would speak about it to her husband. The queen told her to +go home, and to return with the answer in a week.</p> +<p>She gets home as she best can, very much fatigued by her burthen. +Her husband was astonished that she could have carried so much. She +tells him what had happened with the queen of the fairies. He says to +her:</p> +<p>“Certainly, we will make her godmother.”</p> +<p>And she returns at the end of a week to tell the queen that she +accepts her. She tells her not to send and tell her when she is +confined, that she will know it herself, and that she will come all +right. At the end of a week she is confined of a daughter. The queen +arrives, as she had said, with a mule laden with gold. When they came +back from the christening, the godmother and the child fly away; and +the parents console themselves with their other children, thinking that +she will be happier in the house of the queen of the fairies.</p> +<p>The queen takes her to a corner of a mountain. It is there where her +house was. She had already another god-daughter; this was a little dog, +whose name was Rose,<a class="noteref" id="xd20e2638src" href= +"#xd20e2638" name="xd20e2638src">21</a> and she named this last +god-daughter Pretty-Rose. She gave her, too, a glint of diamonds in the +middle of her forehead.<a class="noteref" id="xd20e2641src" href= +"#xd20e2641" name="xd20e2641src">22</a> She was very pretty. She grew +up in the corner of the mountain, amusing herself with this dog. She +said to her one day:</p> +<p>“Has the queen no other houses? I am tired of being always +here.”</p> +<p>The dog said to her: “Yes, she has a very fine one by the side +of the king’s highway, and I will speak to my godmamma about +it.”</p> +<p>And the dog then told her how Pretty-Rose was bored, and (asked her) +if she would not change her house. She <span class="pagenum">[<a id= +"pb61" href="#pb61" name="pb61">61</a>]</span>said to her, +“Yes,” and off they go. While they were there one day +Pretty-Rose was on the balcony, and a king’s son passes, and he +was astonished at the beauty of Pretty-Rose; and the king begged and +prayed her to look at him again, and (asked her) if she would not go +with him. She told him, “No, that she must tell it to her +godmamma.” Then the dog said, aside:</p> +<p>“No, without me she shall not go anywhere.”</p> +<p>This king says to her: “But I will take you, too, willingly; +but how shall I get you?”</p> +<p>Rose says to him: “As I give every evening to my godmother +always a glass of good liqueur to make her sleep well, as if by +mistake, instead of half a glass, I will give her the glass full, and +as she will not be able to rise any more to shut the door as usual, I, +I will go and take the key to shut it. I will pretend to, and will give +her back the key, leaving the door open, and you will open it when you +come. She will not hear anything; she will be in a deep +sleep.”</p> +<p>The king’s son said that he would come at midnight, in his +flying chariot.</p> +<p>When night came, Rose gave her godmother the good drink in a glass, +brim, brim-full. The godmother said:</p> +<p>“What! what! child!”</p> +<p>“You will sleep all the better, godmamma.”</p> +<p>“You are right,” and she drinks it all.</p> +<p>But she could not any more get up to shut the door, she had become +so sleepy.</p> +<p>Rose said to her: “Godmamma! I will shut the door to-day; stop +where you are.”</p> +<p>She gave her the key, and Rose turns and turns it back again and +again in the keyhole as if she had locked it; and leaving it unlocked +she gave the key to her godmother, and she puts it in her pocket. She +goes to bed; but Rose and Pretty-Rose did not go to bed at all. At +midnight the son of the king arrives with his flying chariot. Rose and +Pretty-Rose get into it, and go to this young man’s house. The +next day Rose says to Pretty-Rose: <span class="pagenum">[<a id="pb62" +href="#pb62" name="pb62">62</a>]</span></p> +<p>“You are not so pretty as you were yesterday;” and +looking at her closely, “I find you very ugly to-day.”</p> +<p>Pretty-Rose said to her: “My godmamma must have taken away my +diamond glint.”</p> +<p>And she said to Rose, “You must go to my godmamma, and ask her +to give me back the glint that I had before.”</p> +<p>Rose did not want to go there—she was afraid; but Pretty-Rose +prayed her so much, that she took off the silver dress and set +out.<a class="noteref" id="xd20e2688src" href="#xd20e2688" name= +"xd20e2688src">23</a> When she came to the mountain, she began to call +out:</p> +<p>“Godmamma! godmamma! Give Pretty-Rose her beautiful glint as +before. I shall be angry with you for always (if you do not), and you +will see what will happen to you.”</p> +<p>The godmother said to her:</p> +<p>“Come here, come in, I will give you breakfast.”</p> +<p>She said, “I am afraid you will beat me.”</p> +<p>“No! no! come quickly, then.”</p> +<p>“You will give Pretty-Rose her glint?”</p> +<p>“Yes, yes, she has it already.”</p> +<p>She then goes in. The queen washes her feet and wipes them, and puts +her upon the velvet cushion, and gives her some chocolate; and says to +her, that she knows where Pretty-Rose is, and that she will be married, +and to tell her from her not to trouble herself about her toilet, nor +about anything that is necessary for the wedding and feast, that she +would come on the morning of the day.</p> +<p>Rose goes off then. While she is going through the city where +Pretty-Rose is, she hears two ladies, who were saying to two gentlemen, +“What kind of wife is it that our brother is going to take? Not +like us, because he keeps her shut up so close. Let us go and see +her.”</p> +<p>The little dog said to them, “Not a bit like you, you horrible +blubber-lips, as you are. You shall see her—yes.” +<span class="pagenum">[<a id="pb63" href="#pb63" name= +"pb63">63</a>]</span></p> +<p>When the young kings heard that, they were ready to run their swords +through the poor little dog. When she gets to Pretty-Rose’s house +she hides herself, and tells her all that has happened. Pretty-Rose +gives her some good liqueur to drink, and she comes to herself. The +king makes a proclamation that whoever shall (merely) spit where the +little dog shall have placed her feet shall be killed, and to mind and +pay attention to it.</p> +<p>When the marriage day had arrived, came the queen. She brought for +the wedding-day a robe of diamonds; for the next day, of gold; and for +the third day, of silver. Judge how beautiful she was with her glint of +diamonds, and her dress of diamonds, too. They could not look at her. +Her godmother told her to have her sisters-in-law there, and not to be +afraid of them; that they could not come near her in beauty. When she +went out (of her room) on the wedding-day, her sisters-in-law could not +look at her, she dazzled them so much. They said to each other:</p> +<p>“The little dog was right when she said she was beautiful, +this lady.”</p> +<p>And for three days Pretty-Rose walked about,<a class="noteref" id= +"xd20e2721src" href="#xd20e2721" name="xd20e2721src">24</a> and every +one was astounded at her beauty. When the feast was over, the godmother +went home. Rose would not leave Pretty-Rose. The godmother told +Pretty-Rose that she was born of poor parents, and that she had once +helped them, but that what she had given them must be already +exhausted. Pretty-Rose gave them enough for all to live grandly. She +herself had four children, two boys and two girls; and if they had +lived well, they had died well.</p> +<p class="signed"><span class="sc">Laurentine</span><br> +Learnt it from her mother. <span class="pagenum">[<a id="pb64" href= +"#pb64" name="pb64">64</a>]</span></p> +</div> +<div class="footnotes"> +<hr class="fnsep"> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e2146" href="#xd20e2146src" name="xd20e2146">1</a></span> +<i>Cf.</i> Cerquand, Part I., p. 27, “<span lang="fr">Ancho et +les Vaches</span>,” and notes. Also Part II., 34, <i>et +seq.</i></p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e2156" href="#xd20e2156src" name="xd20e2156">2</a></span> +<i>Cf.</i> Cerquand, Part I., pp. 33, 34, “<span lang="fr">La +Dame au Peigne d’Or</span>.”</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e2168" href="#xd20e2168src" name="xd20e2168">3</a></span> +Cerquand, Part I., p. 30, “<span lang="fr">Basa-Jauna et le Salve +Regina</span>.”</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e2174" href="#xd20e2174src" name="xd20e2174">4</a></span> +Cerquand, <span lang="fr">“L’Eglise +d’Espés.” “Le Pont de Licq,”</span> Part +I., pp. 31, 32, and Part II., pp. 50–52.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e2180" href="#xd20e2180src" name="xd20e2180">5</a></span> But +compare the well or marsh of the Basa-Andre in the Tartaro tale, p. +15.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e2183" href="#xd20e2183src" name="xd20e2183">6</a></span> +Cerquand, Part I., pp. 32, 33.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e2196" href="#xd20e2196src" name="xd20e2196">7</a></span> The +owner of the farm and the “métayère,” or +tenant’s wife. Under the “métayer” system the +landlord and tenant divide the produce of the farm. This is the case +almost universally in South-Western France, as elsewhere in the South. +The “métayer’s” residence often adjoins the +landlord’s house.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e2274" href="#xd20e2274src" name="xd20e2274">8</a></span> +<i>Cf.</i> “The Sister and her Seven Brothers.”</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e2313" href="#xd20e2313src" name="xd20e2313">9</a></span> This is +the only representation that we know of Basa-Jaun as a vampire.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e2325" href="#xd20e2325src" name="xd20e2325">10</a></span> As the +Basques commonly go barefooted, or use only hempen sandals, the feet +require to be washed every evening. This is generally done before the +kitchen fire, and in strict order of age and rank. <i>Cf.</i> also +“The Sister and her Seven Brothers.”</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e2333" href="#xd20e2333src" name="xd20e2333">11</a></span> The +running water, we suspect, gives the girl power over the witch.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e2342" href="#xd20e2342src" name="xd20e2342">12</a></span> +“Hazel sticks.” In the sixteenth century the dog-wood, +“cornus sanguinea,” seems to have been the witches’ +wood. In the “Pastorales,” all the enchantments, etc., are +done by the ribboned wands of the Satans. This tale ends rather +abruptly. The reciter grew very tired at the last.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e2370" href="#xd20e2370src" name="xd20e2370">13</a></span> Basque +Lamiñak always say exactly the contrary to what they mean.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e2398" href="#xd20e2398src" name="xd20e2398">14</a></span> +<i>Cf.</i> Bladé’s <span lang="fr">“Contes +Agenais,” “Les Deux Filles,”</span> and +Köhler’s “<span lang="fr">Notes +Comparatives</span>” on the tale, p. 149.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e2468" href="#xd20e2468src" name="xd20e2468">15</a></span> That +is, the wife span evenly with a clear steady sound of the wheel, but +the man did it unevenly.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e2487" href="#xd20e2487src" name="xd20e2487">16</a></span> +<i>Cf.</i> Campbell’s “The Brollachan,” Vol. II., p. +189, with the notes and variations. “Me myself,” as here, +seems the equivalent of the Homeric “<span class="trans" title= +"outis"><span class="Greek" lang= +"el">οὔτις</span></span>.”</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e2511" href="#xd20e2511src" name="xd20e2511">17</a></span> M. +Cerquand has the same tale, Part I., p. 41.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e2569" href="#xd20e2569src" name="xd20e2569">18</a></span> This is +a very widely spread legend. <i>Cf.</i> Patrañas, “What +Ana saw in the Sunbeam;” “Duffy and the Devil,” in +Hunt’s “Popular Romances of the West of England,” p. +239; also Kennedy’s “Idle Girl and her Aunts,” which +is very close to the Spanish story; and compare the references +subjoined to the translation of the Irish legend in Brueyre’s +“<span lang="fr">Contes Populaires de la Grande +Bretagne</span>,” p. 159.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e2604" href="#xd20e2604src" name="xd20e2604">19</a></span> +<i>Cf.</i> “The Brewery of Egg-shells,” in Croker’s +“Fairy Legends of the South of Ireland,” pp. +32–36.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e2618" href="#xd20e2618src" name="xd20e2618">20</a></span> This +tale, or at least this version of it, with the names Rose and +Bellarose, must come from the French.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e2638" href="#xd20e2638src" name="xd20e2638">21</a></span> +“A little dog” is mentioned in Campbell’s “The +Daughter of the Skies,” Vol. I., 202, and notes.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e2641" href="#xd20e2641src" name="xd20e2641">22</a></span> +”<span lang="eu">Kopetaen erdian diamanteko bista +batez</span>”—“a view of diamonds in the middle of +the forehead.”</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e2688" href="#xd20e2688src" name="xd20e2688">23</a></span> Nothing +has been said about this dress before. Something must have dropped out +of the story.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e2721" href="#xd20e2721src" name="xd20e2721">24</a></span> At a +Pyrenean wedding the bride and bridegroom, with the wedding party, +spend nearly the whole day in promenading through the town or village. +The feast often lasts several days, and the poor bride is an object of +pity, she sometimes looks so deadly tired.</p> +</div> +</div> +<div id="ch5" class="div1"><span class="pagenum">[<a href= +"#toc">Contents</a>]</span> +<div class="figure"><img src="images/head8.png" alt= +"V.—Witchcraft and Sorcery." width="720" height="156"></div> +<h2 class="main">V.—Witchcraft and Sorcery.</h2> +<p class="firstpar">Our legends of witchcraft and sorcery are very +poor, and in some of these, as said above, the witch is evidently a +fairy. The reason of this is not that the belief in witchcraft is +extinct among the Basques, but because it is so rife. Of stories of +witchcraft (as matters of fact), and some of them very sad ones, we +have heard plenty; but of legends, very few. In fact, witchcraft among +the Basques has not yet arrived at the legendary stage. The difference +is felt at once in taking down their recitations. In the legends they +are reciting a text learnt by heart. It is “the story says +so.” “It is so,” whether they understand it or not. +But they tell their stories of witchcraft in their own words, just as +they would narrate any other facts which they supposed had happened to +themselves or to their neighbours. One woman told us, as a fact within +her own knowledge, and persisted in it, a tale which appears both in M. +Cerquand’s pages and in Fr. Michel’s “<span lang= +"fr">Pays Basque</span>.”<a class="noteref" id="xd20e2740src" +href="#xd20e2740" name="xd20e2740src">1</a> It was only after +cross-examination that we could discover that it had not really +happened to her own daughter, but that she had only <i>seen</i> the +cottage and the chapel which are the scene of the alleged occurrence. +We have, too, been informed on undoubted authority that, only a year or +two back, a country <span class="pagenum">[<a id="pb65" href="#pb65" +name="pb65">65</a>]</span>priest was sorely puzzled by one of his +parishioners, in his full senses, seriously and with contrition +confessing to him that he frequented the “Sabbat.”</p> +<p>But what is strange and unexpected is, that with this prevalence of +belief in witchcraft and sorcery, and which can be traced back to our +earliest notices of the Basques, there is nothing to differentiate +their belief on this subject from the current European belief of three +centuries back. All the Basque words for witchcraft and sorcery are +evidently borrowed. The only purely Basque term is Asti, which seems to +be rather a diviner than a sorcerer. The term for the +“Sabbat” is “Akhelarre”—“goat +pasture”—and seems to be taken from the apparition of the +devil there in form of a goat, which is not uncommon elsewhere. Pierre +de Lancre, by the terrors of his hideous inquisition in 1609, produced +a moral epidemic, and burnt numerous victims at St. Jean de Luz; but +there is not a single Basque term in all his pages. Contrary to general +opinion, both the Spanish Inquisition and the French ecclesiastical +tribunals were more merciful and rational, and showed far less bigotry +and barbarity than the two doctrinaire lawyers and judges of Bordeaux. +The last person burnt for witchcraft at St. Jean de Luz was a +Portuguese lady, who was accused of having secreted the Host for +purposes of magic, in 1619. While her case was being investigated +before the Bishop of Bayonne, in the crypt of the church, a mob of +terrified fishermen, on the eve of starting for Newfoundland, burst in, +tore her out of the church, and burnt her off-hand, in the midst of the +“Place.” “They dared not,” they said, +“sail while such a crime was unpunished.” The +Bishop’s procés-verbal of the occurrence is still extant +in the archives of the Mairie.</p> +<p>The magic wand in all our tales is now said to be made from the +hazel. In De Lancre’s time it was from the +“Souhandourra”—“the cornus +sanguinea”—or dog-wood. This was then the witches’ +tree. <span class="pagenum">[<a id="pb66" href="#pb66" name= +"pb66">66</a>]</span></p> +<div class="div2" id="ch5.1"><span class="pagenum">[<a href= +"#toc">Contents</a>]</span> +<h3 class="main">The Witches at the Sabbat.<a class="noteref" id= +"xd20e2760src" href="#xd20e2760" name="xd20e2760src">2</a></h3> +<p class="firstpar">Once upon a time, like many others in the world, +there was a young lad. He was one day in a lime-kiln, and the witches +came at night. They used to dance there, and one pretended to be the +mistress of a house, who was very ill; and one day, as she was going +out of the church, she let the holy wafer fall on the ground, and a +toad had picked it up; and this toad is still near the door, under a +stone, with the bread in his mouth.<a class="noteref" id="xd20e2764src" +href="#xd20e2764" name="xd20e2764src">3</a> And again, this same witch +said that, until they took away this bread out of the toad’s +mouth, this lady will not be cured. This young lad had heard it all. +When they had danced their rounds, the witches go away home, and our +lad comes out of the lime-kiln, and goes to the house of this lady who +is ill, and says to her,</p> +<p>“I know what must be done to cure you,” and he told her +all that he had heard from the witch.</p> +<p>The sick lady did what they told her, and the same day she was +cured, and the young man was well paid.</p> +<p>And that very evening there came to him a hunch-backed girl, and +said to him,</p> +<p>“I have heard that you know where the witches hold their +Sabbat.”</p> +<p>He says, “Yes.”</p> +<p>“To-morrow I think I should like to hear what the witches +say.”</p> +<p>And he points out to her the hole of the lime-kiln. And at midnight +all the witches came, some from one quarter, some from +another—some laughing, and others cutting capers. The witches +said one to another,</p> +<p>“We must look in the lime-kiln, to see what may be +there.”</p> +<p>They go to look, and they find the hunchback girl, and they send her +off— <span class="pagenum">[<a id="pb67" href="#pb67" name= +"pb67">67</a>]</span></p> +<p>“Go, go—through hedges and hedges, through thorns and +thorns, through furze-bushes and furze-bushes, scratches and +pricks.”</p> +<p>And in no way could our poor hunchback find her way home. All torn +to pieces and exhausted, at last, in the morning, she arrived at her +house.</p> +<p class="signed"><span class="sc">Estefanella Hirigaray.</span></p> +<p>The second part of this story is evidently a blundered version, +transferred from fairies to witches, of Croker’s “Legend of +Knochgrafton” (“Fairy Legends of South of Ireland,” +p. 10); and M. Cerquand, Part II., p. 17, has a Basque version, +“<span lang="fr">Les Deux Bossus</span>,” almost identical +with this Irish legend. The tale, as given in Croker, is found in the +Bearnais Gascon, in Spanish, Italian, and German. It is evident, we +think, that the Basque land is not its home, but that it has travelled +there. We have also another Basque variation of the first part, in +which two lads hear the witches at the Sabbat say that a king’s +daughter can only be cured by eating an ox’s heart. The opening +of this story is so different, that we here give it:—</p> +</div> +<div class="div2" id="ch5.2"><span class="pagenum">[<a href= +"#toc">Contents</a>]</span> +<h3 class="main">The Witches and the Idiots.</h3> +<p class="firstpar">Once upon a time there were two brothers, the one +an idiot, and the other a fool. They had an old mother, old, old, very +old. One morning early the elder arranges to go with his sheep to the +mountain, and he leaves the fool at home with his old, old, mother, and +said to him:</p> +<p>“I will give my mother some chocolate now, and you will give +her a hot bath (afterwards), quite, quite, hot.”</p> +<p>He goes to the mountain with his sheep. The second son put the water +on to boil, and said to his mother:</p> +<p>“My mother, the water is hot, what bath would you +like?”<a class="noteref" id="xd20e2811src" href="#xd20e2811" +name="xd20e2811src">4</a> <span class="pagenum">[<a id="pb68" href= +"#pb68" name="pb68">68</a>]</span></p> +<p>She says to him:</p> +<p>“A bath with wood-ashes.”</p> +<p>And he carries it to the bed while it is boiling; and as she did not +get up, he said to her:</p> +<p>“Would you like a little broth?” And she said +“Yes.”</p> +<p>“My mother, get up quickly!” and she did not get up.</p> +<p>He takes her, and puts her himself into this boiling water, so that +he boiled his poor mother. And he said to her,</p> +<p>“My mother, get up again; the water is not cold.”</p> +<p>She did not answer. The night comes, and the other brother returns +from the mountains, and says to him:</p> +<p>“How is our mother?”</p> +<p>“All right.”</p> +<p>“Have you given her the bath?”</p> +<p>“Yes; but she is still there, and she is asleep in her +bath.”</p> +<p>“Go and see if she is still asleep.”</p> +<p>He goes, and says, “No, no; she is laughing—she keeps on +laughing.”</p> +<p>The other brother goes there, and perceives that their mother is +quite dead. He did not know what to do. They both go into the garden, +and there they make a great hole and bury her.</p> +<p>They then burn the house, go into the woods, see the witches, cure +the king’s daughter, whom one of them marries, and they live +happily.<a class="noteref" id="xd20e2848src" href="#xd20e2848" name= +"xd20e2848src">5</a></p> +<hr class="tb"> +<p>It is <i>possible</i> that this first part may be a narrative of +fact. We knew at Asté, near Bagnères de Bigorre, a +brother, an idiot “crétin,” who deliberately began +to chop up his sister (also an idiot and “crétin”), +who offered no resistance. He had chopped off several of her fingers, +when they were accidently interrupted. In spite of the blood and pain, +she was only laughing at it.</p> +<p>We have another tale of this kind, which may be also founded on +fact, so sad is often the condition of the crétins <span class= +"pagenum">[<a id="pb69" href="#pb69" name="pb69">69</a>]</span>in the +mountains. It is of a mother and her imbecile son; he nearly kills +himself by chopping off the branch of the tree on which he was sitting. +Then he believes himself dead, and commits various other follies. His +mother thinks a wife might be able to take care of him, and tells him +to cast sheeps’ eyes at the young girls coming out of church +after mass. He takes this literally, cuts out the eyes of all their +flock, and so kills their sheep, the only thing they had, and throws +these at the girls, who are disgusted, and quarrel with him. He goes +home, and mother and son end their lives together in wretchedness.</p> +</div> +<div class="div2" id="ch5.3"><span class="pagenum">[<a href= +"#toc">Contents</a>]</span> +<h3 class="main">The Witch and the New-Born Infant.</h3> +<p class="firstpar">Like many others in the world, there was a man and +woman, labourers, who lived by their toil. They were at ease. They had +a mule, and the man lived by his mule carrying wine. Sometimes he was a +week away from home. He always went to the same inn, where there was a +woman and her daughter. One day the labourer sets off with his loaded +mule, and his wife was very near her confinement. She was expecting it +hourly; but, as he had orders upon orders, he was obliged to set off. +He goes then, and comes to this inn. It was a market-day, and they had +not kept a bedroom for him as usual, because there were so many people +there, and he is put into a dark room without windows near the kitchen. +He had not yet gone to sleep, when he hears the woman say to her +daughter,</p> +<p>“You are not aware that the wife of the man who is there is +confined? Go and see if he is asleep.”</p> +<p>When the man heard that, he began to snore; and when the young girl +heard through a slit in the door that he was snoring, she said to her +mother,</p> +<p>“Yes, yes, he is asleep.”</p> +<p>The mother said to her then (you may guess whether he was +listening)—</p> +<p>“I must go and charm this newly-born infant.” +<span class="pagenum">[<a id="pb70" href="#pb70" name= +"pb70">70</a>]</span></p> +<p>She takes up a stone under the hearth, and takes from under it a +saucepan, in which there was an ointment. She takes a brush, and well +rubs herself over her whole body, saying,<a class="noteref" id= +"xd20e2881src" href="#xd20e2881" name="xd20e2881src">6</a></p> +<p>“<i>Under</i> all the clouds and <i>over</i> all the hedges, +half an hour on the road, another half-hour there, and another to +return.”</p> +<p>As soon as she had said that, off she went. When the man saw that +she was gone, he comes out of his room. He had seen what she did. He +anoints himself like her, and says,</p> +<p>“<i>Over</i> the clouds, and <i>under</i> the +hedges”—(he made a blunder there<a class="noteref" id= +"xd20e2902src" href="#xd20e2902" name= +"xd20e2902src">7</a>)—“a quarter of an hour to go there, +half an hour to stop, and a quarter of an hour for the +return.”</p> +<p>He arrives at his house, but torn to pieces by the thorns, and his +clothes in strips, but that was all the same to him; he places himself +behind the door of his wife’s bedroom with a big stick. There +comes a great white cat, “Miau, miau!”<a class="noteref" +id="xd20e2911src" href="#xd20e2911" name="xd20e2911src">8</a> When the +man heard that, he goes out of the place where he was hiding, and with +his stick he almost killed this cat, and set out directly afterwards +for the inn, but not easily, under all the hedges. In spite of that, he +arrives at the woman’s house. He goes to bed quickly. The next +day, when he gets up, he sees only the daughter. He asks her where her +mother is. “She is ill, and you must pay me.”</p> +<p>“No! I prefer to see your mother.”</p> +<p>He goes to the mother, and finds her very ill. From this +<span class="pagenum">[<a id="pb71" href="#pb71" name= +"pb71">71</a>]</span>day he goes no more to that inn. When he gets +home, he tells his wife what had happened, and how he had saved the +child. But all was not ended there. They had misfortune upon +misfortune. All their cows died, and all their other animals too. They +were sinking into the deepest misery.<a class="noteref" id= +"xd20e2923src" href="#xd20e2923" name="xd20e2923src">9</a> They did not +know what would become of them. This man was brooding sadly in thought, +when he met an old woman, who asked him what was the matter with him. +He told her all his troubles, how many misfortunes they had +had—all his cows lost. He had bought others, and they too had +died directly. He is charmed by witches.</p> +<p>“If you are like that you have only to put a consecrated taper +under the peck measure in the stable, and you will catch +her.”</p> +<p>He does as the old woman told him, and hides himself in the manger. +At midnight she comes under the form of a cat, and gets astride the ox, +saying:</p> +<p>“The others before were fine, but this is very much +finer.”</p> +<p>When our man heard that he comes out from where he was hiding, and +with his stick he leaves her quite dead; although when he had done that +our man was without any resources; (he had) neither bread, nor maize, +nor cows, nor pigs, and his wife and children were starving.</p> +<p>He goes off to see if he can do anything. There meets him a +gentleman, who says to him:</p> +<p>“What is the matter, man, that you are so sad?”</p> +<p>“It is this misery that I am in that torments me +so.”</p> +<p>“If you have only that, we will arrange all that if you like. +I will give you as much money as you wish, if at the end of the year +you can guess, and if you tell me with what the devil makes his +chalice; and if you do not guess it then your soul shall be for +us.”</p> +<p>When our man has got his money, he goes off home without thinking at +all of the future. He lived happily for <span class="pagenum">[<a id= +"pb72" href="#pb72" name="pb72">72</a>]</span>some time with his wife +and child; but as the time approached he grew sad, and said nothing to +his wife. One day he had gone a long way, wishing and trying to find +out his secret, and the night overtakes him. He stops at a cross-roads, +and hides himself. (You know that the witches come to the +cross-roads<a class="noteref" id="xd20e2953src" href="#xd20e2953" name= +"xd20e2953src">10</a> to meet together.) They come then, +“hushta” from one side, “fushta” from the +other, dancing. When they had well amused themselves like that, they +begin to tell each other the news. One says:</p> +<p>“You do not know, then, such a man has sold his head to the +devil; certainly he will not guess with what the devil makes his +chalice. I do not know myself; tell it me.”</p> +<p>“With the parings of the finger-nails which Christians cut on +the Sunday.”</p> +<p>Our man with difficulty, with great difficulty, kept from showing +himself, through his joy and delight. As soon as the day appeared all +the witches went off to their homes, and our man too went off to his. +He was no more sad. He waited till the day arrived, and went to the +cross-roads. This gentleman was already there, come with a lot of +devils, thinking that he would be for hell. He asks him:</p> +<p>“You know what the devil makes his chalice of?”</p> +<p>“I do not know, but I will try. With the parings of the +finger-nails which Christians cut on Sundays?”</p> +<p>As soon as he heard that, the devil goes off with all the others in +fire and flame to the bottom of hell. Our man went off home, and lived +a long time with his wife and daughter. If they had lived well, they +would have died well too. <span class="pagenum">[<a id="pb73" href= +"#pb73" name="pb73">73</a>]</span></p> +</div> +<div class="div2" id="ch5.4"><span class="pagenum">[<a href= +"#toc">Contents</a>]</span> +<h3 class="main">The Changeling.</h3> +<p class="firstpar">Like many others in the world, there was a +gentleman and lady. They were very well off, but they could not keep +any of their children. They had had ever so many, and all died. The +lady was again in a hopeful condition. At the beginning of the night +she was confined of a fine boy.</p> +<p>Two young men heard this news, and they said to each other:</p> +<p>“We ought to have a feast; we must steal a sheep out of this +house. They will not pay attention to us with all their bustle and +their joy.”</p> +<p>One of the lads then goes after eleven o’clock towards the +house. He meets an old woman, who said to him:</p> +<p>“Where are you off to, lad? There is nothing like the +truth.”</p> +<p>“I was going, then, to such a house; the lady has been +confined, and I wish to take advantage of it to steal a sheep. They +will not pay any attention to-day. And you, where are you +going?”</p> +<p>“I too am going to the house. I am a witch, and it is I who +have killed all their children.”</p> +<p>“And how do you do that?”</p> +<p>“Easily. When the infant sneezes nobody says, ‘Domine +stekan,’<a class="noteref" id="xd20e2991src" href="#xd20e2991" +name="xd20e2991src">11</a> and then I become mistress of the +child.”</p> +<p>The witch enters, doubtless as she liked, much more easily than our +lad; but nevertheless he got in himself too. He was busy choosing his +sheep, when he hears the infant sneeze. He says very, very loudly:</p> +<p>“Domine stekan; even if I should not get my sheep.”</p> +<p>They go to see who is there, and what he was saying. The lad relates +what the old woman had told him. As you may imagine they thanked him +well, and told him to choose <span class="pagenum">[<a id="pb74" href= +"#pb74" name="pb74">74</a>]</span>the finest sheep. The father and +mother were delighted that they would save this child; but, poor +wretches, they had not seen everything. A devil had come, who took +their child and carried it to the roadside, and left it there. A +coachman passing by sees this child, and takes it with him. He was +married, but had no children. They had a great desire to have one. They +were very well off also. His wife was delighted to see this fine child; +they gave it a good nurse, and the child grew fast and became +wonderfully handsome. The devil had placed himself in the child’s +cradle. This mother gave him suck, and, contrary to the other, he did +not grow at all. The parents were vexed at having such a child; they +did not know what to think of it. Their true child was more than +extraordinarily clever. The coachman and his wife were dazed with joy, +and they loved him as (if he were) their own child. When he was twelve +years old, he said to his father and mother that he wished to become a +monk. The coachman and his wife were very sorry, and they asked him to +become only a priest. But after having seen his great desire they allow +him to do as he wished.</p> +<p>He went away then, and at the age of eighteen years he was able to +say mass. When he was there, one day two men were passing in front of +the garden of his <i>real</i> father, and they began to quarrel. They +got so enraged that one killed the other, and threw him into his +father’s garden. This father was tried and condemned to death for +having killed this man.</p> +<p>While this young monk was saying mass, there comes to him a white +pigeon and tells him what was taking place in his father’s house, +and that the pigeon will assume the form of the monk, “and you +shall go off in my shape.” The monk willingly does what he tells +him, and arrives when they are leading his father to execution. He was +being followed by the judges and by a crowd of people. He asks what he +has done. They tell him that he has killed a man. He asks if they would +do him a favour before they put him <span class="pagenum">[<a id="pb75" +href="#pb75" name="pb75">75</a>]</span>to death—if they would +accompany him to the grave of the man whom he has killed. They tell +him, “Yes.”</p> +<p>They all go off then. The monk has the grave opened, restores him to +life, and asks him, pointing to his father:</p> +<p>“Is this the man who has killed you?”</p> +<p>The dead man says to him, “No!”</p> +<p>After having said that he dies again. The monk did not wish to know +who had killed him; he knew all he wanted with that. The father wished +to take the monk home with him to dinner, but he would not go that day. +He said to him:</p> +<p>“I will come on such a day.”</p> +<p>As you may fancy they made a splendid dinner; nothing was wanting +there. They invited all their friends and acquaintances to rejoice with +them. When the monk arrives, the lady, before sitting down to table, +wished to show him her child, how she had suckled him with her own milk +eighteen years, and that he did not grow at all, but was always just as +he was when he was born. The monk betook himself to prayer, and he saw +that which they believed to be a child fly away under the shape of a +devil in fire and flame, and he carried off with him part of the house. +He told his mother not to vex herself because she had had the devil +there, and that she would be happier without such a child.</p> +<p>All the world was astonished at the power of this monk; but the +mother was still grieved. The monk, to console her, told her his +history; how he was her true child; how the devil had taken him and +carried him to the roadside; how he had been found and brought up by a +coachman; and that it was he himself who had been made priest, and her +son. All were astounded at his words. After they had well dined, the +monk went back into his convent, and the father and mother lived +honourably, as they did before; and as they lived well, they died well +too.</p> +<p class="signed"><span class="sc">Catherine Elizondo.</span> +<span class="pagenum">[<a id="pb76" href="#pb76" name= +"pb76">76</a>]</span></p> +</div> +<div class="footnotes"> +<hr class="fnsep"> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e2740" href="#xd20e2740src" name="xd20e2740">1</a></span> +Cerquand, Part I., p. 29, notes to Conte 8; Fr. Michel, +“<span lang="fr">Le Pays Basque</span>,” p. 152 (Didot, +Paris, 1857).</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e2760" href="#xd20e2760src" name="xd20e2760">2</a></span> +“Akhelarre,” literally “goat pasture.” This was +the name in the 16th century.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e2764" href="#xd20e2764src" name="xd20e2764">3</a></span> This +belief in a toad sitting at the church door to swallow the Host is +found in De Lancre.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e2811" href="#xd20e2811src" name="xd20e2811">4</a></span> That is, +one with bran, or herbs, wood-ashes, &c., or plain water.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e2848" href="#xd20e2848src" name="xd20e2848">5</a></span> M. +Cerquand gives this tale at length, Part II., pp. 10, 11. The incidents +are very slightly changed.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e2881" href="#xd20e2881src" name="xd20e2881">6</a></span> Compare +this with the scene in Apuleius, “De Asino Aureo;” and, for +a somewhat similar “fairy ointment,” see Hunt’s +“Popular Romances of the West of England,” pp. +110–113.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e2902" href="#xd20e2902src" name="xd20e2902">7</a></span> The +blunder is confounding “dessus,” over, and +“dessous,” under. This shows that the tale is originally +French, or, at least, the witch’s part of it; for this punning +mistake could not be made in Basque. The two words are not in the least +similar in sound. “Gaiñetik” and “<span lang= +"eu">azpetik</span>” are the words here used.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e2911" href="#xd20e2911src" name="xd20e2911">8</a></span> Witches +still appear in the shape of cats, but generally black ones. About two +years ago we were told of a man who, at midnight, chopped off the ear +of a black cat, who was thus bewitching his cattle, and lo! in the +morning it was a woman’s ear, with an <i>earring</i> still in it. +He deposited it in the Mairie, and we might see it there; but we did +not go to look, as it was some distance off.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e2923" href="#xd20e2923src" name="xd20e2923">9</a></span> +Literally, “<i>red</i> misery.” In Basque the most intense +wretchedness of any kind is always called “<i>red</i>.”</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e2953" href="#xd20e2953src" name="xd20e2953">10</a></span> There +are several superstitions connected with cross-roads in the Pays +Basque. When a person dies, the bedding or mattress is sometimes burnt +at the nearest cross-roads, and every passer-by says a +“Paternoster” for the benefit of the deceased. This custom +is becoming extinct, but is still observed in old families.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e2991" href="#xd20e2991src" name="xd20e2991">11</a></span> This +is, of course, only a mispronunciation of “<span lang= +"la">Dominus tecum</span>”—“The Lord be with +you.” Compare the opposite effect of “God save us,” +in Croker’s tale of “Master and Man,” pp. 96, 97.</p> +</div> +</div> +<div id="ch6" class="div1"><span class="pagenum">[<a href= +"#toc">Contents</a>]</span> +<div class="figure"><img src="images/head4.png" alt= +"VI.—Contes des Fées." width="720" height="158"></div> +<h2 class="main">VI.—Contes des Fées.</h2> +<p class="firstpar">Under this head, we include all those legends which +do not readily fall under our other denominations. Fée and fairy +are not synonymous. All such tales as those of the “Arabian +Nights” might come within the designation of Contes des +Fées, but they could hardly be included under Fairy Tales, +though the former may be said to embrace the latter. We have divided +our legends of this kind into two sections:—(A) Those which have +a greater or less similarity to Keltic legends, as recorded in +Campbell’s “Tales of the West Highlands,” and +elsewhere; (B) Those which we believe to be derived directly from the +French.</p> +<p>We have chosen the designation Keltic, because the burning question +concerning the Basques at present is their relation to the Keltic race. +Anything that can throw light upon this will have a certain interest +for a small portion of the scientific world. That these legends do in +some degree resemble the Keltic ones will, we think, be denied by no +one. Whether they have a closer affinity with them than with the +general run of Indo-European mythology may be an open question. Or, +again, whether the Basques have borrowed from the Kelts, or the Kelts +from the Basques, we leave undetermined. One legend here given, that of +“Juan Dekos,” has clearly been borrowed from the Gaelic, +and that since the Keltic occupation of the Hebrides.<a class="noteref" +id="xd20e3043src" href="#xd20e3043" name="xd20e3043src">1</a> The very +<span class="pagenum">[<a id="pb77" href="#pb77" name= +"pb77">77</a>]</span>term Keltiberi, as used by the classical writers, +shows some contact of the Kelts with the Basques in ancient times, +whether we take Basque and Iberi to be co-extensive and convertible +terms or not. What the <i>rôle</i> of the “White +Mare” is in these tales we do not understand. Can it be connected +with the figure of a horse which appears so frequently on the so-called +Keltiberian coins, or is it a mere variation of the Sanscrit +“Harits, or horses of the sun?” Campbell, Vol. I., p. 63, +says these “were always feminine, as the horses in Gaelic stories +are.”</p> +<p>It may be, perhaps, as well to mention that we did not see +Campbell’s “Tales of the West Highlands” till after +these legends had been written down.</p> +<div class="div2" id="ch6.a"><span class="pagenum">[<a href= +"#toc">Contents</a>]</span> +<h3 class="main">(A.)—Tales like the Keltic.</h3> +<div class="div3" id="ch6.1"> +<h4 class="main">Malbrouk.<a class="noteref" id="xd20e3059src" href= +"#xd20e3059" name="xd20e3059src">2</a></h4> +<p class="firstpar">Like many others in the world, there was a man and +a woman who were over-burdened with children, and were very poor. The +man used to go to the forest every day to get wood for his family. His +wife was on the point of being confined. One day he was in the forest, +and a gentleman comes to him, and says:</p> +<p>“What are you doing, friend?”</p> +<p>“I am looking for wood to support my family.”</p> +<p>“You are very poor, then?”</p> +<p>“Yes, yes.”</p> +<p>“If you will make me godfather to your next child according to +your law, I will give you a great deal of money.”</p> +<p>He says to him, “Yes, I will do so.”</p> +<p>He gives him, then, a great deal of money, and he goes <span class= +"pagenum">[<a id="pb78" href="#pb78" name="pb78">78</a>]</span>home. +His wife is confined shortly afterwards, and they were waiting, not +knowing what to do to tell it to the godfather, since they did not know +where he lived. He himself appeared from somewhere. They go to the +church, and he gives him the name Malbrouk. While they were returning +to the house, the godfather disappears with the child like smoke. The +father and mother were distressed about it, though they had plenty of +money; but in time their grief faded away.</p> +<p>The old Malbrouk went to his house. His wife was a witch, and they +had three daughters. The little Malbrouk grew fast, and at seven +years’ old he was as tall as a tall man. His godfather said to +him:</p> +<p>“Malbrouk, would you like to go to your own home?”</p> +<p>He said to him, “Am I not here in my own home?”</p> +<p>He told him, “No,” and that he might go there for three +days.</p> +<p>“Go to such a mountain, and the first house that you will see +there will be yours.”</p> +<p>He goes, then, to the mountain, and sees the house, and goes to it. +He finds his two brothers at the door cutting wood. He tells them that +he is their brother; but they will not believe him. They take him +indoors, and he tells his father and mother that he is Malbrouk. They +are astonished to see such a big man for seven years’ old. They +pass these three days in great delight; and he said to his +brothers:</p> +<p>“There is plenty of room at my godfather’s for you too, +and you must come with me.”</p> +<p>They go off, then, all three together. When they arrive, the witch +was not at all contented. She said to her husband:</p> +<p>“I don’t know. These three men will do us some mischief, +and we must kill them.”</p> +<p>Malbrouk did not wish to; but as the witch gave him no rest, he told +her that at the end of three days he would kill them. What does the +little Malbrouk do? At night their daughters used to put crowns on +their heads, and the little <span class="pagenum">[<a id="pb79" href= +"#pb79" name="pb79">79</a>]</span>Malbrouk and his brothers cotton +night-caps. The little Malbrouk says to them:</p> +<p>“We must make an exchange; it is now our turn to have the +crowns.”</p> +<p>The girls were just as well pleased, and they gave them to them. One +night (old) Malbrouk goes there, and after having felt their heads, +when he perceived that they had the night-caps, he kills the three. +After the little Malbrouk saw that he woke his brothers, took his +godfather’s seven-leagued boots, and goes off, far, far, far +away. The witch said to (the old Malbrouk):</p> +<p>“You have taken good care whom you have killed? I am not at +all satisfied that you have not done some donkey-trick.”</p> +<p>The witch goes, and sees her three daughters dead. She was terribly +angry,<a class="noteref" id="xd20e3117src" href="#xd20e3117" name= +"xd20e3117src">3</a> and there was no help for it.</p> +<p>Malbrouk and his brothers come to a place where a king lives, and he +remarks that everything is sad. He asks what it is? They tell him that +the king has lost his three daughters, and that nobody can find them. +Malbrouk says to them:</p> +<p>“I will find them.”</p> +<p>They tell that quickly to the king, and bring them before him, and +Malbrouk tells him, too, that he will find them. All three set out. +When they have gone a little way they find an old woman, who says to +them:</p> +<p>“Where are you going to in that fashion?”</p> +<p>“To look for the king’s three daughters.”</p> +<p>This old woman says to them:</p> +<p>“Go to the king, and ask him for three hundred fathoms of new +rope, a bucket, and a bell.”</p> +<p>They go, and the king gives to them immediately what they ask for. +They go, then, to the woman, and she says to them, pointing to a well, +that they are in that well.<a class="noteref" id="xd20e3139src" href= +"#xd20e3139" name="xd20e3139src">4</a> The eldest put himself into the +bucket, and says to them:</p> +<p>“When I am afraid, I will ring the bell.” <span class= +"pagenum">[<a id="pb80" href="#pb80" name="pb80">80</a>]</span></p> +<p>When he has gone only a little way he is frightened, and rings. They +pull him up. The second goes; and when he has gone a little farther +down he is frightened, and rings. Malbrouk then gets in, and he says to +them:</p> +<p>“When I shall give a pull at the bucket from below, then you +will pull it up.”</p> +<p>He goes down, then, and at last he sees that there is a beautiful +house underground, and he sees there a beautiful young lady, who is +sitting with a serpent asleep in her lap. When she sees Malbrouk, she +says to him:</p> +<p>“Be off, I pray you, from here; he has only three-quarters of +an hour to sleep, and if he wakes, it is all over with you and +me.”</p> +<p>He says to her, “No matter; lay the head of the serpent on the +ground, gently, gently, without waking him.”</p> +<p>She lays it there, and he carries off this young lady in the bucket, +after having pulled the cord. He goes into another chamber, and he sees +another young lady, still more beautiful, with the head of a lion +asleep on her lap. She also says to him:</p> +<p>“Be off quickly from here. He has only half-an-hour to sleep, +and if he wakes, it is all up with you and me.”</p> +<p>Malbrouk says to her, “Place gently, gently, without waking +him, the head of the lion on the ground.”</p> +<p>She does so. Malbrouk takes her, gets into the bucket with her, and +his brothers pull them both up. They write at once to the king to come +and fetch them, that they have found two of his daughters. As you may +suppose, the king sends a carriage directly to fetch them, and he makes +great rejoicings. The king tells him to choose whichever of the two he +likes for his wife. Malbrouk says to him:</p> +<p>“When I shall have found your third daughter she shall be my +wife, and my two brothers may take these two young ladies for their +wives.”</p> +<p>They do as Malbrouk said, and he sets out to see his sweetheart. He +goes on, and on, and on. All the fowls of the air know Malbrouk. As he +was going along he finds <span class="pagenum">[<a id="pb81" href= +"#pb81" name="pb81">81</a>]</span>a wolf, a dog, a hawk, and an ant, +and in their language they cry out:</p> +<p>“Oyhu!<a class="noteref" id="xd20e3174src" href="#xd20e3174" +name="xd20e3174src">5</a> Malbrouk, Malbrouk!” and saying to him, +“Where are you going, Malbrouk? these three days we have been +here before this sheep, and cannot agree how to divide it; but you, you +shall divide it.”</p> +<p>Malbrouk goes to them, then, trembling lest they should make a +division of him, too. He cuts off the head, and gives it to the +ant.</p> +<p>“You will have enough to eat, and for your whole +household.”</p> +<p>He gives the entrails to the hawk, and for the dog and the wolf he +cuts the carcase in half. He left them all well satisfied; and Malbrouk +goes on his way in silence, in silence. When he had gone a little way, +the ant says:</p> +<p>“We have not given Malbrouk any reward.”</p> +<p>The wolf calls to him to come back. Malbrouk comes trembling, +thinking that it was his turn, and that they are going to eat him, +without doubt. The ant says to him:</p> +<p>“We have not given you anything, after that you have made such +a good division for us; but whenever you wish to become an ant, you +have only to say, ‘Jesus, ant!’ and you will become an +ant.”</p> +<p>The hawk says to him: “When you wish to make yourself a hawk, +you will say, ‘Jesus, hawk!’ and you will be a +hawk.”</p> +<p>The wolf says to him: “When you shall wish to become a wolf, +you shall say, ‘Jesus, wolf!’ and you shall be a +wolf.”</p> +<p>And the dog, he said to him the same thing, too.<a class="noteref" +id="xd20e3199src" href="#xd20e3199" name="xd20e3199src">6</a> He +<span class="pagenum">[<a id="pb82" href="#pb82" name= +"pb82">82</a>]</span>goes off, then, well pleased, further into the +forest. A woodpecker says to him:</p> +<p>“Malbrouk, where are you going?”</p> +<p>“To fetch such a daughter of a king.”</p> +<p>“You will not find her easily. Since they have delivered her +sisters, he has carried her to the farther side of the Red +Sea,<a class="noteref" id="xd20e3220src" href="#xd20e3220" name= +"xd20e3220src">7</a> in an island, and keeps her there in prison, in a +beautiful house, with the doors and windows so closely shut that only +the ants can get into that house.”</p> +<p>Malbrouk goes off happy at hearing this news, and that he would find +the princess. He goes on, and on, and on, and he arrives opposite to +this island, and remembering what the hawk had said to him, he said, +“Jesus, hawk!” and immediately he becomes a hawk.<a class= +"noteref" id="xd20e3227src" href="#xd20e3227" name="xd20e3227src">8</a> +He flies away, and goes on until he comes to the island of which the +woodpecker had told him; he sees that he can only get in there like an +ant, and he says, “Jesus, ant!” and he gets through the +little lattice-work. He is dazed at the sight of the beauty of this +young lady. He says, “Jesus, man!” and he becomes a man +again. When the young lady sees him, she says to him:</p> +<p>“Be off quickly from here. It is all over with your life. He +is about to come, this horrible body without a soul,<a class="noteref" +id="xd20e3232src" href="#xd20e3232" name="xd20e3232src">9</a> before a +quarter of an hour, and you will be done away with.”</p> +<p>“I will become an ant again, and I will place myself in your +bosom; but do not scratch yourself too hard, else you will crush +me.”</p> +<p>As soon as he has said that the monster comes. He <span class= +"pagenum">[<a id="pb83" href="#pb83" name="pb83">83</a>]</span>gives +her partridges and pigeons for her dinner, but he himself eats serpents +and horrible vermin. He tells her that he has a slight headache, and to +take the hammer and rap him on the head. She could not lift it, it was +so big; but she knocks him as well as she is able. The monster goes +off. The ant comes out from where he was, and prepares to eat the +partridges and pigeons with the young lady. Malbrouk said to her:</p> +<p>“You must ask him, as if you were in great trouble about it, +what would have to be done to kill him? and you will tell him how +unhappy you would be if he should be killed—that you would die of +hunger in prison in this island.”</p> +<p>The young lady says, “Yes,” she will do so.</p> +<p>The monster comes again, and says to her:</p> +<p>“Ay! ay! ay! my head. Take the hammer, and hit me +hard.”</p> +<p>The young lady does it until she is tired, and then she says:</p> +<p>“How unfortunate I shall be if you die.”</p> +<p>He answers, “I shall not die. He who will know that will know +a great secret.”</p> +<p>“Most certainly I would not wish you to die. I should die of +hunger in this island without you, and I should get no benefit by it. +You ought to tell me what would kill you.”</p> +<p>He says to her, “No! Before this, too, a woman has deceived a +man, and I will not tell you.”</p> +<p>“You can tell it to me—yes, to me. To whom shall I tell +it? I see nobody. Nobody is able to come here.”</p> +<p>At last, at last, he tells her then:</p> +<p>“You must kill a terrible wolf which is in the forest, and +inside him is a fox, in the fox is a pigeon; this pigeon has an egg in +his head, and whoever should strike me on the forehead with this egg +would kill me.<a class="noteref" id="xd20e3266src" href="#xd20e3266" +name="xd20e3266src">10</a> But who will know all that? Nobody.” +<span class="pagenum">[<a id="pb84" href="#pb84" name= +"pb84">84</a>]</span></p> +<p>The princess said to him, “Nobody, happily. I, too, I should +die.”</p> +<p>The monster goes out as before, and the ant too, as you may think, +happy in knowing the secret. On the very next day he sets out for the +forest. He sees a frightful wolf. He says, directly, “Jesus, +wolf!” and he immediately becomes a wolf. He then goes to this +wolf, and they begin to fight, and he gets him down and chokes him. He +leaves him there, and goes off to the young lady in the island, and +says to her:</p> +<p>“We have got the wolf; I have killed him, and left him in the +forest.”</p> +<p>The monster comes directly afterwards, saying:</p> +<p>“Ay! ay! ay! my head! Strike my head quickly.”</p> +<p>She hits his head till she is tired. He says to the princess:</p> +<p>“They have killed the wolf; I do not know if anything is going +to happen to me. I am much afraid of it.”</p> +<p>“You have nothing to be afraid of. To whom could I have told +anything? Nobody can get in here.”</p> +<p>When he has gone, the ant goes to the forest. He opens the wolf, and +out of him comes a fox, who escapes at full speed. Malbrouk says, +“Jesus, dog!” and he becomes a dog. He, too, sets off +running, and catches the fox. They begin to fight, and he kills him, +too. He opens him, and there comes out of him a pigeon. Malbrouk says, +at once, “Jesus, hawk!” and he becomes a hawk. He flies off +to catch the pigeon, seizes him in his terrible talons, and takes out +of his head this precious egg, and goes proudly with it into the +chamber of the young lady. He tells how he has very happily +accomplished his business, and says to her:</p> +<p>“At present, it is your turn; act alone.”</p> +<p>And again he makes himself an ant. Our monster comes, crying, that +it is all up with him, that they have taken the egg out of the pigeon, +and that he does not know what must become of him. He tells her to +strike him on the head with the hammer. <span class="pagenum">[<a id= +"pb85" href="#pb85" name="pb85">85</a>]</span></p> +<p>The young lady says to him:</p> +<p>“What have you to fear? Who shall have got this egg? And how +should he strike your forehead?”</p> +<p>He shows her how, saying, “Like that.”</p> +<p>As the young lady had the egg in her hand, she strikes the monster +as he had told her, and he falls stark dead. In an instant the ant +comes out joyously (from his hiding-place), and he says to her:</p> +<p>“We must set out instantly for your father’s +house.”</p> +<p>They open a window, and the young man makes himself a hawk, and he +says to the young lady:</p> +<p>“Cling firmly to my neck.”</p> +<p>And he flies off, and they arrive at the other side of the island. +He writes immediately to the king his lord, to send and fetch them as +quickly as possible. The king sent; and judge what joy and what feasts +there were in that court. The king wished them to marry directly, but +Malbrouk would not do so. (He said) that he ought to bring his dowry. +The king said to him:</p> +<p>“You have gained enough already.”</p> +<p>He will not hear of that, but goes off far, far, far away, to the +house of his godfather.</p> +<p>They had there a cow with golden horns, and these horns bore fruits +of diamonds. A boy used to guard her in the field. Malbrouk said to +him:<a class="noteref" id="xd20e3319src" href="#xd20e3319" name= +"xd20e3319src">11</a></p> +<p>“What! do you not hear that the master is calling you? Go, +quickly, then, and learn what he wants of you.”</p> +<p>The boy, (believing it), goes off. The master calls to him from the +window:</p> +<p>“Where are you going to, leaving the cow? Go quickly; I see +that Malbrouk is about there.”</p> +<p>The boy sets off running back, but he cannot find the cow. Malbrouk +had got off proudly with his cow, and he gives it to his future wife, +who was very much pleased with it. <span class="pagenum">[<a id="pb86" +href="#pb86" name="pb86">86</a>]</span>The king wished him, then, to +marry, (saying) that he was quite rich enough. Malbrouk would not yet. +He must make a present to the king. He goes again to his +godfather’s house. He wished to steal from him a moon, which +lighted for seven leagues round. Old Malbrouk used to drink a barrel of +water every night. Young Malbrouk goes and empties this barrel. When +night came, Malbrouk goes to drink at his barrel, and finds it empty. +He goes to find his wife, and says to her:</p> +<p>“I have not got a drop of water; go directly, and fetch me +some. I cannot bear this thirst.”</p> +<p>His wife said to him, “It is night, light your moon.” He +lights it, and puts it by the chimney, on the roof. When everyone has +gone to the fountain, young Malbrouk goes and takes this moon, and +carries it to the king. And he, astonished, said to him:</p> +<p>“Now you have done grandly; now be married.”</p> +<p>But he would not; (he said) that he ought to bring something more. +His godfather had a violin, which it was enough only to touch for it to +play, no matter what beautiful music, and it would be heard seven +leagues off. He goes into his godfather’s house to take the +violin, and as soon as he has touched it, it begins to play music. Old +Malbrouk rushes off, and catches his godson in the act. He seizes him, +and puts him into an iron cage. He and his wife are right well pleased. +They say to him:</p> +<p>“This evening we are going to roast you, and eat +you.”</p> +<p>Old Malbrouk goes to the forest to fetch wood, and his wife was busy +cutting some small—she was taking a great deal of trouble about +it. Malbrouk says to her:</p> +<p>“Let me get out of here; I will cut that wood for you. You can +kill me all the same this evening.”</p> +<p>She lets him out. After having cut up some, he takes one of the +largest pieces and strikes the wife of Malbrouk, and kills her. He +makes a great fire, and puts her in the caldron to boil. He takes the +violin, and leaves the <span class="pagenum">[<a id="pb87" href="#pb87" +name="pb87">87</a>]</span>house. When old Malbrouk hears the violin, he +says to himself:</p> +<p>“My wife, not being able to hold out any longer, has, +doubtless, killed Malbrouk, and to show me her joy she has taken the +violin.”</p> +<p>And he does not trouble himself any more about it. When he +approaches the house he stands, well pleased, looking at the caldron on +the fire, but, on coming nearer, he sees some long hairs. He pulls out +a little more, and perceives that it is his wife, who is there already, +half-boiled. Think what a rage he was in. The young Malbrouk went to +the king’s house, and married his well-beloved princess. They +made great rejoicings. As the king was somewhat aged, he gives his +crown to Malbrouk, saying that he had well gained it. They all lived +happily, and he made his two brothers kings also.</p> +<p class="signed"><span class="sc">Laurentine,</span><br> +About 35 years old; learnt it from her mother.</p> +</div> +<div class="div3" id="ch6.2"> +<h4 class="main">The Fisherman and His Sons.</h4> +<p class="firstpar">Like many others in the world, there was a +fisherman who lived with his wife. One day he was fishing and caught a +fine fish (at that time all the animals and everything used to speak), +and the fish said to him:<a class="noteref" id="xd20e3366src" href= +"#xd20e3366" name="xd20e3366src">12</a></p> +<p>“Spare my life! Spare my life! I will give you all that you +shall desire.”</p> +<p>And this poor man spared its life, and went home without having +caught anything else. When he came home his wife asks him:</p> +<p>“Where are your fish?” <span class="pagenum">[<a id= +"pb88" href="#pb88" name="pb88">88</a>]</span></p> +<p>He tells her how that he had caught a fish, and that it had begged +him to spare its life, and that he had left it in the water. His wife +says to him:</p> +<p>“Have you lost your head then? After having caught a fish to +put it back again into the water!”</p> +<p>And she called him all sorts of names, even “big +donkey.”</p> +<p>The next day he goes fishing again, and (what a chance!) the same +fish came again. It asks him again to spare its life. But the man +answers:</p> +<p>“No! My wife loaded me with abuse last evening.”</p> +<p>The fish said to him that he would give him as much money as he +wished if he would but spare him. And our fisherman lets him go again. +He remains there again all day, but nothing comes to his hook. Again he +goes off home without anything at all. His wife is furious at seeing +that he has nothing. He gives her some money, but she was not +satisfied, and told her husband that he ought to have brought the +fish.</p> +<p>He goes fishing again for the third time, and again the same fish +returns, and says to him, “Let me go into the water.”</p> +<p>But our man will not let him go again; his wife had scolded him so +much last night. He must carry him home.</p> +<p>“Well, then, since you will carry me home, I will tell you how +you must divide me. You must give my tail to the dog, my head to the +mare, and my trunk to your wife. At the end of a certain time your wife +will bear three sons, and they will all be exactly like each other, +exactly alike. The mare will have three colts, but all three alike, and +the bitch three puppies, all exactly alike too. And if any misfortune +should happen to any of the three children, the well which is behind +the house will begin to boil.”</p> +<p>The woman did as the fish had said, and she gave birth to three +wonderfully fine boys, who were all exactly, exactly alike, and the +mare had three colts exactly alike, and the bitch three puppies exactly +alike too. <span class="pagenum">[<a id="pb89" href="#pb89" name= +"pb89">89</a>]</span></p> +<p>When these children grew big, one of them said to his parents that +he wished to go from country to country to see the world. His parents +did not wish it. But he had such a desire that at last they gave him +leave. He takes a horse and a dog, extraordinarily large and handsome, +a sword also,<a class="noteref" id="xd20e3409src" href="#xd20e3409" +name="xd20e3409src">13</a> and off he starts. He goes on, and on, very, +very far. He comes to a city and goes to an inn. They were lamenting +loudly there, and everybody was sad.<a class="noteref" id= +"xd20e3412src" href="#xd20e3412" name="xd20e3412src">14</a> He asks, +“What is it?” They tell him how that a serpent with seven +heads lived in the mountain, and that every day they drew lots to know +who should go to him, because he must eat one person every day; and +that to-day the lot has fallen on the king’s daughter, and that +everyone was in mourning, and that the next day this princess must go +very early to the mountain.</p> +<p>Our young man takes his horse, his dog, and his sword, and starts +off before the princess. He keeps himself hidden until the princess was +alone at the top. Then our lad comes out, and the princess says to +him:</p> +<p>“Where do you come from here? Go down quickly, else you will +be eaten as well as I. It is quite enough for one (to die).”</p> +<p>And she entreats him to go down, but our lad will not. He wishes to +try if he can do anything. At the same moment they hear a shrill +hissing, and with that the serpent comes. The lad says to the dog:</p> +<p>“Do your duty.”</p> +<p>And the dog leaps upon the serpent and holds him. He takes his sword +and cuts off his seven heads as best he can. When he has done that he +takes the seven tongues out of the seven heads and puts them in his +pocket. This princess had on seven robes, each more beautiful than the +others, <span class="pagenum">[<a id="pb90" href="#pb90" name= +"pb90">90</a>]</span>and he cuts seven pieces out of them severally. +The princess does not know what to do to thank him. She wishes to take +the lad home with her, but he will not go. And he returns to the +inn.</p> +<p>The king proclaims that the man who has killed the serpent has +gained the half of his kingdom, and his daughter; that he should make +himself known. Our lad does not show himself at all, but a +charcoal-burner<a class="noteref" id="xd20e3435src" href="#xd20e3435" +name="xd20e3435src">15</a> passing by on the mountain found the seven +heads. He presents himself before the king as if he had killed the +serpent. But the princess does not recognise him, and says that it is +not he who has saved her. But as no one else came the marriage was +about to be celebrated, when the princess pointed out to her father +from a distance her rescuer. The king would not believe her. But they +send and fetch him, and tell the charcoal-burner to show the seven +heads of the serpent, and he shows them with great boldness. Our young +man tells him to open their mouths. He does so, and the mouths had no +tongues. Then he who had killed the serpent shows the seven tongues, +and the seven pieces of the princess’ robes, and they were all +convinced that he had killed the serpent; and they burned the +charcoal-burner alive in the middle of the market-place.</p> +<p>Our young man marries the princess, and they had many and great +rejoicings because he had delivered all the world from the terrible +serpent. In the evening, when they retired to their chamber, the wife +knelt down to say her prayers, and the husband went and looked out of +the window, and he saw by the moonlight a magnificent castle,<a class= +"noteref" id="xd20e3441src" href="#xd20e3441" name= +"xd20e3441src">16</a> which he had never seen before.</p> +<p>He asks his wife:</p> +<p>“What is that?”</p> +<p>His wife says to him: <span class="pagenum">[<a id="pb91" href= +"#pb91" name="pb91">91</a>]</span></p> +<p>“Nobody goes to that castle, for they who go there never +return.”<a class="noteref" id="xd20e3453src" href="#xd20e3453" +name="xd20e3453src">17</a></p> +<p>The husband said to her that he must go there. His wife did not wish +it, but he had such a desire to do so that he takes his horse, his dog, +and his sword, and goes off. He looks round and round (the castle), but +he cannot find the door. At last he finds a little door half hidden, +very small. He knocks. An old woman comes to him, and asks him what he +wants.</p> +<p>He says, “I have seen this castle so beautiful outside, that I +am anxious to see the inside.”</p> +<p>She shows him in. He sees a table splendidly laid out. There was +nothing that there was not on the table. This woman invites him to take +something. He says that he does not want anything, but she insists so +much that he ends by taking something. As soon as he has eaten the +first mouthful he becomes a terrible monster, and by no means could he +get out of that house.</p> +<p><i>The water begins to boil at home</i>, as the fish had said. All +those in the house are grieved because some misfortune has happened to +the son. One of the brothers at home said that he would immediately set +out to the help of his brother. Those at home are very sorry, but they +let him go. He takes a horse and a dog. The father and mother give him +all the money that they can give him, and he starts off. He goes on, +and on, and on, and, as was fated,<a class="noteref" id="xd20e3466src" +href="#xd20e3466" name="xd20e3466src">18</a> he comes to the same inn +as his brother. There they recognise him. They inform the king that the +gentleman is at the house, because he had had a search made for him +through all the neighbourhood. They come and fetch him out of his +corner, and he lets them do as they wish. A great supper was made, and +he goes off with the princess. As before, the princess knelt down to +pray. The young man goes to look out of the window, and sees this +palace. He asks her what this beautiful castle is. She says to him: +<span class="pagenum">[<a id="pb92" href="#pb92" name= +"pb92">92</a>]</span></p> +<p>“You do not know what takes place there! They who go there +never return.”</p> +<p>He says that he will start off directly. His wife asks him if he +will return to that castle as before. “Do not go, I pray +you.”</p> +<p>But nothing could have stopped him, and off he goes with his horse +and his dog. Like the other brother, he goes wandering round and round +the house without finding the door. At last he sees a very little door +half hidden. He knocks at it, and the old woman comes and says to +him:</p> +<p>“What do you want?”</p> +<p>“I have seen the outside of this castle, and I wish to see the +inside.”</p> +<p>She tells him to come in. He leaves his horse and his dog outside, +and he sees a table splendidly set out; one could not mention anything +that was wanting, there was something of everything. She tells him to +eat something. He did not wish to, but at last he takes something, (so +little, that it was) almost nothing. At the first mouthful he becomes a +terrible monster, and cannot in any way get out.</p> +<p><i>The water at home begins to boil</i>, and they know that some +misfortune has happened to him.</p> +<p>The third brother said that he must set out as quickly as possible. +The parents did not wish it, but he said to them:</p> +<p>“Perhaps I shall save them; let me go.”</p> +<p>They give him as much money as they can. He takes a horse and a dog, +and off he starts. He goes on, and on, and on. He also goes to the same +inn as his other brothers. He is recognised immediately, and the king +is informed that this young gentleman is there. He sends to fetch him +immediately, and makes great feastings and rejoicings, thinking that it +is always the same as their first young gentleman. In the evening he is +conducted to the princess. The princess kneels down to say her evening +prayers, and her husband, wishing to see a little more of the festival, +placed himself at the window. He also sees the beautiful castle. He +asks his wife: <span class="pagenum">[<a id="pb93" href="#pb93" name= +"pb93">93</a>]</span></p> +<p>“What is this beautiful house?”</p> +<p>She says to him, “What! You! Do not <i>you</i> know what it +is? No one returns from there. You know yourself what happens there, +since you have been there yourself.”</p> +<p>He said to her, “I must go and see it again.”</p> +<p>The princess would not let him go; but he broke away from her. He +takes his horse and his dog, and starts off. He looks, and looks all +round, and cannot find the door. An old woman appears to him, and says +to him—</p> +<p>“What do you think will become of you here? They who go in +there do not come out.”</p> +<p>“But that is why I wish to go in, to know what passes +within.”</p> +<p>Then the old woman gives him a pigeon, cooked and prepared for +eating, and said to him,</p> +<p>“Inside there is an old woman. She will try and force you to +eat; but, if you are wise, you will not eat. You will show her the +pigeon that you have in your pocket which remains after your repast, +and you must make her eat some of the pigeon, and you will have full +power over her.”</p> +<p>When he has found the door, he knocks. This old woman comes, and +asks him what he wants. He says that he only wishes to see this house. +She lets him in. He takes his dog, also, with him. He sees this +splendid table. She wishes absolutely to make him eat; but he says that +it is altogether impossible—that he has in his pocket a pigeon +which he has not been able to eat, and that she must eat some of that. +The old woman says she will not. He compels her, and tells her she +must; and at last she eats it. He then asks her what she has done with +his brothers. She says that she knows nothing about them; that she does +not know what he means. He forces her to tell him, and says to her,</p> +<p>“I will make my dog strangle you if you do not tell +me.”</p> +<p>He frightens her so, that she shows him some terrible <span class= +"pagenum">[<a id="pb94" href="#pb94" name= +"pb94">94</a>]</span>monsters. He tells her to restore them as they +were before, otherwise some misfortune shall happen to her, and to mind +what she is about. At last she set to work to change them as they were +before, and their horses and dogs as well.</p> +<p>They all go to the king’s palace, where everyone is immensely +astonished to see three gentlemen arrive exactly alike in all respects. +They ask the princess which is her husband. But the poor young lady is +greatly embarrassed. She could not distinguish them, because they were +exactly alike. At last he who had killed the serpent said that he was +her husband. They make great rejoicings, and give a great deal of money +to the two brothers, and to their parents, and they went off. They +burnt the old woman in the midst of the market-place, and this handsome +castle was given to the newly-married pair, and they lived happily at +court; and, as they lived well, so they died happily.</p> +<p class="signed"><span class="sc">Catherine Elizondo.</span></p> +<p>All the <i>latter</i> part of this tale is much more detailed than +in the Gaelic, and it is singular to read this note from +Campbell’s collector:—“The Gaelic is given as nearly +as possible in the words used by Mackenzie; but he thinks his story +rather shortened.” Of the identity of the two stories there can +be no doubt, although each supplies what is wanting to the other.</p> +</div> +<div class="div3" id="ch6.3"> +<h4 class="main">Tabakiera, the Snuff-Box.<a class="noteref" id= +"xd20e3536src" href="#xd20e3536" name="xd20e3536src">19</a></h4> +<p class="firstpar">Like many others in the world, there was a lad who +wished to travel, and off he went. He finds a snuff-box, and opens it. +And the snuff-box said to him—</p> +<p>“<span lang="es">Que quieres?</span>” (“What do +you wish for?”) <span class="pagenum">[<a id="pb95" href="#pb95" +name="pb95">95</a>]</span></p> +<p>He is frightened, and puts it at once into his pocket. Luckily he +did not throw it away. He goes on, and on, and on, and at last he said +to himself,</p> +<p>“(I wonder) if it would say to me again, ‘<span lang= +"es">Que quieres?</span>’ I should well know what to +answer.”</p> +<p>He takes it out again, and opens it, and it says to him again,</p> +<p>“<span lang="es">Que quieres?</span>”</p> +<p>The lad says to it, “My hat full of gold.”</p> +<p>And it is filled!</p> +<p>He is astounded, and he said to himself that he would never want +anything any more. He goes on, and on, and on; and, after he had passed +some forests, he arrives at a fine castle. The king lived there. He +goes round, and round, and round it, looking at it with an impudent +air. The king says to him—</p> +<p>“What are you looking for?”</p> +<p>“To see your castle.”</p> +<p>“You would wish, too, to have one like it?”</p> +<p>The lad does not answer. When the evening came, our lad takes out +his snuff-box, and it said to him,</p> +<p>“<span lang="es">Que quieres?</span>”</p> +<p>“Build here, on this very spot, a castle, with laths of gold +and silver, and diamond tiles, and with all its furniture of gold and +silver.”<a class="noteref" id="xd20e3591src" href="#xd20e3591" +name="xd20e3591src">20</a></p> +<p>As soon as he has said it, he sees in front of the king’s +castle a castle like what he had asked for. When the king gets up in +the morning, he was astonished at this dazzling castle. His eyes were +blinded by the (reflection of the) rays of the sun which fell upon it. +The king went and said to him—</p> +<p>“You must be a man of great power,<a class="noteref" id= +"xd20e3600src" href="#xd20e3600" name="xd20e3600src">21</a> and you +must come <span class="pagenum">[<a id="pb96" href="#pb96" name= +"pb96">96</a>]</span>to our house, where we will live together. I have +a daughter, too, and you shall marry her.”</p> +<p>They do as the king had said, and they lived all together in the +dazzling house. He was married to the king’s daughter, and lived +happily.</p> +<p>Now, the king’s wife was very envious of the lad and of his +wife. She knew, by her daughter, how that they had a snuff-box, and +that it did all that they wished. She intrigued with one of the +servants to try and take it from them; but they take great care (to +conceal) where they put the snuff-box away every evening. Nevertheless, +at last she sees where it is put, and in the middle of the night, while +they slept, she takes it from them, and carries it to her old mistress. +What a joy for her!</p> +<p>She opens it, and the snuff-box says to her, “<span lang= +"es">Que quieres?</span>”</p> +<p>“You must take myself and my husband, and my servants, and +this beautiful house, to the other side of the Red Sea,<a class= +"noteref" id="xd20e3616src" href="#xd20e3616" name= +"xd20e3616src">22</a> and leave my daughter and her husband +here.”</p> +<p>When the young couple awoke in the morning, they found themselves in +the old castle, and their snuff-box was gone. They look for it +everywhere, but it is useless.</p> +<p>The young man will not wait an instant longer at home. He must start +off at once to find his castle and his snuff-box. He takes a horse, and +as much gold as the horse can carry, and he goes on, and on, and on, +and on. He searches through all the towns in the neighbourhood until he +had finished all his money. He searched, but he did not find it +anywhere. But he went looking out still, feeding his horse as best he +could, and begging for himself. Some one told him that he ought to go +to the moon—that he makes a very long journey, and that he might +guide him. He goes far, far, far away, on, and on, and on, and at last +he arrives. He finds an old woman, who says to him— <span class= +"pagenum">[<a id="pb97" href="#pb97" name="pb97">97</a>]</span></p> +<p>“What do you come to do here? My son devours all creatures of +all sorts; and, if you will trust me, you will be off before his +arrival.”</p> +<p>He tells her his misfortunes—how that he had a snuff-box of +great power, which has been stolen from him, and that he is now without +anything, far from his wife, and stripped of everything, “and +perhaps your son, in his journeys, has seen my palace, with its golden +laths and tiles of diamonds, and the other ornaments of gold and +silver.”</p> +<p>At that moment the moon appeared, and said to his mother that he +smelt some one. His mother told him how that there was a wretched man +who had lost everything; that he was come to him (for help), and that +he would guide him. The moon told him to show himself. He comes, and +asks him if he has not seen a house with beams of gold and with tiles +of diamonds, and the rest of gold and silver; and he tells him how it +was taken away from him.</p> +<p>He answers, “No;” that he has not seen it, but that the +sun makes longer journeys than he, and of greater extent, and that he +would do better to go to him.</p> +<p>He goes off again, on, and on, and on, with his horse, whom he +nourished as he could, and begging for himself. At length he arrives at +the sun’s house. He finds an old woman, who said to him,</p> +<p>“Where do you come from? Be off from here! Do you not know +that my son eats all Christians?”</p> +<p>He said to her, “No! I will not go away. I am so wretched that +I do not care if he does eat me.”</p> +<p>And he tells her how he has lost everything; that he had a house, +which had not its equal, with beams of gold and tiles of diamonds, and +all the ornaments of gold and precious stones; and that he had been +going about looking for it so long a time, and that there was no man so +wretched as he. This woman hides him. The sun comes out and says to his +mother—</p> +<p>“I smell the smell of a Christian, and I must eat him.” +<span class="pagenum">[<a id="pb98" href="#pb98" name= +"pb98">98</a>]</span></p> +<p>The mother tells him that it was an unfortunate man who had lost his +all, that he had come to speak to him, and begs him to take pity on +him. He tells her to bring him out. Then the young man comes and asks +the sun if he has seen a palace which has its equal nowhere, with its +laths of gold and its tiles of diamonds, and the rest of gold and +silver. The sun says to him:</p> +<p>“No, but the south wind searches everything that I cannot see. +He enters into every corner, he does, and if any one ought to know he +will know.”</p> +<p>Our poor man then sets off again, feeding his horse how he could and +begging for himself, and he comes at length to the house of the south +wind.<a class="noteref" id="xd20e3651src" href="#xd20e3651" name= +"xd20e3651src">23</a> He finds an old woman carrying water, and who was +filling a great many barrels. She said to him:</p> +<p>“What are you thinking of to come here? My son eats up +everything when he arrives hungry and furious. You must beware of +him.”</p> +<p>He says to her, “It is all the same to me. Let him eat me; I +am so wretched that I fear nothing.”</p> +<p>And he tells her how he had a beautiful house which had not its +equal in all the world, and with it all sorts of riches, and that, +“Having abandoned my wife, I am seeking it, and I am come to +consult your son, being sent by the sun.”</p> +<p>She hides him under the staircase. The south wind arrives as if he +meant to tear the house up, and very thirsty. Before beginning to drink +he smells the smell of the race of Christians, and said to his +mother:</p> +<p>“Out with what you have hidden,” and that he must begin +by eating him.</p> +<p>His mother said to him, “Eat and drink what is before +you.”</p> +<p>And she tells him the misfortunes of this man, and how that the sun +has spared his life that he might come and consult him. <span class= +"pagenum">[<a id="pb99" href="#pb99" name="pb99">99</a>]</span></p> +<p>Then he makes the man come out, and the man tells him how that he is +going about trying to find a house, and that if anybody ought to know +it is he, and that they had robbed him of his house, which had laths of +gold, tiles of diamonds, and all the rest of gold and silver, and if he +has not seen it anywhere?</p> +<p>He tells him, “Yes, yes, and all to-day I have been passing +over it, and have not been able to take away one of its +tiles.”</p> +<p>“Oh! if you will tell me where it is!”</p> +<p>He says that it is on the other side of the Red Sea, very, very far +away.</p> +<p>When our man heard that, the length of the road did not frighten +him—he had already travelled over so much. He sets out then, and +at last arrives at that city. He asks if anyone is in want of a +gardener. They tell him that the gardener of the castle has gone away, +and that perhaps they will take him. He goes off, and recognises his +house—judge with what joy and delight! He asks if they are in +want of a gardener. They tell him “Yes,” and our lad is +very pleased. He passes some time tolerably happily—middling. He +talks with a servant about the riches of the masters and of the power +which they had. He flattered and cajoled this young girl very much to +get from her the history of the snuff-box, and he told her once that he +very much wished to see it. One evening she brought it to him to look +at, and our lad, very much pleased, pays great attention to where it +was hidden in the room of the mistress. At night, when everybody is +asleep, he goes and takes the snuff-box. You will understand with what +joy he opens it.</p> +<p>It says to him, “<span lang="es">Que +quieres?</span>”</p> +<p>And the lad says to it, “<span lang="es">Que quieres, Que +quieres</span>,<a class="noteref" id="xd20e3690src" href="#xd20e3690" +name="xd20e3690src">24</a> carry me with my castle to the same place as +(we were in) formerly, and drown the king and the queen and all the +servants in this Red Sea.” <span class="pagenum">[<a id="pb100" +href="#pb100" name="pb100">100</a>]</span></p> +<p>As soon as he had said it, he was carried to his wife, and they +lived happily, and the others all perished in the Red Sea.<a class= +"noteref" id="xd20e3699src" href="#xd20e3699" name= +"xd20e3699src">25</a></p> +<p class="signed"><span class="sc">Catherine Elizondo.</span></p> +</div> +<div class="div3" id="ch6.4"> +<h4 class="main">Mahistruba, the Master Mariner.</h4> +<p class="firstpar">Like many others in the world, there was a master +mariner. Having had many losses and misfortunes in his life he no +longer made any voyages, but every day went down to the seaside for +amusement, and every day he met a large serpent, and every day he said +to it:</p> +<p>“God has given thy life to thee; live then.”</p> +<p>This master mariner lived upon what his wife and daughter earned by +sewing. One day the serpent said to him:</p> +<p>“Go to such a shipbuilder’s, and order a ship of so many +tons burden. Ask the price of it, and then double the price they tell +you.”<a class="noteref" id="xd20e3717src" href="#xd20e3717" name= +"xd20e3717src">26</a></p> +<p>He does as the serpent told him, and the next day he goes down to +the shore, and he tells the serpent that he has done as he had told +him. The serpent then bids him go and fetch twelve sailors, very strong +men, and to double whatever they shall ask. He goes and does what he +was told to do. He returns to the serpent and tells him that he has +twelve men. The serpent gives him all the money which he needed to pay +for the ship. The shipbuilder is astonished to find that he is paid so +large a sum of money in advance by this miserable man, but he hastens +to finish his work as quickly as possible. The serpent again bids him +have made <span class="pagenum">[<a id="pb101" href="#pb101" name= +"pb101">101</a>]</span>in the hold of the ship a large empty space and +a huge chest, and tells him to bring this down himself. He brings it, +and the serpent gets into it. The ship was quickly ready, he embarks +the chest in the ship, and they set out.</p> +<p>This captain used to go every day to the serpent, but the sailors +did not know what he went (into the hold) to do, nor what there was in +the chest. The ship had already gone some distance, and nobody knew its +destination. One day the serpent told the captain that there was going +to be a frightful storm, that the earth and sky would mingle together, +and that at midnight a large black bird would pass over the ship, and +that it must be killed, and (he tells him) to go and see if there is +any sportsman among his sailors. He goes and asks the sailors if there +is any sportsman among them.<a class="noteref" id="xd20e3726src" href= +"#xd20e3726" name="xd20e3726src">27</a></p> +<p>One of them answers, “Yes; I can kill a swallow in its +flight.”</p> +<p>“All the better, all the better; that will be of use to +you.”</p> +<p>He goes down to tell the serpent that there is a sportsman who can +kill a swallow in its flight. And at the same moment the weather +becomes black as night, and earth and sky are mingled together, and all +are trembling with fright. The serpent gives the captain a good drink +for the sportsman, and they bind him to the mast. At midnight a +piercing cry was heard. It was the bird which was passing over, and our +sportsman has the good luck to kill him. At the very instant the sea +becomes calm. The captain goes to the serpent, and tells him that the +bird is killed.</p> +<p>The serpent answers him, “I know it.”</p> +<p>When they had gone a little further without anything happening, the +serpent said one day:</p> +<p>“Are we not near such a port?”</p> +<p>The captain says to him, “It is in sight.”</p> +<p>“Very well, then, we are going there.” <span class= +"pagenum">[<a id="pb102" href="#pb102" name="pb102">102</a>]</span></p> +<p>He tells him to go again, and ask his sailors if there is a fast +runner among them. The captain goes and asks his sailors if there is +any fast runner among them.</p> +<p>One of them says to him, “As for me, I can catch a hare +running.”</p> +<p>“So much the better, so much the better; that will be of use +to you.”</p> +<p>The captain goes to tell the serpent that there is one who can catch +a hare running. The serpent says to him:</p> +<p>“You will land the runner at this port, and you will tell him +that he must go to the top of a little mountain; that there is a little +house there, and an old, old woman in it; and that there is there a +steel, a flint, and a tinder-box; and that he must bring these three +things on board one by one, making a separate journey each +time.”</p> +<p>Our runner goes off, and comes to this house. He sees the old woman, +with red eyes, spinning at the threshold of her door. He asks her for a +drop of water, that he has walked a long way without finding any water, +and will she give him a little drop? The old woman says to him, +“No.” He begs her again, telling her that he does not know +the roads in the country, nor where he is going to. This old woman kept +constantly looking at the chimney-piece, and she said to him:</p> +<p>“I am going to give you some, then.”</p> +<p>While she went to the pitcher, our runner takes the steel off the +chimney-piece, and goes off at full speed, like the lightning; but the +old woman is after him. At the very instant that he is about to leap +into the ship the old woman catches him, and snatches off a bit of his +coat, and a piece of the skin of his back with it.<a class="noteref" +id="xd20e3767src" href="#xd20e3767" name="xd20e3767src">28</a> The +captain goes to the serpent, and says to him:</p> +<p>“We have got the steel, but our man has got the skin of his +back torn off.” <span class="pagenum">[<a id="pb103" href= +"#pb103" name="pb103">103</a>]</span></p> +<p>He gives him a remedy, and a good drink, and tells him that the man +will be cured by to-morrow, but that he must go again next day.</p> +<p>He says, “No, no; the devil may carry off this old woman, if +he likes, but I will not go there any more.”</p> +<p>But, as he was cured next day by giving him that good drink again, +he sets off. He dresses himself in a shirt without arms, and in an old +torn pair of trousers, and goes to the old woman’s, saying that +his ship is wrecked on the shore, that he has been wandering about for +forty-eight hours, and he begs her to let him go to the fire to light +his pipe.</p> +<p>She says, “No.”</p> +<p>“Do have pity—I am so wretched; it is only a little +favour I ask of you.”</p> +<p>“No, no, I was deceived yesterday.”</p> +<p>But the man answered, “All the world are not deceivers. +Don’t be afraid.”</p> +<p>The old woman rises to go to the fire, and as she stoops to take +it,<a class="noteref" id="xd20e3791src" href="#xd20e3791" name= +"xd20e3791src">29</a> the man seizes the flint and escapes, running as +if he would break his feet. But the old woman runs as fast as our +runner; but she only catches him as he is jumping into the ship; she +tears off the shirt, and the skin of his neck and back with it, and he +falls into the ship.</p> +<p>The captain goes directly to the serpent: “We have got the +flint.”</p> +<p>He says to him, “I know it.”</p> +<p>He gives him the medicine and the good drink, in order that the man +may be cured by the morrow, and that he may go again. But the man says, +“No,” that he does not want to see that red-eyed old woman +any more. They tell him that they still want the tinder-box. The next +day they give him the good drink. That gives him courage, and the +desire to return again. <span class="pagenum">[<a id="pb104" href= +"#pb104" name="pb104">104</a>]</span></p> +<p>He dresses himself up as if he had been shipwrecked, and goes off +half naked. He comes to the old woman’s, and asks for a little +bread, as he has not eaten for a long time, (and begs her) to have pity +on him—that he does not know where to go to.</p> +<p>The old woman says to him: “Be off, where you will; you shall +get nothing at my house, and nobody shall come in here. Every day I +have enemies.”</p> +<p>“But what have you to fear from a poor man who only wants a +little bread, and who will be off immediately afterwards?”</p> +<p>At last the old woman rises to go to her cupboard, and our man takes +her little tinder-box. The old woman runs after him, wishing to catch +him, but our man is ahead. She overtakes him just as he is leaping into +the ship. The old woman takes hold of the skin of his neck, and tears +it all right down to the soles of his feet. Our runner falls down, and +they do not know whether he is alive or dead; and the old woman +says:</p> +<p>“I renounce him, and all those who are in this +ship.”</p> +<p>The captain goes to the serpent, and says to him:</p> +<p>“We have the tinder-box, but our runner is in great danger. I +do not know whether he will live; he has no skin left from his neck to +the soles of his feet.”</p> +<p>“Console yourselves, console yourselves, he will be cured by +to-morrow. Here is the medicine and the good drink. Now, you are saved. +Go on deck, and fire seven rounds of cannon.”</p> +<p>He mounts on deck and fires the seven rounds of cannon, and returns +to the serpent, and says to him:</p> +<p>“We have fired the seven rounds.”</p> +<p>He says to him, “Fire twelve rounds more; but do not be +afraid. The police will come here; they will handcuff you. You will be +put in prison, and you will ask, as a favour, not to be executed before +that they have visited the ship, in order to prove that there is +nothing in it to merit such a chastisement.” <span class= +"pagenum">[<a id="pb105" href="#pb105" name="pb105">105</a>]</span></p> +<p>The captain goes on deck, and fires the twelve rounds of cannon. As +soon as he has fired them, the magistrates and the police arrive; they +handcuff the men, the sailors, and the captain, and they put them in +prison. The sailors were not pleased; but the captain said to them:</p> +<p>“You will soon be delivered.”</p> +<p>The next day the captain asks to go and speak to the king. He is +brought before the king, and the king says:</p> +<p>“You are condemned to be hanged.”</p> +<p>The captain says to him, “What! because we have fired some +cannon-shots you are going to hang us!!”</p> +<p>“Yes, yes, because for seven years we have not heard the +cannon in this city.<a class="noteref" id="xd20e3840src" href= +"#xd20e3840" name="xd20e3840src">30</a> I am in mourning—I and my +people. I had an only son, and I have lost him. I cannot forget +him.”</p> +<p>The captain says to him: “I did not know either this news or +this order, and I beg you not to kill us before going and seeing if +there is anything in the ship which condemns us justly.”</p> +<p>The king goes with his courtiers, his soldiers, and his +judges—in a word, with everybody. When he has mounted on deck, +what a surprise! The king finds his dearly-loved son, who relates to +him how he <span class="corr" id="xd20e3853" title= +"Source: has">had</span> been enchanted by an old woman, and that he +remained a serpent seven years.<a class="noteref" id="xd20e3856src" +href="#xd20e3856" name="xd20e3856src">31</a> How the captain every day +went to walk by the seaside, and every day left him his life, saying to +him, “The good God has made you too;” and having seen the +captain’s good heart, “I thought he would spare me, and it +is to him that I owe my life.”</p> +<p>He goes to the court. The men are let out of prison, and they give +the captain a large sum of money for a dowry for <span class= +"pagenum">[<a id="pb106" href="#pb106" name="pb106">106</a>]</span>his +two daughters, and the ship for himself. To the sailors they give as +much as they like to eat and drink for all the time they wish to stop +there, and afterwards enough to live upon for the rest of their lives. +The king and his son lived happily, and as they had lived well, they +died happily also.</p> +<p class="signed"><span class="sc">Gachina,</span><br> +The Net-maker.</p> +</div> +<div class="div3" id="ch6.5"> +<h4 class="main">Dragon.</h4> +<p class="firstpar">A king had a son who was called Dragon. He was as +debauched as it is possible to be. All the money that he had he had +spent, and still more; not having enough, he demanded his portion from +his father. The father gives it him immediately, and he goes off, +taking with him a companion who had been a soldier, and who was very +like himself.<a class="noteref" id="xd20e3877src" href="#xd20e3877" +name="xd20e3877src">32</a> Very quickly they spent all their money. +While they were travelling in a forest they see a beautiful castle. +They enter and find there a table ready set out, and a magnificent +supper prepared. They sit down to table and sup. Nobody appears as yet, +and they go up-stairs to see the house, and they find the beds all +ready, and they go to bed. They pass a very good night. The next +morning Dragon gets up and opens the shutters, and sees a dazzling +garden.</p> +<p>He goes down into the garden, still without seeing anybody; but in +passing under a fig tree, a voice says to him:</p> +<p>“Ay! ay! ay! what pain you have put me to, and what suffering +you are causing me!”</p> +<p>He turns on all sides and finds nothing. He says:</p> +<p>“Who are you? You! I do not understand it. Appear!”</p> +<p>The voice says to him, “I cannot to-day; but perhaps +<span class="pagenum">[<a id="pb107" href="#pb107" name= +"pb107">107</a>]</span>to-morrow you will see me. But in order to do +that you will have to suffer severely.”</p> +<p>He promises to suffer no matter what for her. The voice says to +him:</p> +<p>“To-morrow night they will make you suffer every kind of +torture, but you must not say anything; and if you do that, you will +see me to-morrow.”</p> +<p>They had spoken all this before the soldier friend, but he had heard +nothing of it.</p> +<p>They go to the house and find the dinner quite ready. Dragon would +have wished that night had already come, to know what it was he was to +see. He goes off to bed then, and after eleven o’clock he feels +that something is coming, and his whole body is pricked all over. He +keeps quite silent, because he wished to see the voice. And when the +cock crew “Kukuruku!” he was released (from his torture). +He lies waiting for daybreak to go to the fig tree. Day did not appear +as soon as he would have wished it, and he goes running to the garden +and sees under the fig tree, coming out of the ground as high as her +shoulders, a young girl, and she says to him:</p> +<p>“Last night you have suffered in silence, but the next night +they will make you suffer much more. I do not know if you can bear it +without speaking.”</p> +<p>He promises her that he will suffer still more in order to save +her.</p> +<p>As usual, they find the table ready for dinner and for supper. He +goes off to bed. There happens to him the same thing as in the +preceding night, but they do him still more harm. Happily he lies still +without speaking. The cock crows “Kukuruku!” and they leave +him quiet. As soon as daylight has come he goes off to the garden, and +he sees the young lady visible as far as the knees. Dragon is delighted +to save this beautiful girl, but she says sadly to him:</p> +<p>“You have seen nothing up to this time. They will make you +suffer twice as much.”</p> +<p>He says that he has courage to endure anything, because <span class= +"pagenum">[<a id="pb108" href="#pb108" name="pb108">108</a>]</span>he +wishes to get her out of that state. When night comes, he perceives +that two are coming instead of one. One of them was lame, and he says +to him (and you know lame people and cripples are the most +cruel).<a class="noteref" id="xd20e3913src" href="#xd20e3913" name= +"xd20e3913src">33</a> He says then to the other:</p> +<p>“What! You have not been able to make this wretched boy speak! +I will make him speak, I will.”</p> +<p>He cuts off his arms and then his legs, and our Dragon does not say +anything. They make him suffer a great deal, but happily the cock crows +“Kukuruku!” and he is delivered. He was much afraid what +would become of him without hands and without feet; but on touching +himself he feels with pleasure that all that is made right again. While +he is in bed he hears a great noise. He lies without saying anything, +being frightened, and not knowing what might happen to him, when all of +a sudden this young lady appears and says to him:</p> +<p>“You have saved me; I am very well pleased with you. But this +is not enough; we must be off from here immediately.”</p> +<p>All the three go off together, and travel far, far, far away, and +they arrive in a city. The young lady did not think it proper to lodge +in the same hotel with them. Next morning the young lady gets up very +early, and goes in search of the landlord of the hotel, and says to +him:</p> +<p>“A gentleman will come here to ask for me. You will tell him +that I have gone out, and if he wishes to see me he must come to the +fountain at the Four Cantons<a class="noteref" id="xd20e3926src" href= +"#xd20e3926" name="xd20e3926src">34</a>—but fasting—and he +is to wait for me there.”</p> +<p>The next morning the young gentleman goes to the hotel, and they +tell him what the young lady has said. On that very day he goes to the +fountain, taking his comrade with him, and fasting; but as the young +lady had not yet arrived, forgetting himself, he put his hand in his +pocket, and finding there a small nut, he eats it. As soon as he has +eaten it he <span class="pagenum">[<a id="pb109" href="#pb109" name= +"pb109">109</a>]</span>falls asleep.<a class="noteref" id= +"xd20e3936src" href="#xd20e3936" name="xd20e3936src">35</a> The young +lady arrives. She sees that he is asleep. She says to his +companion:</p> +<p>“He has eaten something. Tell him that I will return, but +tell, tell him, I beg you, to eat nothing.”</p> +<p>She leaves him a beautiful handkerchief. Dragon wakes up as soon as +the young lady is gone. His comrade tells him that she had come, and +that she had told him not to eat anything. And he shows Dragon the +handkerchief. He was very vexed at having eaten, and would have wished +that it was already the next day. He starts then very, very early, and +waits for the young lady, and, as was fated to happen, finding a walnut +in his pocket, he eats it. He immediately falls asleep. The young lady +appears and finds him sleeping. She says that she will return again the +next day, but that he must not eat anything. She leaves him another +handkerchief. Dragon awakes as soon as she has gone. Judge with what +vexation. His friend tells him that she said that she would return the +next day, but that he must do his best not to eat anything. He goes +then the third day without eating anything, but, as was to happen, +despairing of seeing the young lady, who was late, arrive, he takes an +apple from an apple tree and eats it. He falls asleep immediately. The +young lady comes and finds him asleep. She gives his comrade a ring to +give to Dragon, telling him that if Dragon wishes to see her he will +find her in the City of the Four Quarters. Dragon is very vexed, and he +says to his friend:</p> +<p>“The good God knows when I shall find this city, and it is +better for you to go in one direction (and I in another).”</p> +<p>Thereupon they separate. Dragon goes off, far, far, far away. He +comes to a mountain; there he sees a man, who had before his door holy +water, and whoever made use of it was well received. He goes in, +therefore, and asks him if <span class="pagenum">[<a id="pb110" href= +"#pb110" name="pb110">110</a>]</span>he knows where is the City of the +Four Quarters. He tells him—</p> +<p>“No; but there are the animals of the earth and of the air, +and that the latter might perhaps guide him there.”</p> +<p>He whistles to them. They come from all quarters, and he asks them +if they know where is the City of the Four Quarters? They tell him +“No.” Then the man says to him—</p> +<p>“I have a brother on such a mountain, who has many more +animals than I have; he has them all under his power, that man +has.”</p> +<p>Dragon goes off then, and arrives there; he asks of that man if he +knows where the City of the Four Quarters is? He tells him +“No,” but that he has animals which will know it, if anyone +ought to know it. He whistles to them. He sees the animals, small and +great, coming from all quarters. Dragon was trembling with fright. He +asks them one by one if they know where the City of the Four Quarters +is. They tell him “No;” but the man sees that one animal is +wanting, and that is the eagle. He whistles, and he comes. He asks him, +too, if he knows where the City of the Four Quarters is. He says to +him—</p> +<p>“I am just come from there.”</p> +<p>The man says to him,</p> +<p>“You must, then, guide this young gentleman there.”</p> +<p>The eagle says to him, “Willingly, if he will give me a morsel +of flesh each time that I open my mouth.”</p> +<p>Dragon replies, “Yes, willingly.”</p> +<p>He then buys an ox. The eagle tells him to get upon his back. The +man climbs up there with his ox, and when he opens his mouth he gives +him a morsel of the ox, which kept gradually diminishing.</p> +<p>They were obliged to cross over the sea, and there was no bridge to +it there. The ox was finished when they were in the middle of the sea, +and there was a great rock there. The eagle opens his mouth again, and, +as there was no more beef, what does he do? As he was afraid of being +left <span class="pagenum">[<a id="pb111" href="#pb111" name= +"pb111">111</a>]</span>upon that rock, he cuts a morsel from the back +of his own thighs, and puts it in his mouth.<a class="noteref" id= +"xd20e3978src" href="#xd20e3978" name="xd20e3978src">36</a> They arrive +on the other side of the sea. The eagle leaves him there, saying to +him,</p> +<p>“You are in the City of the Four Quarters. Do your own +business here. I am going off to my own home.”</p> +<p>This young gentleman asks what is the news in this city. They tell +him that the king’s daughter is going to be married to-day. In +this city it was permitted only to the wedding party to enter the +church, but Dragon had bribed one of the keepers with money, (saying) +that he would stop quiet in a corner of the church. It was also the +custom in this city to publish the banns at the moment of marriage. +When the priest began to publish them, Dragon came out of his corner, +and said—</p> +<p>“I make an objection.”</p> +<p>He goes to the young lady, who recognises him; and he shows her the +ring and the kerchiefs, and asks her in marriage. She says—</p> +<p>“This shall be my husband; he has well deserved it.”</p> +<p>He was still lame, as a piece of his flesh was still wanting. They +were married then. The other bridegroom went back home quite ashamed. +The others lived very happily, because both had suffered much. Then I +was there, now I am here.</p> +<p class="signed"><span class="sc">Louise Lanusse,</span><br> +St. Jean Pied de Port.</p> +</div> +<div class="div3" id="ch6.6"> +<h4 class="main">Ezkabi-Fidel.</h4> +<p class="firstpar">As there are many in the world, and as we are many +of us, there was a mother who had a son. They were very poor. The son +wished to go off somewhere, in order to <span class="pagenum">[<a id= +"pb112" href="#pb112" name="pb112">112</a>]</span>better himself, (he +said); that it was not living to live like that. The mother was sorry; +but what could she do? In order that her son may be better off, she +lets him go. He goes then, travelling on, and on, and on. In a forest +he meets with a gentleman, who asks him where he is going. He tells him +that, wishing to better himself, he had gone away from home to do +something. This gentleman asks him if he is willing to be his servant. +He replies, “Yes.” They go off then together, and come to a +beautiful place. After having entered, the gentleman gives him all the +keys of the house, saying that he has a journey he must make, and that +he must see the whole house—that he will find in it everything he +wants to eat, and to take care of the horses in the stable. The +gentleman goes away as soon as he had seen all the house and the +stable. There were a lot of horses there, and in the midst of them all +a white mare,<a class="noteref" id="xd20e4009src" href="#xd20e4009" +name="xd20e4009src">37</a> who said to him,</p> +<p>“Ay! ay! Fidel, save me, I pray you, from here, and get me +outside. You will not be sorry for it.”</p> +<p>Fidel stops at the place whence this voice came. A moment after, the +white mare says to him,</p> +<p>“Come near the white mare; it is she who is speaking to +you.”</p> +<p>Fidel goes up to her, and says to her that he cannot let her +go—that the master has not given him any other work to do (than +to take care of the horses), and that he certainly will not do any such +thing. The mare said to him,</p> +<p>“Go and fetch a saucepan, and when I shall have filled it with +water, you will wash your hands and your head.”</p> +<p>Fidel does as the mare told him, and is quite astonished at seeing +his hands shine, and he says to her that he does not wish to have them +like that, but that, as to his head, he <span class="pagenum">[<a id= +"pb113" href="#pb113" name="pb113">113</a>]</span>could hide +it.<a class="noteref" id="xd20e4028src" href="#xd20e4028" name= +"xd20e4028src">38</a> The mare told him to wash his hands in the water, +and that they would become again as they were before.</p> +<p>The time goes on, and the time returns. A long time had passed, and +the master had never returned. And one day the mare said to him,</p> +<p>“Fidel, do you know how long you have been here?”</p> +<p>He says to her, “I don’t know at all—six months, +perhaps?”</p> +<p>The mare says to him, “Six years have passed, and if the +master arrives when seven years shall have passed, you will be +enchanted—you, too, as we all are here—and the master is a +devil.”</p> +<p>After that he heard that, Fidel is frightened, and he says to +himself that it would be better to do what the white mare had +said—to get on her back, and both to escape from there. They go +off then, both of them. When they had gone some little distance, the +mare asks him if he sees anything behind him.</p> +<p>He says, “Yes,” that he sees something terrible, but in +the clouds; but that it is something terrific.<a class="noteref" id= +"xd20e4044src" href="#xd20e4044" name="xd20e4044src">39</a> The mare +gives the earth a kick with her foot, and says to it,</p> +<p>“Earth, with thy power form a dense, terrible fog where he +is.”</p> +<p>They go on again, and the mare says again—</p> +<p>“Look back again, if you see anything.”</p> +<p>Fidel says to her, “Yes, I see again this terrible thing; it +is coming after us quickly, and is going to catch us.”</p> +<p>The mare at the same time says again to the earth, in striking it +with her foot, <span class="pagenum">[<a id="pb114" href="#pb114" name= +"pb114">114</a>]</span></p> +<p>“Let it hail stones, and hail there where he is as much as can +possibly fall.”</p> +<p>They go on. The mare says again,</p> +<p>“Look back, if you see anything.”</p> +<p>He says to her again, “He is here, this terrible monster. It +is all up with us now—we cannot escape him; he is quite near, and +he comes with speed.”</p> +<p>The mare strikes the earth with her foot, and says to it—</p> +<p>“Form before him a river, and let him drown himself there for +evermore.”</p> +<p>He sees him drown himself there. The mare says to him,</p> +<p>“Now you shall go to such a spot. The king lives there. You +will ask if they want a gardener, and they will tell you +‘Yes.’ You will stay there without doing anything, and the +work will do itself by itself, without your doing anything. Every day +three beautiful flowers will come up in this garden. You will carry +them to the three daughters of the king, but you will always give the +finest to the youngest.”<a class="noteref" id="xd20e4075src" +href="#xd20e4075" name="xd20e4075src">40</a></p> +<p>It was the custom to carry the dinner to the gardener, but it was +the youngest of the daughters who carried it to him. From the first day +the gardener pleased the young lady, and she said to him one day that +he must marry her. The lad said to her that that cannot be, that she +ought not to think of marrying with a person of low birth and who has +nothing, and that she must not dream any such dreams. This young lady +falls ill. The father sends for the doctor, who says, after having +touched her pulse, that she is ill of love; and the doctor goes to tell +it to the king. The father goes to the young lady and tells her what +the physician has said to him—that she is not so very ill. The +daughter says to him:</p> +<p>“In order to cure me you must send and fetch the gardener. Let +him give me some broth and I shall be cured.”</p> +<p>The father sends to fetch him directly, has him washed and properly +dressed, and makes him carry the broth. There was among the court an +old, old nurse; she was a <span class="pagenum">[<a id="pb115" href= +"#pb115" name="pb115">115</a>]</span>witch, and as she knew what the +physician had said, she goes and hides herself in the young +lady’s bedroom before the gardener came there, in order to know +what the young lady would say to him. The young lady said to him:</p> +<p>“Yes, and you shall marry me; I will not marry anybody else +but you, whatever you may say.”</p> +<p>The lad said to her: “No, no, I will not hear that +mentioned.”</p> +<p>The nurse had heard all that had passed, and she goes and tells it +immediately to the king. The young lady was cured, and goes to carry +the dinner to Fidel. Fidel had a habit of always giving the first +spoonful of the soup to the dog. He gives it him that day too, and as +soon as the dog has eaten it he falls stark dead. When the young lady +saw that she goes and tells it to her father. The father sends for a +big dog, and gives him some of the soup, and as soon as he has eaten it +he falls dead. Judge of the anger of that young lady. She goes and +takes this old witch and has her burnt. She goes to look for Fidel in a +little house which was at the bottom of the garden, and she sees his +head bare.<a class="noteref" id="xd20e4094src" href="#xd20e4094" name= +"xd20e4094src">41</a> It was shining like the sun, and she entirely +lost her own head for it, and she said to him, that he <i>must</i> +marry her. As she left him no peace, her father said to her:</p> +<p>“If you <i>will</i> marry him, do so; but I will not give you +anything. You must go and live in a corner of the mountain with your +husband; there is a house there, and there you must stop. You may come +only one day a week to see me.”</p> +<p>That was all the same to this young lady, (and they are married), +and go off there. As the king had given her no money, when +Fidel’s hair grew she went from time to time to the goldsmiths, +who said to her that they had not money enough belonging to them to pay +for the gold that she brought them. And they lived there very happily. +<span class="pagenum">[<a id="pb116" href="#pb116" name= +"pb116">116</a>]</span></p> +<p>One day Fidel heard that the king was engaged in a great war, and he +told his wife to go to her father and tell him that he too wished to go +to this war. This young lady goes to tell her father her +husband’s commission. Her father says to her:</p> +<p>“What is the use of a young man like that who has never killed +anything but mole-crickets? Let him stop at home.”</p> +<p>His daughter says to him: “At least he is your +son-in-law!”</p> +<p>The father then says to her: “He may come on such a +day.”</p> +<p>Fidel goes as they had told him. He asks the king for a horse and a +sword. The king gives him a horse blind and lame. Fidel was not pleased +with it. He begins his march, wishing to get on as quickly as possible, +but when he had gone a little distance, the horse sticks in the mud, +and cannot in any way get out of it. While he is there, the white mare +comes to him. She gives him a beautiful horse, and a lance and a sword, +and tells him that he will see his brothers-in-law encamped round a +city, but not to stop there with them, but to ride straight to the +city; that the gates will be shut, but as soon as he shall have touched +them with his lance they will be broken to pieces, and that they will +make peace with him. He does as she told him, and starts off on his +horse like the lightning, without paying the slightest attention to his +brothers-in-law. He goes up to the city, and as soon as he has touched +the gates with his sword they are in pieces. He enters the city, and +all the world comes out and makes him a thousand <i lang= +"fr">fêtes</i>. They declare that they wish for no more war. They +give him the key of the treasury and all the papers, and he retires +from there with all the honours. When he returns he tells his +brothers-in-law to retire—that the war is finished. They go back +again. He stops at the place where he had left his old horse in the +mud. He sends away his beautiful horse with all his things, and Fidel +stops there, not being able to drag his old horse out of the mud. When +his brothers-in-law <span class="pagenum">[<a id="pb117" href="#pb117" +name="pb117">117</a>]</span>pass, they mock at him (and ask him) if it +is there that he has passed all his time. He tells them, +“Yes.” The others go on ahead, and at length he also +arrives at the king’s house. He leaves his old horse there and +goes off home. He does not tell his wife what has happened, and they +live in their hole.</p> +<p>The king was getting old, and he had entirely lost his sight. +Somebody gave him to understand that there was a water which made +people young again, and another which restored sight. He told his +sons-in-law that they must go (and look for it)—that he could not +live long like that. And both of them start off. Their wives, at +starting, had given each a golden apple.<a class="noteref" id= +"xd20e4131src" href="#xd20e4131" name="xd20e4131src">42</a> They go far +away; but they find nothing. Tired at last, they stop in a beautiful +city. They take each of them a wife, and they live according to their +fancy. When Fidel saw that his brothers-in-law did not arrive, he said +to his wife that he must go off; perhaps he might be able better to +find the waters which his father wanted. He goes off without saying +anything to the king, and travels on, and on, and on.</p> +<p>He meets an old woman, who says to him, “Where are you going +to?” He tells her how he wants a water which gives sight to the +blind and makes the old young,<a class="noteref" id="xd20e4138src" +href="#xd20e4138" name="xd20e4138src">43</a> and that he would not go +back home without finding it. This old woman says to him:</p> +<p>“You will see two animals fighting close to you, and you will +gather the herb which makes the dead to live; you will have it boiled, +and you will keep this water for yourself.”</p> +<p>This lad goes on a little farther, and he sees two lizards fighting +so fiercely that one kills the other. The one who was left alive takes +a blade of grass and touches the dead and rekindles his life.<a class= +"noteref" id="xd20e4147src" href="#xd20e4147" name= +"xd20e4147src">44</a> Fidel gathers this grass, and goes <span class= +"pagenum">[<a id="pb118" href="#pb118" name="pb118">118</a>]</span>off +to this old woman. The old woman gives him two bottles, telling him +that the one is for giving sight to the blind, and the other for making +old men young; that he must not sell these waters for money, but must +make an exchange of them for two golden apples which his +brothers-in-law have in this very city, and that it is to them that he +must give this water.</p> +<p>Fidel goes into the city, and as soon as he has entered, he +cries:</p> +<p>“Who wishes to buy the water that gives sight to the blind, +and the water which makes old men young?”</p> +<p>His two brothers-in-law appear, and say that they must have some of +this water, and ask what it costs. And he tells them that he does not +sell it, but only gives it in exchange for golden apples. These +gentlemen willingly make the exchange. But they wish to make trial of +it directly; they bring an old blind dog, and immediately he grows +young again. Judge how pleased they were with their water of power. +They set off to the king, and this water makes him become very young +and gives him sight. The king wishes to have great rejoicings, and +invites all his friends in the neighbourhood. Fidel arrives at home, +and says nothing to his wife. When he hears that the king is going to +have rejoicings, he sends his wife to ask the king if he would not like +them to go there too; that they would help, one in cutting the wood, +and the other in serving at table. She did not wish to go there at all. +She told her husband that she would a hundred times sooner stop at +home; but her husband sends her off by force, (saying) that they ought +to be there on that day. She goes, then, the poor woman, against her +wish. She asks her father if he does not want some one to help on the +feast day. The father says, “No!”—they have servants +enough. An old general who was sitting by his side said to him:</p> +<p>“Why do you not let them come?”</p> +<p>Then the king said, “Come then on such a day.”</p> +<p>Fidel and his wife go. While they are at breakfast the <span class= +"pagenum">[<a id="pb119" href="#pb119" name="pb119">119</a>]</span>old +general asks Fidel if he also does not know something to relate? He +replies “Yes,” that he knows some (stories), but more than +one would not be pleased with what he would tell. Then the king says, +placing his sword upon the table:</p> +<p>“The point of my sword shall know news of the heart of him who +shall speak.”</p> +<p>Fidel begins then, how he went to the war with an old horse, blind +and lame, but that in spite of that he had carried off the keys of the +treasure and the papers. The king says to him that he has not seen them +yet—that he is still expecting them. Fidel takes out the papers +and gives them to the king. He gives also the keys of the treasury. The +king assures himself that they are the real ones. He then narrates how +he has sold in exchange for two golden apples that precious water. At +this instant his wife rises and says to him:</p> +<p>“Where have you these golden apples—you?”</p> +<p>As it is she who has spoken the first words, Fidel takes up the +king’s sword and strikes his wife dead.<a class="noteref" id= +"xd20e4179src" href="#xd20e4179" name="xd20e4179src">45</a> The king +was grieved to see that, but Fidel says to him:</p> +<p>“Do not disturb yourself for that; as I have taken away her +life I will give it her again.”</p> +<p>He takes out his water which rekindles dead men, and rubs some on +her temple, and she suddenly returns to life. Everyone is astounded at +this great deed, and at all that he has already done. The king tells +him that he has already gained the crown, but that he must be cured of +this terrible scab<a class="noteref" id="xd20e4189src" href= +"#xd20e4189" name="xd20e4189src">46</a> first. His wife rises, takes +off his kerchief which he had upon his head, and shows the shining head +of her husband, saying:</p> +<p>“See, this is the scab of my husband!” <span class= +"pagenum">[<a id="pb120" href="#pb120" name="pb120">120</a>]</span></p> +<p>The king says that the crown will shine much better on his head. He +goes to fetch it, and places it upon this precious head. He banishes +his sons-in-law with his two daughters to the same desert place where +Fidel formerly lived. And Fidel and his wife lived much richer than the +king was. His precious head gave him this power; and as they lived well +they died well too.</p> +<p class="signed"><span class="sc">Laurentine.</span></p> +<p id="ch6.7">We have another version almost identical with the above, +except at the commencement. Ezkabi really has the scab. On his journey, +after leaving his home, he pays the debts of a poor man whose corpse is +being beaten in front of the church, and buries him. There is nothing +about a white mare. An old woman is the good genius of the tale. He +goes as gardener, and the king’s daughter falls in love with him, +from catching a sight of his golden hair from her window; for the rest +the stories are identical, except that this is a shorter form than the +above.</p> +</div> +<div class="div3" id="ch6.8"> +<h4 class="main">The Lady Pigeon and her Comb.<a class="noteref" id= +"xd20e4209src" href="#xd20e4209" name="xd20e4209src">47</a></h4> +<p class="firstpar">Like many others in the world, there was a mother +and her son; they were very poor. This son wished to leave his mother +and go away, (saying) that they were wretched as they were. He goes off +then far, far, far away. He finds a castle in a forest, and goes in and +asks if they want a servant, and it is a Tartaro who comes to him. He +asks him:</p> +<p>“Where are you going to like that, ant of the +earth?”</p> +<p>He says that, being very poor at home, he wished to work to better +himself. <span class="pagenum">[<a id="pb121" href="#pb121" name= +"pb121">121</a>]</span></p> +<p>The Tartaro says to him, “As you have told the truth I spare +your life, ant of the earth, and in a few days you will go away from +here. Three young ladies will come to bathe in the water in my garden. +They will leave their pigeon-robes under a large stone, and you will +take the pigeon’s skin which is in the middle.<a class="noteref" +id="xd20e4222src" href="#xd20e4222" name="xd20e4222src">48</a> The two +young ladies will come out of the water and will take their skins. She +who stops in the water will ask you for her skin, but you shall not +give it her before she shall promise to help you always.”</p> +<p>The next day our lad sees that the young ladies are in the water. He +goes and does as the Tartaro tells him; he takes the middle one of the +three skins, the two young ladies take their skins, and the third asks +him to give her hers. The lad will not give it her without her promise. +The young lady will not give her word. He then says to her that he will +not give it her at all. The young lady then says to him that he may +reckon upon her, that she gives him her word, and that he shall go +to-morrow to her father’s house, that he will take him as +servant, and that he lives in such a place. The lad goes off then the +next day and finds this beautiful house in a forest.</p> +<p>He asks if they want a servant? They tell him, “Yes,” +but that there is a great deal of work to do there. The next morning +(the father) takes him into the forest and says to him:</p> +<p>“You must pull up all these oaks with their roots, you must +cut them into lengths, and put the trunks on one side, the branches on +another, and the roots by themselves, each in their place. Afterwards +you will plough the ground, then you will harrow it, then sow the +wheat; you will then cut it, and you bring me at noon a little cake +made out of this wheat, otherwise you will be put to +death.”<a class="noteref" id="xd20e4235src" href="#xd20e4235" +name="xd20e4235src">49</a> <span class="pagenum">[<a id="pb122" href= +"#pb122" name="pb122">122</a>]</span></p> +<p>The lad says to him, “I will try.”</p> +<p>He goes then to the forest and sits down pensive. It was already +eleven o’clock when the young lady appears to him. She says to +him:</p> +<p>“Why are you like that, so sad? Have not I promised that I +would help you? Shut your eyes, but all the worse for you if you shall +open them.”</p> +<p>She throws a comb into the air,<a class="noteref" id="xd20e4248src" +href="#xd20e4248" name="xd20e4248src">50</a> and says:</p> +<p>“Comb, with thy power tear up these oaks with their roots, cut +them into lengths, put the trunks together, and the branches, and the +roots too by themselves.”</p> +<p>As soon as it was said it was done. She throws another comb, and +says to it:</p> +<p>“Comb, with thy power turn up this ground, harrow it, and sow +the wheat.”</p> +<p>As soon as it was said it was done. She throws another comb, and +says:</p> +<p>“Comb, with thy power make a cake of this wheat when you have +cut it.”</p> +<p>Our lad was curious to know what was taking place, but the young +lady said to him:</p> +<p>“Woe to you and to me if you open (your eyes).<a class= +"noteref" id="xd20e4268src" href="#xd20e4268" name= +"xd20e4268src">51</a> Nothing will be finished for us.”</p> +<p>He does not open them, and the cake is cooked. Twelve o’clock +was going to strike. She says to him:</p> +<p>“Go with speed, you have no time to lose.”</p> +<p>The lad goes to the king and brings him the cake. The king is +astonished. He says (to himself), “That is a clever lad, +that,” and he wishes to be assured of it by looking out of +window; and, after having seen that this huge forest had been torn up, +he is astonished. He sends away the lad, <span class="pagenum">[<a id= +"pb123" href="#pb123" name="pb123">123</a>]</span>and goes and tells it +to his wife. His wife says to him, “Take care that he is not in +league with your daughter.”<a class="noteref" id="xd20e4279src" +href="#xd20e4279" name="xd20e4279src">52</a></p> +<p>The husband says to her, “What do you mean? They have never +seen each other.”</p> +<p>This husband was a devil. The young lady told our lad that her +father is going to send him to fetch a ring in a river far away. +“He will tell you to choose a sword from the midst of ever so +many others, but you will take an old sabre and leave the +others.”</p> +<p>The next day his wife told him that he ought to send him to fetch a +ring which he had lost in the bed of a river. He sends him then, and +tells him that he must choose a sword; that he will have quantities of +evil fish to conquer. The lad says to him that he will not have those +fine swords, that he has enough with this old sabre, which was used to +scrape off the dirt.</p> +<p>When he arrived at the bank of the river he sat there weeping, not +knowing what to do. The young lady comes to him, and says:</p> +<p>“What! You are weeping! Did not I tell you that I would always +help you?”</p> +<p>It was eleven o’clock. The young lady says to him:</p> +<p>“You must cut me in pieces with this sabre, and throw all the +pieces into the water.”</p> +<p>The lad will not do it by any means. He says to her:</p> +<p>“I prefer to die here on the spot than to make you +suffer.”</p> +<p>The lady says to him, “It is nothing at all what I shall +suffer, and you must do it directly—the favourable moment is +passing by like this, like this.”</p> +<p>The lad, trembling all over, begins with his sabre. He throws all +the pieces into the river; but, lo! a part of the lady’s little +finger sticks to a nail in his shoe. The young lady comes out of the +water and says to him: <span class="pagenum">[<a id="pb124" href= +"#pb124" name="pb124">124</a>]</span></p> +<p>“You have not thrown everything into the water. My little +finger is wanting.”<a class="noteref" id="xd20e4309src" href= +"#xd20e4309" name="xd20e4309src">53</a></p> +<p>After having looked for it, he sees that he has it under his foot, +hooked on to a nail. The young lady gives him the ring. She tells him +to go without losing a moment; for he must give it to the king at noon. +He arrives happily (in time). The young lady, as she goes into the +house, bangs the door with all her might and begins to cry out:</p> +<p>“Ay! ay! ay! I have crushed my little finger.”</p> +<p>And she makes believe that she has done it there. The king was +pleased. He tells him that on the morrow he must tame a horse and three +young fillies.<a class="noteref" id="xd20e4318src" href="#xd20e4318" +name="xd20e4318src">54</a> The lad says to him:</p> +<p>“I will try.”</p> +<p>The master gives him a terrible club. The young lady says to him in +the evening:</p> +<p>“The horse which my father has spoken to you about will be +himself. You will strike him with all your might with your terrible +club on the nose, and he will yield and be conquered. The first filly +will be my eldest sister. You will strike her on the chest with all +your force, and she also will yield and will be conquered. I shall come +the last. You will make a show of beating me too, and you will hit the +ground with your stick, and I too will yield, and I shall be +conquered.”</p> +<p>The next day the lad does as the young lady has told him. The horse +comes. He was very high-spirited, but our lad strikes him on the nose, +he yields, and is conquered. He does the same thing with the fillies. +He beats them with his terrible club, they yield, and are conquered; +and when the third comes he makes a show of hitting her, and strikes +the earth. She yields, and all go off.</p> +<p>The next day he sees the master with his lips swollen, and with all +his face as black as soot. The young ladies had also pain in the chest. +The youngest also gets up very late indeed in order to do as the +others. <span class="pagenum">[<a id="pb125" href="#pb125" name= +"pb125">125</a>]</span></p> +<p>The master says to him that he sees he is a valuable servant, and +very clever, and that he will give him one of his daughters for wife, +but that he must choose her with his eyes shut. And the young lady says +to him:</p> +<p>“You will choose the one that will give you her hand twice, +and in any way you will recognise me, because you will find that my +little finger is wanting. I will always put that in front.”</p> +<p>The next day the master said to him:</p> +<p>“We are here now; you shall now choose the one you wish for, +always keeping your eyes shut.”</p> +<p>He shuts them then; and the eldest daughter approaches, and gives +him her hand. He says to the king:</p> +<p>“It is very heavy, (this hand); too heavy for me. I will not +have this one.”</p> +<p>The second one approaches, she gives him her hand, and he +immediately recognises that the little finger is wanting. He says to +the king:</p> +<p>“This is the one I must have.”</p> +<p>They are married immediately.<a class="noteref" id="xd20e4351src" +href="#xd20e4351" name="xd20e4351src">55</a> They pass some days like +that. His wife says to him:</p> +<p>“It is better for us to be off from here, and to flee, +otherwise my father will kill us.”</p> +<p>They set off, then, that evening at ten o’clock, and the young +lady spits before the door of her room, saying:</p> +<p>“Spittle, with thy power, you shall speak in my +place.”<a class="noteref" id="xd20e4360src" href="#xd20e4360" +name="xd20e4360src">56</a> And they go off a long way. At midnight, the +father goes to the door of the lad and his wife, and knocks at the +door; they do not answer. He knocks harder, and then the spittle says +to him:</p> +<p>“Just now nobody can come into this room.”</p> +<p>The father says, “It is I. I must come in.”</p> +<p>“It is impossible,” says the spittle again. <span class= +"pagenum">[<a id="pb126" href="#pb126" name="pb126">126</a>]</span></p> +<p>The father grows more and more angry; the spittle makes him stop an +hour like that at the door. At last, not being able to do anything +else, he smashes the door, and goes inside. What is his terrible rage +when he sees the room empty. He goes off to his wife, and says to +her:</p> +<p>“You were not mistaken; they were well acquainted, and they +were really in league with one another, and they have both escaped +together; but I will not leave them like that. I will go off after +them, and I shall find them sooner or later.”</p> +<p>He starts off. Our gentleman and lady had gone very far, but the +young lady was still afraid. She said to her husband:</p> +<p>“He might overtake us even now. I—I cannot turn my head; +but (look) if you can see something.”</p> +<p>The husband says to her: “Yes, something terrible is coming +after us; I have never seen a monster like this.”</p> +<p>The young lady throws up a comb, and says:<a class="noteref" id= +"xd20e4383src" href="#xd20e4383" name="xd20e4383src">57</a></p> +<p>“Comb, with thy power, let there be formed before my father +hedges and thorns, and before me a good road.”</p> +<p>It is done as she wished. They go a good way, and she says +again:</p> +<p>“Look, I beg you, if you see anything again.”</p> +<p>The husband looks back, and sees nothing; but in the clouds he sees +something terrible, and tells so to his wife. And his wife says, taking +her comb:</p> +<p>“Comb, with thy power, let there be formed where he is a fog, +and hail, and a terrific storm.”</p> +<p>It happens as they wish. They go a little way farther, and his wife +says to him:</p> +<p>“Look behind you, then, if you see anything.”</p> +<p>The husband says to her: “Now it is all over with us. We have +him here after us; he is on us. Use all your power.” <span class= +"pagenum">[<a id="pb127" href="#pb127" name="pb127">127</a>]</span></p> +<p>She throws again a comb immediately, and says:</p> +<p>“Comb, with thy power, form between my father and me a +terrible river, and let him be drowned there for ever.”</p> +<p>As soon as she has said that, they see a mighty water, and there +their father and enemy drowns himself.<a class="noteref" id= +"xd20e4415src" href="#xd20e4415" name="xd20e4415src">58</a></p> +<p>The young lady says, “Now we have no more fear of him, we +shall live in peace.”</p> +<p>They go a good distance, and arrive at a country into which the +young lady could not enter. She says to her husband:</p> +<p>“I can go no farther. It is the land of the Christians there; +I cannot enter into it. You must go there the first. You must fetch a +priest. He must baptize me, and afterwards I will come with you; but +you must take great care that nobody kisses you. If so, you will forget +me altogether. Mind and pay great attention to it; and you, too, do not +you kiss anyone.”</p> +<p>He promises his wife that he will not. He goes, then, on, and on, +and on. He arrives in his own country, and as he is entering it an old +aunt recognises him, and comes behind him, and gives him two +kisses.<a class="noteref" id="xd20e4427src" href="#xd20e4427" name= +"xd20e4427src">59</a> It is all over with him. He forgets his wife, as +if he had never seen her, and he stays there amusing himself, and +taking his pleasure.</p> +<p>The young lady, seeing that her husband never returned, that +something had happened to him, and that she could no longer count upon +him, she takes a little stick, and striking the earth, she says:</p> +<p>“I will that here, in this very spot, is built a beautiful +hotel, with all that is necessary, servants, and all the +rest.”</p> +<p>There was a beautiful garden, too, in front, and she had put over +the door:</p> +<p>“Here they give to eat without payment.” <span class= +"pagenum">[<a id="pb128" href="#pb128" name="pb128">128</a>]</span></p> +<p>One day the young man goes out hunting with two comrades, and while +they were in the forest they said one to the other:</p> +<p>“We never knew of this hotel here before. We must go there +too. One can eat without payment.”</p> +<p>They go off then. The young lady recognises her husband very well, +but he does not recognise her at all. She receives them very well. +These gentlemen are so pleased with her, that one of them asks her if +she will not let him pass the night with her.<a class="noteref" id= +"xd20e4445src" href="#xd20e4445" name="xd20e4445src">60</a> The young +lady says to him, “Yes.” The other asks also, “I, +too, was wishing it.” The young lady says to him:</p> +<p>“To-morrow then, you, if you wish it, certainly.”</p> +<p>And her husband says to her: “And I after to-morrow +then.”</p> +<p>The young lady says to him, “Yes.” One of the young men +remains then. He passes the evening in great delight, and when the hour +comes for going to bed, the young lady says to him:</p> +<p>“When you were small you were a choir-boy, and they used to +powder you; this smell displeases me in bed. Before coming there you +must comb yourself. Here is a comb, and when you have got all the +powder out, you may come to bed.”</p> +<p>Our lad begins then to comb his hair, but never could he get all the +powder out, such quantities came out, and were still coming out of his +head; and he was still at it when the young lady rose. The lad said to +her:</p> +<p>“What! you are getting up before I come.”</p> +<p>“And do you not see that it is day? I cannot stop there any +longer. People will come.”</p> +<p>Our young man goes off home without saying a word more. He meets his +comrade who was to pass the night with this young lady. He says to him: +<span class="pagenum">[<a id="pb129" href="#pb129" name= +"pb129">129</a>]</span></p> +<p>“You are satisfied? You amused yourself well?”</p> +<p>“Yes, certainly, very well. If the time flies as fast with you +as it did with me you will amuse yourself well.”</p> +<p>He goes off then to this house. The young lady says to him, after he +had had a good supper:</p> +<p>“Before going to bed you must wash your feet. The water will +be here in this big copper; when you have them quite clean you may come +to bed.”</p> +<p>Accordingly he washes one, and when he has finished washing the +other, the first washed is still black and dirty. He washes it again, +and finds the foot that he has just well washed very dirty again. He +kept doing like that for such a long time. When the young lady gets up, +the gentleman says to her:</p> +<p>“What! You are getting up already, without me +coming?”</p> +<p>“Why did you not then come before day? I cannot stay any +longer in bed. It is daylight, and the people will begin (to +come).”</p> +<p>Our young man withdraws as the other had done. Now it is the turn of +her husband. She serves him still better than the others; nothing was +wanting at his supper. When the hour for going to bed arrives, they go +to the young lady’s room; when they are ready to get into bed, +the young lady says to him:</p> +<p>“Put out the light.”</p> +<p>He puts it out, and it lights again directly. He puts it out again, +and it lights again as soon as it is put out. He passes all the night +like that in his shirt, never being able to put out that light. When +daylight is come, the young lady says to him:</p> +<p>“You do not know me then? You do not remember how you left +your wife to go and fetch a priest?”</p> +<p>As soon as she had said that he strikes his head, and says to +her:</p> +<p>“Only now I remember all that—up to this moment I was as +if I had never had a wife at all—how sorry I am; <span class= +"pagenum">[<a id="pb130" href="#pb130" name="pb130">130</a>]</span>but +indeed it is not my fault, not at all. I never wished it like that, and +it is my old aunt who kissed me twice without my knowing it.”</p> +<p>“It is all the same now. You are here now. You have done +penance enough; your friends have done it too. One passed the whole +night getting powder out of his head, and the other in washing his +feet, and they have not slept with me any more than you have. At +present you must go into your country, and you must get a priest. He +shall baptize me, and then we will go into your country.”</p> +<p>The husband goes off and returns with the priest, and she is +baptized, and they set out for his country. When they have arrived +there, she touched the earth with her stick, and says to it:</p> +<p>“Let there be a beautiful palace, with everything that is +needed inside it, and a beautiful garden before the house.”</p> +<p>As soon as it is said, it is done. They lived there very rich and +very happy with the old mother of the lad, and as they lived well they +died well too.</p> +<p class="signed"><span class="sc">Laurentine Kopena.</span></p> +</div> +<div class="div3" id="ch6.9"> +<h4 class="main">Suggested Explanation of the above Tale (The +Lady-Pigeon and her Comb).</h4> +<p class="firstpar">This legend seems to us to be one of the best +examples in our collection of what may be called atmospherical, or +climatological myths.</p> +<p>The story opens with man in misery, without the aid of cultivation +and agriculture. The old king we take to be a personification of +winter; his daughter of spring, warmth, and fertility—of what the +French call “la belle saison.” The comb, with which she +does her marvels, is the power which draws out her golden hair, the +sun’s bright rays. The young man, who, without her aid, can +effect nothing, is man in relation to the frozen ground, which needs +her aid to quicken it into fertility. It is the old Sun-god, the +Cyclops, who tells him where to find, and how to woo, his <span class= +"pagenum">[<a id="pb131" href="#pb131" name= +"pb131">131</a>]</span>fairy bride. But spring and earth are as yet +both fast bound in winter’s dominions. There he must go, and +learn what he must do, if they are to be married. The felling of the +forest, the sowing and ripening corn, and the cooked cake, teach him +that he can only succeed by her help; and yet he does not see how she +does it—man cannot see the corn grow, etc. The summer warmth and +fertilizing power, typified by the ring, still lies buried in the +frozen waters. The taming of the horses shows the need and help of +domestic animals in agriculture. These things are necessary to be known +ere spring can free herself from winter’s dominion and marry her +chosen lover. Winter would still hold her fast; but even in his own +home her influence works secretly against him. He does not suspect that +she is in league with her lover. But at length they are joined +together; they flee, and the great struggle between winter and spring +has fairly set in. She is able to hide her flight a little while; but +he discovers it, and pursues and nearly overtakes her. But, by means of +her comb, scattering abroad her warm rays, she works wonders. He is +stopped by rough, wintry roads. Her path is through fair and pleasant +ways; the storms, and hail, and rain of early spring assist her, but it +is the mighty inundation of the swollen rivers which finally overwhelms +him, and sweeps him for ever away.</p> +<p>But their union is not complete yet. She cannot enter the +Christians’ land. The natural powers of earth and sky have need +of agriculture and civilization for their full expansion. And man, +frightened at the toil, is lured back again to the nomad hunter life. +He forgets his bride in the pleasures of the chase. He spends the +winter thus, but is drawn back by the attraction of his waiting bride +in spring. She has food in abundance; he is hungry. Other wooers come; +she cheats and deludes them, till her true husband appears, and submits +to her once more. Then is the full marriage of earth and husbandry, and +man wedded to the summer’s warmth and glow. <span class= +"pagenum">[<a id="pb132" href="#pb132" name="pb132">132</a>]</span></p> +<p>All parts of the tale are not equally clear, nor do we positively +affirm that we have interpreted it aright. But there can be no doubt +that we have here a nature allegory; and, told as it is by those who +have not the most remote suspicion of its meaning, many things in it +must needs be confused; the wonder is that the details are still so +clear and so little distorted as they are. And, if this be the +interpretation, or even if this kind of interpretation be allowed in +this case, then we must consider if it is not to be extended to every +case in which the several incidents occur, though they are now mingled +and confused with circumstances with which they had no original +connection.</p> +</div> +<div class="div3" id="ch6.10"> +<h4 class="main">Laur-Cantons.<a class="noteref" id="xd20e4525src" +href="#xd20e4525" name="xd20e4525src">61</a></h4> +<p class="firstpar">There was a man who was very rich. He wished to get +married, but the young girls of this country would not marry him, +because he had such a bad reputation. One day he sent for a +vine-dresser, who had three daughters, and said to him,</p> +<p>“I want to marry one of your three daughters; if I do not +marry them, so much the worse for you—I will have you +killed.”</p> +<p>This vine-dresser goes away home in sadness. He tells his two eldest +daughters what Mr. Laur-Cantons had said to him. The daughters tell him +that they will not marry; it is useless to ask them. The father stays +indoors in his grief, and his youngest daughter comes home. He tells +her, too, what has happened, and this one says to her father,</p> +<p>“Do not be so sad; as for me, I will marry him, and nothing +shall happen to you.”</p> +<p>The father and the daughter go off then. He marries this young girl. +And, as Mr. Laur-Cantons was very rich, he had quantities of beautiful +dresses made for her. He <span class="pagenum">[<a id="pb133" href= +"#pb133" name="pb133">133</a>]</span>had gold by hogsheads full, and +this young girl was very happy with this gentleman.</p> +<p>After some time the king summoned him to go to the army, and he was +obliged to go. He said to his wife, “Amuse yourself well,” +and he leaves her plenty of money.</p> +<p>His wife says, “No,” she will remain at home till he +comes back, and will not see anybody until his return. Mr. Laur-Cantons +set off for the court. When he was there, a merchant attacks him on +purpose to vex him and put him in a passion, and tells him that he will +get into his wife’s house, and he wagers all that he has in his +shop, and Mr. Laur-Cantons bets 100,000 francs that he will not get in. +This merchant then goes off to the lady’s house. He knocks at the +door, and says that he comes with a letter from her husband, and begs +her to open the door. But they do not open it. They tell him to put the +letter in the hole; and, after having remained all night at the door in +vain, he goes off to the forest in a rage, kicking and stamping about +with his feet, because he had lost all that he possessed. An old woman +passes by there, and says to him,</p> +<p>“What is the matter with you, that you are in such great +trouble?”</p> +<p>“Be off with you, quickly, or I will give you two good boxes +on the ear.” This woman was a witch. This man was sorry a moment +afterwards for not having listened to this old woman, and he goes off +after her:</p> +<p>“Just now I treated you very badly, but I must now tell you my +trouble. I have lost all that I possess in a bet with Mr. Laur-Cantons +that I would get into his wife’s house, but I have passed the +whole night there, and have not been able to get in.”</p> +<p>“If you have only that it is nothing, and I will arrange +that.”</p> +<p>She goes with a basket of apples and knocks at the door, and says +that she is the lady’s nurse, and asks them to open. They open +for her. The young lady shows her her dresses for the marriage day and +for the next day too, her gold <span class="pagenum">[<a id="pb134" +href="#pb134" name="pb134">134</a>]</span>chain, and all her pretty +things. While she is putting by her dresses the witch takes her gold +chain, which had the lady’s name on it; and the lady did not +observe it, and did not miss anything when she shut up the others, +because she had full confidence in her, believing that she was really +her nurse, since she said so.</p> +<p>The witch goes off to find the merchant and gives him the gold +chain. The merchant gives her as a reward a complete set of new +clothes. The merchant goes off joyfully to find Mr. Laur-Cantons, and +shows him from a distance the gold chain. Imagine what was the rage of +the gentleman. He goes off home immediately. He knocks at the door, +saying that it is the master who is there; he enters, and says to his +wife, with harsh voice, to go upstairs and put on her wedding dress and +her gold ornaments. She comes down without putting it on at all, and he +says to her:</p> +<p>“Where are your gold ornaments?”</p> +<p>“Not being able to find them, I have put on those of the next +day.”</p> +<p>When he has got on horseback he tells her to get up behind him. This +young lady, having suspected something, had taken a great deal of money +with her. When they had gone a short way he dismounts. He puts his wife +into a chest and throws her into the sea. On the sea-shore there are +always people looking about, and when the chest was seen they caught +hold of it as best they could. They begin to knock it, wishing to open +it. She says to them from inside:</p> +<p>“Gently, gently, there is someone alive inside +here.”</p> +<p>After they had opened it she gave them a handsome present, and goes +to an hotel, and dresses herself like a gentleman. She asks if there is +anyone seriously ill in the town. They say to her:</p> +<p>“For the last seven years the king’s daughter is +so.”</p> +<p>She goes off to seek flowers and herbs in the fields, and she makes +acquaintance with the king’s physicians; and one day she goes +with them to the king’s house, and as they come out she says to +one of them: <span class="pagenum">[<a id="pb135" href="#pb135" name= +"pb135">135</a>]</span></p> +<p>“I, I could cure that young lady.”</p> +<p>The king hears that, and bids her to come as soon as possible. At +the first visit she gives her something to drink. As soon as she has +drunk she moves her head. She gives her to drink a second time, and she +sits up on the bed. The third time she gives her to drink she leaps +right out of bed. Think what rejoicings there were in the house of the +king! He did not know what to do to reward her, but she says to him +that she wishes nothing, only she would be made governor of this city. +She asks the names of the people at the court. They tell her a great +many names, and that of Mr. Laur-Cantons among others. When she has got +installed in her palace, she has Mr. Laur-Cantons brought up before her +between two policemen. She asks him what he has done with his wife. He +says to her that he knows nothing about her.</p> +<p>She points to the gallows:</p> +<p>“If you do not tell the truth, that shall be your +reward.”</p> +<p>He tells her then how that a merchant had come to tempt him; how he +had made a bet, and that he had come back with her gold chain, and +then, having got into a passion, he had thrown her into the sea in a +chest. She sends to fetch this merchant. He, too, tells how, in order +not to lose all he had, and not being able to get into the house, a +woman had brought him the chain. The merchant did not tell the truth at +the first questioning—it was after having been threatened that he +confessed it. She sends for the witch between eight policemen, and asks +her how she had got the gold chain from the lady’s house. She +tells the whole truth as it had happened. As the governor had had seven +barrels of powder placed one above the other, they put the witch on the +top, and set fire to the barrels from below. The witch goes up in the +air with the fire, and nobody sees her any more. They hang the merchant +as well. Mr. Laur-Cantons was on his knees before the governor, begging +pardon of him for his wicked actions. She pardons him, and made him +<span class="pagenum">[<a id="pb136" href="#pb136" name= +"pb136">136</a>]</span>governor and she remained governess. She sent +for her father, and they lived very happily.</p> +<p>If that is not true, may it happen (to me) like that.</p> +<p class="signed"><span class="sc">Louise Amyot</span>,<br> +more than 70 years old.</p> +</div> +<div class="div3" id="ch6.11"> +<h4 class="main">The Young Schoolboy.</h4> +<p class="firstpar">Once upon a time there was a gentleman and lady. +They had a child. The father was captain of a ship. The mother +regularly sent her son to school, and when the father came back from +his voyages he asked his child if he had learnt much at school. The +mother answered, “No, no! not much.”</p> +<p>The father went off for another voyage. He comes home the second +time. “My child, what have you learnt at school?”</p> +<p>The child answers his father, “Nothing.”</p> +<p>“You have learnt nothing?”</p> +<p>The captain goes to find the schoolmaster, and asks him if his child +does not learn anything.</p> +<p>“I cannot drive anything into that child’s +head.”</p> +<p>The boy comes up, and the father, asks him again what he has learnt +at school.</p> +<p>“This is all. (To understand) the song of the +birds.”</p> +<p>“O, my son, the song of the birds! the song of the birds! +Come, come on board ship with me.”</p> +<p>And he carries him off. While they were on the voyage a bird comes +and settles on the end of the ship, singing, “Wirittitti, +kirikiriki.”</p> +<p>“My son, come, come, instead of beginning by learning the art +of a captain you have learned the song of birds. Do you know what this +bird sings?”</p> +<p>“Yes, my father. I know he sings that I am now under your +orders, but you shall also be under mine.” <span class= +"pagenum">[<a id="pb137" href="#pb137" name="pb137">137</a>]</span></p> +<p>What does this captain do? He takes a barrel, knocks out the head, +and puts his son into it. He closes up the barrel and throws it into +the sea, and a storm casts it ashore.</p> +<p>A king was walking there just at that moment, and he finds this +barrel and sends for his men. They begin to try and break open the +barrel, and the boy cries out from inside:</p> +<p>“Gently, gently, there is someone inside.”</p> +<p>They open the barrel, and the boy comes out from inside. The king +takes him home, and he marries the king’s daughter.</p> +<p>One day the father of this boy was caught in a great storm, and the +captain is thrown by the tempest on the sea-shore. He went to the king, +and saw his son. The son recognised the father, but the father did not +recognise the son at all, and he became his own son’s servant. +One day he said to him:</p> +<p>“Do you know who I am?”</p> +<p>“No, sir.”</p> +<p>“I am such an one, your son. At such a time you threw me into +the sea in a barrel, and now the bird’s song has come +true.”</p> +<p>And after that the father and the son lived together very +happily.</p> +<p class="signed"><span class="sc">Estefanella Hirigaray.</span></p> +<p>The following seems to be a variation of the same:—</p> +</div> +<div class="div3" id="ch6.12"> +<h4 class="main">The Son who Heard Voices.</h4> +<p class="firstpar">Like many others in the world, there was a +gentleman and lady. They had several children. There was one whom they +did not love so much as they did the others, because he said that he +heard a voice very often. He said also that this voice had told him +that a father and a mother <span class="pagenum">[<a id="pb138" href= +"#pb138" name="pb138">138</a>]</span>would be servants to their son, +but without saying that it was they. When the mother heard that she got +very angry, taking it for herself. They were very rich, and they had +two men-servants. This mother told these servants to go with her son +and kill him, and bring his heart back to the house.</p> +<p>The next day she said to her son:</p> +<p>“You must go for a walk to such a place with these servants, +and you may stop there till twelve o’clock.”</p> +<p>The lad goes off quietly with the servants, and when they had gone a +little distance, the two servants begin to talk loudly, and to dispute, +and get angry. He goes up to them, and sees what they are quarrelling +about. The one wished to kill him, and the other did not. They fought, +and the one who did not wish to kill him got the better of the other. +And they said that they would kill a big dog which they had with them, +and that they would carry his heart to their mistress. Before the +servants returned the mother had already begun to be sorry.</p> +<p>Our young man wandered from place to place, and wandering like that, +he said to himself that he must go to Rome. He meets with two men who +tell him that they are going to Rome too, and they will make the +journey together. They loved this young lad very much, because they saw +that there was something in him different from the rest. When night +came they all go to a house hidden in a thick forest. They ask shelter +for the night. They tell them to enter, and give them a good supper. +Our young lad hears the voice, and it says to him:</p> +<p>“You are in a very unhappy place here. It would have been +better if you had not come here.”</p> +<p>The other men said to him, “What is that? What is +that?”</p> +<p>“Nothing at all. It would have been better to have gone +elsewhere.”</p> +<p>When they had finished supper, they show them to bed, but our young +gentleman does not go to sleep. He hears in the middle of the night a +great noise made by the robbers, <span class="pagenum">[<a id="pb139" +href="#pb139" name="pb139">139</a>]</span>who were returning home laden +with silver. The woman said to them:</p> +<p>“Go gently. We have three men here, and they say that one of +them is very rich.”</p> +<p>Our young man hears that. He wakes his comrades, and they jump out +of the window and escape. They walk on the whole day. When night comes +they see a beautiful house, and they ask to be lodged there that night. +They said to them:</p> +<p>“Certainly, with pleasure, but you will not have much rest; we +have a daughter who for seven years shrieks out in pain night and +day.”</p> +<p>These men say to the young man: “Will not you cure +her—you?”</p> +<p>He said to them: “I will try.”</p> +<p class="tb"></p> +<p>(The narrator had forgotten <i>how</i> this was done).</p> +<p class="tb"></p> +<p>They were very rich. When he had cured the young girl, this poor +father said to him:</p> +<p>“Sir, it is you who are now the master of this house. Give +your orders, and whatever you wish shall be done.”</p> +<p>Our young gentleman thanks him very much, and tells him that he is +going to Rome, but that he cannot say what he will do later after that. +This young lady had a beautiful ring on her finger. The father cut this +ring in two, and gave him one-half. They depart, and at length they +arrive close to Rome, and as they come near all the bells begin to ring +of themselves. Everyone comes out:</p> +<p>“Where is he? What is this? It is the Holy Father<a class= +"noteref" id="xd20e4704src" href="#xd20e4704" name= +"xd20e4704src">62</a> who must be coming!”</p> +<p>They take our young gentleman and make him the Holy Father.</p> +<p>The mother of this man was growing sadder and sadder, she was slowly +languishing away, and they could no longer recognise her. She had never +told her husband what she had done, but she asked him to go to Rome; +and she ended <span class="pagenum">[<a id="pb140" href="#pb140" name= +"pb140">140</a>]</span>by telling him what a terrible thing she had +done, and that she believes that she will get pardon there, if he would +go with her with the two servants who had also sinned. They arrive at +Rome. This poor mother had such great grief, and such a weight at her +heart that she wished to make her confession aloud in the middle of the +church at Rome.<a class="noteref" id="xd20e4716src" href="#xd20e4716" +name="xd20e4716src">63</a> Chance willed it that her son was in this +church. When he hears that he goes opening his arms to the arms of his +mother, saying to her:</p> +<p>“I forgive you, I am your son.”</p> +<p>The joy and the happiness kill the father and mother on the spot. He +takes the two servants home with him, and gives to him who did not wish +to kill him the half of the young lady’s ring, and he married +her, and lived happily in the midst of riches. He told the servant who +wished to kill him to go to the mountain and to be a charcoal-burner, +and he is still there making charcoal; and this charcoal which you see +here was brought from his house.</p> +</div> +<div class="div3" id="ch6.13"> +<h4 class="main">The Mother and her (Idiot) Son; or, the Clever +Thief.<a class="noteref" id="xd20e4733src" href="#xd20e4733" name= +"xd20e4733src">64</a></h4> +<p class="firstpar">Like many others in the world, there were a mother +and her son; they were poor, and the young man, when he grew up, wished +to go from home, to see if he could better his position. His mother +lets him go with great reluctance. He goes on, and on, and on through +terrible forests. He comes to a beautiful house, and asks if they want +a servant. They tell him “Yes,” and to come in; and then +they tell him how they go at night to rob people, and sometimes to kill +them; and they ask if he would go too. He says “Yes,” +<span class="pagenum">[<a id="pb141" href="#pb141" name= +"pb141">141</a>]</span>and in the middle of the night he sees the chief +of the robbers arrive, with all his company, laden with gold and +silver; and he remained a long time with them.</p> +<p>One day the chief said to him, “At such an hour a rich +gentleman on horseback will pass by such a place, and you must go and +rob him; and, if he will not give it up willingly, you must kill +him.”</p> +<p>Our lad had had enough of this trade; but he told the chief that he +would do it. He stays then, waiting for this gentleman, and at last he +sees him coming. He presents himself before him, and says,</p> +<p>“Your purse or your life!”</p> +<p>The gentleman gives him his purse and all the money that he had, and +he had a great deal. He said to him, “It is not enough yet. You +must give me your fine clothes too, and your horse.”</p> +<p>They exchange clothes, and the gentleman goes off, very glad, +although he had old clothes on, because he had spared him his life. +Instead of returning to the robbers’ house, what does our lad do? +He goes off on horseback with his money to his mother’s house. +Everyone was astonished at his arrival, and that he had made his +fortune so quickly. He goes to his mother, and judge of her joy! He +tells her how it is that he has become so rich, and that it all +happened far, far away. His mother told it to others, and at last this +news comes to the ears of the mayor, who sends his servant to this +young man to tell him to come to his house on the morrow without +fault.</p> +<p>He goes then, leaving his mother in tears. His mother told him to +tell the mayor how he had made his fortune so quickly. He tells him +what business he had pursued, but that it was very far away, and that +he had never killed anybody. The mayor said to him,</p> +<p>“If you do not steal my finest horse from my stable this very +night, I will have you killed to-morrow.”<a class="noteref" id= +"xd20e4761src" href="#xd20e4761" name="xd20e4761src">65</a> +<span class="pagenum">[<a id="pb142" href="#pb142" name= +"pb142">142</a>]</span></p> +<p>This mayor was very rich, and he had a great many servants and a +great many horses. There were three of them finer and more valuable +than the others. Our lad goes home and consoles his mother. He asks her +to give him his old clothes which he wore formerly, and, putting them +over the others, he takes a big stick, and goes off to the +mayor’s, crawling along like an old man. He knocks at the door, +and asks shelter for the night. A lad comes to him, and says—</p> +<p>“We shall not give you shelter in this house to-night. You may +go on farther.”</p> +<p>But he begs so much, and asks him to give him at least a corner of +the stable—that he does not know where to go to—that at +last they let him enter, and give him a little straw (to lie down on). +Our lad hears what they say to each other. Three lads were to stop till +midnight on the three finest horses, and at midnight three other +servants were to take their places. What does our lad do? They were +asleep on their horses. As soon as he hears midnight, he goes and gives +one of them a knock, and says to him,</p> +<p>“It is midnight; go to bed.”</p> +<p>Half asleep, the lad goes off to bed; the others were still asleep +on their horses. He mounts on the horse—he had chosen the +finest—and opens the doors very gently, and goes off at a trot, +without looking behind him. He goes home, and his mother is very +delighted to see her son.</p> +<p>The next day he goes to market to sell his horse. When the mayor +gets up he goes to the stable, and sees that his finest horse is +missing. The servants were sleeping on their horses, and the others in +bed. He gets into a rage, and does not know what to do. He sends to the +mother’s to ask her where her son is. She replies that he is gone +to sell a horse. They tell her that the mayor <span class="corr" id= +"xd20e4778" title="Source: summonses">summons</span> him immediately. +The mother grows sad again, and tells her son what they have said to +her, and off he goes.</p> +<p>The mayor says to him, “What a fellow you are! You won the +game yesterday, but if you do not steal from our <span class= +"pagenum">[<a id="pb143" href="#pb143" name="pb143">143</a>]</span>oven +to-night all the bread that is in it, it shall be all over with +you.”</p> +<p>The mayor assembles all the municipal council and all his friends, +thinking he would have some fun while guarding his oven. They had +dances, and music, and games, and brilliant lights, and all sorts of +amusements, and all this in front of the oven. What does our lad do? He +takes a little hammer, and goes behind the oven. He makes a hole, and +by that takes out all the loaves, and puts them in his basket, and goes +home.</p> +<p>The next day the mayor was proud because they had not stolen his +loaves, and because they had so well guarded the door of the oven, and +he sends his servant to fetch a loaf for breakfast. When she opens the +door of the oven, she sees the sun through the other end of the oven. +Judge of their astonishment! The mayor was in a red-hot passion. He +sends to fetch the lad. They go and ask his mother where her son is. +She answers, “Selling bread.” And they tell the mayor. He +sends to tell her to tell her son to come to him as soon as he comes +home. The poor mother is again in great distress. When her son arrives, +she tells him the message, and off he goes.</p> +<p>The mayor says to him, “Yesterday, too, you have hit the mark; +but you have not finished yet. This very night you must steal the +sheets which we have under us in our bed, otherwise your life shall be +put an end to.”<a class="noteref" id="xd20e4791src" href= +"#xd20e4791" name="xd20e4791src">66</a></p> +<p>He goes home, and he makes an image of himself from his old clothes; +and, when night is come, he goes off dragging it to the mayor’s. +The mayor had placed guards at all the windows and doors, with arms. +Our lad ties his image to a long stick, and, by drawing a cord, he +hoists it against the wall. When the guards see a man climbing up the +wall near a window, they fire, and all begin to cry out +“Hurrah!” At this noise the mayor leaps out of bed, +<span class="pagenum">[<a id="pb144" href="#pb144" name= +"pb144">144</a>]</span>thinking that they have killed him, and that he +must go and see him too. Our lad takes advantage of this moment to +enter the house, and he goes to the mayor’s bed, and +says—</p> +<p>“It is cold, it is cold;” and keeps pulling and pulling +all the bed-clothes to his side. When he has all, he says to the +lady:</p> +<p>“I must go and look again, to be quite sure, and to see if +they have buried him.”</p> +<p>The wife said to him, “Stop here then; you will come back dead +of cold.”</p> +<p>He goes off, and escapes very quickly, as well as he can, with the +sheets. The others are out-doing each other, one beating, the other +stabbing, the other pulling about (the image). At last they go +in-doors, quite out of breath. All are pleased, and proud that they +have their lad at last down there.</p> +<p>The mayor goes to bed, and his wife says to him:</p> +<p>“Now, at least, you will remain here without any more of this +going and coming down there, and making me all cold.”</p> +<p>“I have not been going and coming. I!”</p> +<p>“Yes, yes; you were certainly here just now, you +too.”</p> +<p>He gets into bed, and he keeps turning and moving about, not being +able to find the sheets. At last, getting impatient, he lights the +candle, and he sees that the sheets are not there. Judge of their +anger; they did not know what to do. The wife said to him:</p> +<p>“You had better leave that man alone, or some misfortune will +happen to us.”</p> +<p>He will not listen to anything, and goes off. He sends to fetch him +as soon as daylight comes. They find his mother, and ask her where her +son is. She answers:</p> +<p>“He has gone to sell some sheets.”</p> +<p>They say to her, “You will send him to the mayor’s when +he comes home.” And this poor woman is again in great trouble, +for at last (she thinks) they will make an end <span class= +"pagenum">[<a id="pb145" href="#pb145" name="pb145">145</a>]</span>of +her son. She sends him again to the mayor’s, who says to him:</p> +<p>“This time you shall not escape me. If you do not steal all +the money of my brother the priest, you are done for.”<a class= +"noteref" id="xd20e4830src" href="#xd20e4830" name= +"xd20e4830src">67</a></p> +<p>The brother of the mayor was rector of this town. When evening came +our lad hides himself in the church, and dresses himself in the finest +of the church robes, (used only) for the highest festivals. He lights +all the candles and the lamps, and at midnight he begins to ring all +the bells at full swing—dilin, don; dilin, don, don; dilin, don. +The rector comes running with his servant to see what is happening in +the church, and they see on the high altar someone, who says to +them:</p> +<p>“Prostrate yourselves. I am the good God. I am come to fetch +you. You must die; but before dying you must bring here all the money, +and all the riches that you have in your houses.”</p> +<p>The priest goes and brings everything. He makes the priest go to the +top of the tower, and says to him:</p> +<p>“You are now going into purgatory, but afterwards you will go +to heaven.”</p> +<p>He makes him get into a sack, takes hold of one end, and drags him +down the stairs, bumping, <span lang="eu">zimpi eta zampa</span>, on +all the steps. He cried, “Ay! ay!” and he says to him:</p> +<p>“This is nothing; soon you will be in heaven.”</p> +<p>And he carries him like that to his brother’s chicken-house, +and leaves him there. The next morning the maid goes to feed the fowls. +She sees a sack, and touches it, and the sack moves. The girl goes off +running to tell her mistress what she has seen. Her mistress goes and +touches it, and the sack does the same thing. She is frozen with +fright, and goes to her husband, and says:</p> +<p>“You see that I told you right to let that man alone. At +present, what will become of us? What can there be in that sack?” +<span class="pagenum">[<a id="pb146" href="#pb146" name= +"pb146">146</a>]</span></p> +<p>The gentleman immediately sends someone to fetch this lad. He was +just at that moment at home, and they tell him that the mayor orders +him to come directly. They tell him to open the sack. He touches it, +and the sack gives a leap; and he says that he will not open it, not +for ten thousand francs.</p> +<p>“I will give you ten thousand francs.”</p> +<p>“No! not for twenty thousand.”</p> +<p>“I will give them you.”</p> +<p>“No, no, no! not even for forty thousand.”</p> +<p>“I will give you thirty thousand.”</p> +<p>“No, no, no, no! not even for forty thousand.”</p> +<p>“And for fifty thousand?”</p> +<p>He agreed to open it, and he hands them their brother, the priest, +whom he had left without a sou. After having got his fifty thousand +francs, our lad went off well satisfied to his home, and lived there +rich with his mother; and the mayor lived with his brother, the priest, +poorer than he was before. And if they had lived well, they would have +died well too.</p> +</div> +<div class="div3" id="ch6.14"> +<h4 class="main">Juan Dekos,<a class="noteref" id="xd20e4875src" href= +"#xd20e4875" name="xd20e4875src">68</a> the Blockhead (Tontua).</h4> +<p class="firstpar">Like many others in the world, there was a +gentleman and lady who had a son. When he was grown up his father found +that (his intellect) was not awakened, although he had finished his +education. What does he do? He buys <span class="pagenum">[<a id= +"pb147" href="#pb147" name="pb147">147</a>]</span>a ship for him, and +takes a captain and a crew, and loads the ship with sand, and sends his +son in it as master.<a class="noteref" id="xd20e4882src" href= +"#xd20e4882" name="xd20e4882src">69</a> They all set off, and go very, +very far away, and they come to a country where there was no sand. They +sell theirs very dear, and our Juan Dekos went to take a walk in that +place.</p> +<p>One day, passing before the door of the church, he sees that all +passers-by used to spit on something; he goes up and asks why they do +that. They say to him:</p> +<p>“It is a dead man who is there, and if no one pays his debts, +he will remain there until he rots away.”<a class="noteref" id= +"xd20e4889src" href="#xd20e4889" name="xd20e4889src">70</a></p> +<p>What does Juan Dekos do? With all the money that he had he pays this +man’s debts. The whole crew and the officers were in a red-hot +rage, because they had all their money there. He goes back again with +his ship, and they arrived in their own city. The father from a +distance had recognised his son’s ship, and comes to meet him. +The sailors from a long way off shout out to him what he had done with +the money. The father was not pleased, but he sends the ship off again +loaded with iron. They go on, and at length arrive at a place where he +sells his iron for a great deal of money. When they were walking about +in this city, he sees Christians being sold by the savages in the +market-place. There were eight of them for sale; and he buys all the +eight, and employs all the money which he had made with his iron in +buying them. He sends seven of them to their own homes, and keeps with +him a young girl whose name was Marie Louise. She was very beautiful. +He returns home with his ship, and his crew, and Marie Louise. The +father comes to meet him, and the sailors tell him before Juan Dekos +what he had done with the money. His father was very angry, and will +not give anything more to his son; he may do what he likes. +<span class="pagenum">[<a id="pb148" href="#pb148" name= +"pb148">148</a>]</span></p> +<p>Juan Dekos had a portrait of Marie Louise made for the figure-head +of his ship; and the men agree to go to the country of Marie Louise. +They set out then. The second in command of the ship was lame, and he +was very jealous of Juan Dekos and of Marie Louise. He did not know +what to do.</p> +<p>One day he sent for Juan Dekos on deck, saying that he wished to +show him a strange fish that was in the water. When he had got him +quite close to him, he throws him into the sea. Nobody was there when +he did that. When the meal-time comes they all asked where Juan Dekos +was, and nobody knew what was become of him. The lame man was +delighted, thinking that Marie Louise would be his. He pays her all +sorts of attention.</p> +<p>Juan Dekos was taken by an angel and placed upon a rock, and he +brought him there every day what was necessary for his maintenance. The +ship at length arrived in the country of Marie Louise. As she was the +king’s daughter everybody recognised her, and that easily, from a +distance by her portrait. The king was quickly told of it, and goes to +meet his daughter, and you may imagine what rejoicings he made. He has +all the men conducted to his house and treats them all well. Marie +Louise tells how she had been bought by Juan Dekos, and how good he had +been to her, and that she does not know what had become of him. She +said also that the second officer had taken very great care of her. +This second officer wished beyond all things to marry her, and the +father wished it too, to show his gratitude, because it was he who had +brought his daughter back to him, and because he had not known Juan +Dekos. They tormented Marie Louise so much that she promised that, at +the end of a year and a day, if Juan Dekos did not make his appearance, +she would marry him.</p> +<p>A year and a day passed, and there was no news of Juan Dekos. They +were to be married then, and Juan Dekos was still upon his rock. The +sea-weed was growing upon <span class="pagenum">[<a id="pb149" href= +"#pb149" name="pb149">149</a>]</span>his clothes, and he had a +monstrous beard. And the angel<a class="noteref" id="xd20e4905src" +href="#xd20e4905" name="xd20e4905src">71</a> said to him:</p> +<p>“Marie Louise is married to-day. Would you like to be +there?”</p> +<p>He says, “Yes.”</p> +<p>“You must give me your word of honour that, at the end of a +year, you will give me half the child that Marie Louise will bear to +you.”</p> +<p>He promises it, and he takes him and carries him to the door of +Marie Louise’s house. This angel was the soul which he had saved +of the man who was lying at the gates of the church for his debts. He +asks for alms. Marie Louise’s father was very charitable; they +therefore give him something. He asks again if they would not let him +go in to warm himself at the fire. They tell him “No,” that +he would be in the way on that day. They go and ask the master, and the +master bids them to let him come in and to give him a good dinner.</p> +<p>Marie Louise was already married when Juan Dekos arrived. He had a +handsome handkerchief which Marie Louise had given him, and when she +passed he showed it in such a way that she could not help seeing it. +She saw it clearly, and after looking closely at him she recognises +Juan Dekos. Marie Louise goes to find her father, and says to him:</p> +<p>“Papa, you must do me a pleasure.”</p> +<p>“Yes, yes, if I can do so.”</p> +<p>“You see that poor man? I wish to have him to dine with us +to-day.”</p> +<p>The father says, “That cannot be; he is filthy and +disgusting.”</p> +<p>“I will wash him, and I will put him some of your new clothes +on.” <span class="pagenum">[<a id="pb150" href="#pb150" name= +"pb150">150</a>]</span></p> +<p>The father then says, “Yes,” and he makes them do as +Marie Louise wished. They place him at table, but Marie Louise alone +recognised him. After dinner they asked Juan Dekos to tell a story in +his turn like the rest.</p> +<p>He says, “Yes, but if you wish to hear my story you must shut +all the doors and give me all the keys.”</p> +<p>They give them to him.</p> +<p>He begins: “There was a father and a mother who had a son who +was not very bright, and they decide that they must send him to sea. +They load a ship with sand for him. He sells this sand very well, and +pays the heavy debts of a dead man whom they were keeping at the church +doors (without burial).”</p> +<p>When the second officer saw and heard that, he perceived that his +life was in danger, and that it was all up with him, and he begs the +king for the key of the door, saying that he must go out; but he could +not give it him, so he was forced to remain, and not at all at his +ease. Juan Dekos begins again:</p> +<p>“His father loaded the ship again with iron, and he sells it +and bought with this money seven Christians, and,” pointing to +the king’s daughter, “there is the eighth.”</p> +<p>The king knew this story already from his daughter. What do they do +then? When they see how wicked the second officer had been, they had a +cartload of faggots brought into the middle of the market-place, they +put a shirt of sulphur upon him, and burn him in the midst of the +place.</p> +<p>Juan Dekos and Marie Louise marry and are very happy. They had a +child, and at the end of a year an angel comes to fetch the half of it. +Juan Dekos was very sorry, but as he had given his word he was going to +cut it in half. The angel seizes him by the arm, and says to him:</p> +<p>“I see your obedience; I leave you your child.”</p> +<p>If they lived well, they died well too. <span class= +"pagenum">[<a id="pb151" href="#pb151" name="pb151">151</a>]</span></p> +</div> +<div class="div3" id="ch6.15"> +<h4 class="main">Variation of the above.</h4> +<h4 class="main">Juan de Kalais.<a class="noteref" id="xd20e4961src" +href="#xd20e4961" name="xd20e4961src">72</a></h4> +<p class="firstpar">As there are many in the world, and as there will +be, there was a mother and her son. They had a small fortune. Nothing +would please the boy but that he should go and learn to be a sailor. +The mother allows him to do so, and when he was passed as captain she +gives him a ship with a valuable cargo. The lad starts off and comes to +a city. While he was there he sees a crowd of men on a dung-heap, who +were dragging an object, some on one side and others on the other. He +approaches and sees that they have a dead man there. He asks what they +are doing like that for, and why they do not bury him. They tell him +that he has left debts, and that they will not bury him, even though he +should fall to pieces.</p> +<p>Juan de Kalais asks, “And if anyone should pay his debts, +would you bury him then?” They say, “Yes.”</p> +<p>Juan de Kalais has it cried throughout the city that whoever has to +receive anything of that man should show himself. As you may suppose, +many came forward, even those who had nothing to receive. Our Juan de +Kalais sold his cargo, and still, not having enough, he sold his ship +too.</p> +<p>He returns home and tells his mother what he has done. His mother +was very angry, and said that he would never grow rich if he acted like +that. But, as he wished much to go again, his mother bought for him a +wretched little ship and loads it with oakum, and tar, and resin, and +he goes on his voyage. He meets with a large man-of-war, and the +captain tells him that he must buy of him a charming young lady. Juan +de Kalais tells him that he has no money, but the other captain (he was +an Englishman) tells him to give him his cargo at least. Juan de Kalais +says to him:</p> +<p>“That is not worth much.” <span class="pagenum">[<a id= +"pb152" href="#pb152" name="pb152">152</a>]</span></p> +<p>But the English captain says to him that it is, that it just happens +to be most valuable to him, and they make the exchange. Our Juan de +Kalais goes to his mother’s house, and his mother was more angry +than before, saying she had nothing now with which to load his ship. +She had nothing, and would give him nothing; that instead of getting +rich they had become poor, and that it would have been better if he had +stopped at home. After some days he married the young lady whom the +captain had given him, and as Juan de Kalais was in poverty and +distress, not having any cargo, his wife told him that he had no need +of cargo—that she will give him a flag and a handkerchief, and +she gave him her ring and told him to go to the roadstead of Portugal +and to fire three rounds of cannon; and, when people came, to tell them +that he must see the king. (She added) that she was called Marie +Madeleine. Our Juan de Kalais sets off and arrives in the roadstead of +Portugal, and fires his three rounds of cannon. Everybody is astonished +at hearing this noise. The king himself comes on board the ship and +asks how they dared to fire, and that everyone is a prisoner.<a class= +"noteref" id="xd20e4979src" href="#xd20e4979" name= +"xd20e4979src">73</a> He answers that he brings news of Marie +Madeleine, and he shows him the flag with her portrait and the +handkerchief. The king did not know where he was with joy, and he tells +him that he must go directly and fetch her.</p> +<p>The king had with him an old general<a class="noteref" id= +"xd20e4984src" href="#xd20e4984" name="xd20e4984src">74</a> who had +wished to marry Marie Madeleine, but she would not; and he asks the +king if he might not go too with him—that he would do it quicker. +The king told him to go then if he wished, and they set out.</p> +<p>When they were at sea the old general said to Juan de Kalais one +day:</p> +<p>“Look, Juan de Kalais, what a fine fish there is +here!”</p> +<p>He looks and does not see anything. The old general says to him +again: <span class="pagenum">[<a id="pb153" href="#pb153" name= +"pb153">153</a>]</span></p> +<p>“Stoop down your head, and look here.”</p> +<p>And at the same time he throws him into the sea. The old general +goes on his voyage, and takes the young lady and goes back to the king, +and makes him believe that Juan de Kalais was drowned, and he still +wished to marry Marie Madeleine; but she would by no means consent, +(saying) that she had been married to Juan de Kalais, and that she was +so deeply sorry for him that she would remain seven years without going +out of her room. As her father wished her to marry this general she +decided to do so then.</p> +<p>Let us now go to the poor Juan de Kalais. He remained seven years on +a rock, eating sea-weed and drinking the sea-water. There came to him a +fox,<a class="noteref" id="xd20e5001src" href="#xd20e5001" name= +"xd20e5001src">75</a> who said to him:</p> +<p>“You do not know, Juan de Kalais, the daughter of the King of +Portugal is going to be married to-morrow. What would you give to go +there?”</p> +<p>“The half of what I have at present, and the half of what I +shall have later on.”</p> +<p>The fox takes him and carries him to the door of the house of the +King of Portugal, and leaves him there. Juan de Kalais asks if they +want a servant. They tell him that they will have work for him +too—that they will have a wedding in the house to-morrow. The +lady’s maid recognised Juan de Kalais, and goes running to tell +it to the queen, who will not believe it—(she says) that he was +drowned. The servant, after having looked at him again, assures her +that it is he; and the princess, to put an end to the dispute, goes off +to see him, and quickly assures herself that it is he, seeing the ring +that she had given him. She throws herself into his arms, and makes him +come with her to the king. The king said to her that they would have +the wedding feast just the same. While they were at table the king +asked Juan de Kalais to tell them some story. Juan de Kalais says +“Yes,” and takes out his sword, and puts it on the table, +saying, “Whoever speaks shall have news of my sword.” He +begins to tell how he had saved a man by selling all <span class= +"pagenum">[<a id="pb154" href="#pb154" name="pb154">154</a>]</span>that +he had and paying his debts; how afterwards he had made an exchange for +a young lady—that in order to save her he had given all his +cargo; then how he had been betrayed by one of his friends and thrown +into the water, and that he had lived on sea-weed and sea-water.</p> +<p>When the king had heard that he ordered the old general to be +arrested, and has him burnt immediately in the midst of the +market-place.</p> +<p>The king gives Juan de Kalais all his riches, and they lived very +happily. At the end of a year they had a fine boy, and lo! the fox +comes and tells him that he has come to look for what he has promised +him, and he begins to make a division. If there were two gold chains he +put one aside, and of all that there was the same thing. When they had +finished the division the fox said to him that there was still +something—that he had told him it was to be the half of all he +might possess. He remembers then his child, and takes out his sword to +cut it in half, when the fox with his paw knocks the sword out of his +hand, saying that it is enough; that he sees what a sterling good man +he is, and that he wants nothing; that he (the fox) is the soul which +he had saved by paying his debts, and that he is now in Heaven, thanks +to him, and that he will keep his place and that of all his family +ready there; and having said that he flew away, taking the form of a +pigeon.</p> +<p class="signed"><span class="sc">Laurentine</span>,<br> +Learnt it from her mother.</p> +</div> +<div class="div3" id="ch6.16"> +<h4 class="main">The Duped Priest.<a class="noteref" id="xd20e5025src" +href="#xd20e5025" name="xd20e5025src">76</a></h4> +<p class="firstpar">Like many others in the world, there was a man and +his wife. The man’s name was Petarillo. He was fond of sporting. +One day he caught two leverets, and the parish <span class= +"pagenum">[<a id="pb155" href="#pb155" name= +"pb155">155</a>]</span>priest came to see him. The husband said to his +wife—“If the priest comes again you will let one of the +hares go, as if to meet me, tying, at the same time, a letter round its +neck, and I will tie another letter to the other hare.”</p> +<p>The priest goes to the house one day, and asks where the husband is. +The woman says:</p> +<p>“I will send one of the hares with a letter to fetch him. No +matter where he is, she will find him; he has trained them so +well.”</p> +<p>And she lets one of the hares loose. They grew impatient at the long +delay, and had given it up, when at last the husband came. His wife +says to him, “I sent the hare.”</p> +<p>He answers, “I have it here.”</p> +<p>The astonished priest says to him, “You must sell me that +hare, I beg you; you have trained it so well.”</p> +<p>A second time he says, “You <i>must</i> sell it me.”</p> +<p>And the man said to him, “I will not give it you for less than +five hundred francs.”</p> +<p>“Oh! you will give it me for three hundred?”</p> +<p>“No, no.”</p> +<p>At last he gives it him for four hundred. The priest tells his +housekeeper:</p> +<p>“If any one comes, you will let the hare loose; she will find +me, no matter where I may be.”</p> +<p>A man comes to the parsonage to say that a sick person is asking for +the priest. She immediately lets the hare loose, being quite sure that +that would be enough. But the priest did not return. The man got tired +of waiting, and went off. The housekeeper told the priest that she had +let the hare loose, and that she had seen nothing more of it. +<span class="pagenum">[<a id="pb156" href="#pb156" name= +"pb156">156</a>]</span></p> +<p>In a rage, he goes to the huntsman’s house. But Petarillo, +seeing him coming in a rage, gives a wine-skin to his wife, and says to +her:</p> +<p>“Put this under your jacket. When the priest is here, I will +plunge a knife into you in a rage, and you will fall as if you were +dead; and when I shall begin to play the flute, you will get up as if +yon were alive.”</p> +<p>The priest arrives in a great rage, (they all three dispute), and +the man stabs his wife. She falls on the ground, and the priest says to +him:</p> +<p>“Do you know what you have done?”</p> +<p>He replies, “It is nothing; I will soon put it to +rights.”</p> +<p>And he takes his flute, and begins to play. She gets up all alive +again, and the priest says to him:</p> +<p>“Do sell me that flute, I beg you.”</p> +<p>He answers that it is of great value, and that he will not sell +it.</p> +<p>“But you <i>must</i> sell it me. How much do you want for it? +I will give you all you ask.”</p> +<p>“Five hundred francs.” And he gives it him.</p> +<p>The priest’s housekeeper used sometimes to laugh at him. So +when he came home he wanted to frighten her a little; and, as usual, +she begins to make fun of him; and he stabs her with the large +carving-knife. His sister says to him,</p> +<p>“Do you know what you have done? You have killed your +housekeeper!”</p> +<p>“No, no! I can put that to rights.”</p> +<p>He begins to play on the flute, but it does no good at all. He +rushes off in a rage to the huntsman’s house, and he ties the +huntsman in a sack, and hauls him off to throw him into the sea. As he +passes near the church, the bell begins to ring for Mass, and he leaves +the man there till he has said Mass. Meanwhile a shepherd passes. He +asks him what he is doing there. He says to him, “The priest is +going to throw me into the sea because I will not marry the +king’s daughter.”</p> +<p>The other said to him, “I will put myself in your place, +<span class="pagenum">[<a id="pb157" href="#pb157" name= +"pb157">157</a>]</span>and I will deliver you. When you have tied me +up, go away with my flock.”</p> +<p>When the priest returned, after having said Mass, he takes up the +sack, and the man says,</p> +<p>“I will marry the king’s daughter.”</p> +<p>“I will marry you presently.”</p> +<p>And he throws him into the sea.</p> +<p>The good priest was returning home, when he sees the man with the +sheep, and says to him,</p> +<p>“Where did you get that flock from?”</p> +<p>“From the bottom of the sea. There are plenty there. +Don’t you see that white head, how it lifts itself above the +sea?”</p> +<p>“Yes; and I, too, must have a flock like that.”</p> +<p>“Come close to the edge, then.”</p> +<p>And our huntsman pushes him into the sea.</p> +<p class="signed"><span class="sc">Gagna-haurra Hirigaray.</span></p> +<p>We have other tales about priests, all in the same spirit as this. +The Basques are a deeply religious people, and are generally on the +best terms with the clergy; but they will not be dominated by them. Any +attempt at undue interference in their national games or customs is +sure to be resented; of this we have known several instances—some +rather amusing ones. G. H., the narrator of the above tale, did not +know a word of French.</p> +<p>Some of Campbell’s stories begin a little like these, +<i>e.g.</i>, Vol. I., p. 95, Macdonald’s tale—“There +was a king and a knight, as there was and will be, and as grows the fir +tree, some of it crooked and some of it straight, and he was King of +Eirinn.” The ending, “If they had lived well, they would +have died well too,” recals a Latin inscription still +occasionally to be seen on Basque houses:—</p> +<div lang="la" class="lgouter"> +<p class="line">“Memento tua novissima,</p> +<p class="line">Et non peccabis in æternum.”</p> +</div> +<p class="firstpar">This is on two houses in Baigorry, and on one at +Ascarrat, and probably on many others. <span class="pagenum">[<a id= +"pb158" href="#pb158" name="pb158">158</a>]</span></p> +</div> +</div> +<div class="div2" id="ch6.b"><span class="pagenum">[<a href= +"#toc">Contents</a>]</span> +<h3 class="main">(B.)—<span lang="fr">Contes des +Fées</span>, derived directly from the French.</h3> +<p class="firstpar">We do not suppose that the tales here given are the +only ones in our collection which are derived more or less directly +from or through the French. Several of those previously given under +different heads we believe to have been so. The question, however, +still remains: Whence did Madame d’Aulnoy, Perrault, and the +other writers of the charming “<span lang="fr">Contes des +Fées</span>,” derive their materials? Place their talent +as high as we may, we still believe them to have been incapable of +inventing them. Combine, transpose, dress up, refine—all this +they did in an incomparable manner. Some portions they may have culled, +directly or indirectly, from Eastern stories; their own imagination may +have filled up many a blank, expanded many a hint, clothed many a +half-dressed body in the habit of their own times—as heraldic +painters formed grotesque monsters by selecting and putting together +parts from many diverse animals; but to create, even in fancy, was +beyond their line, if it is not altogether beyond the power of man. +Therefore, when we hear these tales related by peasants ignorant of +French, we may still ask how far they have learnt them at second or +third hand from the printed works, and how far they are reciting the +crude materials out of which those works were originally composed? This +is a question which can only be fully answered when all the legends in +all the languages and patois of France shall have been collected and +compared. Meanwhile, we beg our readers to accept these few tales as a +small and not very valuable stone contributed towards the erection of +so vast an edifice.</p> +<div class="div3" id="ch6.17"> +<h4 class="main">Ass’-Skin.<a class="noteref" id="xd20e5156src" +href="#xd20e5156" name="xd20e5156src">77</a></h4> +<p class="firstpar">Like many others in the world, there was a king and +a queen. One day there came to them a young girl who <span class= +"pagenum">[<a id="pb159" href="#pb159" name= +"pb159">159</a>]</span>wished for a situation. They asked her her name, +and she said “Faithful.”<a class="noteref" id= +"xd20e5162src" href="#xd20e5162" name="xd20e5162src">78</a> The king +said to her, “Are you like your name?” and she said +“Yes.”</p> +<p>She stopped there seven years. Her master gave her all the keys, +even that of the treasure. One day, when the king and queen were out, +Faithful goes to the fountain, and she sees seven robbers coming out of +the house. Judge what a state this poor girl was in! She runs straight +to the treasury, and sees that more than half the treasure is missing. +She did not know what would become of her—she was all of a +tremble. When the king and queen came home she told them what had +happened, but they would not believe her, and they put her in prison. +She stays there a year. She kept saying that she was not in fault, but +they would not believe her. The king condemns her to death, and sends +her with four men to the forest to kill her, telling them to bring him +her heart.</p> +<p>They go off, but these men thought it a pity to kill this young +girl, for she was very pretty, and she told them that she was innocent +of this robbery; and they say to her:</p> +<p>“If you will not come any more into this land, we will spare +your life.”</p> +<p>She promises them that she will not be seen again in those parts. +The men see an ass, and they tell her that they will carry its heart to +the king. The young girl said to them:</p> +<p>“Flay this ass, I pray you; and, in order that no one may know +me, I will never take this skin off me.”</p> +<p>The men (do so), and go off to the king, and the young girl goes to +look for some shelter. At nightfall she finds a beautiful house. She +asks if they want some one to keep the geese. They tell her, +“Yes, yes, yes.” They put her along with the geese, and +tell her that she must go with them every day to such a field. She went +out very early in the morning and came back late. It was the +king’s house, and it was the queen-mother and her son who lived +there. <span class="pagenum">[<a id="pb160" href="#pb160" name= +"pb160">160</a>]</span></p> +<p>After some time there appeared to her one day an old woman, who +called to her:</p> +<p>“Faithful, you have done penance enough. The son of the king +is going to give some grand feasts, and you must go to them. This +evening you will ask madame permission, and you will tell her that you +will give her all the news of the ball if she will let you go for a +little while. And, see, here is a nut. All the dresses and things you +want will come out of that. You will break it as you go to the place of +the festival.”<a class="noteref" id="xd20e5182src" href= +"#xd20e5182" name="xd20e5182src">79</a></p> +<p>That evening she asked permission of her mistress to go and see the +festival which the king is going to give, for a short time only, and +that she will return directly and tell her all that she has seen there. +Her mistress said, “Yes.” That evening she goes then. On +her way she breaks the nut, and there comes out of it a silver robe. +She puts it on, and goes there, and immediately she enters all the +world looks at her. The king is bewitched, he does not quit her for an +instant, and they always dance together. He pays no attention at all to +the other young ladies. They enjoy the refreshments very much. Some +friends of the king call him, and he has to go there; and in this +interval Faithful makes her escape to the house.</p> +<p>She tells the queen how that a young girl had come to the ball, how +she had dazzled everybody, and especially the king, who paid attention +to her alone, but that she had escaped.</p> +<p>When the son comes to the house, his mother says to him:</p> +<p>“She escaped from you then, your young lady? She did not care +for you, doubtless.”</p> +<p>He says to his mother, “Who told you that?”</p> +<p>“Ass’-skin; she wished to go and see it.” +<span class="pagenum">[<a id="pb161" href="#pb161" name= +"pb161">161</a>]</span></p> +<p>The king goes to where Faithful was and gives her two blows with his +slipper, saying to her:</p> +<p>“If you return there again I will kill you on the +spot.”</p> +<p>The next day Ass’-skin goes with her geese, and there appears +to her again the old woman. She tells her that she ought to go to the +ball again this evening—that her mistress would give her +permission. “Here is a walnut; you have there all that is +necessary to dress yourself with. The king will ask you your +name—Braf-le-mandoufle.”<a class="noteref" id= +"xd20e5208src" href="#xd20e5208" name="xd20e5208src">80</a></p> +<p>In the evening she asks permission of her mistress, but she is +astonished (at her asking), and says to her:</p> +<p>“You do not know what the king has said—that if he +catches you he will kill you on the spot?”</p> +<p>“I am not afraid. He will be sure not to catch me.”</p> +<p>“Go, then.”</p> +<p>She goes off, and on the way she breaks the walnut, and there comes +out of it a golden robe. She goes in. The king comes with a thousand +compliments, and asks her how she had escaped the evening before +without saying anything to him, and that he had been very much hurt at +it.</p> +<p>They amuse themselves thoroughly. The king has eyes for her alone. +He asks her her name. She tells him, “Braf-le-mandoufle.” +They feast themselves well, and some friends having called to him he +goes to them, and the young lady escapes.</p> +<p>Ass’-skin goes to tell the queen that yesterday +evening’s young lady had come, but still more +beautiful—that she had escaped in the very middle of the ball. +She goes off to her geese. The king comes to his house. His mother says +to him:</p> +<p>“She came then, the young lady you love? but she only loves +you so-so, since she has gone off in this fashion.”</p> +<p>“Who told you that?” <span class="pagenum">[<a id= +"pb162" href="#pb162" name="pb162">162</a>]</span></p> +<p>“Ass’-skin.”</p> +<p>He goes off to her and gives her two kicks with his slipper, and +says to her:</p> +<p>“Woe to you if you go there again; I will kill you on the very +spot.”</p> +<p>She goes off to her geese, and the old woman comes to her again and +tells her to ask permission again for this evening—that she must +go to the dance. She gives her a peach, and tells her that she will +have there all that is necessary to dress herself with. She goes then +to ask her mistress if she will give her permission, like last night, +to go to the ball. She says to her:</p> +<p>“Yes, yes, I will give you leave. But are you not afraid lest +the king should catch you? He has said that he will kill you if you go +there.”</p> +<p>“I am not afraid, because I am sure that he will not catch me. +Yesterday he looked for me again, but he could not catch me.”</p> +<p>She goes off then. On the way she opens her peach, and finds there a +dress entirely of diamonds, and if she was beautiful before, judge what +she is now! She shone like the sun. The king was plunged into joy when +he saw her. He was in an ecstasy. He did not wish to dance, but they +sat down at their ease on beautiful arm-chairs, and with their +refreshments before them they passed such a long time together. The +king asked her to give him her promise of marriage. The young lady +gives him her word, and the king takes his diamond ring off his finger +and gives it to her. His friends call him away to come quickly to see +something very rare, and off he goes, leaving his lady. She takes +advantage of this opportunity to escape.<a class="noteref" id= +"xd20e5249src" href="#xd20e5249" name="xd20e5249src">81</a> She tells +her mistress all that has passed—how that this young lady had +come with a dress of diamonds, that all the world was dazzled by her +beauty, that they could not even look at her she shone so brightly, +that the king did not know where he <span class="pagenum">[<a id= +"pb163" href="#pb163" name="pb163">163</a>]</span>was for happiness, +that they had given each other their promise of marriage, and that the +king had given her his diamond ring, but that the best thing of all was +that to-day again she has escaped him.</p> +<p>The king comes in at that very instant. His mother says to him:</p> +<p>“She has not, she certainly has not, any wish for you. She has +gone off with your diamond ring. Where will you go and look for her? +You do not know where she lives. Where will you ask for a young lady +who has such a name as ‘Braf-le-mandoufle!’ She has given +you her promise of marriage too; but she does not wish to have you, +since she has acted like that.”</p> +<p>Our king did not even ask his mother who has told her that. He went +straight to bed thoroughly ill, and so Ass’-skin did not have her +two kicks that evening.</p> +<p>The queen was in great trouble at seeing her son ill like that. She +was continually turning over in her head who this young lady might be. +She said to her son, “Is this young lady our Ass’-skin? How +else could she have known that you had given your promise to one +another, and that you had given her the ring too? She must have been +very close to you. Did you see her?”</p> +<p>He says, “No,” but remains buried in thought.</p> +<p>His mother says, “She has a very pretty face under her +ass’-skin.”</p> +<p>And she says that she must send for her, and that he must have a +good look at her too; that he shall have some broth brought up by +her.</p> +<p>She sends for Ass’-skin to the kitchen, has the broth made for +her son, and Ass’-skin puts in the middle of the bread the ring +which the king had given her. The lady had her well dressed, and she +goes to the king. The king, after having seen her, was still doubtful. +He drank his broth; but when he puts the bread into his mouth he finds +something (hard), and is very much astonished at seeing his ring. He +was ill no longer. He goes and runs to his <span class= +"pagenum">[<a id="pb164" href="#pb164" name= +"pb164">164</a>]</span>mother to tell her his joy that he has found his +lady. He wishes to marry directly, and all the kings of the +neighbourhood are invited to the feast; and, while they were dining, +everyone had some fine news to relate. They ask the bride, too, if she +had not something to tell them. She says “Yes,” but that +she cannot tell what she knows—that it would not please all at +the table. Her husband tells her to speak out boldly; he draws his +sword, and says,</p> +<p>“Whosoever shall speak a word shall be run through with this +sword.”</p> +<p>She then tells how a poor girl was servant at a king’s house; +how she remained there seven years; that they liked her very much, and +treated her with confidence, even to giving her the keys of the +treasure. One day, when the king and his wife were out, robbers +entered, and stole almost all the treasure. The king would not believe +that robbers had come. He puts the young girl in prison for a whole +year, and at the end of that time he sends her to execution, telling +the executioners to bring her heart to the house. The executioners were +better than the king; they believed in her innocence, and, after having +killed an ass, they carried its heart to the king; “and for the +proof, it is I who was servant to this king.”</p> +<p>The bridegroom says to her, “Who can this king be? Is it my +uncle?”</p> +<p>The lady says, “I do not know if he is your uncle, but it is +that gentleman there.”</p> +<p>The bridegroom takes his sword and kills him on the spot, saying to +his wife,</p> +<p>“You shall not be afraid of him any more.”</p> +<p>They lived very happily. Some time afterwards they had two children, +a boy and a girl. When the elder was seven years old he died, telling +his father and mother that he was going to Heaven to get a place there +ready for them. At the end of a week the other child dies too, and she +says to them that she, too, is going to Heaven, and that she will keep +their place ready; that they, too, would quickly go to them. +<span class="pagenum">[<a id="pb165" href="#pb165" name= +"pb165">165</a>]</span>And, as she had said, at the end of a year, at +exactly the very same time, both the gentleman and lady died, and they +both went to Heaven.</p> +<p class="signed"><span class="sc">Laurentine.</span></p> +<p id="ch6.18">We have four other variations of the above story, +written down, with others, that we heard, but did not copy out. One, +which much resembles the above, excepting in the commencement, opens +with the proposal of a king’s son to marry one of the three +daughters of another king. This king asks his three daughters (like +King Lear) how much they love him. The eldest says, “As much as I +do my little finger.” That did not please him. The second says, +“As much as my middle finger.” The youngest says, “As +much as the bread loves the salt.” In a rage the father sends her +into the forest, with two servants, to be killed. They spare her, and +carry the horse’s heart to the king, and the girl lives in the +forest “on the plants which the birds brought her, and on the +flowers which the bees brought her.” The king’s son finds +her there while hunting, takes her home, and marries her. At the +wedding feast she gives her father bread without salt, and then +discovers herself, and all is made right, and they live all happily, +except the two sisters, who remain old maids.</p> +<p>Two others open like Campbell’s “The King who Wished to +Marry his Daughter.” A king loses his wife, who on her deathbed +makes him promise only to marry some one just like her. This is, of +course, her daughter. The daughter will not, and takes counsel of her +godmother. She bids her ask for a wedding dress made of the wings of +flies; but this impossibility is performed. Then the daughter +escapes—in the one tale in a ship, in the other on foot—and +takes a place as servant. The king has a ball; the old woman appears, +and gives her the nut with the dresses, etc. But in one of these tales, +on the wedding-day she was more handsomely dressed than ever before, +“and think! they had their dresses made for each +other”—<i>i.e.</i>, they dress each <span class= +"pagenum">[<a id="pb166" href="#pb166" name= +"pb166">166</a>]</span>other! “I don’t understand how it +is,” said the narrator, “but the story says so.”</p> +<p>Our fifth version is short, and, as it puts the step-mother in an +unusual light, we give it entire:—</p> +</div> +<div class="div3" id="ch6.19"> +<h4 class="main">The Step-Mother and the Step-Daughter.</h4> +<p class="firstpar">A father and his daughter were living together. The +daughter told her father to marry again. The father said, “Why? +you will be unhappy.” “It is all the same to me; I prefer +to see you happy.” And after some time he marries again. This +lady asked her husband to give her full power over this young girl to +do what she will with her. The husband consents, and does not think any +more about her; he did not even see her again. This lady says to the +young girl, “If you do all I tell you, you will be the better for +it.” The king lived near their house, and one day her step-mother +gave her the keys of the king’s house and told her to go at such +an hour of the night into the king’s bed-room, “and without +waking him you will bring me back his sash.” The daughter did not +like it at all, but in spite of that she goes off, and without any +person seeing her, she returns home with the king’s girdle. The +next day the step-mother says to her step-daughter, “You must go +again, and you must bring the king’s watch chain.” While +she was taking it, the king moved in his bed, and the young girl is so +frightened that she runs off, and loses her shoe at the door of the +king’s room. At the end of some days they hear that the king has +made a proclamation that he will go from house to house with a shoe, +and that she whom it fits perfectly shall be his wife. The king goes +looking and looking, first of all, in the houses of the rich; but he +had said that he would go into all the houses. He goes then to this +gentleman’s who had married again, because it was close at hand. +The persons of his suite asked him why he went there, for they +<span class="pagenum">[<a id="pb167" href="#pb167" name= +"pb167">167</a>]</span>were only poor people. The king will go all the +same. He finds this lady, who says that they are poor, and that she is +ashamed to receive the king in her bed-room; but it was there she had +her step-daughter very nicely dressed, with only one shoe on her feet. +She was dazzling with beauty, and the king finds her very much to his +taste. They are married immediately; he takes the father and +step-mother to his house, and they all live happily, and this +step-daughter owed her good fortune to her step-mother.</p> +<p class="signed"><span class="sc">Louise Lanusse.</span></p> +<hr class="tb"> +<p>There are two curious versions of these tales in +Bladé’s “Contes Populaires Recueillis en +Agenais” (Paris, Baer, 1874), Nos. I. and VIII. Those who wish to +compare others may follow up the references there given by Reinhold +Köhler, on pp. 145 and 153; also those given at pp. 44 and 47 of +Brueyre’s “Contes Populaires de la Grande Bretagne” +(Paris, Hachette, 1875).</p> +</div> +<div class="div3" id="ch6.20"> +<h4 class="main">Beauty and the Beast.<a class="noteref" id= +"xd20e5322src" href="#xd20e5322" name="xd20e5322src">82</a></h4> +<p class="firstpar">As there are many in the world in its state now, +there was a king who had three daughters. He used continually to bring +handsome presents to his two elder daughters, but did not pay any +attention at all to his youngest daughter, and yet she was the +prettiest and most amiable.</p> +<p>The king kept going from fair to fair, and from feast to feast, and +from everywhere he used to bring something for the two eldest +daughters. One day, when he was going to a feast, he said to his +youngest daughter:</p> +<p>“I never bring anything home for you; tell me then what you +want and you shall have it.”</p> +<p>She said to her father: “And I do not want +anything.”</p> +<p>“Yes, yes, I am going to bring you something.” +<span class="pagenum">[<a id="pb168" href="#pb168" name= +"pb168">168</a>]</span></p> +<p>“Very well then, bring me a flower.”</p> +<p>He goes off, and is busy buying and buying; for one a hat, for the +other a beautiful piece of stuff for a dress, and for the first again a +shawl; and he was returning home, when in passing before a beautiful +castle, he sees a garden quite full of flowers, and he says to +himself:</p> +<p>“What! I was going home without a flower for my daughter; here +I shall have plenty of them.”</p> +<p>He takes some then, and as soon as he has done so, a voice says to +him:</p> +<p>“Who gave you permission to take that flower? As you have +three daughters, if you do not bring me one of them before the year be +finished, you shall be burnt wherever you are—you, and your whole +kingdom.”</p> +<p>The king goes off home. He gives his elder daughters their presents, +and her nosegay to the youngest. She thanks her father. After a certain +time this king became sad. His eldest daughter said to him:</p> +<p>“What is the matter with you?”</p> +<p>He says to her: “If one of my daughters will not go to such a +spot before the end of the year, I shall be burned.”</p> +<p>His eldest daughter answers him, “Be burned if you like; as +for me, I shall not go. I have no wish at all to go there. Settle it +with the others.”</p> +<p>The second also asks him, “You seem very sad, papa; what is +the matter with you?”</p> +<p>He told her how he is bound to send one of his daughters to such a +place before the end of the year, otherwise he should be burned.</p> +<p>This one too says to him, “Manage your own business as you +like, but do not reckon upon me.”</p> +<p>The youngest, after some days, said to him, “What is the +matter with you, my father, that you are so sad? Has someone done you +some hurt?”</p> +<p>He said to her, “When I went to get your nosegay, a voice said +to me, ‘I must have one of your daughters <span class= +"pagenum">[<a id="pb169" href="#pb169" name= +"pb169">169</a>]</span>before the year be completed,’<a class= +"noteref" id="xd20e5368src" href="#xd20e5368" name= +"xd20e5368src">83</a> and now I do not know what I must do. It told me +that I shall be burned.”</p> +<p>This daughter said to him, “My father, do not be troubled +about it. I will go.”</p> +<p>And she sets out immediately in a carriage. She arrives at the +castle and goes in, and she hears music and sounds of rejoicing +everywhere, and yet she did not see anyone. She finds her chocolate +ready (in the morning), and her dinner the same. She goes to bed, and +still she does not see anyone. The next morning a voice says to +her:</p> +<p>“Shut your eyes; I wish to place my head on your knees for a +moment.”</p> +<p>“Come, come; I am not afraid.”</p> +<p>There appears then an enormous serpent. Without intending it, the +young lady could not help giving a little shudder. An instant after the +serpent went away; and the young lady lived very happily, without +lacking anything. One day the voice asked her if she did not wish to go +home.</p> +<p>She answers, “I am very happy here. I have no longing for +it.”</p> +<p>“Yes, if you like, you may go for three days.”</p> +<p>He gives her a ring, and says to her, “If that changes colour, +I shall be ill, and if it turns to blood, I shall be in great +misery.”<a class="noteref" id="xd20e5388src" href="#xd20e5388" +name="xd20e5388src">84</a></p> +<p>The young lady sets out for her father’s house. Her father was +very glad (to see her). Her sisters said to her:</p> +<p>“You must be happy there. You are prettier than you were +before. With whom do you live there?”</p> +<p>She told them, “With a serpent.” They would not believe +her. The three days flew by like a dream, and she forgot her serpent. +The fourth day she looked at her ring, and she saw that it was changed. +She rubs it with her finger, and it begins to bleed. Seeing that she +goes running <span class="pagenum">[<a id="pb170" href="#pb170" name= +"pb170">170</a>]</span>to her father, and says to him that she is +going. She arrives at the castle, and finds everything sad. The music +will not play—everything was shut up. She called the serpent (his +name was Azor, and hers Fifine). She kept on calling and crying out to +him, but Azor appeared nowhere. After having searched the whole house, +after having taken off her shoes, she goes to the garden, and there too +she cries out. She finds a corner of the earth in the garden quite +frozen, and immediately she makes a great fire over this spot, and +there Azor comes out, and he says to her:<a class="noteref" id= +"xd20e5401src" href="#xd20e5401" name="xd20e5401src">85</a></p> +<p>“You had forgotten me, then. If you had not made this fire, it +would have been all up with me.”</p> +<p>Fifine said to him, “Yes, I had forgotten you, but the ring +made me think of you.”</p> +<p>Azor said to her, “I knew what was going to happen; that is +why I gave you the ring.”</p> +<p>And coming into the house, she finds it as before, all full of +rejoicings—the music was playing on all sides. Some days after +that Azor said to her:</p> +<p>“You must marry me.”</p> +<p>Fifine gives no answer. He asks her again like that three times, and +still she remained silent, silent. The whole house becomes sad again. +She has no more her meals ready. Again Azor asks her if she will marry +him. Still she does not answer, and she remains like that in darkness +several days without eating anything, and she said to herself, +“Whatever it shall cost me I must say, Yes.”</p> +<p>When the serpent asks her again, “Will you marry me?” +she answers, “Not with the serpent, but with the man.”</p> +<p>As soon as she had said that the music begins as before. Azor says +to her that she must go to her father’s house and get all things +ready that are necessary, and they will marry the next day. The young +lady goes as he had told her. She says to her father that she is going +to be married to the serpent to-morrow, (and asks him) if he will +prepare everything for that. The father consents, but he is vexed. Her +<span class="pagenum">[<a id="pb171" href="#pb171" name= +"pb171">171</a>]</span>sisters, too, ask her whom she is going to +marry, and they are astounded at hearing that it is with a serpent. +Fifine goes back again, and Azor says to her:</p> +<p>“Which would you prefer, from the house to the church, +serpent, or from the church to the house, (serpent)?”</p> +<p>Fifine says to him, “From the house to the church, +serpent.”</p> +<p>Azor says to her, “I, too.”</p> +<p>A beautiful carriage comes to the door. The serpent gets in, and +Fifine places herself at his side, and when they arrive at the +king’s house the serpent says to her:</p> +<p>“Shut the doors and the curtains, that nobody may +see.”</p> +<p>Fifine says to him, “But they will see you as you get +down.”</p> +<p>“No matter; shut them all the same.”</p> +<p>She goes to her father. Her father comes with all his court to fetch +the serpent. He opens the door, and who is astonished? Why, everybody. +Instead of a serpent there is a charming young man; and they all go to +the church. When they come out there is a grand dinner at the +king’s, but the bridegroom says to his wife:</p> +<p>“To-day we must not make a feast at all. We have a great +business to do in the house; we will come another day for the +feast.”</p> +<p>She told that to her father, and they go on to their house. When +they are come there her husband brings her in a large basket a +serpent’s skin, and says to her:</p> +<p>“You will make a great fire, and when you hear the first +stroke of midnight you will throw this serpent’s skin into the +fire. That must be burnt up, and you must throw the ashes out of window +before the last stroke of twelve has ceased striking. If you do not do +that I shall be wretched for ever.”</p> +<p>The lady says to him, “Certainly; I will do everything that I +can to succeed.”</p> +<p>She begins before midnight to make the fire. As soon as she heard +the first stroke she throws the serpent’s skin <span class= +"pagenum">[<a id="pb172" href="#pb172" name="pb172">172</a>]</span>(on +the fire), and takes two spits and stirs the fire, and moves about the +skin and burns it, till ten strokes have gone. Then she takes a shovel, +and throws the ashes outside as the last twelfth stroke is ending. Then +a terrible voice says:</p> +<p>“I curse your cleverness, and what you have just +done.”</p> +<p>At the same time her husband comes in. He did not know where he was +for joy. He kisses her, and does not know how to tell his wife what +great good she has done him.</p> +<p>“Now I do not fear anything. If you had not done as I told +you, I should have been enchanted for twenty-one years more. Now it is +all over, and we will go at our ease to-morrow to your father’s +house for the wedding feast.”</p> +<p>They go the next day and enjoy themselves very much. They return to +their palace to take away the handsomest things, because they did not +wish to stop any more in that corner of the mountain. They load all +their valuable things in carts and waggons, and go to live with the +king. This young lady has four children, two boys and two girls, and as +her sisters were very jealous of her, their father sent them out of the +house. The king gave his crown to his son-in-law, who was already a son +of a king. As they had lived well, they died well too.</p> +<p class="signed"><span class="sc">Laurentine.</span></p> +<p id="ch6.21">We have another version of this tale, which is a little +more like its prototype, the “Cupid and Psyche” of +Apuleius. In this the monster comes only at night. At first she is +horribly frightened at it, but little by little she becomes accustomed +to it, and loves it. At last, after having been left alone for some +days, a magnificent young man appears to her, a king’s son, who +had been bewitched into the monster until some one should love him. Of +course they marry and are happy.</p> +<p class="signed"><span class="sc">Estefanella Hirigaray.</span> +<span class="pagenum">[<a id="pb173" href="#pb173" name= +"pb173">173</a>]</span></p> +<p>In a third version, which was not taken down, the father was a +sailor instead of a king.</p> +</div> +<div class="div3" id="ch6.22"> +<h4 class="main">The Cobbler and his Three Daughters (Blue Beard).</h4> +<p class="firstpar">Like many others in the world, there was a cobbler +who had three daughters. They were very poor. He only earned enough +just to feed his children. He did not know what would become of him. He +went about in his grief, walking, walking sadly on, and he meets a +gentleman, who asks him where he is going, melancholy like that. He +answers him,</p> +<p>“Even if I shall tell you, I shall get no relief.”</p> +<p>“Yes, yes; who knows? Tell it.”</p> +<p>“I have three daughters, and I have not work enough to +maintain them. I have famine in the house.”</p> +<p>“If it is only that, we will manage it. You will give me one +of your daughters, and I will give you so much money.”</p> +<p>The father was very grieved to make any such bargain; but at last he +comes down to that. He gives him his eldest daughter. This gentleman +takes her to his palace, and, after having passed some time there, he +said to her that he has a short journey to make—that he will +leave her all the keys, that she might see everything, but that there +is one key that she must not make use of—that it would bring +misfortune on her. He locks the door on the young lady. This young girl +goes into all the rooms, and finds them very beautiful, and she was +curious to see what there was in that which was forbidden. She goes in, +and sees heaps of dead bodies. Judge of her fright! With her trembling +she lets the key fall upon the ground. She trembles for the coming of +her husband. He arrives, and asks her if she has entered the forbidden +chamber. She tells him “Yes.” He takes her and puts her +into an underground dungeon; hardly, <span class="pagenum">[<a id= +"pb174" href="#pb174" name="pb174">174</a>]</span>hardly did he give +her enough to eat (to live on), and that was human flesh.</p> +<p>This cobbler had finished his money, and he was again melancholy. +The gentleman meets him again, and says to him,</p> +<p>“Your other daughter is not happy alone; you must give me +another daughter. When she is happy, I will send her back; and I will +give you so much money.”</p> +<p>The father did not like it; but he was so poor that, in order to +have a little money, he gives him his daughter. The gentleman takes her +home with him, like the other. After some days he said to her too,</p> +<p>“I must take a short journey. I will give you all the keys of +the house, but do not touch such a key of such a room.”</p> +<p>He locks the house-door, and goes off, after having left her the +food she needed. This young girl goes into all the rooms, and, as she +was curious, she went to look into the forbidden chamber. She was so +terribly frightened at the sight of so many dead bodies in this room, +that she lets the key fall, and it gets stained. Our young girl was +trembling as to what should become of her when the master should come +back. He arrives, and the first thing he asks—</p> +<p>“Have you been in that room?”</p> +<p>She told him “Yes.” He takes her underground, like her +other sister.</p> +<p>This cobbler had finished his money, and he was in misery; when the +gentleman comes to him again, and says to him,</p> +<p>“I will give you a great deal of money if you will let your +daughter come to my house for a few days; the three will be happier +together, and I will send you the two back again together.”</p> +<p>The father believes it, and gives him his third daughter. The +gentleman gives him the money, and he takes this young girl, like the +others. At the end of some days he leaves her, saying that he is going +to make a short journey. <span class="pagenum">[<a id="pb175" href= +"#pb175" name="pb175">175</a>]</span>He gives her all the keys of the +house, saying to her—</p> +<p>“You will go into all the rooms except this one,” +pointing out the key to her. He locks the outside door, and goes off. +This young girl goes straight, straight to the forbidden chamber; she +opens it, and think of her horror at seeing so many dead people. She +thought that he would kill her too, and, as there were all kinds of +arms in this chamber, she takes a sabre with her, and hides it under +her dress. She goes a little further on, and sees her two sisters +almost dying with hunger, and a young man in the same condition. She +takes care of them as well as she can till the gentleman comes home. On +his arrival, he asks her—</p> +<p>“Have you been in that room?”</p> +<p>She says, “Yes;” and, in giving him back the keys, she +lets them fall on the ground, on purpose, and at the instant that this +gentleman stoops to pick them up, the young lady cuts off his head +(with her sword). Oh, how glad she was! Quickly she runs to deliver her +sisters and that young man, who was the son of a king. She sends for +her father, the cobbler, and leaves him there with his two daughters, +and the youngest daughter goes away with her young gentleman, after +being married to him. If they lived well, they died well too.</p> +<hr class="tb"> +<p id="ch6.23">In another version, by Estefanella Hirigaray, we have +the more ordinary tale of “Blue Beard”—that of a +widower who has killed twenty wives, and marries a twenty-first, who +has two brothers. She drops the key in the forbidden chamber, and is +detected by the blood on it. She manages to write to her brothers, and +the dialogue by which she endeavours to gain time is rather spirited. +She is allowed to put on her wedding-dress, etc., to die in. She goes +to get ready, and she hears the cries of her husband, “Are you +ready?” “I am putting on my dress.” He bawls out +again, “Are you ready?” “Give me a moment +more.” “Are you ready?” “I am fastening my +dress.” “Are you ready yet?” “I <span class= +"pagenum">[<a id="pb176" href="#pb176" name="pb176">176</a>]</span>am +putting on my stockings.” And she kept constantly looking out of +window to see if her brothers were coming. “Are you ready?” +“Stop one moment; I am putting on my shoes.” “Are you +ready?” “I am brushing my hair.” “Are you +ready?” “Let me put on my wreath.” And she sees her +brothers coming on horseback in the forest, but a very long way off. +She hears again, “Are you ready?” “I am coming in an +instant.” “You are coming? <i>I</i>’ll come, if you +do not come down.” “Don’t come; I will come down +myself, without you.” He seizes her on the stairs to kill her; +but the brothers rush in just in time to prevent her death, and they +put him in prison.</p> +<p>We heard, also, another version, which, unfortunately, we did not +take down. It had something about a horse in it, and was like +“The Widow and her Daughters,” in Campbell, Vol. II., Tale +xli., p. 265.</p> +</div> +<div class="div3" id="ch6.24"> +<h4 class="main">The Singing Tree, the Bird which tells the Truth, and +the Water that makes Young.</h4> +<p class="firstpar">Like many others in the world, there were three +young girls. They were spinning together, and as girls must always talk +about something while they are spinning, the eldest said:</p> +<p>“You will not guess what I am thinking about?”</p> +<p>“Tell it us, tell it us,” (said the other two).</p> +<p>“That I should like to be married to the king’s +valet.”</p> +<p>“And I with his son-in-law,” said the second.</p> +<p>And the third said: “And I with the king himself.”</p> +<p>Now, the king lived not far from these girls, and just at that +moment he was passing before the door of their house, and heard what +they said. The next day the king asked the eldest:</p> +<p>“What were you saying yesterday at such a time?” +<span class="pagenum">[<a id="pb177" href="#pb177" name= +"pb177">177</a>]</span></p> +<p>And she was ashamed to tell him, but the king pressed her so much +that at last she told it:</p> +<p>“I said that I wished to be married to your +servant.”</p> +<p>He made the second come, and asked her the same question: +“What were you talking about yesterday?”</p> +<p>She would not tell; but the king pressed her so much that she +said:</p> +<p>“I—I was saying that I wished to marry your +son-in-law.”</p> +<p>He sends them back home, and sends for the third, and asks her what +she said the evening before. She never dared to tell it, because that +would have been too great an impudence, but at the last she told it +him; and the king told her that they must really be married together, +because she was so very pretty. This young girl goes running off home. +She told her sisters that she is to marry the king, and all three go to +live in the king’s house. The two sisters were very jealous. The +princess became in the family-way; and the king was obliged to go to +another kingdom. His poor wife was confined of a fine girl. But her +sisters made the queen believe that she had given birth to a cat, and +they wrote this too to the king. The king wrote back to them:</p> +<p>“If it be a cat, take all possible care of it.”<a class= +"noteref" id="xd20e5568src" href="#xd20e5568" name= +"xd20e5568src">86</a></p> +<p>When the king returned he did not mention the cat at all. She became +pregnant a second time, and the king was obliged to go to another +kingdom, and when the princess was confined her sisters made her +believe that she had given birth to a dog. Think what grief and pain +this poor queen suffered. Her sisters wrote to the king that his wife +had given birth to a dog, and that without doubt she had something to +do with animals. He wrote again: “If it be a dog, take all +possible care of it.” But they said that they had already thrown +it into the water, as they had done with the cat.</p> +<p>Fortunately a gardener was there, the same that had been there the +first time. He caught hold of the basket, and <span class= +"pagenum">[<a id="pb178" href="#pb178" name= +"pb178">178</a>]</span>finds a beautiful child inside. He is very glad, +and carries the child to his wife, who puts the infant out to +nurse.</p> +<p>The princess became pregnant the third time. The king had intended +to stop at home; but at the moment of the confinement he was obliged to +go away somewhere, and the sisters wrote to the king that she had been +confined of a bear. The king flew into a great rage, and ordered her to +be put into a dungeon underground. They gave her a little food through +a hole, so that she might not die of starvation; and nevertheless she +had given birth to a handsome boy. The same gardener found this basket +too, which they had thrown into the water. He carries it to his wife, +and she gave it to the same nurse. They were very happy with it, and +said that Heaven had sent them these three children, and they loved +their father and mother very much; but when they were very old they +both died.</p> +<p>The two brothers and their sister got on very well together. They +loved each other very much. The boys used to go out hunting and +shooting, and they were so well off that they had something to give to +the poor. One day there came an old woman begging, and she said to +them:</p> +<p>“You cannot be happy.”</p> +<p>“Yes, yes, we certainly are,” they answered.</p> +<p>And the woman said to them: “No, no, you want three things +before you can be happy—the tree which sings, the bird which +tells the truth, and the water which makes young again.”</p> +<p>The young girl grows sad at that. Her brothers remarked it +immediately, and they asked her what was the matter with her. But she +would not tell them. At last they forced her to tell it to them. She +told them what this woman had told her.</p> +<p>The elder of the brothers sets out immediately, taking with him a +horse and a little money. He gives an apple to his sister, saying to +her:<a class="noteref" id="xd20e5592src" href="#xd20e5592" name= +"xd20e5592src">87</a> <span class="pagenum">[<a id="pb179" href= +"#pb179" name="pb179">179</a>]</span></p> +<p>“If this apple changes I shall be in some trouble, and if it +turns rotten I shall be dead.”</p> +<p>And he starts off, and travels on, and on, and on. He finds a monk +who tells him to retrace his steps, that there are great dangers before +him; but he will go on notwithstanding. He meets again another monk, +who tells him that he will never return. He confesses himself and +prepares for death, such great dangers will he have to pass through. He +said to him:</p> +<p>“You will hear terrible cries. It will seem to you as if they +will pull you by your clothes, but never turn your head +round.”<a class="noteref" id="xd20e5604src" href="#xd20e5604" +name="xd20e5604src">88</a></p> +<p>But our lad grew frightened and turned his head round, and was +changed into stone.</p> +<p>After some days the apple begins to get bad, and they fall into +great sorrow because something must have happened to their brother, and +the second brother said that he must go off too; and off he goes with a +horse and a little money. Like the other brother he meets a monk, who +wishes to stop him; but he said to him that it was all the same to him. +He goes on till he meets another monk. This one also said to him:</p> +<p>“Return on your steps. You will not be able to pass; you will +hear cries and see horrors and terrible things—you will never be +able to pass through.”</p> +<p>But he prepares himself to go forward. He warned him well not to +look round. He leaves his horse and sets out. When he has gone a short +distance he hears frightful cries, and (sees) terrible things; and +after having gone some distance further he looks on one side, and is +changed into stone.</p> +<p>The apple which he had left with his sister first changes, then goes +quite rotten. You may judge of the sorrow and the grief of this poor +girl. She says to herself that she <span class="pagenum">[<a id="pb180" +href="#pb180" name="pb180">180</a>]</span>must dress herself like a +man. She locks the door (of their house), and sets out on horseback. +The same monk wishes to prevent her going on. But she has a still +greater desire to do so, and, notwithstanding all she hears, she will +go on. She arrives at the last monk, who was a great saint. He did not +recognise that it was a young girl. For a hundred years past he had +been on the same spot, until someone should get to the end of the +mountain, and he hoped that this young girl might pass. He gives her a +bottle into which she might put the water that makes young again, and +says to her:</p> +<p>“You will sprinkle one drop on each stone, and they will +live.”</p> +<p>She sets off. The horrible cries did not frighten her. All kinds of +things were said to her. She goes on and on, constantly running, and +gets to the top of the mountain, and she is saved.</p> +<p>At the same instant she hears a thrilling song from a tree, which +was warbling like a bird. A bird, too, flies on to her shoulder, and +tells her so many things that she is quite astounded. But she does not +lose her time—she takes out her bottle and fills it with water. +She pours a drop on each stone, and finds her brothers at last. Think, +think how they all three rejoiced together! They take their horses +(they too had been changed into stones) and go home with their tree, +and the bird, and the water.</p> +<p>They lived very happily. The brothers went out hunting every day, +and sometimes they met the king. One day the king invited them to dine +with him, but they said that they must first ask permission of their +sister. When they came home they asked her, and the bird answered +immediately:</p> +<p>“On condition that the king will come here +to-morrow.”</p> +<p>They go with this answer to the king, and he says, +“Yes.”</p> +<p>They dine very well with the king, but their sister was not at all +pleased; she did not know how to receive the king. The bird says to +her:</p> +<p>“Lay the table with a fine cloth, and three dishes; put +<span class="pagenum">[<a id="pb181" href="#pb181" name= +"pb181">181</a>]</span>lentils into one, parched peas into the other, +and haricot beans into the other.”</p> +<p>Next day the king comes with his two brothers. The king is +astonished to hear this beautiful tree and this fine singing. He had +never heard anything so wonderful. He was surprised to see these three +dishes, and he said to them:</p> +<p>“Is it not strange to receive a king like this?”</p> +<p>And the bird, hopping out of its cage, begins, “It is not more +strange than to see this young woman pass for a cat. <i>Is she a +cat?</i>”</p> +<p>In the same way it points to the elder brother, “<i>Is this a +dog</i>, this young man? Is not this a thing more +astonishing?”</p> +<p>The king is confounded. And the same thing for the third time, +pointing to the second son, “<i>Is this a bear, this one?</i> Is +this not an astonishing thing?”</p> +<p>The king, in his amazement, does not know what to answer to the +bird; but it continues:</p> +<p>“Is it not a shame to leave one’s wife, and make her +live eighteen years in a dungeon underground?”</p> +<p>The king is terribly frightened, and off he goes with his sons and +his daughter, intending to free their mother; but they did not forget +the precious water, and they wash this princess in it, and she becomes +as young as at eighteen years old. Judge of the joy of the king, of the +queen, and of their children! The king fell into a great rage, and +condemns the queen’s sisters to be burnt alive in the midst of +the market-place, with shirts of sulphur on them.</p> +<p class="signed"><span class="sc">Catherine Elizondo.</span></p> +<hr class="tb"> +<p id="ch6.25">We have also the more common version of this +story—of an aged king with three sons. He reads of this water, +and the three sons successively set out to fetch it. The two first +fail, and stop, drinking, &c., in a certain city. The youngest +meets an old woman, who tells him how to charm all the beasts in a +forest he has to pass through, and how <span class="pagenum">[<a id= +"pb182" href="#pb182" name="pb182">182</a>]</span>to get the water, but +he is not to take anything else. But he steals the bird, and the magic +horse as well, and when he gets to the forest finds all the animals +awake. The old woman appears again, and gives him a magic stick, with +the aid of which he passes. He finds his brothers against the advice of +the old lady, and they throw him into a pit and take away the water, +the horse, and the bird; but the water has no effect in their hands. +The old woman appears, and sends a fox to help him out of the pit. He +comes home, the horse neighs, the bird sings, he gives the water to his +father, and from one hundred years old he becomes twenty.</p> +<p class="signed"><span class="sc">E. Hirigaray.</span></p> +</div> +<div class="div3" id="ch6.26"> +<h4 class="main">The White Blackbird.</h4> +<p class="firstpar">Like many others in the world, there was a king who +had three sons. This king was blind, and he had heard one day that +there was a king who had a white blackbird, which gave sight to the +blind. When his eldest son heard that, he said to his father that he +would go and fetch this white blackbird as quickly as possible.</p> +<p>The father said to him, “I prefer to remain blind rather than +to separate myself from you, my child.”</p> +<p>The son says to him, “Have no fear for me; with a horse laden +with money I will find it and bring it to you.”</p> +<p>He goes off then, far, far, far away. When night came he stopped. +One evening he stopped at an inn where there were three very beautiful +young ladies. They said to him that they must have a game of cards +together. He refuses; but after many prayers and much pressing they +begin. He loses all his money, his horse, and also has a large debt +against his word of honour. In this country it was the custom for +persons who did not pay their debts to be put in prison, and if they +did not pay after a given time they were put to death, and then +afterwards they were left <span class="pagenum">[<a id="pb183" href= +"#pb183" name="pb183">183</a>]</span>at the church doors until someone +should pay their debts.<a class="noteref" id="xd20e5691src" href= +"#xd20e5691" name="xd20e5691src">89</a> They therefore put this +king’s son in prison.</p> +<p>The second son, seeing that his brother did not return, said to his +father that he wished to go off, (and asked him) to give him a horse +and plenty of money, and that certainly he would not lose his time. He +sets off, and, as was fated to occur, he goes to the inn where his +brother had been ruined. After supper these young ladies say to +him:</p> +<p>“You must have a game of cards with us.”</p> +<p>He refuses, but these young ladies cajole him so well, and turn him +round their fingers, that he ends by consenting. They begin then, and +he also loses all his money, his horse, and makes a great many debts +besides. They put him in prison like his brother.</p> +<p>After some time the king and his youngest son are in deep grief +because some misfortune must have happened to them, and the youngest +asks leave to set out.</p> +<p>“I assure you that I will do something. Have no anxiety on my +account.”</p> +<p>This poor father lets him go off, but not with a good will. He kept +saying to him that he would prefer to be always blind; but the son +would set off. His father gives him a beautiful horse, and as much gold +as his horse could carry, and his crown. He goes off far, far, far +away. They rested every night, and he happened, like his brothers, to +go to the same inn. After supper these young ladies say to him:</p> +<p>“It is the custom for everyone to play at cards +here.”</p> +<p>He says that it is not for him, and that he will not play. The young +ladies beg him ever so much, but they do not succeed with this one in +any fashion whatever. They cannot make him play. The next morning he +gets up early, takes his horse, and goes off. He sees that they are +leading <span class="pagenum">[<a id="pb184" href="#pb184" name= +"pb184">184</a>]</span>two men to death. He asks what they have done, +and recognises his two brothers. They tell him that they have not paid +their debts within the appointed time, and that they must be put to +death. But he pays the debts of both, and goes on. Passing before the +church he sees that they are doing something. He asks what it is. They +tell him that it is a man who has left some debts, and that until +someone pays them he will be left there still. He pays the debts +again.</p> +<p>He goes on his journey, and arrives at last at the king’s +house where the blackbird was. Our king’s son asks if they have +not a white blackbird which restores sight. They tell him, +“Yes.” Our young gentleman relates how that his father is +blind, and that he has come such a long way to fetch it to him.</p> +<p>The king says to him, “I will give you this white blackbird, +when you shall have brought me from the house of such a king a young +lady who is there.”</p> +<p>Our young man goes off far, far, far away. When he is near the +king’s house a fox<a class="noteref" id="xd20e5721src" href= +"#xd20e5721" name="xd20e5721src">90</a> comes out and says to him, +“Where are you going to?”</p> +<p>He answers, “I want a young lady from the king’s +house.”</p> +<p>He gives his horse to the fox to take care of, and the fox says to +him:</p> +<p>“You will go to such a room; there will be the young lady whom +you need. You will not recognise her because she has old clothes on, +but there are beautiful dresses hanging up in the room. You will make +her put on one of those. As soon as she shall have it on, she will +begin to sing and will wake up everybody in the house.”</p> +<p>He goes inside as the fox had told him. He finds the young lady. He +makes her put on the beautiful dresses, and as soon as she has them on +she begins to sing and to <span class="pagenum">[<a id="pb185" href= +"#pb185" name="pb185">185</a>]</span>carol. Everyone rushes into this +young lady’s room. The king in a rage wished to put him in +prison, but the king’s son shows his crown, and tells how such a +king sent him to fetch this young lady, and when once he has brought +her he promises him the white blackbird to open his father’s +eyes.</p> +<p>The king then says to him, “You must go to the house of such a +king, and you must bring me from there a white horse, which is very, +very beautiful.”</p> +<p>Our young man sets out, and goes on, and on, and on. As he comes +near the house of the king, the fox appears to him and says to him:</p> +<p>“The horse which you want is in such a place, but he has a bad +saddle on. You will put on him that which is hanging up, and which is +handsome and brilliant. As soon as he shall have it on he will begin to +neigh, so much as not to be able to stop.<a class="noteref" id= +"xd20e5749src" href="#xd20e5749" name="xd20e5749src">91</a> All the +king’s people will come to see what is happening, but with your +crown you will always get off scot free.”</p> +<p>He goes off as the fox had said to him. He finds the horse with the +bad saddle, and puts on him the fine one, and then the horse begins to +neigh and cannot stop himself. People arrive, and they wish to put the +young man in prison, but he shows them his crown, and relates what king +had sent him to fetch this horse in order to get a young lady. They +give him the horse, and he sets off.</p> +<p>He comes to the house of the king where the young lady was. He shows +his horse with its beautiful saddle, and asks the king if he would not +like to see the young lady take a few turns on this beautiful horse in +the courtyard. The king says, “Yes.” As the young lady was +very handsomely dressed when she mounted the horse, our young man gives +the horse a little touch with his stick, and they set off like the +lightning. The king’s son follows them, and <span class= +"pagenum">[<a id="pb186" href="#pb186" name="pb186">186</a>]</span>they +go both together to the king who had the white blackbird. They ask him +for the blackbird, and the bird goes of itself on to the knees of the +young lady, who was still on horseback. The king’s son gives him +a blow, and they set off at full gallop; he also escapes in order to +rejoin them. They journey a long, long time, and approach their +city.</p> +<p>His brothers had heard the news how that their brother was coming +with the white blackbird. These two brothers had come back at last to +their father’s house, and they had told their father a hundred +falsehoods; how that robbers had taken away their money, and many +things like that. The two brothers plotted together, and said that they +must hinder their brother from reaching the house, and that they must +rob him of the blackbird.</p> +<p>They keep expecting him always. One day they saw him coming, and +they say that they must throw him into a cistern,<a class="noteref" id= +"xd20e5764src" href="#xd20e5764" name="xd20e5764src">92</a> and they do +as they say. They take the blackbird and throw him and the lady into +the water, and leave the horse outside. The fox comes to them on the +brink of the cistern, and says to them:</p> +<p>“I will leap in there; you will take hold of my tail one by +one, and I will save you.”</p> +<p>The two wicked brothers had taken the blackbird, but he escaped from +them as they entered the house, and went on to the white horse. Judge +of the joy of the youngest brother when he sees that nothing is wanting +to them! They go to the king. As soon as they enter the young lady +begins to carol and to sing, the bird too, and the horse to neigh. The +blackbird of its own accord goes on to the king’s knees, and +there by its songs restored him to sight. The son relates to his father +what labours he underwent until he had found these three things, and he +told him how he had saved two men condemned to death by paying their +debts, and that they were his two brothers; that he had also paid the +<span class="pagenum">[<a id="pb187" href="#pb187" name= +"pb187">187</a>]</span>debts of a dead man, and that his soul (the fox +was his soul) had saved him from the cistern into which his brothers +had thrown him.</p> +<p>Think of the joy of the father, and his sorrow at the same time, +when he saw how wisely this young son had always behaved, and how +wicked his two brothers had been. As he had well earned her, he was +married to the young lady whom he had brought away with him, and they +lived happily and joyfully. The father sent the two brothers into the +desert to do penance. If they had lived well, they would have died +well.</p> +</div> +<div class="div3" id="ch6.27"> +<h4 class="main">The Sister and her Seven Brothers.</h4> +<p class="firstpar">There was a man and a woman very poor, and +over-burdened with children. They had seven boys. When they had grown +up a little, they said to their mother that it would be better that +they should go on their own way—that they would get on better +like that. The mother let them go with great regret. After their +departure she gave birth to a little girl, and when this little girl +was grown up a little she went one day to a neighbor’s to amuse +herself, and having played some childish trick the neighbor said to +her:</p> +<p>“You will be a good one, you too, as your brothers have +been.”<a class="noteref" id="n187.1src" href="#n187.1" name= +"n187.1src">93</a></p> +<p>The child goes home and says to her mother, “Mother, have I +some brothers?”<a class="pseudonoteref" href="#n187.1">93</a></p> +<p>The mother says, “Yes.”</p> +<p>“Where are they?”</p> +<p>“Oh, gone off somewhere.”</p> +<p>The daughter said to her, “I must go too, then. Give me a +piece of linen enough to make seven shirts.”</p> +<p>And she <i>would</i> go off at once. The mother was very sorry for +it, having already seven children away from home, and the only one she +had wished to go away. She let her go then. <span class= +"pagenum">[<a id="pb188" href="#pb188" name="pb188">188</a>]</span></p> +<p>This young girl went off, far, far, far away. She asks in a town if +they know seven brothers who work together. They tell her +“No.” She goes off to a mountain and asks there too, and +they tell her in what house they live. She goes to this house, and sees +that all the household work is to be done, and that there is nobody at +home. She makes the beds, and cleans the whole house, and puts it in +order. She prepares the dinner, and then hides herself in the +dust-hole. Her brothers come home, and are astonished to see all the +household work done and the dinner ready. They begin to look if there +is anyone in the house, but they never think of looking in the +dust-hole, and they go off again to their work. Before night this young +girl does all the rest of the work, and had the supper ready against +the return of her brothers, and hides herself again in the dust-hole. +Her brothers are astonished, and again search the house, but find +nothing.</p> +<p>They go to bed, and this young girl takes to sewing and sews a whole +shirt. She gives it to her eldest brother, and in the same way she made +a shirt every night, and took it to one of her brothers. They could not +understand how that all happened. They always said that they would not +go to sleep, but they fell asleep as soon as they were in bed. When the +turn of the youngest came to have the shirt, he said to them, +“Certainly I will not fall asleep.” After he is in bed the +young girl goes and says to him, thinking that he is asleep:</p> +<p>“Your turn has come now at last, my dearly loved +brother.”</p> +<p>And she begins to put the shirt on him on the bed, when her brother +says to her:</p> +<p>“You are then my sister, you?”</p> +<p>And he kisses her. She tells him then how she had heard that she had +brothers, and how she had wished to go to them to help them. The other +brothers get up and rejoice, learning that it was their sister who had +done all the household work. <span class="pagenum">[<a id="pb189" href= +"#pb189" name="pb189">189</a>]</span></p> +<p>The brothers forbad her ever to go to such a neighbour’s, +whatever might happen. But one day, without thinking about it, when she +was behindhand with her work, she went running to the house to ask for +some fire,<a class="noteref" id="xd20e5822src" href="#xd20e5822" name= +"xd20e5822src">94</a> in order to make the supper ready quicker. She +was very well received; the woman offered to give her everything she +wanted, but she said she was satisfied with a little fire. This woman +was a witch, and gives her a parcel of herbs, telling her to put them +as they were into the footbath—that they relieved the fatigue +very much.<a class="noteref" id="xd20e5825src" href="#xd20e5825" name= +"xd20e5825src">95</a> Every evening the seven brothers washed their +feet at the same time in a large copper. She therefore put these herbs +into the copper, and as soon as they had dipped their feet in they +became six cows, and the seventh a Breton cow.<a class="noteref" id= +"xd20e5830src" href="#xd20e5830" name="xd20e5830src">96</a> This poor +girl was in such trouble as cannot be told. The poor cows all used to +kiss their sister, but the young girl always loved much best the Breton +one. Every day she took them to the field, and stopped with them to +guard them.</p> +<p>One day when she was there the son of a king passes by, and is quite +astonished to see so beautiful a girl there. He speaks to her, and +tells her that he wishes to marry her. The young girl says to him that +she is very poor, and that that cannot be. The king says, “Yes, +yes, yes, that makes no difference.”</p> +<p>The young girl makes as conditions that, if she marries him, he must +never kill these cows, and especially this little Breton one.<a class= +"noteref" id="xd20e5839src" href="#xd20e5839" name= +"xd20e5839src">97</a> The king promises it her, and they are married. +<span class="pagenum">[<a id="pb190" href="#pb190" name= +"pb190">190</a>]</span></p> +<p>The princess takes these cows home with her; they were always well +treated. The princess became pregnant, and was confined while the king +was absent. The witch comes, and takes her out of her bed, and throws +her down a precipice that there was in the king’s grounds, and +the witch puts herself into the princess’ bed. When the king +comes home, he finds her very much changed, and tells her that he would +not have recognised her. The princess tells him that it was her +sufferings that had made her thus, and, in order to cure her more +quickly, he must have the Breton cow killed.</p> +<p>The king says to her—</p> +<p>“What! Did you not make me promise that she should never be +killed? How is it you ask me that?”</p> +<p>The witch considered that one her greatest enemy; and, as she left +him no peace, he sent a servant to fetch the cows. He finds them all +seven by the precipice; they were lowing, and he tried to drive them to +the house, but he could not do it in any way; and he hears a voice, +which says,</p> +<p>“It is not for myself that I grieve so much, but for my child, +and for my husband, and for my dearly-loved cows. Who will take care of +them?”</p> +<p>The lad could not succeed (in driving them), and goes and tells to +the king what is taking place. The king himself goes to the precipice, +and hears this voice. He quickly throws a long cord down, and, when he +thinks that she has had time to take hold of it, he pulls it up, and +sees that they have got the princess there. Judge of the joy of the +king! She relates to her husband all that the witch had done to her, +both formerly and now. The king goes to the witch’s bed, and says +to her,</p> +<p>“I know your villanies now; and, if you do not immediately +change these cows, as they were before, into fine boys, I will put you +into a red-hot oven.”</p> +<p>The witch makes them fine men, and, notwithstanding that, the king +had her burnt in a red-hot oven, and threw her ashes into the air. The +king lived happily with his <span class="pagenum">[<a id="pb191" href= +"#pb191" name="pb191">191</a>]</span>wife, and her seven brothers +married ladies of the court, and sent for their mother, and they all +lived happily together.</p> +<p class="signed"><span class="sc">Louise Lanusse.</span></p> +<hr class="tb"> +<p id="ch6.28">We have also, in Basque, a version of Madame +d’Aulnoy’s “Abenan.” It seems to be a mixture +of various legends strung together by this fanciful writer; but we do +not think it worth either our own or our readers’ while to try to +disentangle its separate parts. The pretty little tale of “The +Faded Roses” has been told us from two quite different sources. +This tale, though without doubt derived from the French, we can trace +up in Basque further than any other. It was told us by a lady of +between seventy and eighty, who heard it as a child from an old nurse, +whom she distinctly remembers to have told her that <i>she</i> learnt +it as a child from her mother. It must thus have existed in Basque over +a century.</p> +<p>We have also two versions of Tom Thumb, who is called in the one +“Ukhailtcho,” or “Baratchuri”—“a +clove of garlic;”<a class="noteref" id="xd20e5875src" href= +"#xd20e5875" name="xd20e5875src">98</a> in the other, +“Mundua-mila-pes,” both containing the episode of his being +swallowed by an ox; in the last, he himself is swallowed, as they are +washing out the ox’ entrails, by “a thief of a +dog”—“Ohoñ chakhurra.” It is singular +that the same episode is preserved in the Gaelic; <i>cf.</i> Campbell, +Vol. III., p. 114.</p> +<p>We have in MS. a long Rabelesian legend, which opens like +Cenac-Moncaut’s tale of “Le Coffret de la Princesse,” +in his “Littérature Populaire de la Gascogne” +(Paris, 1868). A king will give one of his daughters to whoever can +guess what the skin of a certain animal is. It is the devil who guesses +it, and who marries the princess. She is saved by the “white +mare,” which appears in so many of our tales. She then dresses as +a man, but, nevertheless, a prince falls in love with her; and then +follow a lot of scenes, the converse of the adventure of Achilles in +Scyros. They marry; <span class="pagenum">[<a id="pb192" href="#pb192" +name="pb192">192</a>]</span>but, after seven years, the devil-husband +reappears. After strange adventures, they are again succoured and +united by the “white mare,” who binds the devil for ever, +and then flies to heaven as a white pigeon, and the rest live happily +ever after. This legend is from “Laurentine, Sister of +Toutou,” and may be mingled with Cascarrot legends. We have given +it as derived from the French, partly because the heroine’s name +is Fifine, and because this, and “Petit Perroquet and the +Tartaro,” are the only tales in our collection in which the term +“prince” is employed in the Basque instead of “the +king’s son.” <i>Cf.</i> Campbell’s “Highland +Tales,” <i>passim</i>.</p> +<hr class="tb"> +<p id="ch6.bibl">We owe the following notes to the kindness of M. H. +Vinson, Judge at La Réole, Gironde. They may be of assistance to +some of our readers in the endeavour to trace out the length of time +which is required for the translations of exotic legends to become +popular traditions among a people who know the language of the +translation only by “social contact.”</p> +<div id="premiereseditions" lang="fr" class="table"> +<table> +<tr valign="top"> +<td valign="top" colspan="2"><i>Premières Editions de la +Première Traduction en Français des Mille et une +Nuits.</i></td> +</tr> +<tr valign="top"> +<td valign="top">Les Mille et une Nuits, Contes Arabes, trad. par +Galland. Paris, 12 vols. in 12mo.</td> +<td valign="top">1704–1717</td> +</tr> +<tr valign="top"> +<td valign="top">Les Mille et une Nuits, Contes Arabes, trad. par +Galland. Paris, 6 vols. in 12mo.</td> +<td valign="top">1774</td> +</tr> +<tr valign="top"> +<td valign="top">Les Mille et une Nuits, Revues et Corrigées par +M. Caussin de Percival. Paris, Lenormant, 9 vols. 8vo.</td> +<td valign="top">1806</td> +</tr> +<tr valign="top"> +<td valign="top" colspan="2"><i>Première Traduction de Bidpai et +Loqman.</i></td> +</tr> +<tr valign="top"> +<td valign="top">Contes et Fables Indiennes de Bidpai et de Loqman, +trad. (posth.) par Ante Galland. Paris, 2 vols. in 12mo.</td> +<td valign="top">1724</td> +</tr> +<tr valign="top"> +<td valign="top">Contes et Fables Indiennes, Traduction +d’après la Version Turque d’Ali-Tchelebt-ben-Salet, +par Galland, terminée et publiée par D. Gardonne. Paris, +3 vols. 12mo.</td> +<td valign="top">1778 <span class="pagenum">[<a id="pb193" href= +"#pb193" name="pb193">193</a>]</span></td> +</tr> +<tr valign="top"> +<td valign="top">Fables de Loqman, Édition Arabe, accomp. +d’une Traduction Franc: (par M. Mariel) au Caire, de l’imp. +Nation, au VII. 8vo.<a class="noteref" id="xd20e5938src" href= +"#xd20e5938" name="xd20e5938src">99</a></td> +<td valign="top">1799</td> +</tr> +<tr valign="top"> +<td valign="top" colspan="2"><i>Contes de Grimm.</i></td> +</tr> +<tr valign="top"> +<td valign="top">Contes de la Famille, par les Frères Grimm, +traduit de l’Allemand, par M. Martin et Pitre-Chevalier. Paris, +Renouard, 12mo.</td> +<td valign="top">1846</td> +</tr> +<tr valign="top"> +<td valign="top">Edition Originale, Kinder und Hausmärchen. +Berlin, 2 vols. 16mo.</td> +<td valign="top">1812–14</td> +</tr> +<tr valign="top"> +<td valign="top" colspan="2"><i>Les Plus Anciens Recueils de Contes en +Français.</i></td> +</tr> +<tr valign="top"> +<td valign="top">Les Cent Nouvelles Nouvelles. Paris, Ant. Verard, pet. +in fol. Goth.</td> +<td valign="top">1486</td> +</tr> +<tr valign="top"> +<td valign="top">Le Parangon de Nouvelles Honnestes. Lyon, in 8vo.</td> +<td valign="top">1531</td> +</tr> +<tr valign="top"> +<td valign="top">Les Nouvelles Récreations de Bonaventure des +Periers. Lyon, in 4to.</td> +<td valign="top">1558</td> +</tr> +<tr valign="top"> +<td valign="top">L’Heptameron de Margaret de Valois. Paris, +8vo.</td> +<td valign="top">1559</td> +</tr> +<tr valign="top"> +<td valign="top">Baliverneries ou Contes Nouveaux d’Entrapel, +publ. par Noel Du Fail. Paris, 16mo.</td> +<td valign="top">1548</td> +</tr> +<tr valign="top"> +<td valign="top">Les Serées de Guillaume Bouchet. Poitiers, 4to. +Paris, 3 vols. 12mo.</td> +<td valign="top">1584, 1608</td> +</tr> +<tr valign="top"> +<td valign="top">Nouvelles Choisies, par Ch. Sorel. Paris, 2 vols. +8vo.</td> +<td valign="top">1645</td> +</tr> +<tr valign="top"> +<td valign="top">Contes des Fées, par Madame +d’Aulnoy.</td> +<td valign="top">1630–1705</td> +</tr> +<tr valign="top"> +<td valign="top">Contes des Fées, par Ch. Perrault.</td> +<td valign="top">1697</td> +</tr> +</table> +</div> +<div class="figure xd20e6010width"><img src="images/ornament2.png" alt= +"Ornament." width="215" height="141"></div> +<p><span class="pagenum">[<a id="pb194" href="#pb194" name= +"pb194">194</a>]</span></p> +</div> +</div> +<div class="footnotes"> +<hr class="fnsep"> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e3043" href="#xd20e3043src" name="xd20e3043">1</a></span> See +notes to “Juan Dekos,” p. 146.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e3059" href="#xd20e3059src" name="xd20e3059">2</a></span> I think +this word occurs in some “Chanson de Gestes,” and in the +Basque “Pastorales,” as a Mahommedan devil. If not, it is +probably our own “Duke of Marlborough” thus transformed. +<i>Cf.</i> the song, ”<span lang="fr">Malbrouk s’en va en +guerre</span>.”</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e3117" href="#xd20e3117src" name="xd20e3117">3</a></span> This is +again, “<i>red</i>, angry.”</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e3139" href="#xd20e3139src" name="xd20e3139">4</a></span> +<i>Cf.</i> Campbell, “The Tale of Connal,” Vol. I., p. +142.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e3174" href="#xd20e3174src" name="xd20e3174">5</a></span> This +looks uncommonly like “Ho, you!” but it is given by +Salaberry as a Basque cry, “<span lang="fr">Appel par un cri +fort, par la voix élevée.</span>” +“Play,” as an exclamation to begin at games of ball, has no +meaning in Basque, and is believed to come from the English. We have +borrowed “Jingo,” “by Jingo,” from +“Jinkoa,” “the deity.”</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e3199" href="#xd20e3199src" name="xd20e3199">6</a></span> In +Campbell’s first tale, “The Young King of Easaidh Ruadh, +the hero is assisted by a dog, a falcon, and an otter. <i>Cf.</i> the +notes in the translation of this tale in Brueyre’s +“<span lang="fr">Contes de la Grande Bretagne</span>;” +<i>cf.</i> also, “The Sea-Maiden,” pp. 73 and 94, for a +still closer resemblance.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e3220" href="#xd20e3220src" name="xd20e3220">7</a></span> +<i>Cf.</i> “Tabakiera,” p. 94, and “Old Deccan +Days,” pp. 83–91. It is curious to hear of the Red Sea from +narrators so far apart, on opposite sides, as the Lingaets of the +Deccan and the Basques, neither of whom, probably, had the most distant +idea of its geographical position; certainly our Basque narrators had +not.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e3227" href="#xd20e3227src" name="xd20e3227">8</a></span> In +Campbell’s “Sea-Maiden,” the hero has only to think +of the animals, and they are at his side; but he is not transformed +into them.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e3232" href="#xd20e3232src" name="xd20e3232">9</a></span> Campbell +refers to “The Giant who had no Heart in his Body,” +“Norse Tales,” 1859. See his references, and those in the +“Contes Populaires de la Grande Bretagne,” cited above. M. +d’Abbadie has also communicated to us the outlines of a wild +Tartaro story, told in Basque, in which the hero “fights with a +body without a soul.”</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e3266" href="#xd20e3266src" name="xd20e3266">10</a></span> +<i>Cf.</i> Campbell’s “Tales,” before quoted, and +“Old Deccan Days” (“Punchkin”), pp. 14, 15, for +the whole of this incident.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e3319" href="#xd20e3319src" name="xd20e3319">11</a></span> +Malbrouk seems now to assume the character of “Hermes, the clever +thief.” If we mistake not, this cow appears also in Indian +mythology.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e3366" href="#xd20e3366src" name="xd20e3366">12</a></span> For the +whole of this tale compare Campbell’s “Sea-Maiden,” +Vol. I., p. 71. The sea-maiden takes the place of the fish. Besides the +three sons, the three foals, and the three puppies, three trees grow +behind the house, and serve as a sign like the well boiling. +Bladé’s “<span lang="fr">Les Deux +Jumeaux</span>,” in his “<span lang="fr">Contes +Agenais</span>,” is identical with this; <i>cf.</i> also +Köhler’s notes, p. 148.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e3409" href="#xd20e3409src" name="xd20e3409">13</a></span> Much +more is made of the sword in the Gaelic tales. In them it is always a +magic or a mystic weapon.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e3412" href="#xd20e3412src" name="xd20e3412">14</a></span> This +episode of the fight with the seven-headed beast is introduced in the +same way in the Gaelic—“The Sea-Maiden,” pp. 76, 77. +<i>Cf.</i> also “<span lang="fr">Rouge Etin</span>,” in +Brueyre.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e3435" href="#xd20e3435src" name="xd20e3435">15</a></span> In the +Gaelic the charcoal-burner is a general.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e3441" href="#xd20e3441src" name="xd20e3441">16</a></span> This +takes place not on the wedding night, but some time after in the +“Sea-Maiden,” p. 82. The wife at prayers and the husband +standing by indifferent is but too true a picture, we fear.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e3453" href="#xd20e3453src" name="xd20e3453">17</a></span> The +“Sea-Maiden,” p. 82—“Go not, go not,” +said she, “there never went man to this castle that +returned.” See below.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e3466" href="#xd20e3466src" name="xd20e3466">18</a></span> Basque, +“as must needs be.”</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e3536" href="#xd20e3536src" name="xd20e3536">19</a></span> We were +also told, in Basque, “The Powerful Lantern,” which was the +story of Aladdin’s lamp, with only <i>one</i> incident omitted. +The present is much more like the Gaelic, but there (Campbell, Vol. +II., 297–9) it is a lady who gives the snuff-box, which says, +“<span lang="gd">Eege gu djeege</span>,” on being opened. +Campbell’s note is:—“The explanation of these sounds +was, that it was ‘as if they were asking.’ The sounds mean +nothing, that I know of, in any language.” “<span lang= +"es">Que quieres?</span>” is pure Spanish—“What dost +thou want?”</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e3591" href="#xd20e3591src" name="xd20e3591">20</a></span> +<i>Cf.</i> MacCraw’s variation in Campbell, note, Vol. II., p. +301, for the rest of the story.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e3600" href="#xd20e3600src" name="xd20e3600">21</a></span> +“Power” in these tales, in the Basque, seems always to mean +“magic power,” some wonder-working gift or charm.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e3616" href="#xd20e3616src" name="xd20e3616">22</a></span> In +Campbell’s versions it is “the realm of the king under the +waves,” or “the realm of the rats;” but a voyage has +to be made to that, and a rat takes the place of the servant in +stealing the box again for the hero. “The Deccan Tales” +mention the Red Sea.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e3651" href="#xd20e3651src" name="xd20e3651">23</a></span> The +south wind is the most dreaded local wind in the Pays Basque. It is +always hot, and sometimes very violent. After two or three days it +usually brings on a violent thunderstorm and rain.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e3690" href="#xd20e3690src" name="xd20e3690">24</a></span> The lad +here calls his snuff-box affectionately “<span lang="es">Que +quieres</span>,” as if that were its name.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e3699" href="#xd20e3699src" name="xd20e3699">25</a></span> The +likeness and the variation of this tale from Campbell’s Gaelic +one, “The Widow’s Son,” etc., Vol. II., pp. +293–303, prove that both must be independent versions of some +original like Aladdin’s lamp, but not mere copies of it.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e3717" href="#xd20e3717src" name="xd20e3717">26</a></span> This +doubling of a price is to get a thing more quickly done—in half +the usual time. At least, that was the narrator’s +explanation.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e3726" href="#xd20e3726src" name="xd20e3726">27</a></span> These +three clever men are found in Gascon (Bladé’s +“Armagnac Tales,” p. 10), in Spanish, in Campbell’s +“The King of Lochlin’s Three Daughters,” Vol. I., p. +238, and in many others. <i>Cf.</i> Brueyre, pp. 113–120, and +notes.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e3767" href="#xd20e3767src" name="xd20e3767">28</a></span> +<i>Cf.</i> The tale from the Servian, in Naaké’s +“Slavonic Fairy Tales,” p. 7.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e3791" href="#xd20e3791src" name="xd20e3791">29</a></span> +<i>i.e.</i>, the piece of “braise,” or glowing ember from +the wood fire, which is always nearly on a level with the floor in a +Basque house.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e3840" href="#xd20e3840src" name="xd20e3840">30</a></span> Through +the whole of the South of Europe, in Greece, Italy, Spain, Portugal, +etc., the firing of guns, pistols, crackers, is universal at all kinds +of “<i>fêtes</i>,” especially religious ones; the +half-deafened foreigner often longs for some such law as that infringed +by “Mahistruba;” but <i>cf.</i> “Juan de +Kalais,” p. 151.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e3856" href="#xd20e3856src" name="xd20e3856">31</a></span> <i>Cf. +supra</i>, p. 38, “The Serpent in the Wood.”</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e3877" href="#xd20e3877src" name="xd20e3877">32</a></span> This +tale is somewhat like Campbell’s “Three Soldiers,” +with the variations, Vol. I., p. 176. It is said to be very widely +spread.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e3913" href="#xd20e3913src" name="xd20e3913">33</a></span> This is +an interpolation by the narrator.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e3926" href="#xd20e3926src" name="xd20e3926">34</a></span> At +Bayonne one part of the town is called “<span lang="fr">Les Cinq +Cantons</span>.”</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e3936" href="#xd20e3936src" name="xd20e3936">35</a></span> For +like involuntary sleep, where the lady cannot awaken her lover, +<i>cf.</i> Campbell, “The Widow’s Son,” Vol. II., p. +296.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e3978" href="#xd20e3978src" name="xd20e3978">36</a></span> For the +incident of the eagle, <i>cf.</i> Campbell, “The King of +Lochlin’s Three Daughters,” Vol. I., pp. +238–9:—“When they were at the mouth of the hole, the +stots were expended, and she was going to turn back; but he took a +steak out of his own thigh, and he gave this to the eagle, and with one +spring she was on the surface of the earth.”</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e4009" href="#xd20e4009src" name="xd20e4009">37</a></span> +<i>Cf.</i> the horse in Naaké’s “Slavonic Fairy +Tales,” “Ivan Kruchina” (from the Russian), p. 117, +and “the dun shaggy filly,” in Campbell’s “The +Young King of Easaidh Ruadh,” Vol. I., p. 5, and elsewhere; also +the horse in the “Uso-Andre,” and “The Unknown +Animal,” below. Campbell, Vol. I., p. 63, remarks that the horses +in Gaelic stories are always feminine; but they are red as well as +grey.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e4028" href="#xd20e4028src" name="xd20e4028">38</a></span> In +this, and the following tale, Ezkabi’s golden hair is evidently +like “Diarmaid’s” beauty spot. “He used to keep +his cap always down on the beauty-spot; for any woman that might chance +to see it, she would be in love with him.”—Campbell’s +“Diarmaid and Grainne,” Vol. III., p. 39, notes and +variations.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e4044" href="#xd20e4044src" name="xd20e4044">39</a></span> Compare +the following legend, and “Old Deccan Days” +(“Truth’s Triumph”), pp. 62, 63.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e4075" href="#xd20e4075src" name="xd20e4075">40</a></span> +<i>Cf.</i> above, “The Grateful Tartaro and the +Heren-Suge,” p. 22.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e4094" href="#xd20e4094src" name="xd20e4094">41</a></span> +<i>Cf.</i> note, <i>supra</i>, p. 113, and Grainne seeing Diarmaid as +he lifts his cap or helmet. These beauty-spots seem to be the +counterpart of Aphrodite’s cestus.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e4131" href="#xd20e4131src" name="xd20e4131">42</a></span> +<i>Cf.</i> the two golden pears in the Spanish “Juanillo el +Loco,” Patrañas, p. 38, given in exchange for the same +water.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e4138" href="#xd20e4138src" name="xd20e4138">43</a></span> +<i>Cf.</i> below, “The Singing Tree,” etc., p. 176.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e4147" href="#xd20e4147src" name="xd20e4147">44</a></span> +<i>Cf.</i> “Old Deccan Days,” p. 139; and Cox, “Aryan +Mythology,” Vol. I., p. 160, <i>seq.</i></p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e4179" href="#xd20e4179src" name="xd20e4179">45</a></span> +<i>Cf.</i> below, p. 156.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e4189" href="#xd20e4189src" name="xd20e4189">46</a></span> The +word “<span lang="eu">Ezkabi</span>” is “the +scab;” he either really had it, as in the next version, or was +supposed to have it from keeping his head covered, as in this. In both +cases the hair is most beautiful, precious, golden, and +love-compelling.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e4209" href="#xd20e4209src" name="xd20e4209">47</a></span> +<i>Cf.</i> with the whole of this tale, Campbell’s second tale, +“The Battle of the Birds,” and the variations, especially +the one of “Auburn Mary,” Vol. I. pp. 52–58.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e4222" href="#xd20e4222src" name="xd20e4222">48</a></span> +<i>Cf.</i> Baring Gould’s chapter, +“Swan-Maidens”—“Curious Myths of the Middle +Ages,” p. 561, <i>seq.</i></p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e4235" href="#xd20e4235src" name="xd20e4235">49</a></span> In the +Gaelic the labours are more like those of Herakles—to clean out a +byre, to shoot birds, and to rob a magpie’s nest. The Basque +incidents seem to fit better into a climatological myth.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e4248" href="#xd20e4248src" name="xd20e4248">50</a></span> In +“Old Deccan Days” (“Truth’s Triumph”) it +is the hair and not the comb that does the wonders. In M. +Cerquand’s “<span lang="fr">Récits</span>” the +comb is an attribute of the Basa-Andre.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e4268" href="#xd20e4268src" name="xd20e4268">51</a></span> In +Campbell’s “Battle of the Birds” the hero always +sleeps while the giant’s daughter does his task for him.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e4279" href="#xd20e4279src" name="xd20e4279">52</a></span> Here +the narrator interposed, “You see it is just as it happens; the +women are always the worst.” But in Campbell it is the giant +himself who says, “My own daughter’s tricks are trying +me.”</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e4309" href="#xd20e4309src" name="xd20e4309">53</a></span> In +Campbell the finger is lost in climbing the tree to get the +magpie’s nest; but, as here, the bride is recognised by the loss +of it.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e4318" href="#xd20e4318src" name="xd20e4318">54</a></span> In +“Auburn Mary” the hero has to catch a young filly, +“with an old, black, rusty bridle.”—Campbell, Vol. +I., p. 55.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e4351" href="#xd20e4351src" name="xd20e4351">55</a></span> See +below for a second marriage. In Campbell, p. 37, there is a double +marriage.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e4360" href="#xd20e4360src" name="xd20e4360">56</a></span> In +Campbell, p. 55, “Auburn Mary,” there is the same +“talking spittle.”</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e4383" href="#xd20e4383src" name="xd20e4383">57</a></span> +<i>Cf.</i> “Truth’s Triumph,” in “Old Deccan +Days;” and Campbell, pp. 33, 34; and <i>supra</i>, +“Ezkabi-Fidel,” pp. 113, 114.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e4415" href="#xd20e4415src" name="xd20e4415">58</a></span> +Campbell, pp. 34 and 56.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e4427" href="#xd20e4427src" name="xd20e4427">59</a></span> In +Campbell, it is an old greyhound that kisses him, but with the same +result, pp. 34 and 56.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e4445" href="#xd20e4445src" name="xd20e4445">60</a></span> In one +of Campbell’s “Variations,” pp. 51, 52, the ending is +something like this. In more than one, the hero marries another bride +in his period of oblivion.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e4525" href="#xd20e4525src" name="xd20e4525">61</a></span> +<i>Cf.</i> Campbell’s “The Chest,” Vol. II., p. 1. +The tales seem almost identical.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e4704" href="#xd20e4704src" name="xd20e4704">62</a></span> The +usual term for “the Pope;” the French, “<span lang= +"fr">Le Saint-Père</span>.”</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e4716" href="#xd20e4716src" name="xd20e4716">63</a></span> This is +a curious testimony to an ancient practice. In the same way the Basques +call “<span lang="fr">La Fête Dieu</span>,” +“Corpus Christi Day;” “<span lang= +"eu">Phestaberria</span>,” “The New Feast,” though it +was instituted in the thirteenth century.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e4733" href="#xd20e4733src" name="xd20e4733">64</a></span> This is +a very old and wide-spread story. The Gaelic versions are given in +Campbell, Vol. II., p. 239, <i>seq.</i> <i>Cf.</i> also Cox, +“Aryan Mythology,” Vol. I., p. 111, <i>seq.</i></p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e4761" href="#xd20e4761src" name="xd20e4761">65</a></span> In the +Gaelic it is the bishop’s horse.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e4791" href="#xd20e4791src" name="xd20e4791">66</a></span> This is +in the Norse and Teutonic versions.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e4830" href="#xd20e4830src" name="xd20e4830">67</a></span> This, +again, is more like the Gaelic.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e4875" href="#xd20e4875src" name="xd20e4875">68</a></span> This +name was written thus phonetically from the Basque, and it was not till +I saw the Gaelic tale that it struck me that it is simply “Jean +d’Ecosse”—“John of Scotland,” or +“Scotch John.” In the analogous tale in Campbell, +“The Barra Widow’s Son,” Vol. II., p. 111, we +read—“It was Iain Albanach” (literally, Jean +d’Ecosse) “the boy was called at first; he gave him the +name of Iain Mac a Maighstir” (John, master’s son) +“because he himself was master of the vessel.” This seems +decisive that in some way the Basques have borrowed this tale from the +Kelts since their occupation of the Hebrides. The Spanish versions, +too, are termed “The Irish Princess” (Patrañas, p. +234).</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e4882" href="#xd20e4882src" name="xd20e4882">69</a></span> See +note on preceding page, and Campbell, Vol. II., p. 3.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e4889" href="#xd20e4889src" name="xd20e4889">70</a></span> Whether +this refers to any real custom about dead men’s debts, we cannot +say. It occurs in the Gaelic, in “Ezkabi,” and in other +tales and versions, notably in the Spanish; see as above, and +“The White Blackbird,” below, p. 182.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e4905" href="#xd20e4905src" name="xd20e4905">71</a></span> In +other versions it is the soul of the man whose debts he had paid, +either in the shape of a hermit or a <i>fox</i>. In the Gaelic it is +left vague and undetermined. He is called “one,” or +“the asker.” (Campbell, Vol. II., pp. 119 and 121.) The +same contract is made in each case, and with the same result.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e4961" href="#xd20e4961src" name="xd20e4961">72</a></span> This +is, of course, “<span lang="fr">Jean de +Calais</span>”—“John of Calais”—and would +seem to show that it was through some French, and not Spanish, versions +that the Basques learnt it.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e4979" href="#xd20e4979src" name="xd20e4979">73</a></span> This +seems inserted from “Mahistruba,” p. 105.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e4984" href="#xd20e4984src" name="xd20e4984">74</a></span> In the +Gaelic it is a general, as here, and not a lame second officer, as in +“Juan Dekos,” who wants to marry the lady, and who sets the +hero on a desert island.—Campbell, Vol. II., p. 118.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e5001" href="#xd20e5001src" name="xd20e5001">75</a></span> See +note on page 149.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e5025" href="#xd20e5025src" name="xd20e5025">76</a></span> We had +put this tale aside, with some others, as worthless, until we found +from Campbell how widely it is spread. The earliest version seems to be +the Italian of Straparola, 1567. The first incident there, persuading +that a pig is an ass, we have in another Basque tale; the last two +incidents are identical. They are found, too, in the Gaelic, though in +separate versions. For killing the wife, see Campbell, Vol. II., p. +232; for the last, pp. 222 and 234. <i>Cf.</i> also “The Three +Widows,” with all the variations and notes, Vol. II., pp. +218–238. Is this a case of transmission from one people to +another of the Italian of Straparola? or do all the versions point back +to some lost original? and is there, or can there be, any allegorical +meaning to such a tale? The answer to these questions seems of great +importance, and the present tale to be a good instance to work upon. +Petarillo seems an Italian name.</p> +<p class="footnote" lang="fr"><span class="label"><a class="noteref" +id="xd20e5156" href="#xd20e5156src" name="xd20e5156">77</a></span> +“Peau d’Ane.”</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e5162" href="#xd20e5162src" name="xd20e5162">78</a></span> +“Fidèle.”</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e5182" href="#xd20e5182src" name="xd20e5182">79</a></span> The +narrator was here asked “if the place of the dance was at the +king’s palace.” “No,” she gravely replied, +“it was at the mairie.” In other tales it is on the +“place,” <i>i.e.</i>, the open square or market-place which +there is in most French towns and villages in the south. It is +generally in front either of the church or of the mairie.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e5208" href="#xd20e5208src" name="xd20e5208">80</a></span> This +was explained as meaning “Beaten with the Slipper.” This +version came from the Cascarrot, or half-gipsy quarter of St. Jean de +Luz, and may not be <i>purely</i> Basque. Except in one or two words +the language is correct enough—for St. Jean de Luz.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e5249" href="#xd20e5249src" name="xd20e5249">81</a></span> At an +exclamation of surprise from one of the auditors, the narrator piously +said, “It is the Holy Virgin who permitted all that.”</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e5322" href="#xd20e5322src" name="xd20e5322">82</a></span> +<i>Cf.</i> “The Serpent in the Wood,” p. 38.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e5368" href="#xd20e5368src" name="xd20e5368">83</a></span> +Literally, “be full.”</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e5388" href="#xd20e5388src" name="xd20e5388">84</a></span> +<i>Cf.</i> the well behind the house in the “Fisherman and his +Three Sons,” p. 87.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e5401" href="#xd20e5401src" name="xd20e5401">85</a></span> +<i>Cf.</i> “Dragon,” p. 108.]</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e5568" href="#xd20e5568src" name="xd20e5568">86</a></span> Here +the narrator evidently forgot to tell about the child’s being +exposed, and the gardener finding it, as appears by the sequel.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e5592" href="#xd20e5592src" name="xd20e5592">87</a></span> +<i>Cf.</i> the well that boils in “The Fisherman and his Three +Sons,” and the ring in “Beauty and the Beast.”</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e5604" href="#xd20e5604src" name="xd20e5604">88</a></span> Can +Bunyan have taken his description of the “Valley of the Shadow of +Death,” in the “Pilgrim’s Progress,” partly +from such tales as this?</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e5691" href="#xd20e5691src" name="xd20e5691">89</a></span> +<i>Cf.</i> above in “Ezkabi” and “Juan Dekos.” +There is some similarity between this tale and Campbell’s +“Mac Ian Direach,” Vol. II., p. 328. Compare also +“The Greek Princess and the Young Gardener,” in +Kennedy’s “Fireside Stories of Ireland.” We know only +the French translation of this last in Brueyre, p. 145. “Le Merle +Blanc” is one of the best known of French stories.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e5721" href="#xd20e5721src" name="xd20e5721">90</a></span> +<i>Cf.</i> “Juan Dekos” for paying the debts, and the fox. +In the Gaelic the fox is called “<span lang="gd">An Gille +Mairtean</span>,” “the fox.” (Campbell, Vol. II., p. +329, <i>seq.</i>)</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e5749" href="#xd20e5749src" name="xd20e5749">91</a></span> +<i>Cf.</i> the stealing of the bay filly in Campbell’s “Mac +Iain Direach,” Vol. II., p. 334.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e5764" href="#xd20e5764src" name="xd20e5764">92</a></span> Huge +cisterns, partly underground, for holding rain water, are common in the +Pays Basque. They are, of course, near the houses off which the water +drains.</p> +<p class="footnote"><span class="label"><a class="noteref" id="n187.1" +href="#n187.1src" name="n187.1">93</a></span> <i>Cf.</i> +“Basa-Jauna,” p. 49.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e5822" href="#xd20e5822src" name="xd20e5822">94</a></span> A piece +of the braise, or burnt stick. This is constantly done all through the +South of France, where wood is burnt. If your fire is out you run to +get a stick from your neighbour’s fire.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e5825" href="#xd20e5825src" name="xd20e5825">95</a></span> +<i>Cf.</i> note to “Basa-Jauna,” p. 49.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e5830" href="#xd20e5830src" name="xd20e5830">96</a></span> +<i>Cf.</i> “Old Deccan Days” (“Truth’s +Triumph”), pp. 57–58. The little girl is the rose tree +there among the mango trees, her brothers. Cows are very gentle in the +Pays Basque, and are often petted, especially the tiny black and white +Breton ones. We have known a strong man weep at the death of a +favourite cow, and this one of ten others.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e5839" href="#xd20e5839src" name="xd20e5839">97</a></span> The +Ranee makes the same conditions in “Truth’s +Triumph”—“You will let me take these crows” +(her brothers) “with me, will you not? for I love them dearly, +and I cannot go away unless they may come too.”—“Old +Deccan Days,” p. 59.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e5875" href="#xd20e5875src" name="xd20e5875">98</a></span> This +was recited to M. Vinson, and has been published by him in the +<span lang="fr">“Revue de Linguistique,” p. 241 (Janvier, +1876)</span>. We have since heard of a longer form preserved at +Renteria, in Guipuzcoa.</p> +<p class="footnote" lang="en"><span class="label"><a class="noteref" +id="xd20e5938" href="#xd20e5938src" name="xd20e5938">99</a></span> To +these should perhaps be added the Latin of the Dolopathos and +“Gesta Romanorum” of the 12th or 13th century.</p> +</div> +</div> +<div id="ch7" class="div1"><span class="pagenum">[<a href= +"#toc">Contents</a>]</span> +<div class="figure"><img src="images/head6.png" alt= +"VII.—Religious Tales." width="720" height="158"></div> +<h2 class="main">VII.—Religious Tales.</h2> +<p class="firstpar">We give these tales simply as specimens of a +literature which in mediæval times rivalled in popularity and +interest all other kinds of literature put together. That even yet it +is not without attraction, and that to minds which in some aspects seem +most opposed to its influence, the preface of the late Charles Kingsley +to “The Hermits” conclusively shows. Such tales have, too, +a deeper interest to all who study the manner in which at a certain +stage of intellectual cultivation the human mind seems alone able to +take hold upon religious truth; or, at least, the side on which it is +then most susceptible to its impressions. It is easy enough to laugh at +these legends, and to throw them aside in contempt, as alternately +irreverent or superstitious; but their very existence has an historical +value which no ecclesiastical historian should neglect. Their grossness +and rudeness to a great extent hide from us their real tenderness and +true religious feeling; but they were, doubtless, to those who first +heard them, and are still to those who now recite them, fully as +instructive, and have quite as beneficial, purifying, and ennobling +influence on them as the most polished and refined of the religious +tales of the present day have on the young of our own generation. +<span class="pagenum">[<a id="pb195" href="#pb195" name= +"pb195">195</a>]</span></p> +<div class="div2" id="ch7.1"><span class="pagenum">[<a href= +"#toc">Contents</a>]</span> +<h3 class="main">Fourteen.<a class="noteref" id="xd20e6026src" href= +"#xd20e6026" name="xd20e6026src">1</a></h3> +<p class="firstpar">Like many others in the world, there was a mother +and her son. The lad was as strong as fourteen men together, but he was +also obliged to eat as much as fourteen men. They were poor, and on +that account he often suffered from hunger. He said one day to his +mother, that it would be better for him to try and go somewhere else to +see if he could be any better off; that he could not bear it any longer +like this; that he was pained to see how much it cost her to feed +him.</p> +<p>The mother with regret allows him to depart. He goes off then far, +far, far away, and comes to a large house. He asks if they want a +servant there, and they answer that they will speak to the master. The +master himself comes and says to him, “I employ experienced +labourers generally, but I will take you nevertheless.”</p> +<p>The lad answers, “I must forewarn you, that I eat as much as +fourteen men, but I do work in proportion.”</p> +<p>He asks him, “What do you know how to do?”</p> +<p>He says to him, “I know a little of everything.”</p> +<p>The next day the master takes him into a field, and says to him:</p> +<p>“You must mow all this meadow.” He says to him, +“Yes.”</p> +<p>The master goes away. At eight o’clock the servant comes with +the breakfast. She had a basket full of provisions; there were six +loaves, half a ham, and six bottles of wine. Our lad was delighted. The +servant was <span class="pagenum">[<a id="pb196" href="#pb196" name= +"pb196">196</a>]</span>astonished to see that all the meadow was mown, +and she goes and tells it to the master. He too was pleased to see that +he had such a valuable servant. He tells him to go and cut another +meadow. Before mid-day he had it all down. The servant comes with the +dinner, and was astonished to see how much work he had done. She +brought him seven loaves, seven bottles of wine, and ever so much ham, +but he cleared it all off. The master gives him again another field of +grass to cut. Before night he had done it easily. Our master was +delighted at it, and gave him plenty to eat. The servant too was highly +pleased.</p> +<p>As long as he had work the master said nothing, but afterwards, when +he saw that all the harvest served only for the servant to eat, he did +not know how to get rid of him. He sends him to a forest in which he +knew that there were terrible beasts, and told him to bring wood from +there. As soon as he has arrived a bear attacks him. He takes him by +the nostrils and throws him on the ground, and twists his neck. He +keeps pulling up all the young trees, and again a wolf attacks him; he +takes him like the bear by the nostrils, throws him down, and twists +his neck.</p> +<p>In the evening he arrives at the house, and the master is astonished +to see him return. He gave him a good supper; but he was not pleased, +because he had torn up all the young trees. At night the master turns +over in his head what he could do with his servant, and he determines +to send him into a still more terrible forest, in the hope that some +animal will devour him. Our lad goes off again. He tears up many large +trees, when a lion attacks him. He kills him in a moment. There comes +against him another terrible animal, and he finishes him off too. In +the evening, when he comes home, he said to himself:</p> +<p>“Why does my master send me into the forest? Perhaps he is +tired of me.”</p> +<p>And he resolves to tell him that he will leave the house. When he +arrives his master receives him well, but cannot <span class= +"pagenum">[<a id="pb197" href="#pb197" name= +"pb197">197</a>]</span>understand how it is that he comes back. He +gives him a good supper, and our lad says to him:</p> +<p>“It is better for me to go off somewhere. There is no more +work for me here.”</p> +<p>You may reckon how pleased the master was. He gives him his wages at +once, and he goes away. He goes off, far, far, far away; but soon his +money is exhausted, and he does not know what is to become of him.</p> +<p>He sees two men standing on the bank of a river. He went up to them, +and the men ask him if he will cross them over to the other side of the +water. He answers, “Yes,” and takes them both at once on +his back; and these men were our Lord and St. Peter. Our Lord says to +him in the middle of the stream:</p> +<p>“I am heavy.”</p> +<p>“I will throw you into the water if you do not keep quiet, for +I have quite enough to do.”</p> +<p>When they had come to the other side, the Lord said to him,</p> +<p>“What must I give you as a reward?”</p> +<p>“Whatever you like; only give it quickly, for I am very +hungry.”</p> +<p>He gives him a sack, and says to him, “Whatever you wish for +will come into this sack.”</p> +<p>And he goes off, far away. He comes to a town, and passing before a +baker’s shop he smells an odour of very good hot loaves, and he +says to them, “Get into my sack,” and his sack is quite +full of them. He goes off to a corner of a forest, and there he lives +by his sack. He returns again into the town, and passes before a +pork-butcher’s. There were there black puddings, sausages, hams, +and plenty of good things. He says, “Come into my sack,” +and as soon as he has said it the sack is full. He goes again to empty +it as he had done with the loaves, and he returns into the town. In +front of an inn he says, “Come into my sack.” There were +there bottles of good wine and of liqueurs, and to all these good +things he says, “Come into my sack,” and his sack was +filled. <span class="pagenum">[<a id="pb198" href="#pb198" name= +"pb198">198</a>]</span></p> +<p>He goes off to his corner of the forest, and there he had provision +for some days; and, when he had well stuffed himself, he went out for a +walk. One day he saw some young girls weeping, and he asks them, +“What is the matter with you?” They answer that their +father is very ill. He asks if he can see him. They tell him, +“Yes.”</p> +<p>He goes there then, and the poor man tells him how he has given his +soul to the devil, and that he was expecting him that very day, and he +was trembling even then. Our Fourteen asks if he will let him be on a +corner of the bed, that he might see the devil. He tells him, +“Yes.” He then hides himself with his sack. A moment after +the devil arrives, and our lad says to him:</p> +<p>“Come into my sack.”</p> +<p>And as soon as he had said it, in goes the devil. Judge of the joy +of our man! Our lad goes off to some stone-breakers, and says to +them:</p> +<p>“Hit hard! the devil is in this sack.”</p> +<p>They went at it, blow upon blow, stroke upon stroke, and the devil +went:</p> +<p>“Ay! ay! ay! let me out! let me go! ay! ay! ay!”</p> +<p>The lad said, “You shall bring me, then, a paper, signed by +all the devils of hell, that you have no rights over this man.” +The devil agrees, and he lets him go. In a moment he comes back with +the paper, and the lad makes him go into the sack again, and has him +beaten by the stone-breakers, while he carries the precious paper to +the former man; and think how happy they were in that house!</p> +<p>Our man goes off, walking, walking, on, and on, and always on, and +he grew tired of this world. He said to himself, “I should like +to go to Heaven.” He goes on, and on, and on, but he comes to +hell; but as soon as ever the devils saw that it was Fourteen they shut +all the gates. He goes off again, far, far, very far, and comes to +Heaven. There the gates are shut against him. What does Fourteen do? He +put his sack in through the keyhole, and says to himself: <span class= +"pagenum">[<a id="pb199" href="#pb199" name="pb199">199</a>]</span></p> +<p>“Go into the sack.”</p> +<p>As soon as he has said it he finds himself inside, and he is there +still behind the door; and when you go to Heaven, look about well, and +you will see him there.</p> +<p class="signed"><span class="sc">Catherine Elizondo.</span></p> +<hr class="tb"> +<p>We add another version of this popular tale, collected by M. Vinson +from M. Larralde de Lesaca, of St. Pée-sur-Nivelle:—</p> +</div> +<div class="div2" id="ch7.2"><span class="pagenum">[<a href= +"#toc">Contents</a>]</span> +<h3 class="main">Jesus Christ and the Old Soldier.</h3> +<p class="firstpar">Once upon a time, when Jesus Christ was going with +His disciples to Jerusalem, He met an old man, and asked alms of him. +The old man said to Him:</p> +<p>“I am an old soldier, and they sent me away from the army with +only two sous, because I was no longer good for anything. I have +already given away one sou on the road; I have only one left, and I +give that to you.”</p> +<p>Then our Lord says to him, “Which would you prefer, a sack of +gold or Paradise?”</p> +<p>St. Peter gently nudges the old man in the ribs, “Say +Paradise.”</p> +<p>“What! Paradise!” says the old soldier. +“Afterwards we shall have Paradise as well. I prefer a sack of +gold.”</p> +<p>And our Lord gives him the sack of gold, and He said as He gave it +to him:</p> +<p>“When this sack is empty it will be sufficient to say, +‘<i lang="eu">Artchila murtchila!</i> go into my sack,’ and +everything you wish for will go into the sack.”</p> +<p>Our man takes the sack and goes on his road. When he had gone a +little way he passed before the door of an inn, and sees a fine leg of +mutton on the table. He was hungry, and, opening his sack, he said:</p> +<p>“<i lang="eu">Artchila murtchila!</i> fine leg of mutton, come +into my <span class="pagenum">[<a id="pb200" href="#pb200" name= +"pb200">200</a>]</span>sack!” and in an instant it was in it; and +in the same way he had everything he wished for.</p> +<p>One day the devil came to tempt this old man, but, as soon as he +heard him, he opened his sack and said:</p> +<p>“<i lang="eu">Artchila murtchila!</i> go into my +sack!”</p> +<p>And the devil himself entered into the sack. He takes the sack with +the devil in it to a blacksmith, and for a long time and very +vigorously he pounded it with his sledgehammer.</p> +<p>When the old soldier died he went to Paradise. When he arrived there +St. Peter appears, and says to him:</p> +<p>“Why are you standing there? And what are you asking +for?”</p> +<p>“Paradise.”</p> +<p>“What! Paradise!! Did not you prefer to have a sack of gold +when God gave you the choice? Be off from here. Be off to hell. There +are the gates, there.”</p> +<p>Our old man, in deepest sadness, goes to the door of hell, and +knocks; but as soon as the door was opened the devil recognised his +soldier, and began to cry out:</p> +<p>“Don’t let him come in! Don’t let him come in! He +will cause us too much trouble, and too many misfortunes. He is so very +vicious!”</p> +<p>And he will not receive him; so he returns again to Paradise, and +God commanded St. Peter to let this man enter who had been such a foe +to the devil.</p> +</div> +<div class="div2" id="ch7.3"><span class="pagenum">[<a href= +"#toc">Contents</a>]</span> +<h3 class="main">The Poor Soldier and the Rich Man.</h3> +<p class="firstpar">Like many others in the world, there was a man and +his wife. They had an only son. The time for the conscription arrived. +He went away with much regret. At the end of the seven years he was +returning home with five sous in his pocket. As he was walking along a +poor man came up to him, and asked charity in the Name of God. He gave +him <span class="pagenum">[<a id="pb201" href="#pb201" name= +"pb201">201</a>]</span>a sou, telling him that he had only five sous, +but that he could not refuse at the Name of God. A moment after another +poor man presents himself, and asks charity in the Name of God. He +gives to him, telling him repeatedly:</p> +<p>“I, who had only five sous to take home after seven years of +service—I have already given away one of them; but I cannot +refuse you—I shall have still enough left to get a breakfast +with.”</p> +<p>And he goes on, but a moment after comes another poor man, and he +gives again. This poor man says to him:</p> +<p>“You will go to such a house, and you must ask charity of M. +Tahentozen in the Name of God. He gives charity to no one; but he will +ask you in from curiosity, and to hear the news. When you have told him +all that you have seen, he will ask you where you have come from. You +must say that you come from Heaven, but that you have seen nothing +there but poor and maimed people, and that in hell there was nothing +but rich men; and that at the gate of hell there are two devils sitting +in arm-chairs, ‘and I saw one arm-chair empty, and I went and +asked whom it was for; and there came two devils from the gate, limping +as if they were lame, and they said: “This is for M. Tahentozen. +He never gives anything in charity, and, if he does not change, his +place is <i>there</i>.”’”</p> +<p>Our soldier goes as he has been told, and asks charity in the Name +of God. But the servant, as she always did, sent him away. The master, +having heard someone, asks the servant who is there. The servant +answers that it is a soldier who asks for charity. He tells her to +bring him up, in order to ask the news. Our soldier tells him all that +the poor man had told him to say. And there upon the rich man begins to +reflect, and he keeps the soldier at his house, and makes him rich, and +the rest (of his money) he divides among the poor.</p> +<p class="signed"><span class="sc">Gachina</span>,<br> +the Net-maker. <span class="pagenum">[<a id="pb202" href="#pb202" name= +"pb202">202</a>]</span></p> +</div> +<div class="div2" id="ch7.4"><span class="pagenum">[<a href= +"#toc">Contents</a>]</span> +<h3 class="main">The Widow and her Son.<a class="noteref" id= +"xd20e6193src" href="#xd20e6193" name="xd20e6193src">2</a></h3> +<p class="firstpar">Once upon a time, and like many others in the +world, there was a widow who had a son. This son was so good to his +mother that they loved one another beyond all that can be told. One day +this son said to his mother that he must go to Rome. The mother was in +the greatest distress, but she let him go. (At parting) she gave him +three apples, and said to him:</p> +<p>“If you make acquaintance (with anyone) on the road, and if +you are thirsty, give him one of these apples to divide; and he who +will give you back the largest part, he will be a good friend to you +for the journey.”</p> +<p>He set out then. When he has gone a little way he falls in with +three men. They made acquaintance, and they told him that they were +going to Rome. They went on, and on, and on, and as talking makes one +thirsty, the widow’s son said to them:</p> +<p>“I have in my pocket an apple which my mother gave me at +starting; we will eat it. Here, take and divide it.”</p> +<p>One of them divides it, and gives him the smallest part. When he saw +that he made some excuse and quitted his companions. He goes travelling +on, on, on, along the road, when he meets with three monks. They tell +him that they are going to Rome, and offer to make their journey +together. When they had gone a little way, they get thirsty also. The +widow’s son says to them:</p> +<p>“I have an apple which my mother gave me at starting. Here it +is; take and divide it.”</p> +<p>They, too, were no better comrades than the others. They give him +only a small piece. Fortunately he remembers the advice of his mother, +and he leaves them. He <span class="pagenum">[<a id="pb203" href= +"#pb203" name="pb203">203</a>]</span>goes on a short way alone, and +sees in the distance something shining under an oak; as he approaches +he sees that it is a king. He tells him where he is going, and learns +that he too is going to Rome. The king engages him to rest himself +along with him, and he stays there a long time; and at length they get +thirsty, and the son of the widow gives him the last apple, telling him +that it is his mother who gave it him at starting. The king’s son +divides it, and gives him the largest piece. The son of the widow is +rejoiced that he has found a good comrade, and they vow great +friendship under the oak. The son of the widow engages himself to bring +the king’s son to Rome alive or dead, and the other binds himself +to serve and aid him as long as he has a drop of blood in his veins. +Resuming their journey they go on, and on, and on, and at length night +surprises them, and they do not know where to go to. They meet a young +girl who was going to the fountain. They ask her if shelter would be +given them in the house which they see there.</p> +<p>She answers “Yes;” and then, lowering her voice, she +adds, “Yes, to your misfortune.”</p> +<p>It was only the widow’s son who heard these last words. So +they go there, and enter, and are very well received. They had a good +supper given them, and a good bed on the third story. The widow’s +son puts the prince on the outside of the bed, and he himself goes next +the wall. The former falls asleep immediately, because he was very +tired; but the widow’s son was kept awake by his fear, and, just +as twelve o’clock struck, he hears someone coming up stairs, and +sees the owner come into the bed-room with a large knife in his hand. +The mistress held the light and the servant a basin. They come near and +cut the throat of the king’s son, and carry him down stairs. +While they are doing this the widow’s son gets out on the roof, +and from there he shouts and cries out for the justice. When he had +made himself heard, he told the people what had taken place. As they +had never before heard anything like this <span class="pagenum">[<a id= +"pb204" href="#pb204" name="pb204">204</a>]</span>of the people in the +house, they would not believe him, and put him in prison. The next day +he was condemned to death.</p> +<p>Before dying he asks one favour. It is granted him. He then asks for +two blood-hounds to go and search the house with. They grant him that, +and he goes with the servants of the justice. After having gone over +the whole castle, without having found one drop of blood, they go down +to the cellar. The dogs kept smelling about, but the master refused to +open the door, saying there was nothing there but dirt and rubbish. +They told him that he must open it all the same, and there they found +the king’s son with his crown. This was all they wanted.</p> +<p>They set the widow’s son at liberty; and he asks for the body +of the king’s son, and puts it into a sack. He takes the sack on +his shoulders, and starts for Rome, where he arrives fatigued and worn +out; but he has kept his word.</p> +<p>He goes to see the Holy Father, and told him all that had taken +place, and what had happened to his friend.</p> +<p>Our Holy Father says to him, “To-morrow, at the moment of the +Elevation, you will place the head on the body.”</p> +<p>He does so, and at the very same moment the body of the king’s +son is seized with a trembling, and he calls out—</p> +<p>“Where am I?”</p> +<p>The widow’s son answers, “At Rome. Do you not remember +how your throat was cut yesterday? And I myself have carried you, as I +promised, to Rome.”</p> +<p>The king’s son went to pay his visit to our Holy Father, and +(after that) they set out (home). And when they had gone a long way, +they come to the oak where they had (first) made each other’s +acquaintance, and it is there, too, that they must part.</p> +<p>They renew their promises (to each other). The king’s son +takes off his ring, and gives it to the other as a keep-sake to +remember him by. And the king’s son, on counting his money, +remarks that he has just the same sum as he <span class= +"pagenum">[<a id="pb205" href="#pb205" name="pb205">205</a>]</span>had +when he was under the oak the last time. And they quit each other, each +to go to his own home.</p> +<p>When the widow’s son reaches home, the mother is delighted to +see her son again, and the son also (to see his mother). But the next +day he was covered with a frightful disease, which was very like +leprosy, and it had an infectious smell; but, fortunately, the mother +did not smell it. The poor mother did all that she could to cure her +son, but nothing relieved him. She heard that there was a monk in the +neighbourhood, a great saint, who cured diseases. She sends for him, +and the widow’s son relates to him his journey to Rome, and all +that had taken place there, and he tells also the promises which they +had made to each other.</p> +<p>Then the monk says to him, “If you wish to be cured, there is +only one remedy—you must wash yourself in the blood of this +king.”</p> +<p>This news made the young man very sad, but his mother would start +the very next day; and they set out on their journey in an old +carriage. Everyone where they passed stopped their noses, and said, +“Pheu! pheu!” After some time they came to the king’s +house. The mother asks leave to speak to the king, but a servant drives +her far away, because of the smell, telling her not to approach nearer. +So she could not say anything to the king. But one day the king goes +out, and sees the carriage, and he asks what it is. They tell him that +it is a sick man, who smells like putrid fish, and who wishes to see +the king. The king is angry because they had not told him of it +before.</p> +<p>Now this king was married, and already he had a son. He orders the +people in the carriage to come to him, and the widow’s son told +him who he was, and showed him the ring which he had formerly given +him. Without paying the least attention to his malady, the king takes +him in his arms and embraces him. The widow’s son tells him the +grief that he had felt at what the monk had told him.</p> +<p>The king goes to find his wife, and tells her what has happened +about the sick man at the gate, and how this sick <span class= +"pagenum">[<a id="pb206" href="#pb206" name="pb206">206</a>]</span>man +had already restored him to life, and that now it was his turn, and +that he could not be cured except by washing in his blood; and (he bids +her) choose between her child and himself. This poor mother sacrifices +her son. They kill him. The sick man washes himself immediately (in the +blood), and is cured at the same instant. The queen, in her grief, goes +into her child’s bedroom, and there she finds her son full of +life again. Overflowing with joy, she takes up her son, and goes out +crying to everyone, and showing them her infant. Judge what a delight +for them all! The widowed mother and her son lived in the king’s +palace so happily, and never left him more.</p> +<p class="signed"><span class="sc">Catherine Elizondo.</span></p> +</div> +<div class="div2" id="ch7.5"><span class="pagenum">[<a href= +"#toc">Contents</a>]</span> +<h3 class="main">The Story of the Hair-Cloth Shirt (La Cilice).</h3> +<p class="firstpar">Once upon a time, like many others in the world, +there was a gentleman and a lady. They had no children, but they longed +for one above everything. They made a vow to go to Rome. As soon as +they had made the vow, the woman became pregnant.</p> +<p>The husband said to her, “We shall do well to go there at +once.”</p> +<p>The wife said, “We have not time enough now; we can go +afterwards just as well.”</p> +<p>The lady was confined of a boy. The boy grows up and he sees that +his father is constantly sad, and he finds him often crying in all the +corners. The little boy was now seven years old, and the mother had not +yet decided to go to Rome. One day this young boy goes into his +father’s bed-room, and finds him weeping again. He therefore said +to him:</p> +<p>“What is the matter with you, father?”</p> +<p>But he will not answer him, and the child takes a pistol, and says +to his father: <span class="pagenum">[<a id="pb207" href="#pb207" name= +"pb207">207</a>]</span></p> +<p>“If you will not tell me what is the matter with you, I will +shoot first you and myself afterwards.”</p> +<p>The father then said that he would tell him, (and he told him) how +that his mother and he had made a vow to go to Rome if they had a +child, and that they had never been there.</p> +<p>The child said to him, “It is for me that this vow was made, +and it is I who will go and fulfil it.”</p> +<p>He says “Good-bye,” and sets out.</p> +<p>He was seven years on the road, and begged his bread. At last he +comes to the Holy Father, and tells him what has brought him there. Our +Holy Father puts him in a room alone for an hour.</p> +<p>When he comes out, he says to him, “Oh, you have made a +mistake; you have made me stay there two hours at least.”</p> +<p>Our Holy Father tells him “No!”—that he has been +there only one hour. And he puts him into another room for two +hours.</p> +<p>When he came out from there he said, “You have made me stop +more than two hours.”</p> +<p>He says to him, “No,” and puts him in another room for +three hours.</p> +<p>When he came out of that he said, “You have only left me there +three minutes.”</p> +<p>And he said to him, “Yes, yes, yes; you have been there three +hours.”</p> +<p>And our Holy Father told him that the first room was Hell; that the +second was Purgatory; and that the last was Heaven.<a class="noteref" +id="xd20e6296src" href="#xd20e6296" name="xd20e6296src">3</a></p> +<p>The child says to him, “Where am I? I in Paradise! And my +father?”</p> +<p>“In Paradise too.” <span class="pagenum">[<a id="pb208" +href="#pb208" name="pb208">208</a>]</span></p> +<p>“And my mother?”</p> +<p>“In hell.”</p> +<p>The boy was grieved, and said to him, “Can I not save my +mother? I would let my blood flow for her for seven years +long.”</p> +<p>Our Holy Father tells him that he can, and he puts on him a +hair-cloth shirt with a padlock, and throws the key into the water.</p> +<p>And our Holy Father says to him, “When you shall find this +key, your mother will be saved.”</p> +<p>He starts off, begging his way as before, and takes seven more years +before arriving in his own country. He goes from house to house asking +alms. His father meets him and asks him where he comes from. He says, +“From Rome.” He asks him if he has not seen on the road a +boy of his own age. He says to him, “Yes, yes,” and tells +him that he has gone on walking for seven years, shedding his blood to +save his mother. And he keeps on talking about his son. His mother +comes out on the staircase and tells her husband to send that poor man +away—that he must be off from there. But he pays no attention to +her. He brings him in, and tells her that he is going to dine with +them. His wife is not pleased. He sends the servant to market, telling +her to buy the finest fish that she can find. When the young girl comes +back, she goes to the poultry yard to clean the fish. The young man +follows her, and as she was cleaning the fish she found a key inside +it.</p> +<p>The young man said to her, “That key belongs to me.”</p> +<p>And she gives it to him.</p> +<p>The lady could not endure this young man, and she gives him a push, +and he falls into the well. All on a sudden the water of the well +overflows, and the young man comes out all dripping. The husband had +not seen that his wife had pushed him into the well, and the young man +told him that he had fallen into it. This poor man wishes to give him +some clothes, but he will not accept them, saying that he will dry +himself at the fire. At table the lady is not at all <span class= +"pagenum">[<a id="pb209" href="#pb209" name= +"pb209">209</a>]</span>polite to him. The young man asks her if she +would recognise her son.</p> +<p>She says, “Yes, yes; he has a mark between his two +breasts.”</p> +<p>And the young man opens his clothes, and shows the mark. At the same +time he gives the key to his mother that she may open his hair-cloth +shirt, and the mother sees nothing but blood and gore. He has suffered +for her. The three die. And the servant sees three white doves fly +away. I wish I could do like them in the same way.</p> +<p class="signed"><span class="sc">Gachina</span>,<br> +the Net-maker.</p> +</div> +<div class="div2" id="ch7.6"><span class="pagenum">[<a href= +"#toc">Contents</a>]</span> +<h3 class="main">The Saintly Orphan Girl.</h3> +<p class="firstpar">There was a young girl who lived far from the +world, alone, in sanctity. Every day a dove brought her her food.</p> +<p>One day she saw a young girl whom two gens-d’armes were taking +to prison or to execution. The orphan said to herself:</p> +<p>“If she had lived like me, they would not have taken her to +prison.” And thereupon she had a thought of pride, and from that +day the dove no longer brought her anything to eat. She goes to seek a +priest, and tells him what has happened, and since when she does not +receive any more food. This priest tells her that she has been punished +on account of that thought, and that she must be present at the birth +of three children, and see what their gifts would be. The first was the +son of a king. She asks the queen permission to remain in the +bed-chamber, no matter in what corner; all would be the same to her if +she would only give her leave. She consents to it. When this queen +gives birth to a boy, the infant has round its neck a white cord, +<span class="pagenum">[<a id="pb210" href="#pb210" name= +"pb210">210</a>]</span>and this orphan understood that he would be +guillotined<a class="noteref" id="xd20e6346src" href="#xd20e6346" name= +"xd20e6346src">4</a> when he was eighteen years old. She sees the birth +of another child; a girl with a red cord round her neck, and she sees +that she will turn out badly, and that she would go to ruin. She sees a +third; this was a boy, and he had blue cord on, which meant that he +would be very good.</p> +<p>After having seen that this orphan goes back to the house of the +queen. There she lived happily, busying herself especially about this +child. As she caressed it she often used to say in a sad tone:</p> +<p>“Poor child!”</p> +<p>The mother remarked that, and one day she said: “One would say +that this child was very unfortunate. Do you always act thus when you +caress a child, as if it were very wretched, or as if something were +going to happen to it?”</p> +<p>She said that to her more than once. And when the (fated) age was +drawing near, this orphan told the queen what must happen at the age of +eighteen. I leave you to judge of the distress of this queen. She told +it to her husband, and the father and mother told it to their son; and +he said that he must leave the house immediately. He goes then a long +way off to another town. And as he was a pretty good scholar, he got a +place in a house where there was a large shop. They sold everything +there; and as this lad was very good everybody loved him. They heard +him go out of the house every night, but they did not know where. The +master was curious (to learn this), and he made a hole above the shop, +for he went there too in the night. He sees him take a wax candle, and +put the price of this candle into the cash-box by the hole, counting +the money aloud. Taking the candle with him he falls on his knees, and +went a considerable distance to a chapel, walking still on his knees. +<span class="pagenum">[<a id="pb211" href="#pb211" name= +"pb211">211</a>]</span>The master follows him during a whole week, and +the boy did always the same thing; and on the eighth day the master +looks through the key-hole of the chapel, and sees an angel descend and +throw a chain to our lad, and the angel lifted him up in the air. A +moment after he comes down again, and goes back to his master’s +house.</p> +<p>The master tells him that he has seen all, and the boy says that his +penance is also finished, and that he must go home. The master does not +wish it.</p> +<p>“You shall go afterwards, if you wish it; but first you must +marry my daughter.”</p> +<p>He tells him that he has a father and mother, and that he cannot do +it without telling them; but if they wish it, he will do so +willingly.</p> +<p>He starts home then at once. You may imagine what joy for the king +and the queen. They were constantly trembling lest they should hear +that their dearly loved son had been hanged. They did not know what to +do for joy. He told them how he had done penance, and that without +doubt the good God had pardoned him; and how his old master wished him +to marry his daughter. He does so, and all live happily and die +well.</p> +<p class="signed"><span class="sc">Louise Lanusse.</span></p> +</div> +<div class="div2" id="ch7.7"><span class="pagenum">[<a href= +"#toc">Contents</a>]</span> +<h3 class="main">The Slandered and Despised Young Girl.</h3> +<p class="firstpar">Like many others of us in the world, there was a +mother and her daughter. They were very poor, and the daughter said +that she wished to go out to service, in order to do something for her +mother. The mother will not listen to it; what would become of her +without her daughter? She prefers to be poor with her to being rich +alone. The young girl stays at home. She used to go out as needlewoman; +but suddenly her mother falls ill, and quickly she dies.</p> +<p>This poor young girl had the deepest sorrow, and she continued to go +out to work as before. One day, while she was <span class= +"pagenum">[<a id="pb212" href="#pb212" name="pb212">212</a>]</span>at +work in a house, some acquaintance came and said to them—</p> +<p>“What! you have this young girl here to work! She is a bad +girl; she is not at all what she ought to be. You should not take +her.”</p> +<p>In the evening they give her her day’s wages, and say that +they do not want her any more. She goes to another house, and there the +same thing happens. Some people come and say in the same way—</p> +<p>“You have that young girl to work! She will come to a bad end, +that girl will. She is even a thief; do not have her again.”</p> +<p>In the evening they give her her day’s wages, and say to her +that they do not want her any more. No one asked her to work any more, +and she remained at home. By charity and pity, some neighbours, without +any necessity, let her come to work for them, because they were pained +to see her distress. But there, too, someone comes and says,</p> +<p>“I am astonished to see that young girl here. She is a +worthless girl. How is it that you have her here?”</p> +<p>They answer, “Moved by charity, just to help her.”</p> +<p>“Do not have her any more; she is a thief, and as bad as can +be.”</p> +<p>After having given her her day’s wages, they send her off, and +say that they do not want her any more.<a class="noteref" id= +"xd20e6397src" href="#xd20e6397" name="xd20e6397src">5</a></p> +<p>This poor young girl was in the greatest distress; if she wished to +eat, she must beg. She set to work begging then, and everyone disliked +her so much that, when they saw her, they used to spit at her.</p> +<p>There came home from one of his voyages a ship’s captain, and, +while he was amusing himself with his friends, this young girl asks for +charity. His friends tell <span class="pagenum">[<a id="pb213" href= +"#pb213" name="pb213">213</a>]</span>him that she was a bad girl, and +they spit at her, and he does like the rest. Our captain goes off for +another voyage; but he was overtaken by a terrible tempest. The storm +was so violent, and the rain came down as if it would never leave off; +it made them all tremble. In the midst of his prayers the captain made +a vow that, if he escaped, he would marry the worst and most despised +girl that he could find. Immediately the weather became fine. He makes +a very successful voyage, and one which brought him plenty of money; +but, when he reached land, he forgot his vow, and began to amuse +himself as much as possible.</p> +<p>This same young girl asks charity, and, after his friends have told +him that she was a bad girl, they spat at her, and he did so too.</p> +<p>Again he goes to sea, and he is overtaken by a storm, much worse +than the former one. The wind was most violent, and the lightning +terrible; they saw nothing but that. All trembled, and were praying. +The captain again makes a vow of marrying, if he should get safe home, +with the most abandoned and the poorest girl he can find, and he +regrets that he has not kept his vow. He said to himself,</p> +<p>“If I had kept it, perhaps I should not have had such weather +as this; but nothing now shall make me forget my promise.”</p> +<p>Immediately the weather becomes fine; he has immense good fortune, +and gains as much money as he wishes.</p> +<p>When he comes home, he sees this young girl again. His friends spit +at her, but he says to them,</p> +<p>“I will not spit at her—I wish to marry her.”</p> +<p>His friends burst out into roars of laughter, “Ha! ha! +ha!” The sailor goes home to his mother, and tells her that he is +going to be married. His mother answers him,</p> +<p>“If you make a good and rich marriage, very well.”</p> +<p>The son said to her, “She is not at all rich. She is that girl +there.”</p> +<p>The mother was not pleased. “Leave that bad girl alone.” +<span class="pagenum">[<a id="pb214" href="#pb214" name= +"pb214">214</a>]</span></p> +<p>He said, “It is all the same to me; I will marry none but +her.”</p> +<p>He asks his friends where she lives. They point to an old house. The +captain goes there in the evening and knocks at the door. The girl +says, “Who is there?”</p> +<p>The man says, “Open the door for me. It is I.”</p> +<p>The young girl says, “I will not open the door—I am in +bed.”</p> +<p>“Never mind, open it.”</p> +<p>“No! I will not do it.”</p> +<p>“I am going to break in the door.”</p> +<p>“Do what you will, but I will not open it.”</p> +<p>He breaks open the door, as he said, and goes in. He sees this young +girl on a little straw, covered only by her dress. The man wants to go +near her. The girl says:</p> +<p>“You may kill me if you like, but you shall not come near +me.”</p> +<p>They were like that a long time. The man says to her:</p> +<p>“Give me your promise of marriage, then?”</p> +<p>The young girl says, “What do you mean? I so poor and you so +rich—how can we marry?”</p> +<p>The man says that they will do so. The young girl will not believe +him, and the gentleman says to her:</p> +<p>“If you will give me your promise I will go away at +once.” And the young girl says “Yes,” in order to +make him go away. Then he goes away.</p> +<p>The next day he goes to a priest and tells him what has taken place, +and gives him forty thousand francs, and tells him to build a fine +house with it, and to furnish it, and if anything more is wanting he +will pay it at his next voyage. The young girl, too, goes to the +priest, for before this she had been helped and comforted by him. The +priest tells her how the captain had given him forty thousand francs +for her to build a fine house with, and for her to make use of for all +she wanted. The priest said that he would undertake building the house, +and she said that she would see to all that was wanting for herself. +<span class="pagenum">[<a id="pb215" href="#pb215" name= +"pb215">215</a>]</span></p> +<p>The captain goes off, and has as successful a voyage as could be +made—he had nothing but fair weather. He brought back plenty of +money, and they were married soon after his arrival. His mother and his +brothers and sister were at the wedding. After some time the captain +wished to go and make another voyage. He left his fine house to take +his wife to his mother’s house, and he said to her:</p> +<p>“My wife will be better with you than all alone. You will have +her always dressed as becomes her position, and keep a good table for +her, and take good care of her.”</p> +<p>The husband went to sea. He often wrote to his wife; but what do the +captain’s mother and her daughter do after he is gone? They take +away from this lady all her pretty dresses, and make her put on old +ones, and wooden shoes too with straw inside, and send her off to keep +the geese with a bit of bread, telling her that she must bring home a +load of small wood (to light the fire with), and that she must keep +spinning while she is watching the geese. This poor young girl says +nothing. She goes off with her flock of geese. When night comes she +returns with four skeins of thread spun and a load of small wood. Every +day she does the same. They do not even tell her that her husband has +written to her.</p> +<p>The captain has a fine voyage. He had some fears about his mother +and his sister, and he thought to himself that it would be best to come +home secretly, in silence, and see how they were treating his wife. He +comes then as a foreigner, in the dress of a captain. He says that he +comes from a distance, and that he wishes to pass a week in their +house. The mother and the daughter receive him very well. They tell him +to choose his own room, and he chooses his own wedding-chamber. At +nightfall the geese come home, cackling, cackling, and with them the +young girl. This gentleman tells them that it is his habit to have some +young girl with him when he travels like that, and <span class= +"pagenum">[<a id="pb216" href="#pb216" name="pb216">216</a>]</span>asks +them if they can get him one. They tell him “Yes,” that +there would be none more glad than this young girl, and that they will +give her to him. They go and tell it to the goose girl.</p> +<p>She says that certainly she will not go. They say to her that he has +chests full of gold, and that they would willingly go, but that he has +chosen her; and they push her by force into the room. The gentleman +orders an excellent supper, and says that he has the habit of supping +well. The goose girl stands sadly before the table. She would not eat +anything; the gentleman presses her, and she kept saying that she was +not hungry—that she had eaten as much as she usually did. He asks +her:</p> +<p>“Where have you eaten? and what have you eaten?”</p> +<p>“A piece of bread that I took with me in the +morning.”</p> +<p>He tells her again to eat these good things. She says that she does +not want anything, and that the greatest pleasure he can give her is to +let her go off to her geese. The gentleman says to her:</p> +<p>“You do not know then why you have come here? You are to sleep +with me.”</p> +<p>The young girl says: “You shall cut me in pieces on the spot +before I will go to your bed. I have a husband, and I wish to be +faithful to him.”</p> +<p>And she tells, on his asking her, how that she was very poor, and no +one loved her, and how a rich gentleman had wished to marry +her—how very good he had been to her even after the marriage, and +how when he went on a voyage he had left her at his mother’s +house, thinking that she would be best there, and that since he was +gone she had had no news of her husband. The gentleman said to her:</p> +<p>“Would you recognise your husband?” She says, +“Yes.”</p> +<p>“Has he any marks?”</p> +<p>The young girl says, “Yes; he has a mole between his two +breasts with three hairs on it.” <span class="pagenum">[<a id= +"pb217" href="#pb217" name="pb217">217</a>]</span></p> +<p>The gentleman opens his shirt and shows her his birthmark.</p> +<p>This young girl was seized with such joy that she fainted away, and +fell down on the floor. As this gentleman knew the ways of the room he +burst open the closet, and took a bottle of liqueur to bring his wife +round again, and at last she came to herself, and passes a sweet night +with her husband.</p> +<p>The next morning the geese come, cackle, cackle, before the door, +and the mistress of the house and her daughter come to the +gentleman’s door, calling out, if they have not stopped there +long enough, that it is time to set off, and that it is a shame to be +in bed at that hour. The gentleman gets up and says to his mother:</p> +<p>“What, mother, was this the way that you ought to have treated +my dearly-loved wife?”</p> +<p>And he was in such a rage that, if his wife had not begged him to +forgive her, he would even have beaten her; but his wife prevented him. +He sent his mother and his sister out of the house, and he and his wife +lived for many years happy and pleased with each other; and as they +lived well they died well too.</p> +<p class="signed"><span class="sc">The Sister of Laurentine.</span></p> +<p>This may be Toutou, but in the Basque country it is sometimes +difficult to get hold of a person’s surname. “Who is +Laurentine?” you ask. “She is Toutou’s sister,” +is the reply. “But who is Toutou?” “She is +Laurentine’s sister.” If you want to get anything more out +you have to cross-examine for half-an-hour. Some of our tales are not +signed; we believe these are to be divided between Catherine Elizondo +and Laurentine Kopena. Fresh names we think we always put down, but +these brought so many tales that we sometimes omitted it with them, and +in the rearrangement for printing we have lost our clue. <span class= +"pagenum">[<a id="pb218" href="#pb218" name="pb218">218</a>]</span></p> +<p>We have some thirteen other tales of all kinds, besides variations, +which we have not given. They are mostly short, and not very different +in character from those given above, except in being more stupid in two +or three cases; and a few of them are to be found in M. +Cerquand’s collection.</p> +<div class="figure xd20e6515width"><img src="images/ornament3.png" alt= +"Ornament." width="251" height="260"></div> +<p><span class="pagenum">[<a id="pb219" href="#pb219" name= +"pb219">219</a>]</span></p> +</div> +<div class="footnotes"> +<hr class="fnsep"> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e6026" href="#xd20e6026src" name="xd20e6026">1</a></span> The +first portion of this tale is told of the Tartaro as +“Twenty-Four.” We suspect that it is an old Tartaro tale +joined on to a Christopheros legend, unless indeed this be the very +peculiarity and meaning of the Christopheros legend—the enlisting +of the old gods into the service of Christ, and including the most +human of them in His salvation. The last part of the tale is very +widely spread. It is given by F. Caballero in the Spanish, and by +Cenac-Moncaut, “Le Sac de la Ramée,” p. +57—“Littérature Populaire de la Gascogne.” +There is something like it in Campbell’s “Tale of the +Soldier,” Vol. II., p.276.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e6193" href="#xd20e6193src" name="xd20e6193">2</a></span> This +seems to be one of the many variations of the “Golden +Legend,” the “Aurea Legenda” which Longfellow has so +well versified.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e6296" href="#xd20e6296src" name="xd20e6296">3</a></span> The idea +of this incident is not confined to Christianity; a similar story is +told of a Mahommedan saint, and a caliph or king. The scene of the +story is Cairo.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e6346" href="#xd20e6346src" name="xd20e6346">4</a></span> As is +plain by the sequel, where the angel hangs him for a moment, the +original story must have had “hanged.” This is a good +example of the way in which the dress of a story gets gradually +altered, as old customs are forgotten among a people.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e6397" href="#xd20e6397src" name="xd20e6397">5</a></span> This +whole picture is, unhappily, more true to life than one would think at +first sight. The whole history of the Cagots, and a good deal of that +of witchcraft, shows how virulent this kind of irrational dislikes is, +and how difficult to deal with and to overcome when once they have been +introduced into a rural population.</p> +</div> +</div> +</div> +<div class="back"> +<div id="basquelanguage" class="div1"><span class="pagenum">[<a href= +"#toc">Contents</a>]</span> +<div class="figure"><img src="images/head5.png" alt= +"An Essay on the Basque Language," width="720" height="152"></div> +<h2 class="main">An Essay on the Basque Language,</h2> +<p class="byline">By M. Julien Vinson.</p> +<p class="firstpar">The Basque Language is one which is particularly +attractive to specialists. Its place in the general series of idioms +has at last been well defined—it is an agglutinative and +incorporating language, with some tendency to polysynthetism. It +consequently finds a place in the second great morphological linguistic +group, between the Finnic and the North American family of languages. I +shall now attempt a very short sketch of its general features; but I +must ask permission, first, briefly to state some of the most essential +principles of the science of language.</p> +<p>It is acknowledged that the science of language—that is to +say, the science of the characteristic phenomenon of the human species, +is a purely natural science. It has nothing in common with philology, +which is mainly a historical study. Whether it be called +<i>linguistique</i>, glottology, phonology, or even, by a too common +abuse, comparative philology, the science of language follows the same +method as the other natural sciences, and advances by observation and +experience. The direct subject-matter of this science is <span class= +"pagenum">[<a id="pb220" href="#pb220" name= +"pb220">220</a>]</span>those vocal organisms which express, by sensible +sounds, thought and its divers modes of existence. These organisms are +the spontaneous and unconscious product of organs which, as natural +phenomena, fall under the general law of perpetual variation, acted on +by their surroundings, climate, &c.; but as incapable of being +modified by the external or internal exercise of human volition as any +other of the organized beings which surround us.</p> +<p>But as the object of language is to express thought in all its +niceties, both the fact that gives rise to it, and the modifications of +it caused by time and space, so it is seen that different idioms have +adopted different methods of expressing, in the best and readiest +manner, the idea, the conception or intuition, with its variable forms, +in order to translate with precision its <i>signification</i>, and its +relations. From this point of view language has been divided into three +great groups: the first, that of isolating languages, wherein the +monosyllabic roots all retain their meaning, and wherein the relations +are only expressed conventionally, <i>i.e.</i>, were not originally +expressed at all; the second, that of agglutinative languages, in which +the relations are expressed by roots once significative, but now +reduced to a secondary and subordinate office; lastly, the third, that +of inflectional languages, in which the change of relations is +expressed by a modification in the root itself, and even in the radical +vowel. It is clear that the idioms of the second group were once +isolating, and that inflectional idioms have passed through both the +former states. We conclude from this that language is essentially +progressive and variable in the sense of a constant improvement in the +expression of relations. And yet, in the study of existing languages we +find, on the contrary, that they are often in this respect inferior to +their ancestors.</p> +<p>This contradiction, however, is only an apparent one. Thus, as +Schleicher has demonstrated, languages are born, <span class= +"pagenum">[<a id="pb221" href="#pb221" name="pb221">221</a>]</span>grow +up, become stationary, decline and die; in a word, live after the same +fashion as do organized beings. There are in every language two +principal periods—that of <i>formal development</i>, during which +the idiom passes from the first (monosyllabic) stage to the second +(agglutinative) by reducing certain roots to a secondary and dependent +office, then from the second to the third (inflectional) by a new +effort to express simultaneously signification and relation; and that +of <i>formal decay</i>, during which the original meaning of the +relative affixes is more and more forgotten, they get worn out, change +by degrees, and often end by perishing altogether. <i>Formal decay</i> +begins when a language becomes historical, and it often gives rise to +remarkable cases of <i>regressive metamorphosis</i>. One remark which +we must make on this subject is that the known agglutinative languages +have not spontaneously arrived at historical life—that is to say, +have not commenced their decay, except under the influence of a foreign +idiom either isolating or inflectional. Nevertheless, during their +decay, languages can adopt fresh forms, but these are merely composed +of words already in use; man in the historical period has no longer +bare roots at his service.<a class="noteref" id="xd20e6561src" href= +"#xd20e6561" name="xd20e6561src">1</a></p> +<p>These linguistic elements are, moreover, subject to the terrible law +of the struggle for existence, and of vital competition. Many of them +have perished and have left no trace; others are preserved to us merely +in some scanty records. The Basque, pressed hard by Latin and its +derived languages, has lost ground, especially in Spain. Beyond its +actual limits, there are in Navarre many villages, the names of which +are Basque, but in which Spanish only is spoken; and all along the +frontiers of the actual region of the Basque <span class= +"pagenum">[<a id="pb222" href="#pb222" name="pb222">222</a>]</span>in +the Spanish provinces this idiom is spoken only by a minority of the +inhabitants. It is, moreover, undergoing modification everywhere; the +children often replace the old expressive native terms by a vocabulary +drawn from the Romance tongues. In those places which are most in +contact with strangers, and in which the movement of modern life is +most keenly felt—at St. Sebastian and at St. Jean de Luz, for +instance—the language has become exceedingly debased and +incorrect. Everything presages the speedy extinction of the Escuara or +Euscara, which is the name given to the Basque by those who speak it. +The word, apparently, means merely “manner of speaking.” +All people have, in a greater or less degree, the pretension which +caused the Greeks to treat all foreigners as barbarians—that is, +as not properly-speaking men.</p> +<p>Prince L. L. Bonaparte reckons the actual number of the Basques, not +including emigrants established in Mexico, at Monte Video, and at +Buenos Ayres, at 800,000, of whom 660,000 are in Spain, and 140,000 in +France.</p> +<p>The phonetic laws of the Escuara are simple; the sounds most +frequently employed are the sibilants, nasals, and hard gutturals; the +soft consonants are often suppressed between two vowels. The mixed +sounds, between palatals and gutturals, characteristic of the second +large group of languages, are also frequently met with. One of the +predominant features is the complete absence of reduplication of +consonants, the aversion to groups of consonants, and the care taken to +complete the sound of final mute consonants by an epenthetic vowel. It +is probable that originally the words were composed of a series of +syllables formed regularly of a single consonant and a vowel. We must +mention, besides, the double form of the nominatives, one of which is +used only as the subject of an active verb; the other serves equally +for the subject of the intransitive, <span class="pagenum">[<a id= +"pb223" href="#pb223" name="pb223">223</a>]</span>and the object of the +active verb. This is absolutely the same distinction remarked by M. +Fried. Müller in the Australian languages between the subjective +and the predicative nominative.</p> +<p>Formal derivation is accomplished by means of suffixing the elements +of relations; pronominal signs are nevertheless not only suffixed, but +also prefixed to verbs. Except in this respect, nouns and verbs are not +treated in two distinct manners; they are both equally susceptible of +receiving suffixes which mark the relations of time and space, and many +of which have preserved in their integrity both their proper +signification and their primitive sonorous form. The article is the +remote demonstrative pronoun. The pronouns “we” and +“ye” are not the plurals of “I” and +“thou,” but have the appearance of special individualities. +There are no possessive derivative terms; “my house,” for +example, is expressed by “the house of me,” and has no +analogy with “I eat,” or any other verbal expression. There +are no genders, although some suffixes are specially replaced by others +in the names of animate beings; and in the verb there are special forms +to indicate if a man or woman is being spoken to. There is no dual. The +sign of the plural is interposed between the article and the suffixes. +In the singular alone can there be an indefinite or indeterminate +declension without the article.</p> +<p>The conjugation is exceedingly complicated. The Basque verb includes +in a single verbal expression the relations of space; of one person to +another—(1) <i>subjective</i> (the idea of neutrality, of action +limited to its author), (2) <i>objective</i> (the idea of action on a +direct object), and (3) <i>attributive</i> (the idea of an action done +to bear on an object viewed indirectly, the idea of indirect action); +the relations of time; the relations of state, corresponding to as many +distinct moods; the variations of action, expressed by different +<span class="pagenum">[<a id="pb224" href="#pb224" name= +"pb224">224</a>]</span>voices; the distinctions of subject or object, +marked by numerous personal forms; the conditions of time and state +which are expressed by conjunctions in modern languages—to each +of these relations is appropriated an affix, often considerably +abbreviated and condensed, but almost always recognisable.</p> +<p>The primitive Basque verb—that is to say, in its full +development—did not differ from that of other languages of the +globe. It comprised only two <i>moods</i>, the indicative, and the +conjunctive, which was derived from the indicative by a suffix; and +three <i>tenses</i>, the present, the imperfect, and a kind of aorist +indicating eventual possibility. There was only one <i>secondary +voice</i>, the causative, formed by a special affix. To these forms it +joined the signs of the direct and indirect object, which is the +essential characteristic of incorporating idioms.</p> +<p>During its historic life, during its period of formal decay, the +verb has experienced in Basque modifications which are not found to a +similar extent elsewhere. The primitive conjugation, or, so to say, the +simple and direct one of verbal nouns, has little by little fallen into +disuse, and has been replaced by a singular combination of verbal +nouns, of adjectives, and of some auxiliary verbs. Thus it is that the +Escuara, in all its dialects, has developed eleven moods and ninety-one +tenses (each of which has three persons in each number), variable +according to the sex or rank of the person addressed; it receives +besides a certain number of terminations, which perform the office of +our conjunctions. Moreover, from the totality of these auxiliaries two +parallel series have been formed, which, joined alternatively to nouns +of action, produce the active and middle voices, or rather the +transitive and intransitive. The auxiliaries of the periphrastic +conjugation are almost the only verbs that have been preserved +belonging to the simple primitive system. <span class="pagenum">[<a id= +"pb225" href="#pb225" name="pb225">225</a>]</span></p> +<p>With regard to syntax, the Basque resembles all agglutinative +languages. The sentence is always simple. The phrases are generally +short; relative pronouns are unknown. The complexity of the verb, which +unites many ideas in a single word, contributes to this simplicity of +the sentence, in which the subject and the attribute, with their +respective complements, tend to form but one expression. This object is +attained by the invariability of the adjectives, and especially by +composition.</p> +<p>The adjective is placed after the noun it qualifies, whilst the +genitive, on the contrary, precedes the governing noun.</p> +<p>Composition is of such common use in Basque, that it has caused +several juxta-posed words to be contracted and reduced, so as to be +partially confounded one with the other. This phenomenon is familiar to +languages of the New World; it is this which properly constitutes +<i>polysynthetism</i>, and which we must carefully distinguish from +<i>incorporation</i>. This last word should be reserved to designate +more particularly the phenomena of objective or attributive conjugation +common to idioms of the second form.</p> +<p>The Basque vocabulary appears to be very poor. Although it is still +imperfectly known (for the old books, and the names of places, as well +as certain little studied dialectic variations, must have retained some +words generally forgotten), we are yet able to assert that pure Basque +terms do not express abstract ideas. Except in words borrowed from the +Gascon, French, Spanish, and Latin, we find no trace of any advanced +civilization, and we can discover but very few expressions which imply +collectivity or generalization—<i>e.g.</i>, there is no word +which has the wide signification of our word “tree,” of our +“animal.” “God” is simply, by anthropomorphism, +“the Master on High.” One and the same word translates our +ideas of “will, desire, fancy, thought.” Borrowed words +<span class="pagenum">[<a id="pb226" href="#pb226" name= +"pb226">226</a>]</span>are more numerous, from the fact that the +influence of Aryan dialects has been felt through many ages; it is +probably owing to their contact with the Indo-European races that the +Basques, or those who used to speak the Basque, have any historical +existence.</p> +<p>Thus, in order to study this singular idiom, it is necessary to +understand thoroughly the history of the intervention of Latin in the +Pyrenean region. No assistance is to be obtained from written +documents, for there is not (and there cannot have been) any primitive +Basque literature. The oldest book was published in 1545.<a class= +"noteref" id="xd20e6625src" href="#xd20e6625" name="xd20e6625src">2</a> +The second is the Protestant version of the New Testament, printed at +La Rochelle by order of Jeanne d’Albret, in 1571.<a class= +"noteref" id="xd20e6628src" href="#xd20e6628" name= +"xd20e6628src">3</a></p> +<p>Another difficulty arises from the extreme variability of the +language. There are, perhaps, not two villages where it is spoken +absolutely in the same manner. This is natural enough among an +unlettered people, and one which can only rise to the level of the +surrounding civilization by forgetting its ancient language. These +different varieties are easily grouped into secondary dialects. Prince +L. L. Bonaparte recognises twenty-five of them, but they are reduced +without difficulty to eight great dialects. A closer inspection further +reduces these eight divisions to three; that is to say, the differences +between the eight principal dialects are unequal, and admit of partial +resemblances.</p> +<p>The eight dialects are: (1) The Labourdine, (2) The Souletine, (3) +The Eastern Lower-Navarrese, (4) The Western Lower-Navarrese, (5) The +Northern Upper-Navarrese, (6) The Southern Upper-Navarrese, (7) The +Guipuzcoan, (8) The Biscayan. The Souletine and the two <span class= +"pagenum">[<a id="pb227" href="#pb227" name= +"pb227">227</a>]</span>Lower-Navarrese dialects form the first group, +which may be called the Oriental division. The Biscayan alone forms the +Western, and the four others form the Central group. These names are +taken from territorial divisions. <i>La Soule</i> was formerly a +province feudatory to Navarre, and now embraces, within the French +department of the Basses-Pyrénées, the cantons of +Mauléon and Tardets, as well as some parishes of the canton of +St. Palais, in the arrondissement of Mauléon. The +<i>Labourd</i>, a viscounty, vassal of the Duchy of Aquitaine, +corresponded to the cantons of Bayonne (excepting the city itself and +three other parishes), of St. Jean de Luz, of Ustaritz, of Espelette, +and part of Hasparren, in the arrondissement of Bayonne. The remaining +part of the two French arrondissements which we have just named +composes Lower Navarre, which is again subdivided into the districts of +Cize, Mixe, Arberoue, Ostabaret, and the valleys of Osses and Baigorry. +This was originally the sixth merindad of Navarre, a kingdom which +extended into Spain as far as the Ebro, from Garde and Cortés on +the one side to Vera and Viana on the other. Basque is still spoken +along the French frontier and in several valleys forming the upper part +of the territory. <i>Guipuzcoa</i> contains the cantons +(<i>partidos</i>) of St. Sebastian, Tolosa, Azpeitia, and Vergara. +Biscay comprises all the territory between Ondarroa and the river of +Sommorostro, between La Carranza and the Peña de Gorbea.</p> +<p>The dialects do not correspond exactly to the territorial +subdivisions whose names they bear. Thus the Western Lower-Navarrese is +spoken in a part of the ancient Labourd; the Biscayan in Guipuzcoa. +Lastly, on the Spanish maps, there is another Basque province, Alava; +but Basque is scarcely spoken there, excepting in a narrow strip along +the northern frontier. The dialect of these Alavese districts is +included in the Biscayan. To resume, the Biscayan dialect <span class= +"pagenum">[<a id="pb228" href="#pb228" name="pb228">228</a>]</span>is +now spoken in Alava, Biscay, and the western third part of Guipuzcoa, +in Vergara, and in Las Salinas; the Guipuzcoan in almost all the rest +of Guipuzcoa; the Northern Upper-Navarrese in some villages of +Guipuzcoa on the French frontier, in Fontarabie, Irun, and in the +northern part of Navarre; the Southern Upper-Navarrese in the rest of +Basque Navarre; the Labourdine in the south-western part of the +arrondissement of Bayonne; the Western Lower-Navarrese in the +north-eastern part of the same arrondissement; the Souletine is spoken +in the two cantons of Mauléon and Tardets, and at Esquiule in +the arrondissement of Oloron; the Eastern Lower-Navarrese extends into +the arrondissement of Bayonne as far as St. Pierre d’Irube, by +Meharrin, Ayherre, Briscous, Urcuit.</p> +<p>Of these arrondissements, of these provinces, none is entirely +Basque in a linguistic point of view, except Guipuzcoa. Navarre is only +half so, Alava only a tenth part. A little less than a fourth part has +to be subtracted from Biscay, and certain Gascon villages from the +arrondissements of Mauléon and Bayonne in France. Neither +Bayonne, nor Pampeluna, nor Bilbao are Basque.<a class="noteref" id= +"xd20e6655src" href="#xd20e6655" name="xd20e6655src">4</a> And, +moreover, skirting the districts where the Basque is the native idiom +of the majority of the inhabitants, on many points there is an +intermediate zone in which Basque is known only by a minority of the +population; nevertheless, this zone must be included in the +geographical area of the idiom, since the persons who speak Basque in +it know it as their native language, and have never learnt it. This +zone is most extensive in Navarre, but exists also in Alava and in +Biscay. In France there is no analogous mixed zone; and, as M. P. +<span class="pagenum">[<a id="pb229" href="#pb229" name= +"pb229">229</a>]</span>Broca remarks (“Sur l’Origine et la +Repartition de la Langue Basque,” Paris, 1875, p. 39), “the +demarcation is brusque, and may be indicated by a single line.” +The Basques, moreover, in this respect, present some curious points for +study. “In the valley of Roncal the men speak Spanish together; +with the women they speak Basque, as do the women to each other. A +similar state of things is to be observed at Ochagavia in Salazar. But +this custom is not observed in the Roncalese villages of Uztarroz and +Isaba, where the men among themselves speak indifferently Basque or +Spanish.” (Prince L. L. Bonaparte, “Etudes sur les Dialects +d’Aezcoa,” &c., p. 3).</p> +<p>The preceding description justifies the opinion advanced at the +beginning of this notice. The Basque is an agglutinative idiom, and +must be placed, in a morphological point of view, between the Finnic +family, which is simply incorporating, and the North American +incorporating and polysynthetic families. But we must not conclude +thence that the Escuara is a near relation either of the Finnic or of +the Magyar, of the Algonquin or of the Irokese. The relationship of two +or more languages cannot, in fact, be concluded merely from a +resemblance of their external physiognomy. To prove a community of +origin, it is indispensable that (if compared at the same stage of +development) their principal grammatical elements should not only be +analogous in their functions, but should also have a certain phonetic +resemblance, in order to render the hypothesis of their original +identity admissible. It is better to abstain from asserting that such +languages are derived from the same source, if the significant +roots—which, after all, constitute the proper basis, the true +originality of a language—should be found to be totally +different. At present, no language has been discovered which presents +any root-likeness to the Basque, analogous to that which exists +<span class="pagenum">[<a id="pb230" href="#pb230" name= +"pb230">230</a>]</span>between the Sanscrit, Greek, and Gothic, or +between Arabic and Hebrew.</p> +<p>Nevertheless, there are in the world minds so devoted to the worship +of their own fixed ideas, so smitten with their own metaphysical +dreams, so full of faith in the necessity of the unity of language, +that they have acquired the habit of torturing the radical elements of +a language, and of making them flexible and variable to an +inconceivable degree. They pass their lives in seeking etymologies, +such as those which Schleicher calls “<i lang= +"de">Etymologizerungen ins blanc hinein</i>,” and in discovering +phonetic miracles—worthy children of those students of the last +centuries who, in the general ignorance of the science of language, +traced up all languages to Hebrew. The adventurous spirits to whom I +allude have invented a theory of languages in which the vocabulary is +incessantly renewed, and have formed the great “Turanian” +family, in which everything which is neither Aryan, nor Semitic, nor +Chinese, must be perforce included. In this <i lang="es">olla +podrida</i>, where the Japanese elbows the Esquimaux, and the +Australian shakes hands with the Turkish, where the Tamul fraternizes +with the Hungarian, a place is carefully reserved for the Basque. Many +amateurs, more daring still, have wedded the Escuara, or at least those +who speak it, to the <i lang="es">soi-disant</i> Khamitic tribes of +Egypt; others have united them to the ancient Phœnicians; others +have seen in them the descendants of the Alans; others again, thanks to +the Atlantides, make them a colony of Americans. It is not long since +it was seriously affirmed, and in perfect good faith, that the Basques +and the Kelts, the Welsh or Bretons, understood each other, and could +converse at length, each using his native tongue. I refer these last to +the poet Rulhière:</p> +<div lang="fr" class="lgouter"> +<p class="line">“La contrariété tient souvent au +langage:</p> +<p class="line">On peut s’entendre moins parlant un même +son,</p> +<p class="line">Que si l’un parlait Basque et l’autre +Bas-Breton.”</p> +</div> +<p><span class="pagenum">[<a id="pb231" href="#pb231" name= +"pb231">231</a>]</span></p> +<p>The more serious of these foes of negative conclusions, of these +refiners of quintessences, assert that the ancestors of the Basques are +incontestably the Iberians. In the first place I will remark that, +supposing this proved, the Basques, or, if you will, the Iberians, +would not be the less isolated; for how could the Iberian, any more +than the Basque, be allied to the Keltic or to the Carthaginian? But +this Iberian theory is not yet at all proved, and it will be easy to +show it to be so in a few words. It reposes first of all on the +following <i>à priori</i>—the Iberians have occupied all +Spain and the south of Gaul, but the Escuara lives still at the foot of +the Pyrénées; therefore the Escuara is a remnant of the +language of the Iberians. The error of the syllogism is patent; the +conclusion does not follow, and is wrongly deduced from the premises. +As to the direct proofs, they are reduced to essays of interpretation, +either of inscriptions called Iberian or Keltiberian, or of numismatic +legends, or of proper, and especially of topographical names.<a class= +"noteref" id="xd20e6689src" href="#xd20e6689" name="xd20e6689src">5</a> +The inscriptions and legends are written in characters evidently of +Phœnician origin, but their interpretation is anything but +certain. All the readings, all the translations into Basque, proposed +by MM. Boudard, Phillips, and others, are disputed by the linguists who +are now studying the Basque. The names collected from ancient authors +form a more solid basis; but the explanations proposed by W. von +Humboldt, and after him by many etymologists without method,<a class= +"noteref" id="xd20e6692src" href="#xd20e6692" name="xd20e6692src">6</a> +are equally for the most part inadmissible. The Iberian theory is not +proved, though it is perfectly possible.</p> +<p>The Basques do not present, in an anthropological point of view, as +far as we know at present, any original and well-defined <span class= +"pagenum">[<a id="pb232" href="#pb232" name= +"pb232">232</a>]</span>characteristic other than their +language.<a class="noteref" id="xd20e6699src" href="#xd20e6699" name= +"xd20e6699src">7</a> Nothing in their manners or customs is peculiar to +them. It is in vain that some writers have tried to discover the +strange custom of the “couvade” among them, a custom still +observed, it is said, by the natives of South America and in the plains +of Tartary. It consists in the husband, when his wife is confined, +going to bed with the new-born infant, and there he +“couve,” “broods over it,” so to say. No modern +or contemporaneous writer has found this custom among the Basques; and +as to historical testimony, it is reduced to a passage of +Strabo—which nothing proves to be applicable to the ancestors of +the present Basques—and to certain allusions in writers of the +last two centuries. These allusions always refer to the +Béarnais, the dialect whence the word “couvade” is +borrowed.</p> +<p>Prince L. L. Bonaparte has discovered that in the Basque dialect of +Roncal the moon is called “Goicoa;” Jaungoicoa is the word +for “God” in Basque, and would mean “the Lord +Moon,” or rather “our Lord the Moon.” He cites, with +reference to this, “the worship of the moon by the ancient +Basques.” The only evidence in favour of this worship is a +passage of Strabo (Lib. iii., iv. 16), where it is said that the +Keltiberians, and their neighbours to the north, honour a certain +anonymous God by dances before their doors at night during the full +moon. But it must be proved that the Keltiberians and their neighbours +to the north were Basques.</p> +<p>Another passage of Strabo has furnished arguments to the +“Iberists.” He says (Lib. iii., iv. 18) that among the +Cantabrians the daughters inherited, to the detriment of their +brothers. M. Eugène Cordier has endeavoured, after <span class= +"pagenum">[<a id="pb233" href="#pb233" name= +"pb233">233</a>]</span>Laferrière (”<span lang= +"fr">Histoire du Droit Français</span>”), to establish +that this arrangement is the origin of the right of primogeniture +without distinction of sex, and which is found more or less in all the +“coutumes” of the Western Pyrénées. He has +developed this theory in an interesting essay, “<span lang= +"fr">Sur l’Organisation de la Famille chez les +Basques</span>” (Paris, 1869). But an able lawyer of Bayonne, M. +Jules Balasque, has shown in Vol. II. of his remarkable +“<span lang="fr">Etudes Historiques sur la Ville de +Bayonne</span>” (Bayonne, 1862–75) that there is nothing +peculiar to the Basques in this fact; and we can only recognise in it, +as in the opposite custom of “juveignerie” in certain +northern “coutumes,” an application of a principle +essentially Keltic or Gallic for the preservation of the patrimony.</p> +<p>In conclusion, I beg my readers to excuse the brevity of the +preceding notes; but, pressed for time, and overwhelmed with a +multitude of occupations, it has not been possible for me to do more. +If I am still subject to the reproach which Boileau addresses to those +who, in striving to be concise, become obscure, I have at least +endeavoured to conform to the precept of the Tamul poet, +Tiruvalluva—“To call him a man who lavishes useless words, +is to call a man empty straw” (I. Book, xx. chap., 6th +stanza).</p> +<p class="signed"><i>Bayonne, August 28, 1876.</i></p> +<div class="figure xd20e6723width"><img src="images/ornament4.png" alt= +"Ornament." width="315" height="155"></div> +<p><span class="pagenum">[<a id="pb235" href="#pb235" name= +"pb235">235</a>]</span></p> +<div class="footnotes"> +<hr class="fnsep"> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e6561" href="#xd20e6561src" name="xd20e6561">1</a></span> I am not +unaware that certain portions of the theory above stated have been +recently disputed, especially by Mr. Sayce (“Principles of +Comparative Philology,” Trübner, London, 1874). But I am +unable, for the present at least, to accept all these criticisms, and I +have here no opportunity of discussing them fully, or to good +purpose.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e6625" href="#xd20e6625src" name="xd20e6625">2</a></span> +“Poésies Basques de Bernard Dechepare.” A most +careful reprint, word for word, was published by Cazals, Bayonne, in +1874.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e6628" href="#xd20e6628src" name="xd20e6628">3</a></span> An exact +reprint of the Gospel of St. Mark in this version, with notes, &c., +by M. J. Vinson, was also published at Bayonne (Cazals), 1874.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e6655" href="#xd20e6655src" name="xd20e6655">4</a></span> For more +minute and complete topographical details, see the excellent linguistic +maps of Prince L. L. Bonaparte, which are models of the application of +geography to the aid of philological study. The peculiar dialect spoken +in every village, and, in some instances, in almost every house, may be +there traced.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e6689" href="#xd20e6689src" name="xd20e6689">5</a></span> M. Van +Eys has consecrated an excellent article to these etymologies in the +“Revue de Linguistique,” Juillet, 1874, pp. 3–15.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e6692" href="#xd20e6692src" name="xd20e6692">6</a></span> It must, +however, be acknowledged that M. Luchaire, in various pamphlets +relating to the ancient toponymy of Spain, has made certain of these +explanations more acceptable.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e6699" href="#xd20e6699src" name="xd20e6699">7</a></span> A form +of skull, postero-dolichocephalous, with good facial angle, ortho- or +opistho-gnathous, but of comparatively small cerebral content, is +claimed by some as peculiar to the Basques.—W. W.</p> +</div> +</div> +<div id="basquepoetry" class="div1"><span class="pagenum">[<a href= +"#toc">Contents</a>]</span> +<div class="figure"><img src="images/head8.png" alt="Basque Poetry." +width="720" height="156"></div> +<h2 class="main">Basque Poetry.</h2> +<div class="div2"><span class="pagenum">[<a href= +"#toc">Contents</a>]</span> +<h3 class="main">I.—Pastorales.</h3> +<p class="firstpar">Perhaps there is no people among whom versification +is so common, and among whom really high-class poetry is so rare, as +among the Basques. The faculty of rhyming and of improvisation in verse +is constantly to be met with. Not unusually a traveller in one of the +country <i lang="fr">diligences</i>, especially on a market-day, will +be annoyed by the persistent crooning of one of the company, like +Horace of old, more or less under the inspiration of Bacchus; and if he +enquire what the man is about, he will be told that he is reciting a +narrative in verse of all the events of the past day, mingled probably +with more or less sarcastic reflections on the present company, and +with especial emphasis on the stranger. At the yearly village <i lang= +"fr">fêtes</i>, when the great match of <i lang="fr">Jeu de Paume +au Rebot</i> has been lost or won, prizes are sometimes given for +improvisation on themes suggested at the moment, and the rapidity of +the leading <i>improvisatori</i><a class="noteref" id="xd20e6748src" +href="#xd20e6748" name="xd20e6748src">1</a> is something marvellous. +Moreover, there are two species of native Drama. One, the Pastorale, +the more regular and important, <span class="pagenum">[<a id="pb236" +href="#pb236" name="pb236">236</a>]</span>is now confined to the +Vallée of La Saison and the Souletin district. The other, the +Charivari, or Mascarade, more unfettered and impromptu, giving free +rein to the invention of the actors, is occasionally, but rarely, acted +in all districts of the Pays Basque.</p> +<p>The Pastorale, or Tragedy, is certainly a representative and +survival of the Mediæval Mystery, or Miracle Play; and in the +remoter districts is acted almost as seriously as is the Ammergau +Passion Play. It is an open-air performance, which unites in +interminable length, and in the same piece, tragedy and comedy, music, +dancing, and opera. Though undoubtedly the oldest form in which Basque +poetry of any kind is preserved, it can have no claim to be an +indigenous product. The subjects of the older Pastorales are drawn from +three sources—from the Bible; from the lives of the Saints, or +Hagiology; from the Chansons de Geste and Romances of Chivalry. None of +the extant Pastorales, even in their earliest form, would, we think, be +anterior to the thirteenth century. The anachronisms, the prejudices, +the colouring, the state of education evinced, are all those of the +date when the Chansons de Geste and the Legenda Aurea were the +favourite literature of high and low; the epoch at the close of which +flourished the brilliant petty courts of Gaston de Foix at Orthez, and +of the Black Prince at Bordeaux. The anachronisms make Charlemagne a +contemporary of the Crusaders; Mahomet is an idol, and in the shape of +a wooden puppet sits on a cross-bar over one of the stage-entrances, +where he is worshipped by all his followers as they pass in and out. +The make-up of the characters and the dresses are conventional. But +though we cannot assign any higher antiquity even to the original form +of any of the extant Pastorales—we say original form, because +they have been edited and re-edited generation after generation by +almost every prompter at each successive representation—yet +several of the accessories and part of the stage-business point to +possibly older traditions. The stage, at least in <span class= +"pagenum">[<a id="pb237" href="#pb237" name="pb237">237</a>]</span>the +more inaccessible villages, where alone the Pastorales are now to be +seen in anything like their genuine form, may still be described as +“<i lang="la">modicis pulpita tignis</i>.” It is generally +constructed against a house in the “<i>Place</i>” of the +village, and is composed of boards resting on inverted barrels; one or +more sheets, suspended from cross-bars, hide the house walls, and form +the background; to this drapery bunches of flowers and flags are +affixed, and thus is formed the whole “scenery”; the rest +is open air and sky. Usually behind the sheet, though sometimes in +front on a chair, sits the prompter, or stage-director; at the corners +and sides of the stage are the stage-keepers, armed with muskets, which +are fired off at certain effective moments, and always at the end of a +fight. But there are four points in which a Pastorale <span class= +"corr" id="xd20e6772" title="Source: recals">recalls</span> more +ancient traditions: (1) The sexes are never mingled; the Pastorale +being played either entirely by men, or entirely by women.<a class= +"noteref" id="xd20e6775src" href="#xd20e6775" name="xd20e6775src">2</a> +(2) The speech is always a kind of recitative or chant, varying in time +according to the step of the actors. (3) There is a true chorus. (4) +The feet and metre of the verse correspond to the step and march of the +actors, and to the dancing of the chorus.</p> +<p>Now, as to (1), the effect is not unpleasing; the boy-lady or the +boy-angel is often one of the most successful actors, and makes an +excellent substitute for the real lady. There is no coarseness in his +acting; on the contrary, there is a certain reserve of movement caused +by the unwonted dress, which looks like a pleasing modesty, and makes +the boy appear really lady-like. His get-up is generally +unexceptionable.</p> +<p>We have once only had an opportunity of seeing a girl’s +Pastorale, “Ste. Helène,” at Garindein, in April of +the present year, 1879. Unfortunately it was interrupted, almost as +soon as commenced, by violent rain. The costumes were very modest and +pretty. The heroines of the piece wore blue or <span class= +"pagenum">[<a id="pb238" href="#pb238" name= +"pb238">238</a>]</span>scarlet-jackets, with long white skirts; the +lady-heroes had shorter skirts and white unmentionables. The Pastorale +of “Ste. Helène” has nothing to do with the mother +of Constantine the Great, or with the Invention of the Cross. It is an +<i>olla podrida</i> of old legends. The opening scene is taken from +“The King who wished to marry his own daughter” (see above, +p. 165.) A King Antoina wishes to marry his daughter Helène, and +for that purpose procures a dispensation from the Pope, who appears on +the scene, attended by an angel. Helène, however, still refuses, +and escapes; she embarks for England, but the captain of the vessel +falls outrageously in love with her (<i>cf.</i> “Juan +Dekos,” p. 148). A shipwreck saves her from his persecutions; she +lands alone in England, is seen by Henry, King of England, who falls in +love with her and forthwith marries her, in spite of his mother’s +objections. He is forced to go to the wars; Helène gives birth +to twin boys, but the queen-mother changes the letter, and sends word +to the King that she is confined of two puppies (<i>cf.</i> “The +singing tree, the bird which tells the truth, and the water that makes +young,” p. 177). Ste. Helène is condemned to death; +Clarice, her maid, offers to die in her stead, but both escape; the +boys, who were supposed to have been murdered, at last reappear, and +all ends happily as in the legends. The part of the +“Satans” was taken by three middle-aged men, in buff +breeches and white stockings, who danced very well. The preliminary +procession on horseback, and the opening scene on the stage, were +exceedingly pretty.</p> +<p>(2) The recitative is always accompanied by music; generally a +violin or two, a flute, the chirola, and the so-called Basque +tambourine, a species of six-stringed guitar, beaten by a short stick, +or plectrum. The tune is almost a monotone, but differs in time, being +faster or slower according to the action of the piece; with the +exception of those parts in which the chorus alone has possession of +the stage, when the <i>Saut Basque</i> or other lively dancing airs are +played. The strong, clear chant of the actor accompanying this +<span class="pagenum">[<a id="pb239" href="#pb239" name= +"pb239">239</a>]</span>music, which is never overpowering in its +loudness, is heard much better and to a greater distance in the open +air than any mere speaking would be; and, moreover, it prevents rant, +without altogether effacing vivacity. For (3) there is a singular idea +running through all these Basque Pastorales, according to which +sanctity and nobility of character are associated with calmness of +demeanour and tone, and villany and devilry of all kinds with +restlessness and excitement. The angels and saints, the archbishops and +bishops, move with folded hands and softly gliding steps; the heroes +walk majestically slow; the common soldiers are somewhat more animated +and careless in their gestures; the Saracens, the enemies, the +villains, rush wildly about; but the chorus, or “Satans,” +are ever in restless, aimless, agitated movement, except when engaged +in actual dancing. It is on these last, the chorus—of whom there +should be three, or two at least—that the great fatigue and +burden of the acting weighs. None but the most active and well-knit +lads can play the part, and even them it tries severely. This chorus is +invariably called “Satans;” their dress is always rigidly +the same, and a pretty one it is—red beret or cap, red open +jacket, white trousers with red stripes, red sashes, <i>spartingues</i> +(hempen sandals) bound with red ribands; and they carry a little wand +ornamented with red ribands and terminating in a three-forked hooked +prong.<a class="noteref" id="xd20e6803src" href="#xd20e6803" name= +"xd20e6803src">3</a> Blue is the colour consecrated to the good and +virtuous; red to the enemy and the vicious, to the English, Saracens, +and “Satans.” The task of the “Satans” is not +only to take part among the actors, but the difficulty of their +utterance is much heightened by the compelled rapidity of their +movements, while at intervals, when the stage is empty of other actors, +they <span class="pagenum">[<a id="pb240" href="#pb240" name= +"pb240">240</a>]</span>occupy the front corners of it, and dance the +wild <i>Saut Basque</i>, singing at the same time some reflections on, +or anticipations of, the action of the piece played, much like the +chorus of a Greek tragedy; but, in addition to this, there is generally +a comic interlude, more or less impromptu, and very slightly, if at +all, connected with the main piece, wherein the “Satans” +take the principal <i>rôle</i>, together with the best comedian +of the other actors. This is done to relieve the tedium of the heavy +tragedy, and, oddly enough, is often spoken partly in Gascon or in +French, while only Basque is used in the Pastorale proper. (4) As will +be judged from the above remarks, there is, perhaps, no spectacle in +Europe from which the original relations of feet, line, pause, metre, +verse, strophe, antistrophe, and rhythm in music, dance, and poetry can +be better studied than at a Basque Pastorale. It will be seen there at +a glance how far these terms are from being mere metaphors.</p> +<p>Now, when we add that many of the actors in these Pastorales +cannot—scarcely any could before the present +generation—read or write; that the Pastorales extend from three +to seven thousand lines, distributed in ballad verses of four lines +each, the second and fourth rhyming; and that the representations last +from six to eight hours, our readers may imagine the amount of serious +preparation required where every sentence has to be learned by heart +from repetition of a reader or reciter. Consequently, to get up a +Pastorale, a whole winter is not too long. The task is generally +performed at home in the actor’s family, or in a house where two +or three meet together for the study, if neighbours. We have seen some +pleasing instances of the pride the whole family take in the success of +the actor. Asking once a pretty boy where he could have learnt to play +his part of lady in so very ladylike a manner, he answered, “From +my father and my mother in the winter.” At another time we had as +companion in a long day’s walk a man upwards of sixty, who had +been a “Satan” in his youth. He explained how very +<span class="pagenum">[<a id="pb241" href="#pb241" name= +"pb241">241</a>]</span>trying it is both to dance well and to sing at +the same time so as to be clearly heard. His father had been a +“Satan” before him, and had trained him for the occasion, +and had made him eat two raw eggs before commencing. He spoke of the +joy of the whole family when his performance was successful, though he +lost his voice for several days afterwards. To show what his former +agility must have been, he cleared every fence and obstacle in our path +gallantly, despite his sixty years. These Pastorales are seldom, if +ever, acted as a money speculation, but during the acting of them one +or two young men, accompanied by a pretty girl, make the round of the +spectators, offering a glass of wine, in quasi-payment for which you +are expected to place a coin in the plate which the maiden carries. The +amount collected is seldom much beyond what is required for the +necessary expenses; more often it is below, but if anything remains it +is spent on a grand feast to all the actors. The number of Pastorales +in existence is variously stated at from seventy to two hundred. The +former number we believe to be the nearer to the fact. The names of +those best known are as follows:—</p> +<p><span class="sc">From the Bible and Hagiology.</span></p> +<table> +<tr valign="top"> +<td> +<ul> +<li>Abraham, <i>avec</i> Sara and Agar</li> +<li>Josué de Moïse</li> +<li>Nabuchodonosor</li> +<li>S. Pierre</li> +<li>S. Jacques</li> +<li>S. Jean Baptiste</li> +<li>S. Louis</li> +<li>S. Alexis</li> +<li>S. Roch</li> +</ul> +</td> +<td> +<ul> +<li>S. Claudieus et Ste. Marsimissa</li> +<li>Ste. Engrace</li> +<li>Ste. Helène, or Elaine</li> +<li>Ste. Geneviève</li> +<li>Les Trois Martyrs</li> +<li>Ste. Agnes</li> +<li>Ste. Catherine</li> +<li>Ste. Marguerite</li> +<li>La Destruction de Jerusalem</li> +</ul> +</td> +</tr> +</table> +<p><span class="sc">Classical.</span></p> +<table> +<tr valign="top"> +<td> +<ul> +<li>Bacchus</li> +</ul> +</td> +<td> +<ul> +<li>Alexandre</li> +</ul> +</td> +</tr> +</table> +<p><span class="sc">Chansons de Geste, etc.</span></p> +<table> +<tr valign="top"> +<td> +<ul> +<li>Clovis</li> +<li>Mustafa, le Grand Turc</li> +<li>Astiaga</li> +<li>Charlemagne</li> +<li>Thibaut</li> +<li>Godefroi de Bouillon et la Deliverance de Jerusalem</li> +<li>Marie de Navarre <span class="pagenum">[<a id="pb242" href="#pb242" +name="pb242">242</a>]</span></li> +<li>Roland</li> +<li>Les Douze Pairs de France</li> +</ul> +</td> +<td> +<ul> +<li>Les Quatre Fils Aymon</li> +<li>Geneviève de Brabant</li> +<li>Richard Sans Peur, Duc de Normandie<a class="noteref" id= +"xd20e6909src" href="#xd20e6909" name="xd20e6909src">4</a></li> +<li>Jeanne d’Arc</li> +<li>Jean Caillabit</li> +<li>La Princesse de Gamatie</li> +<li>Jean de Paris</li> +<li>Jean de Calais<a class="noteref" id="xd20e6925src" href= +"#xd20e6925" name="xd20e6925src">5</a></li> +</ul> +</td> +</tr> +</table> +<p><span class="sc">Modern.</span></p> +<div class="table"> +<table> +<tr valign="top"> +<td valign="top">Napoleon—</td> +<td valign="top">(1) Le Consulat</td> +</tr> +<tr valign="top"> +<td valign="top"></td> +<td valign="top">(2) L’Empire</td> +</tr> +<tr valign="top"> +<td valign="top"></td> +<td valign="top">(3) Ste. Helène</td> +</tr> +</table> +</div> +<p>We will now give a brief epitome of “Abraham” as a +specimen, not of the best, but of the only one which we have at hand in +MS.,<a class="noteref" id="xd20e6955src" href="#xd20e6955" name= +"xd20e6955src">6</a> for none of the Pastorales, we believe, have ever +been printed <i>in extenso</i>. The <i>dramatis personæ</i> +are:</p> +<div class="table xd20e6964"> +<table width="100%"> +<tr valign="top"> +<td valign="top" colspan="5">The Eternal Father, who speaks chiefly in +Latin quotations from the Vulgate, and always from behind the scenes, +<i>i.e.</i>, the suspended sheets mentioned above.</td> +</tr> +<tr valign="top"> +<td valign="top" colspan="5">Three Angels—Michael, Raphael, +Gabriel—all of whom mingle quotations from the Vulgate with their +Basque.</td> +</tr> +<tr valign="top"> +<td valign="top" colspan="5">Abraham, Sara, Agar, Isaac, and +Ismael.</td> +</tr> +<tr valign="top"> +<td valign="top" colspan="5">Lot, and Uxor (<i>sic</i>) Lot’s +wife.</td> +</tr> +<tr valign="top"> +<td valign="top" colspan="5">Tina and Mina, Lot’s daughters.</td> +</tr> +<tr valign="top"> +<td valign="top" colspan="5">Salamiel and Nahason, shepherds of +Abraham.</td> +</tr> +<tr valign="top"> +<td valign="top" colspan="5">Sylva and Milla, shepherds of Lot.</td> +</tr> +<tr valign="top"> +<td valign="top" colspan="5">Melchisedec.</td> +</tr> +<tr valign="top"> +<td valign="top" colspan="5">Escol, a companion of Abraham.</td> +</tr> +<tr valign="top"> +<td valign="top" rowspan="9" class="xd20e6999">All these names are from +the Vulgate.</td> +<td valign="top" rowspan="9"><img src="images/brace9.png" alt="" width= +"20" height="220"></td> +<td valign="top">Raphel (Amraphel)</td> +<td valign="top" rowspan="4"><img src="images/brace4.png" alt="" width= +"18" height="100"></td> +<td valign="top" rowspan="4" class="xd20e6999">Kings of the Turks +(Turcac).</td> +</tr> +<tr valign="top"> +<td valign="top">Arioch</td> +</tr> +<tr valign="top"> +<td valign="top">Thadal</td> +</tr> +<tr valign="top"> +<td valign="top">Chodorlaomor</td> +</tr> +<tr valign="top"> +<td valign="top">Sennaab</td> +<td valign="top" rowspan="5"><img src="images/brace5.png" alt="" width= +"19" height="120"></td> +<td valign="top" rowspan="5" class="xd20e6999">Good Kings.</td> +</tr> +<tr valign="top"> +<td valign="top">Bara</td> +</tr> +<tr valign="top"> +<td valign="top">Bersa</td> +</tr> +<tr valign="top"> +<td valign="top">Semeber</td> +</tr> +<tr valign="top"> +<td valign="top">Bala <span class="pagenum">[<a id="pb243" href= +"#pb243" name="pb243">243</a>]</span></td> +</tr> +<tr valign="top"> +<td valign="top" colspan="5">Pharaon, King of Egypt.</td> +</tr> +<tr valign="top"> +<td valign="top" colspan="5">Corion and Gober, Pharaon’s +courtiers.</td> +</tr> +<tr valign="top"> +<td valign="top">Astaroch</td> +<td valign="top" rowspan="4"><img src="images/brace4.png" alt="" width= +"18" height="100"></td> +<td valign="top" colspan="3" rowspan="4" class="xd20e6999">Good +Soldiers, defenders of the Holy Religion.</td> +</tr> +<tr valign="top"> +<td valign="top">Telemar</td> +</tr> +<tr valign="top"> +<td valign="top">Cormaim</td> +</tr> +<tr valign="top"> +<td valign="top">Zuzite</td> +</tr> +<tr valign="top"> +<td valign="top" colspan="5">Chavoq and Chorre, good giants, killed by +the Turkish kings.</td> +</tr> +<tr valign="top"> +<td valign="top" colspan="5">Cocor, Patar; Maneton, and Catilie, +inhabitants of Sodom. The last two are ladies. Maneton is a diminutive +from Marie—Manon, Manette, Maneton; like Jeannette, Jeanneton, +from Jeanne.</td> +</tr> +<tr valign="top"> +<td valign="top" colspan="5">“Satans”—Satan and +Bulgifer—who swear most frightfully in <i>French</i>, on the +principle, perhaps, of <i lang="la">omne ignotum pro magnifico</i>, and +because swearing, while more terrible, is less mischievous when uttered +in a tongue “not understanded of the people.”</td> +</tr> +</table> +</div> +<p>Abraham is the model of a Christian, and Abraham and Pharaon both +address their followers as “barons.” Satan flatteringly +addresses the shepherds by the Spanish title “Caballeros” +when he wants to lead them into mischief. The actors are by no means so +numerous as the “<i lang="fr">rôles</i>”; one takes +several successive parts, often without change of dress, a custom which +heightens not a little the difficulty of following an acted +Pastorale.</p> +<p>There is more dramatic unity in “Abraham,” and the main +plot is more skilfully conducted than might be expected from its title. +The key-note of the action is given at once when Satan and Bulgifer +appear on horseback in the “Place” in front of the stage, +and announce their project of “tormenting Abraham,” and of +“weakening the Christian Faith.” The plot then follows +pretty closely the Bible narrative. Only it is Satan and Bulgifer who +are the authors of all Abraham’s misfortunes and vexations; +although the angels constantly appear to save him when matters are at +their worst. It is the “Satans” who inflame Pharaon in +Egypt with the report and sight of Sara’s beauty; it is they who +stir up strife between Abraham’s and Lot’s herdsmen; they +are delighted with the wickedness of the <span class="pagenum">[<a id= +"pb244" href="#pb244" name="pb244">244</a>]</span>inhabitants of Sodom, +which they direct to suit their own purposes; they stir up war against +Abraham and Lot in the persons of the Turkish kings with Biblical +names. These at first conquer Lot, and one by one slay all his +partisans, including the good giants Chavoq and Chorre, whose corpses +are carried off by Satan to be feasted upon, with the licorish +exclamation: “O what cutlets! what a fine leg!!” Then they +tempt Agar, and make her quarrel with Sara. In the scene preceding the +destruction of Sodom, although the angels are present, the inhabitants +round Lot’s door are blinded, not by them, but “by some +magician.” Lot’s wife, Uxor, when to be changed into a +pillar of salt, ingeniously falls under the stage, and there the +transformation takes place unseen. When Isaac is born, he is forthwith +baptised. Agar and Ismael are driven into the desert, and are saved by +the angel Gabriel. The play then gradually works up to the climax, the +sacrifice of Isaac—the last and terrible temptation—in +which the “Satans” tempt the “two Christians,” +Abraham and Isaac, to unbelief and disobedience, and are foiled as +ever. After this, the action languishes, Abraham dies, and the +Pastorale comes to an end. All the actors appear on the stage and chant +the <i>De Profundis</i>, then the angels sing, and all unite in a +concluding chant. We give a few verses from the scene of the sacrifice +as a specimen of the whole:—</p> +<p><span class="sc">Satan and Bulgifer; Abraham and Isaac.</span></p> +<div class="sp"> +<p class="speaker">Satan.</p> +<div class="lg"> +<p class="line">Abraham, art thou ignorant?</p> +<p class="line">What art thou thinking of?</p> +<p class="line">Leave him in life;</p> +<p class="line">Thou hast some wise hairs.</p> +</div> +<div class="lg"> +<p class="line">I tell thee to return</p> +<p class="line">To the house with the child;</p> +<p class="line">And there you shall live</p> +<p class="line">With very great joy.</p> +</div> +</div> +<div class="sp"> +<p class="speaker">Abraham.</p> +<div class="lg"> +<p class="line">Ah! alas! wretched torment!</p> +<p class="line">Always thus on this earth</p> +<p class="line">Satan doth vex me</p> +<p class="line">In all my doings.</p> +</div> +<div class="lg"> +<p class="line">Nevertheless, I take courage;</p> +<p class="line">Yes, even now</p> +<p class="line">To slay Isaac</p> +<p class="line">I am ready on the instant.</p> +</div> +<span class="pagenum">[<a id="pb245" href="#pb245" name= +"pb245">245</a>]</span> +<div class="lg"> +<p class="line">He has given me the order,</p> +<p class="line">The good God Himself,</p> +<p class="line">That I sacrifice Isaac</p> +<p class="line">On this mountain myself.</p> +</div> +</div> +<div class="sp"> +<p class="speaker">Bulgifer.</p> +<div class="lg"> +<p class="line">He who gave you this order</p> +<p class="line">Was not God. No!</p> +<p class="line">Go off to your house,</p> +<p class="line">And take your young son.</p> +</div> +</div> +<div class="sp"> +<p class="speaker">Abraham.</p> +<div class="lg"> +<p class="line">My only son Isaac,</p> +<p class="line">If I sacrifice him,</p> +<p class="line">All of my race</p> +<p class="line">I quickly destroy.</p> +</div> +<div class="lg"> +<p class="line">The good God had told me</p> +<p class="line">That he would marry;</p> +<p class="line">But if he dies now,</p> +<p class="line">How can that be?</p> +</div> +<div class="lg"> +<p class="line">I trust, nevertheless,</p> +<p class="line">On our Lord God;</p> +<p class="line">I am willing to offer to Him,</p> +<p class="line">To Him alone, my son.</p> +</div> +</div> +<p>At last Satan and Bulgifer go off, exclaiming:—</p> +<div class="sp"> +<div class="lg"> +<p class="line">O, you accursed one!</p> +<p class="line">You always overcome us;</p> +<p class="line">To confusion always</p> +<p class="line">You do put us.</p> +</div> +<div class="lg"> +<p class="line">But, if we no more tempt you,</p> +<p class="line">We will tempt some one else;</p> +<p class="line">And we will even take down</p> +<p class="line">To hell some soul.</p> +</div> +<div class="lg"> +<p class="line">In despair we depart</p> +<p class="line">For ever from thee;</p> +<p class="line">And we leave you now</p> +<p class="line">In a very sad case.</p> +</div> +</div> +<p>After a few words between father and son, Isaac then offers himself, +and prays as follows:—</p> +<div class="sp"> +<div class="lg"> +<p class="line">People, I pray you, look</p> +<p class="line">On this poor innocent child;</p> +<p class="line">I am about to leave the world,</p> +<p class="line">And have done harm to none. (<i>Music.</i>)</p> +</div> +<div class="lg"> +<p class="line">O Lord! our Saviour!</p> +<p class="line">Unjustly crucified!</p> +<p class="line">Lord, I must also</p> +<p class="line">Soon leave this world. (<i>Music.</i>)</p> +</div> +<div class="lg"> +<p class="line">O King of Heaven!</p> +<p class="line">Who art powerful</p> +<p class="line">Above all other,</p> +<p class="line">Wise and triumphant. (<i>Music.</i>)</p> +</div> +<div class="lg"> +<p class="line">I ask pardon of Thee</p> +<p class="line">For all my sins,</p> +<p class="line">Wherewith I oft have offended</p> +<p class="line">Thee from my birth.</p> +</div> +</div> +<p>He binds himself, and goes on:—</p> +<div class="sp"> +<div class="lg"> +<p class="line">All those, O Lord!</p> +<p class="line">Blot from remembrance;</p> +<p class="line">To Thy glory, I pray,</p> +<p class="line">Receive me immediately.</p> +</div> +<div class="lg"> +<p class="line">King of the Angels,</p> +<p class="line">Prince of the Heaven,</p> +<p class="line">May’st Thou grant me,</p> +<p class="line">I pray Thee, Thy rest.</p> +</div> +<div class="lg"> +<p class="line">I ask Thee pardon</p> +<p class="line">From my whole heart;</p> +<p class="line">Succour me, O Lord!</p> +<p class="line">With Thy holy hand.</p> +</div> +<span class="pagenum">[<a id="pb246" href="#pb246" name= +"pb246">246</a>]</span> +<div class="lg"> +<p class="line">I have not enough wit</p> +<p class="line">To thank Thee therewith;</p> +<p class="line">But if to Heaven I should go,</p> +<p class="line">There will I praise Thee.</p> +</div> +<div class="lg"> +<p class="line">O Lord! I pray Thee, have pity!</p> +<p class="line">Thou shouldest grant it me;</p> +<p class="line">For to leave this world</p> +<p class="line">I am determined.</p> +</div> +<div class="lg"> +<p class="line">Angel of the Lord,</p> +<p class="line">Grant me strength,</p> +<p class="line">Since Thou art</p> +<p class="line">My Guide!</p> +</div> +<div class="lg"> +<p class="line">Lord, I commend</p> +<p class="line">To Thee my spirit;</p> +<p class="line">It is Thou Who first</p> +<p class="line">Hast created me.</p> +</div> +<div class="lg"> +<p class="line">And O! great God! I pray,</p> +<p class="line">If it be Thy will,</p> +<p class="line">In the repose of the blessed</p> +<p class="line">Place my soul.</p> +</div> +<div class="lg"> +<p class="line">Father,—whenever You will,—</p> +<p class="line">Sacrifice me now;—</p> +<p class="line">To find my God</p> +<p class="line">I would depart.</p> +</div> +</div> +<p>Abraham is in the act of sacrificing when the Angel Gabriel seizes +him from behind, and bids him not do it, &c., &c. Any foreigner +who, unless he has a most charming interpreter or interpretress, can +sit out a whole Pastorale would surely deserve the first prize in the +school of patience.</p> +<p>The other kind of dramatic performance is much more irregular, and +may assume various forms according to the circumstances which give +occasion to it. It may be only a wild kind of carnival procession, the +Mascarade, where each gesticulates as the character he represents; or a +<i>charivari</i> in honour (?) of a dotard’s marriage, wherein +the advantages of celibacy over married life are sarcastically set +forth; or it may take the form of a really witty impromptu comedy +played on a tiny stage in honour of the marriage or the good fortune of +the most popular persons of the village. One of the first kind is +excellently described in Chaho’s “<span lang="fr">Biarritz, +entre les Pyréneés et l’Océan</span>,” +vol. ii. pp. 84–121, to which we refer the reader. One of the +last kind was acted at Louhossoa about 1866, on the double occasion of +some marriages, and of the return of some young men from South America. +There were three actors; the piece was witty and well played, and +seemed to give the greatest satisfaction to the audience. <span class= +"pagenum">[<a id="pb247" href="#pb247" name="pb247">247</a>]</span></p> +</div> +<div class="div2"><span class="pagenum">[<a href= +"#toc">Contents</a>]</span> +<h3 class="main">II.</h3> +<p class="firstpar">If we except the Pastorales, the whole of Basque +poetry may be described as lyrical; either secular, as songs, or +religious, as hymns and noëls. There is no epic in +Basque,<a class="noteref" id="xd20e7366src" href="#xd20e7366" name= +"xd20e7366src">7</a> and scarcely any narrative ballads; even those +chiefly are of uncertain date. A few sonnets exist, but they are almost +exclusively translations or imitations of French, Spanish, or classical +poems, and cannot be considered as genuine productions of the Basque +muse. Some of the religious poetry may be described as didactic, but +this again is mostly paraphrase or translation. All that is really +native is lyrical. But even in song the Basques show no remarkable +poetical merit. The extreme facility with which the language lends +itself to rhyming desinence has a most injurious effect upon +versification. There are not verses only, but whole poems, in which +each line terminates with the same desinence. Instead of striving after +that perfection of form which the change of a single word or even +letter would affect injuriously, the Basques are too often satisfied +with this mere rhyme. Their compositions, too, if published at all, are +usually printed only on single sheets of paper, easily dispersed and +soon lost. Hence the preservation of Basque poetry is entrusted mainly +to the memory, and thus it happens that one scarcely meets with two +copies of the same song exactly alike. If the memory fails, the missing +words and rhymes are so easily supplied by others that it is not worth +the <span class="pagenum">[<a id="pb248" href="#pb248" name= +"pb248">248</a>]</span>effort to <span class="corr" id="xd20e7371" +title="Source: recal">recall</span> the precise expression used. And so +it comes to pass that, while versification is very common among the +Basques, high-class poetry is extremely rare. They have no song writers +to compare with Burns or with Béranger. And if it be alleged +that poets like these are rare, even among people far more numerous and +more cultivated, the Basques still fall short, when measured by a much +lower standard. They have no poets to rival the Gascon, Jasmin, or to +compare with the Provençal or the Catalan singers at the other +end of the Pyrenean chain. There is no modern Basque song which can be +placed by the side of “Le Demiselle” and others of the +Biarritz poet, Justin Larrebat; and among the older poets neither +Dechepare nor Oyhenart is equal to the Béarnais, Despourrins. +While the Jacobite songs of Scotland are among the finest productions +of her lyric muse, the Carlist songs, on the contrary, though telling +of an equally brave and romantic struggle, are one and all below +mediocrity. But, while fully admitting this, there is yet much that is +pleasing in Basque poetry. If it has no great merits, it is still free +from any very gross defects. It is always true and manly, and +completely free from affectation. It is seldom forced, and the singer +sings just because it pleases him to do so, not to satisfy a craving +vanity or to strain after the name and fame of a poet. The moral tone +is almost always good. If at times, as in the drinking songs, and in +some few of the amatory, the expression is free and outspoken, vice is +never glossed over or covered with a false sentimentality. The Basque +is never mawkish or equivocal—with him right is right, and wrong +is wrong, and Basque poetry leaves no unpleasant after-taste +behind.<a class="noteref" id="xd20e7374src" href="#xd20e7374" name= +"xd20e7374src">8</a> <span class="pagenum">[<a id="pb249" href="#pb249" +name="pb249">249</a>]</span></p> +<p>The only peculiarity, in a poetical sense, is the extreme fondness +for, and frequent employment of, allegory. In the love songs the fair +one is constantly addressed under some allegorical disguise. It is a +star the lover admires, or it is the nightingale who bewails his sad +lot. The loved one is a flower, or a heifer, a dove or a quail, a +pomegranate or an apple, figures common to the poets of other +countries; but the Basques, even the rudest of them, never confuse +these metaphors, as more famous poets sometimes do—the allegory +is ever consistently maintained throughout. Even in prose they are +accustomed to this use of allegory, and catch up the slightest allusion +to it; but to others it often renders their poetry obscure, and very +difficult of successful translation. The stranger is in doubt whether a +given poem is really meant only for a description of the habits of the +nightingale, or whether the bird is a pseudonym for the poet or the +poet’s mistress. Curiously enough, sometimes educated Basques +seem to have almost as much difficulty in seizing this allegory as have +foreigners. Thus, in a work now in course of publication,<a class= +"noteref" id="xd20e7383src" href="#xd20e7383" name="xd20e7383src">9</a> +one of the most famous of these allegorical complaints is actually +taken for a poetical description of the nightingale itself.</p> +<p>The historical songs, like all other historical remains among the +Basques, are few and doubtful. There are two songs, however, for which +are claimed a greater historical importance and a higher antiquity than +any others can pretend to. These are the so-called “Leloaren +Cantua” and the “Altabiskarco Cantua.” Both these are +reputed by some writers to be almost contemporaneous with the events +which they relate. The first is said to be founded on the wars of the +Roman Emperor Augustus with the Cantabri; the second is an account of +the defeat of Charlemagne’s rearguard <span class= +"pagenum">[<a id="pb250" href="#pb250" name="pb250">250</a>]</span>at +Roncesvalles, <span class="sc">A.D.</span> 778. The former may be some +three hundred years old, but the latter is certainly a production of +the nineteenth century, though none the less it is the most spirited +offspring of the Basque muse. We will give the text and translation of +each, and then justify our conclusions.</p> +<div class="table xd20e7393"> +<table> +<tr valign="top"> +<td valign="top"> +<div class="q"> +<div class="body"> +<div lang="eu" class="lgouter"> +<h4>Leloaren Cantua.</h4> +<div class="lg"> +<h4>1.</h4> +<p class="line">lelo. yl lelo<span class="corr" id="xd20e7407" title= +"Not in source">;</span></p> +<p class="line">lelo. yl lelo;</p> +<p class="line">leloa çarat<a class="noteref" id="n250.1src" +href="#n250.1" name="n250.1src">10</a></p> +<p class="line">il leloa.</p> +</div> +<div class="lg"> +<h4>2.</h4> +<p class="line">Romaco armac</p> +<p class="line">aleguin eta</p> +<p class="line">Vizcayac daroa</p> +<p class="line">Zanzoa.</p> +</div> +<div class="lg"> +<h4>3.</h4> +<p class="line">Octabiano</p> +<p class="line">munduco jauna</p> +<p class="line">le coby di<a class="pseudonoteref" href= +"#n250.1">10</a></p> +<p class="line">Vizcayocoa.</p> +</div> +<div class="lg"> +<h4>4.</h4> +<p class="line">Ichasotati</p> +<p class="line">eta leorres</p> +<p class="line">y mini deusco</p> +<p class="line">molsoa.</p> +</div> +<div class="lg"> +<h4>5.</h4> +<p class="line">leor celayac</p> +<p class="line">bereac dira</p> +<p class="line">menditan tayac</p> +<p class="line">leusoac.</p> +</div> +<div class="lg"> +<h4>6.</h4> +<p class="line">lecu yronyan</p> +<p class="line">gagozanyan</p> +<p class="line">nocbera sendo</p> +<p class="line">daugogoa.</p> +</div> +<span class="pagenum">[<a id="pb251" href="#pb251" name= +"pb251">251</a>]</span> +<div class="lg"> +<h4>7.</h4> +<p class="line">bildurric guichi</p> +<p class="line">armabardinas</p> +<p class="line">oramayasu</p> +<p class="line">guexoa.</p> +</div> +<div class="lg"> +<h4>8.</h4> +<p class="line">Soyacgogorrac</p> +<p class="line">badyri tuys</p> +<p class="line">narrubiloxa</p> +<p class="line">surboa.</p> +</div> +<div class="lg"> +<h4>9.</h4> +<p class="line">bost urteco</p> +<p class="line">egun gabean</p> +<p class="line">gueldi bagaric</p> +<p class="line">pochoa.</p> +</div> +<div class="lg"> +<h4>10.</h4> +<p class="line">gurecobata</p> +<p class="line">ylbadaguyan</p> +<p class="line">bost amarren</p> +<p class="line">galdoa.</p> +</div> +<div class="lg"> +<h4>11.</h4> +<p class="line">aecanista</p> +<p class="line">gue guichitaya</p> +<p class="line">asqugudugu</p> +<p class="line">lalboa.</p> +</div> +<div class="lg"> +<h4>12.</h4> +<p class="line">gueurelurrean</p> +<p class="line">ta aen errian</p> +<p class="line">biroch ainbaten</p> +<p class="line">zamoa.</p> +</div> +<div class="lg"> +<h4>13.</h4> +<p class="line">Ecin gueyago</p> +<p class="line">(The rest of this verse is lost through a rent in the +paper.)</p> +</div> +<div class="lg"> +<h4>14.</h4> +<p class="line">tiber lecua</p> +<p class="line">gueldico zabal</p> +<p class="line">Uchin tamayo</p> +<p class="line">grandoya.</p> +</div> +<div class="lg"> +<h4>15.</h4> +<p class="line">(Torn.)</p> +</div> +<span class="pagenum">[<a id="pb252" href="#pb252" name= +"pb252">252</a>]</span> +<div class="lg"> +<h4>16.</h4> +<p class="line">andiaristac</p> +<p class="line">gueisto syndoas</p> +<p class="line">beticonayas</p> +<p class="line">narraca.</p> +</div> +</div> +</div> +</div> +</td> +<td valign="top"> +<div class="q"> +<div class="body"> +<div class="lgouter"> +<h4>Song of Lelo.</h4> +<div class="lg"> +<h4>1.</h4> +<p class="line">Lelo, dead (is) Lelo;</p> +<p class="line">Lelo, dead (is) Lelo;</p> +<p class="line">Lelo, Zara (?)<a class="pseudonoteref" href= +"#n250.1">10</a></p> +<p class="line">Killed Lelo.</p> +</div> +<div class="lg"> +<h4>2.</h4> +<p class="line">The arms of Rome</p> +<p class="line">do all they can, and</p> +<p class="line">Biscay raises</p> +<p class="line">The song of war.</p> +</div> +<div class="lg"> +<h4>3.</h4> +<p class="line">Octavianus,</p> +<p class="line">Of the world lord,</p> +<p class="line">Lecobidi (?)<a class="pseudonoteref" href= +"#n250.1">10</a></p> +<p class="line">of Biscay.</p> +</div> +<div class="lg"> +<h4>4.</h4> +<p class="line">By sea</p> +<p class="line">and by land</p> +<p class="line">he has placed us</p> +<p class="line">the siege.</p> +</div> +<div class="lg"> +<h4>5.</h4> +<p class="line">The dry plains</p> +<p class="line">are theirs;</p> +<p class="line">the high mountains,</p> +<p class="line">the caverns (are ours).</p> +</div> +<div class="lg"> +<h4>6.</h4> +<p class="line">In favourable ground</p> +<p class="line">when we are,</p> +<p class="line">each one firm</p> +<p class="line">has heart (?)</p> +</div> +<div class="lg"> +<h4>7.</h4> +<p class="line">Little fear</p> +<p class="line">(with) equal arms,</p> +<p class="line">(but) our kneading-trough</p> +<p class="line">(goes) ill.</p> +</div> +<div class="lg"> +<h4>8.</h4> +<p class="line">Hard corselets</p> +<p class="line">wear they;</p> +<p class="line">Bare body;</p> +<p class="line">(more) agility (?)</p> +</div> +<div class="lg"> +<h4>9.</h4> +<p class="line">For five years,</p> +<p class="line">by day, by night,</p> +<p class="line">without ceasing,</p> +<p class="line">(lasts) the siege <span class="corr" id="xd20e7693" +title="Source: )">(</span>?)</p> +</div> +<div class="lg"> +<h4>10.</h4> +<p class="line">One of ours</p> +<p class="line">when he is dead,</p> +<p class="line">five tens</p> +<p class="line">they lose (?)</p> +</div> +<div class="lg"> +<h4>11.</h4> +<p class="line">They many and</p> +<p class="line">we few (?)</p> +<p class="line">at last we have made</p> +<p class="line">the peace.</p> +</div> +<div class="lg"> +<h4>12.</h4> +<p class="line">In our land</p> +<p class="line">and in his village</p> +<p class="line">are tied in the same way</p> +<p class="line">the loads (of wood).</p> +</div> +<div class="lg"> +<h4>13.</h4> +<p class="line">(It is) impossible more.</p> +<p class="line"> </p> +</div> +<div class="lg"> +<h4>14.</h4> +<p class="line">Tiber the place</p> +<p class="line">remains broad (?)</p> +<p class="line">Uchin Tamayo <span class="corr" id="xd20e7746" title= +"Source: ?">(?)</span></p> +<p class="line">very large.</p> +</div> +<div class="lg"> +<h4> </h4> +<p class="line"> </p> +</div> +<div class="lg"> +<h4>16.</h4> +<p class="line">The great oaks</p> +<p class="line">yield</p> +<p class="line">to the constant strokes</p> +<p class="line">(of) the woodpecker.</p> +</div> +</div> +</div> +</div> +</td> +</tr> +</table> +</div> +<p>The history of the above song is as follows: At the close of the +sixteenth century a notary of Zornoza, J. Iñiguez de +Ibargüen, was commissioned by the Junta of Biscay to search the +principal libraries of Spain for documents relating to the Basques. In +the archives of Simancas he discovered an ancient MS. on parchment, +containing verses in Basque, some almost, others wholly obliterated. Of +these he copied what he could, and inserted them in p. 71 of his +“<span lang="es">Cronica general de España y sumaria de +Vizcaya</span>,” a work which still exists in manuscript in the +town of Marquina. From this history of Ibargüen the song was first +reproduced by the celebrated Wilhelm von Humboldt, and published by him +in 1817 in a supplement to Vater’s “Mithridates.” The +text above given is taken from that of the “Cancionero +Vasco,” Series 2, iii., pp. 18, 20, and claims to be a new and +literal copy from the MS. “Cronica” of Ibargüen. From +the date of its publication by Humboldt, this piece has been the +subject of much discussion. That it is one of the oldest fragments of +Basque poetry hardly admits of doubt. But, when asked to believe that +it is contemporary with Augustus, we must hesitate. The question +arises: Did Ibargüen copy the almost defaced original exactly as +it was, or did he suffer his declared predilections unconsciously to +influence his reading of it?<a class="noteref" id="xd20e7774src" href= +"#xd20e7774" name="xd20e7774src">11</a> <span class="pagenum">[<a id= +"pb253" href="#pb253" name="pb253">253</a>]</span>Many of the words are +still very obscure, and the translation of them is almost guess work. +The first verse has little or no apparent connection with the rest of +the poem, and has given rise to the most fanciful interpretations. Lelo +has been imagined by some to be the name of a Basque hero; Zara, or +Zarat, who kills him, the name of another; and the two reproduce the +story of Agamemnon and Ægisthus. Others, with more probability, +take Lelo, as is certainly the case in other poems, for a mere refrain +(the everlasting Lelo, as a Basque proverb has it) used by the singer +merely to give the key to the tune or rhythm to which he modulates the +rest. Chaho, with his usual audacity, would translate it +“glory,” and render it thus:—</p> +<div class="lgouter"> +<p class="line">Finished is the glory! dead is the glory,</p> +<p class="line xd20e7788">Our glory!</p> +<p class="line">Old age has killed the glory,</p> +<p class="line xd20e7788">Our glory!</p> +</div> +<p class="firstpar">But it has been very plausibly suggested<a class= +"noteref" id="xd20e7796src" href="#xd20e7796" name= +"xd20e7796src">12</a> that the verse bears a suspicious likeness to a +vague reminiscence of the Moslem cry “Lâ Êlah +Ulâ Allah!” &c.; and if so, this, in the north of +Spain, would at one bound place the poem some eight centuries at least +after the time of Augustus. The proper names have a too correct look. +Octabiano, Roma, and Tiber are far too much like the Latin; for if +Greeks and Romans complained, as do Strabo and Mela, of the difficulty +of transcribing Basque or Iberian names into their own language, the +Basques might possibly find a somewhat corresponding difficulty in +transcribing Greek and Latin names into Basque. Moreover, in a later +verse appears “Uchin,” a <i>sobriquet</i> for +“Augustino,” as a baptismal name in use among the Spanish +Basques to this day. What the poem really refers to we dare not assert. +We present the “Leloaren Cantua” to our readers simply as +one of the oldest curiosities of Basque <span class="pagenum">[<a id= +"pb254" href="#pb254" name="pb254">254</a>]</span>verse, without +pledging ourselves to any particular date or interpretation +thereof.</p> +<p>Fortunately, we shall be able to speak with much more decision of +the “Altabiskarco Cantua,” of which the following is the +latest text:—</p> +<div lang="eu" class="lgouter"> +<h4>Altabiskarco Cantua.</h4> +<div class="lg"> +<h4>1.</h4> +<p class="line">Oyhu bat aditua izan da</p> +<p class="line">Escualdunen mendien artetic,</p> +<p class="line">Eta etcheco jaunac, bere athearen aitcinean chutic</p> +<p class="line">Ideki tu beharriac, eta erran du: “Nor da hor? +Cer nahi dautet?”</p> +<p class="line">Eta chacurra, bere nausiaren oinetan lo +zagüena,</p> +<p class="line">Altchatu da, eta karrasiz Altabiscarren inguruac bethe +ditu.</p> +</div> +<div class="lg"> +<h4>2.</h4> +<p class="line">Ibañetaren lepoan harabotz bat aghertcen da,</p> +<p class="line">Urbiltcen da, arrokac ezker eta ezcuin jotcen +dituelaric;</p> +<p class="line">Hori da urrundic heldu den armada baten burrumba.</p> +<p class="line">Mendien copetetaric guriec errespuesta eman diote;</p> +<p class="line">Beren tuten soinua adiaraci dute,</p> +<p class="line">Eta etcheco jaunac bere dardac zorrozten tu.</p> +</div> +<div class="lg"> +<h4>3.</h4> +<p class="line">Heldu dira! heldu dira! cer lantzazco sasia!</p> +<p class="line">Nola cer nahi colorezco banderac heien erdian aghertcen +diren</p> +<p class="line">Cer simistac atheratcen diren heien armetaric!</p> +<p class="line">Cembat dira? Haurra condatzic onghi!</p> +<p class="line">Bat, biga, hirur, laur, bortz, sei, zazpi, zortzi, +bederatzi, hamar, hameca, hamabi,</p> +<p class="line">Hamahirur, hamalaur, hamabortz, hamasei, hamazazpi, +hemezortzi, hemeretzi, hogoi.</p> +</div> +<div class="lg"> +<h4>4.</h4> +<p class="line">Hogoi eta milaca oraino!</p> +<p class="line">Heien condatcea demboraren galtcea liteque.</p> +<p class="line">Urbilditzagun gure beso zailac, errotic athera ditzagun +arroca horiec,</p> +<p class="line">Botha ditzagun mendiaren patarra behera</p> +<p class="line">Hein buruen gaineraino;</p> +<p class="line">Leher ditzagun, herioz jo ditzagun.</p> +</div> +<div class="lg"> +<h4>5.</h4> +<p class="line">Cer nahi zuten gure mendietaric Norteco guizon +horiec?</p> +<p class="line">Certaco jin dira gure bakearen nahastera? <span class= +"pagenum">[<a id="pb255" href="#pb255" name="pb255">255</a>]</span></p> +<p class="line">Jaungoicoac mendiac eguin dituenean nahi izan du hec +guizonec ez pasatcea.</p> +<p class="line">Bainan arrokac biribilcolica erortcen dira, tropac +lehertcen dituzte.</p> +<p class="line">Odola churrutan badoa, haraghi puscac dardaran +daude.</p> +<p class="line">Oh! cembat hezur carrascatuac! cer odolezco +itsasoa!</p> +</div> +<div class="lg"> +<h4>6.</h4> +<p class="line">Escapa! escapa! indar eta zaldi dituzeneac!</p> +<p class="line">Escapa hadi, Carlomano erreghe, hire luma beltzekin eta +hire capa gorriarekin;</p> +<p class="line">Hire iloba maitea, Errolan zangarra, hantchet hila +dago;</p> +<p class="line">Bere zangartasuna beretaco ez tu izan.</p> +<p class="line">Eta orai, Escualdunac, utz ditzagun arroca horiec,</p> +<p class="line">Jauts ghiten fite, igor ditzagun gure dardac escapatcen +direnen contra.</p> +</div> +<div class="lg"> +<h4>7.</h4> +<p class="line">Badoazi! badoazi! non da bada lantzazco sasi hura?</p> +<p class="line">Non dira heien erdian agheri ciren cer nahi colorezco +bandera hec?</p> +<p class="line">Ez da gheiago simiztarik atheratcen heien arma odolez +bethetaric.</p> +<p class="line">Cembat dira? Haurra, condatzac onghi.</p> +<p class="line">Hogoi, hemeretzi, hemezortzi, hamazazpi, hamasei, +hamabortz, hamalaur, hamairur,</p> +<p class="line">Hamabi, hameca, hamar, bederatzi, zortzi, zazpi, sei, +bortz, laur, hirur biga, bat.</p> +</div> +<div class="lg"> +<h4>8.</h4> +<p class="line">Bat! ez da bihiric aghertcen gheiago. Akhabo da!</p> +<p class="line">Etcheco jauna, joaiten ahal zira zure +chacurrarekin,</p> +<p class="line">Zure emaztearen eta zure haurren besarcatcera,</p> +<p class="line">Zure darden garbitcera eta alchatcera zure tutekin,</p> +<p class="line">Eta ghero heien gainean etzatera eta lo gitera.</p> +<p class="line">Gabaz, arranoac joainen dira haraghi pusca lehertu +horien jatera,</p> +<p class="line">Eta hezur horiec oro churituco dira eternitatean.</p> +</div> +</div> +<div class="lgouter"> +<h4>Song of Altabiscar.</h4> +<div class="lg"> +<h4>1.</h4> +<p class="line">A cry is heard</p> +<p class="line">From the Basque mountain’s midst.</p> +<p class="line">Etcheco Jauna,<a class="noteref" id="xd20e7952src" +href="#xd20e7952" name="xd20e7952src">13</a> at his door erect, +<span class="pagenum">[<a id="pb256" href="#pb256" name= +"pb256">256</a>]</span></p> +<p class="line">Listens, and cries, “What want they? Who goes +there?”</p> +<p class="line">At his lord’s feet the dog that sleeping lay</p> +<p class="line">Starts up, his bark fills Altabiscar<a class="noteref" +id="n256.1src" href="#n256.1" name="n256.1src">14</a> round.</p> +</div> +<div class="lg"> +<h4>2.</h4> +<p class="line">Through Ibañeta’s<a class="pseudonoteref" +href="#n256.1">14</a> pass the noise resounds,</p> +<p class="line">Striking the rocks on right and left it comes;</p> +<p class="line">’Tis the dull murmur of a host from far,</p> +<p class="line">From off the mountain heights our men reply,</p> +<p class="line">Sounding aloud the signal of their horns;</p> +<p class="line">Etcheco Jauna whets his arrows then.</p> +</div> +<div class="lg"> +<h4>3.</h4> +<p class="line">They come! They come! See, what a wood of spears</p> +<p class="line">What flags of myriad tints float in the midst!</p> +<p class="line">What lightning-flashes glance from off their arms!</p> +<p class="line">How many be they? Count them well, my child.</p> +<p class="line">1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12,</p> +<p class="line">13, 14, 15, 16, 17, 18, 19, 20.</p> +</div> +<div class="lg"> +<h4>4.</h4> +<p class="line">Twenty, and thousands more!</p> +<p class="line">’Twere but lost time to count.</p> +<p class="line">Our sinewy arms unite, tear up the rocks,</p> +<p class="line">Swift from the mountain tops we hurl them down</p> +<p class="line">Right on their heads,</p> +<p class="line">And crush, and slay them all.</p> +</div> +<div class="lg"> +<h4>5.</h4> +<p class="line">What would they in our hills, these Northern men?</p> +<p class="line">Why come they here our quiet to disturb?</p> +<p class="line">God made the hills intending none should pass.</p> +<p class="line">Down fall the rolling rocks, the troops they crush!</p> +<p class="line">Streams the red blood! Quivers the mangled flesh!</p> +<p class="line">Oh! what a sea of blood! What shattered bones!</p> +</div> +<div class="lg"> +<h4>6.</h4> +<p class="line">Fly, to whom strength remaineth and a horse!</p> +<p class="line">Fly, Carloman, red cloak and raven plumes!</p> +<p class="line">Lies thy stout nephew, Roland, stark in death;</p> +<p class="line">For him his brilliant courage naught avails.</p> +<p class="line">And, now, ye Basques, leaving awhile these rocks,</p> +<p class="line">Down on the flying foe your arrows shower!</p> +</div> +<span class="pagenum">[<a id="pb257" href="#pb257" name= +"pb257">257</a>]</span> +<div class="lg"> +<h4>7.</h4> +<p class="line">They run! They run! Where now that wood of spears?</p> +<p class="line">Where the gay flags that flaunted in their midst?</p> +<p class="line">Rays from their bloodstained arms no longer flash!</p> +<p class="line">How many are they? Count them well, my child.</p> +<p class="line">20, 19, 18, 17, 16, 15, 14, 13,</p> +<p class="line">12, 11, 10, 9, 8, 7, 6, 5, 4, 3, 2, 1.</p> +</div> +<div class="lg"> +<h4>8.</h4> +<p class="line">One! There is left not one. ’Tis o’er!</p> +<p class="line">Etcheco Jauna home with thy dog retire.</p> +<p class="line">Embrace thy wife and child,</p> +<p class="line">Thine arrows clean, and stow them with thine horn;</p> +<p class="line">And then, lie down and sleep thereon.</p> +<p class="line">At night yon mangled flesh shall eagles<a class= +"noteref" id="xd20e8074src" href="#xd20e8074" name= +"xd20e8074src">15</a> eat,</p> +<p class="line">And to eternity those bones shall bleach.</p> +</div> +</div> +<p class="firstpar">(This translation is due to the kindness of a +friend.)</p> +<p>The history of this song is very curious, and shows the little value +of subjective criticism in any but the most competent hands. The MS. of +it is alleged to have been found on the 5th of August, 1794, in a +convent at Fuenterrabia, by La Tour d’Auvergne, the celebrated +“<span lang="fr">premier grenadier</span>” of the French +Army. It was printed about the year 1835, by Monglave, and accepted as +a genuine contemporary document by Fauriel, Chaho, Cenac-Moncaut, and +many other French writers; by Lafuente, Amador de los Rios, and other +Spanish authors; by Araquistain, and by the Editors of the +“Revista Euskara” and of the “Cancionero Vasco” +among the Basques. It is needless to say that all guide-books, tourist +sketches, <i lang="la">et hoc genus omne</i>, have adopted it. It was +inserted as genuine by Fr. Michel, in the <i>Gentleman’s +Magazine</i>, in 1858, and in more recent years a translation appeared +in another London magazine. In the “<span lang="fr">Basques et +Navarrais</span>” of M. Louis Lande, lately published, it is +alluded to as genuine; and the <i>Saturday Review</i> of the 17th of +August, 1878, quotes it as a corroboration of the <span class= +"pagenum">[<a id="pb258" href="#pb258" name= +"pb258">258</a>]</span>”<span lang="fr">Chanson de +Roland</span>.”<a class="noteref" id="xd20e8105src" href= +"#xd20e8105" name="xd20e8105src">16</a> There have been some, however, +who have stoutly opposed these claims; among them M. Barry, of +Toulouse, M. Gaston Paris, and M. J. F. Blade, which last writer, both +in a separate pamphlet and in his “<span lang="fr">Études +sur l’Origine des Basques</span>” (Paris, 1859), has shown +from internal grounds its want of authenticity. M. Alexandre Dihinx, a +Basque, in a series of articles in the <i lang="fr">Impartial</i>, of +Bayonne, for 1873, which have since been reprinted by M. J. Vinson, in +<i lang="fr">L’Avenir</i>, of Bayonne, May of the present year, +conclusively proved both the incorrectness and the modern character of +its Basque. But all these authors seem either to have been unaware of, +or to have unaccountably overlooked, the true history of the piece. +When M. Fr. Michel published this, and another song called +“<span lang="eu">Abarcaren Cantua</span>,” in the +<i>Gentleman’s Magazine</i>, in 1858, as specimens of +<i>ancient</i> Basque poetry, a letter from M. Antoine d’Abbadie, +<span lang="fr">Membre de l’Institut</span>, appeared forthwith +in the number for March, 1859, stating that the Abarca song had +actually been among the unsuccessful pieces submitted for the prize in +the poetical competition at Urrugne, of the previous August; and he +adds:—</p> +<div class="blockquote"> +<p class="firstpar">“I am sorry that the <i lang= +"eu">Altabiscarraco cantua</i>, mentioned in your same number, is +acknowledged as a gem of <i>ancient</i> popular poetry. Truth compels +me to deny that it is universally admitted as such, for one of my +Basque neighbours has often named the person who, about twenty four +years ago, composed it in French, and the other person, who translated +it into <i>modern</i> but indifferent Basque.<a class="noteref" id= +"xd20e8142src" href="#xd20e8142" name="xd20e8142src">17</a> The latter +idiom, <span class="pagenum">[<a id="pb259" href="#pb259" name= +"pb259">259</a>]</span>on purely philological ground, stands peerless +among the most ancient languages in Europe, and I have felt it my duty +to disclaim unfounded pretensions of which it has no need.—I am, +etc.,</p> +<p class="signed">“<span class="sc">Antoine +d’Abbadie</span>,</p> +<p class="dateline">“<i>London, Jan. 31, 1859.</i>”<br> +<i lang="fr">Correspond. de l’Institut de France.</i></p> +</div> +<p>In the next number M. Fr. Michel writes, “henceforth I will +believe that the songs called <i lang="eu">Abarcaren Cantua</i> and +<i lang="eu">Altabiscarraco Cantua</i> are forgeries”; this +testimony is decisive. It has often been repeated by M. +d’Abbadie, with the additional assurance that he knows not only +the house, but the very room in which the song was first composed. That +the language is modern and indifferent Basque is very evident in the +text given by M. Fr. Michel in “<span lang="fr">Le Pays Basque, +Paris, 1857.</span>” That above, taken from the +“<span lang="eu">Cancionero Vasco</span>” of the present +year, is considerably corrected and improved. All attempts, and many +efforts have been made, to force these irregular lines into any known +form of Basque rhythm have hitherto signally failed. For the amusement +of some of our readers we give below a list of the more evident foreign +words in this and in the “<span lang="eu">Leloaren +Cantua</span>.” The relative antiquity will thus be seen at a +glance:—</p> +<p><i>L</i>, Latin; <i>S</i>, Spanish; <i>F</i>, French; <i>G</i>, +German words.</p> +<div class="table xd20e7393"> +<h4 class="aligncenter">Song of Lelo.</h4> +<table> +<tr valign="top"> +<td valign="top">Romako</td> +<td valign="top"></td> +<td valign="top">Roma</td> +<td valign="top">L</td> +</tr> +<tr valign="top"> +<td valign="top">Armac</td> +<td valign="top"></td> +<td valign="top">arma</td> +<td valign="top">L</td> +</tr> +<tr valign="top"> +<td valign="top">Octabiano</td> +<td valign="top"></td> +<td valign="top">Octavianus</td> +<td valign="top">L</td> +</tr> +<tr valign="top"> +<td valign="top">Munduco</td> +<td valign="top"></td> +<td valign="top">mundus</td> +<td valign="top">L</td> +</tr> +<tr valign="top"> +<td valign="top">Lecu (?)</td> +<td valign="top"></td> +<td valign="top">locus</td> +<td valign="top">L</td> +</tr> +<tr valign="top"> +<td valign="top">Tiber</td> +<td valign="top"></td> +<td valign="top">Tiber</td> +<td valign="top">L</td> +</tr> +<tr valign="top"> +<td valign="top" rowspan="2" class="xd20e6999">Grandoya</td> +<td valign="top" rowspan="2"><img src="images/brace2.png" alt="" width= +"7" height="40"></td> +<td valign="top">grandis</td> +<td valign="top">L</td> +</tr> +<tr valign="top"> +<td valign="top">grandioso</td> +<td valign="top">S</td> +</tr> +</table> +</div> +<div class="table xd20e7393"> +<h4 class="aligncenter">Song of Altabiscar.</h4> +<table> +<tr valign="top"> +<td valign="top">Copetetaric (?)</td> +<td valign="top"></td> +<td valign="top">caput</td> +<td valign="top">L</td> +</tr> +<tr valign="top"> +<td valign="top">Armada</td> +<td valign="top"></td> +<td valign="top">armada</td> +<td valign="top">S</td> +</tr> +<tr valign="top"> +<td valign="top">Errespuesta</td> +<td valign="top"></td> +<td valign="top">respuesta</td> +<td valign="top">S</td> +</tr> +<tr valign="top"> +<td valign="top">Dardac</td> +<td valign="top"></td> +<td valign="top">dard</td> +<td valign="top">F</td> +</tr> +<tr valign="top"> +<td valign="top">Colorezco</td> +<td valign="top"></td> +<td valign="top">color</td> +<td valign="top">S</td> +</tr> +<tr valign="top"> +<td valign="top">Banderac</td> +<td valign="top"></td> +<td valign="top">bandera</td> +<td valign="top">S</td> +</tr> +<tr valign="top"> +<td valign="top" rowspan="3" class="xd20e6999">Simistac</td> +<td valign="top" rowspan="3"><img src="images/brace3.png" alt="" width= +"12" height="67"></td> +<td valign="top">quimista</td> +<td valign="top">S</td> +</tr> +<tr valign="top"> +<td valign="top">chimiste</td> +<td valign="top">F</td> +</tr> +<tr valign="top"> +<td valign="top" colspan="2">both from Arabic</td> +</tr> +<tr valign="top"> +<td valign="top">Tropac</td> +<td valign="top"></td> +<td valign="top">tropa</td> +<td valign="top">S</td> +</tr> +<tr valign="top"> +<td valign="top">Arroca</td> +<td valign="top"></td> +<td valign="top">roca</td> +<td valign="top">S</td> +</tr> +<tr valign="top"> +<td valign="top">Escapa</td> +<td valign="top"></td> +<td valign="top">escapar</td> +<td valign="top">S</td> +</tr> +<tr valign="top"> +<td valign="top">Carlomano</td> +<td valign="top"></td> +<td valign="top">Karlomann</td> +<td valign="top">G</td> +</tr> +<tr valign="top"> +<td valign="top">Errolan</td> +<td valign="top"></td> +<td valign="top">Roland</td> +<td valign="top">F</td> +</tr> +<tr valign="top"> +<td valign="top">Erreghe</td> +<td valign="top"></td> +<td valign="top">rex, rege</td> +<td valign="top">L</td> +</tr> +<tr valign="top"> +<td valign="top">Luma<a class="noteref" id="xd20e8391src" href= +"#xd20e8391" name="xd20e8391src">18</a> (?)</td> +<td valign="top"></td> +<td valign="top">pluma</td> +<td valign="top">S</td> +</tr> +<tr valign="top"> +<td valign="top">Fite</td> +<td valign="top"></td> +<td valign="top">vite</td> +<td valign="top">F</td> +</tr> +<tr valign="top"> +<td valign="top">Capa</td> +<td valign="top"></td> +<td valign="top">capa</td> +<td valign="top">S <span class="pagenum">[<a id="pb260" href="#pb260" +name="pb260">260</a>]</span></td> +</tr> +<tr valign="top"> +<td valign="top">Condatcea</td> +<td valign="top"></td> +<td valign="top">contar</td> +<td valign="top">S</td> +</tr> +<tr valign="top"> +<td valign="top" rowspan="2" class="xd20e6999">Milaca</td> +<td valign="top" rowspan="2"><img src="images/brace2.png" alt="" width= +"7" height="40"></td> +<td valign="top">mille</td> +<td valign="top">L</td> +</tr> +<tr valign="top"> +<td valign="top">mil</td> +<td valign="top">S</td> +</tr> +<tr valign="top"> +<td valign="top">Demboraren</td> +<td valign="top"></td> +<td valign="top">tempus tempora</td> +<td valign="top">L</td> +</tr> +<tr valign="top"> +<td valign="top">Norteco</td> +<td valign="top"></td> +<td valign="top">norte</td> +<td valign="top">S</td> +</tr> +<tr valign="top"> +<td valign="top">Pasatcea</td> +<td valign="top"></td> +<td valign="top">pasar</td> +<td valign="top">S</td> +</tr> +<tr valign="top"> +<td valign="top">Contra</td> +<td valign="top"></td> +<td valign="top">contra</td> +<td valign="top">L</td> +</tr> +<tr valign="top"> +<td valign="top">Lantzazco</td> +<td valign="top"></td> +<td valign="top">lanza</td> +<td valign="top">S</td> +</tr> +<tr valign="top"> +<td valign="top">Akhabo</td> +<td valign="top"></td> +<td valign="top">acabar</td> +<td valign="top">S</td> +</tr> +<tr valign="top"> +<td valign="top">Besarcatcera</td> +<td valign="top"></td> +<td valign="top">besar</td> +<td valign="top">S</td> +</tr> +<tr valign="top"> +<td valign="top">Eternitatean</td> +<td valign="top"></td> +<td valign="top">eternidad</td> +<td valign="top">S</td> +</tr> +</table> +</div> +<p>With reference to the above list we may observe that the Basque +never begins a word with r, but always prefixes a euphonic er, ar, ir; +hence er-respuesta, ar-roca, Er-rolan, er-rege, hir-risko, risque, F. +In later copies editors have altered “Romaco,” in the +“Song of Lelo,” into “Er-romaco,” to give it +more of a Basque look. Aren, or aen, eco-aco-co are case terminations; +tcea-cea marks the verbal noun. Carlomann was never the name of +Charlemagne, but of his brother and his uncle. Er-rolan is evidently +from the French Roland; neither from the Hruotlandus of Einhardus, nor +from the Spanish Roldan. Defenders of the authenticity of the piece +allege that these words are only corruptions, introduced in the course +of ages; but our readers can judge for themselves how far they enter +into the very structure of the composition.</p> +<p>The first book printed in Basque, the <span lang= +"la">“Linguæ Vasconum Primitiæ, per Dominum Bernardum +Echepare”</span> (Bordeaux, 1545), is a collection of his poems, +religious and amatory, the latter predominating. Echepare was the +parish priest of the pretty little village of St. Michel, on the +Béhérobie Nive, above St. Jean Pied de Port; and, if +Nature alone could inspire a poet, he ought at least to have rivalled +those of our own English Lakes. But, in truth, his verses are of scant +poetical merit, and of little interest save as a philological +curiosity.<a class="noteref" id="xd20e8518src" href="#xd20e8518" name= +"xd20e8518src">19</a> They belong so distinctly to that irritating +mediocrity which never can be excused in a poet. After Echepare the +next author is Arnauld Oyhenart, of Mauléon, who published a +collection of his youthful Basque poems in Paris, 1657. These have, if +anything, less poetical value than Echepare’s; but <span class= +"pagenum">[<a id="pb261" href="#pb261" name= +"pb261">261</a>]</span>Oyhenart’s collection of proverbs and his +“<span lang="la">Notitia Utriusque Vasconiæ</span>” +will always make his name stand high among Basque writers. Except hymns +and noëls (Christmas carols), of which many collections and +editions have been published from 1630 downwards, and some of which are +noteworthy on account of higher than mere poetical merit, the deep and +evidently genuine spirit of piety they evince,<a class="noteref" id= +"xd20e8526src" href="#xd20e8526" name="xd20e8526src">20</a> little else +is preserved much older than the present century. One ballad indeed +there is, “The Betrothed of Tardetz,” which may be somewhat +older. No two versions of it are exactly alike, though the outline of +the story is always the same. The Lord of the Castle of Tardetz wishes +to give the elder of his two daughters in marriage to the King of +Hungary, or of Portugal, as some have it. But the lady’s heart +has been already won by Sala, the son of the miller of Tardetz, and she +bitterly bewails being “sold like a heifer.” The bells +which ring for her wedding will soon toll for her funeral. The romance +in its present form is evidently incomplete, but apparently ended with +the corpse of the bride being brought back to her father’s +castle.</p> +<p>Most of the Basque songs, except the drinking ones, are set, more or +less, in a minor key. The majority of the love songs would have been +described by our forefathers as “complaints.” One of the +prettiest, both in words and music, is the fragment entitled “The +Hermitage of St. Joseph”:—</p> +<div class="table xd20e7393"> +<table> +<tr valign="top"> +<td valign="top"> +<div class="q"> +<div class="body"> +<div lang="eu" class="lgouter"> +<div class="lg"> +<h4>1.</h4> +<p class="line">Chorittua, nurat hua</p> +<p class="line">Bi hegalez airian?</p> +<p class="line">Españalat juaiteko</p> +<p class="line">Elhürra dük borthian:</p> +<p class="line">Juanen gütük alkharreki</p> +<p class="line">Hura hurtü denian.</p> +</div> +<span class="pagenum">[<a id="pb262" href="#pb262" name= +"pb262">262</a>]</span> +<div class="lg"> +<h4>2.</h4> +<p class="line">San-Josefan ermita</p> +<p class="line">Desertian gora da;</p> +<p class="line">Españalat juaitian.</p> +<p class="line">Han da ene phausada;</p> +<p class="line">Guibelilat so’ gin eta</p> +<p class="line">Hasperena ardüra!</p> +</div> +<div class="lg"> +<h4>3.</h4> +<p class="line">Hasperena, habilua</p> +<p class="line">Maitenaren borthala:</p> +<p class="line">Habil, eta erran izok</p> +<p class="line">Nik igorten haidala;</p> +<p class="line">Bihotzian sar hakio</p> +<p class="line">Hura eni bezala.</p> +</div> +</div> +</div> +</div> +</td> +<td valign="top"> +<div class="q"> +<div class="body"> +<div class="lgouter"> +<div class="lg"> +<h4>1.</h4> +<p class="line">Little bird, where goest thou</p> +<p class="line">On thy two wings in the air?</p> +<p class="line">To Spain to go,</p> +<p class="line">The snow is on the passes:</p> +<p class="line">We will go together</p> +<p class="line">When the snow is melted.</p> +</div> +<div class="lg"> +<h4>2.</h4> +<p class="line">The Hermitage of Saint Joseph</p> +<p class="line">Is high in the desert</p> +<p class="line">In going to Spain.</p> +<p class="line">There is my resting-place,</p> +<p class="line">There have I looked behind, and</p> +<p class="line">The sigh is frequent.</p> +</div> +<div class="lg"> +<h4>3.</h4> +<p class="line">Sigh, go</p> +<p class="line">To the door of my beloved.</p> +<p class="line">Go, and tell her</p> +<p class="line">It is I who send you:</p> +<p class="line">Enter into her heart,</p> +<p class="line">As she (is) in mine.<a class="noteref" id= +"xd20e8635src" href="#xd20e8635" name="xd20e8635src">21</a></p> +</div> +</div> +</div> +</div> +</td> +</tr> +</table> +</div> +<p>The songs of the Agots, or Cagots, those Pariahs of the +Pyrénées, who dwelt apart shunned and despised by all, +are, as might be expected, uniformly sad. The misery of the +labourer’s lot, and even of that of the <i>contrabandista</i>, is +more <span class="pagenum">[<a id="pb263" href="#pb263" name= +"pb263">263</a>]</span>frequently dwelt upon than the compensations to +the poverty of the one, or the transient gleams of good fortune of the +other. At least, such is the case in all those which are really songs +of the people. In these there are not many delights of “life +under the greenwood tree,” as in Robin Hood, or our factitious +gipsies’ songs. The forest is an object of dread to the Basque +poet, and it requires courage and all the powerful attraction of a +loved one to induce him to traverse by night its gloomy shades; but +then—</p> +<div class="table xd20e7393"> +<table> +<tr valign="top"> +<td valign="top"> +<div class="q"> +<div class="body"> +<div lang="eu" class="lgouter"> +<p class="line">Mortu, oihan illuna</p> +<p class="line">Deusere ez da neretzat.</p> +</div> +</div> +</div> +</td> +<td valign="top"> +<div class="q"> +<div class="body"> +<div class="lgouter"> +<p class="line">Deserts and forests dark</p> +<p class="line">They are then nought to me.</p> +</div> +</div> +</div> +</td> +</tr> +</table> +</div> +<p>The following is an illustration of the Cagots’ or +Agots’ songs. This piece, of which the author was the hero, was +written about 1783, when he was eighteen years old. <i>Cf.</i> Fr. +Michel, “<span lang="fr">Les Races Maudites de France et de +l’Espagne</span>,” vol. ii. p. 150, and “<span lang= +"fr">Le Pays Basque</span>,” p. 270; and, for the music, +Sallaberry, “<span lang="fr">Chants Populaires du Pays +Basque</span>,” p. 172.<a class="noteref" id="xd20e8730src" href= +"#xd20e8730" name="xd20e8730src">22</a></p> +<div class="table xd20e7393"> +<table> +<tr valign="top"> +<td valign="top"> +<div class="q"> +<div class="body"> +<div lang="eu" class="lgouter"> +<div class="lg"> +<h4>1.</h4> +<p class="line">—Argi askorrian jinik ene arresekila,</p> +<p class="line">Bethi beha entzün nahiz numbaitik zure botza;</p> +<p class="line">Ardiak nun ützi tüzü? Zerentako +errada</p> +<p class="line">Nigarrez ikhusten deizüt zure begi ederra?</p> +</div> +<div class="lg"> +<h4>2.</h4> +<p class="line">—Ene aitaren ichilik jin nüzü zure +gana,</p> +<p class="line">Bihotza erdiratürik, zihauri erraitera,</p> +<p class="line">Khambiatü deitadala ardien alhagia,</p> +<p class="line">Sekülakoz defendatü zureki minzatzia.</p> +</div> +<span class="pagenum">[<a id="pb264" href="#pb264" name= +"pb264">264</a>]</span> +<div class="lg"> +<h4>3.</h4> +<p class="line">—Gor niza, ala entzün düt? erran +deitadazia?</p> +<p class="line">Sekülakoz jin zaiztala adio erraitera?</p> +<p class="line">Etziradia orhitzen gük hitz eman +dügüla</p> +<p class="line">Lürrian bizi gireno alkharren maithtzia?</p> +</div> +<div class="lg"> +<h4>4.</h4> +<p class="line">—Atzo nurbait izan düzü ene ait’ +ametara,</p> +<p class="line">Gük alkhar maite dügüla haien +abertitzera;</p> +<p class="line">Hürüntaaztez alkhar ganik fite ditin +lehia</p> +<p class="line">Eta eztitian jünta kasta Agotarekila.</p> +</div> +<div class="lg"> +<h4>5.</h4> +<p class="line">—Agotak badiadila badizüt entzütia;</p> +<p class="line">Zük erraiten deitadazüt ni ere banizala:</p> +<p class="line">Egündano ükhen banü demendren +leiñhüria</p> +<p class="line">Enündüzün ausartüren begila +so’ gitera.</p> +</div> +<div class="lg"> +<h4>6.</h4> +<p class="line">—Jentetan den ederrena ümen düzü +Agota:</p> +<p class="line">Bilho holli, larrü churi eta begi +ñabarra.</p> +<p class="line">Nik ikhusi artzaiñetan zü zira +ederrena:</p> +<p class="line">Eder izateko aments Agot izan behar da?</p> +</div> +<div class="lg"> +<h4>7.</h4> +<p class="line">—So’ izü nuntik ezagützen dien +zuiñ den Agota: <span class="pagenum">[<a id="pb265" href= +"#pb265" name="pb265">265</a>]</span></p> +<p class="line">Lehen sua egiten zaio hari beharriala;</p> +<p class="line">Bata handiago dizü, eta aldiz bestia</p> +<p class="line">Biribil et’ orotarik bilhoz +üngüratia.</p> +</div> +<div class="lg"> +<h4>8.</h4> +<p class="line">—Hori hala balimbada haietarik etzira,</p> +<p class="line">Ezi zure beharriak alkhar üdüri dira.</p> +<p class="line">Agot denak chipiago badü beharri bata,</p> +<p class="line">Aitari erranen diot biak bardin tuzüla.</p> +</div> +<div class="lg"> +<h4>9.</h4> +<p class="line">—Agot denak bürüa aphal, eta dizü +begia</p> +<p class="line">Lürrean bethi sarturik gaizki egüinak +bezala.</p> +<p class="line">Izan banintz ni aberatz zü zira din bezala,</p> +<p class="line">Aitak etzeyzün erranen ni Agobat nizala.</p> +</div> +</div> +</div> +</div> +</td> +<td valign="top"> +<div class="q"> +<div class="body"> +<div class="lgouter"> +<div class="lg"> +<h4>1.</h4> +<p class="line">Since daybreak arrived here with my flock,</p> +<p class="line">Always listening, wishing to hear somewhere thy +voice.</p> +<p class="line">Where have you left the sheep? Whence is it</p> +<p class="line">I see your beautiful eye full of tears?</p> +</div> +<div class="lg"> +<h4>2.</h4> +<p class="line">Unknown to my father I have come towards you,</p> +<p class="line">Heart-broken, to tell you yourself</p> +<p class="line">That he has changed for me the sheep-pasture,</p> +<p class="line">Forbidden me for ever speaking with you.</p> +</div> +<div class="lg"> +<h4>3.</h4> +<p class="line">Am I deaf, or have I heard it? Did you say it?</p> +<p class="line">That you are come to bid farewell for ever?</p> +<p class="line">Do you not remember that we have given our word</p> +<p class="line">To love each other as long as we live upon the +earth?</p> +</div> +<div class="lg"> +<h4>4.</h4> +<p class="line">Yesterday some one came to my father and mother</p> +<p class="line">To warn them that we loved each other;</p> +<p class="line">That they should hasten at once to separate us from +each other,</p> +<p class="line">And that they should not ally themselves with the +Agots’ caste.</p> +</div> +<div class="lg"> +<h4>5.</h4> +<p class="line">That there are Agots I have heard tell;</p> +<p class="line">You tell me, too, that I am of them!</p> +<p class="line">If I had ever had only the shadow of them,</p> +<p class="line">I had not had the boldness to lift my eyes to you.</p> +</div> +<div class="lg"> +<h4>6.</h4> +<p class="line">Of all men, they say, the Agot is the handsomest;</p> +<p class="line">Fair hair, white skin, and blue eye.</p> +<p class="line">Of the shepherds I have seen you are the +handsomest:</p> +<p class="line">In order to be handsome, must one be an Agot?</p> +</div> +<div class="lg"> +<h4>7.</h4> +<p class="line">It is by this one recognises who is an Agot—</p> +<p class="line">One gives the first glance at his ear;</p> +<p class="line">He has one too large, and, as for the other,</p> +<p class="line">It is round and covered all over with hair.<a class= +"noteref" id="xd20e8928src" href="#xd20e8928" name= +"xd20e8928src">23</a></p> +</div> +<div class="lg"> +<h4>8.</h4> +<p class="line">If that is so, you are not of those folk;</p> +<p class="line">For your ears resemble each other perfectly.</p> +<p class="line">If he who is Agot has one of his ears smaller,</p> +<p class="line">I will tell my father you have the two alike.</p> +</div> +<div class="lg"> +<h4>9.</h4> +<p class="line">The Agot walks with his head low, and his eye</p> +<p class="line">Is fixed on the earth like a criminal.</p> +<p class="line">If I had been rich, like you,</p> +<p class="line">Your father would not have said that I was Agot.</p> +</div> +</div> +</div> +</div> +</td> +</tr> +</table> +</div> +<p>There are, too, verses of grim and bitter humour, which tell better +than the pen of the historian how wretched was formerly the lot of the +peasant, even in this favoured corner of France. Famine is personified, +and has a name given it, drawn in biting irony from that of the highest +Saint of the Church Calendar, Petiri Sanz (S. Peter). He wanders round +the country seeking where to settle permanently; at one place he is +driven off by (the sale of) rosin, at another <span class= +"pagenum">[<a id="pb266" href="#pb266" name= +"pb266">266</a>]</span>little maize, at another by cheese and cherries; +but at last he fixes his <span class="corr" id="xd20e8959" title= +"Source: aboded efinitively">abode definitively</span> at St. +Pée (another form of Peter), on the Nivelle, where they have +nothing at all to sell, and where he torments the inhabitants by +forcing them to keep many a fast beyond those of ecclesiastical +obligation. The same strain of gloomy humour appears in another form in +a poem entitled “<span lang="fr">Mes +Méditations</span>,”<a class="noteref" id="xd20e8965src" +href="#xd20e8965" name="xd20e8965src">24</a> in which a young priest of +Ciboure, slowly dying of consumption, traces in detail all the physical +and mental agonies of his approaching dissolution. A much less grim +example, however, is contained in the following, which we quote mainly +because of its brevity. It may remind some of our readers of a longer +but similar strain which used often to be sung at harvest-homes in the +Midland Counties:—</p> +<div class="table xd20e7393"> +<table> +<tr valign="top"> +<td valign="top"> +<div class="q"> +<div class="body"> +<div lang="eu" class="lgouter"> +<h4>Dote Galdia.<a class="noteref" id="xd20e8980src" href="#xd20e8980" +name="xd20e8980src">25</a></h4> +<div class="lg"> +<h4>1.</h4> +<p class="line">Aitac eman daut dotia,</p> +<p class="line xd20e8644">Neuria, neuria, neuria;</p> +<p class="line">Urdeño bat bere cherriekin,</p> +<p class="line">Oilo corroca bere chituekin,</p> +<p class="line">Tipula corda hayekin.</p> +</div> +<div class="lg"> +<h4>2.</h4> +<p class="line">Oxuac jan daut urdia,</p> +<p class="line xd20e8644">Neuria, neuria, neuria;</p> +<p class="line">Acheriac oilo coroca,</p> +<p class="line">Garratoinac tipula corda;</p> +<p class="line">Adios ene dotia.</p> +</div> +</div> +</div> +</div> +</td> +<td valign="top"> +<div class="q"> +<div class="body"> +<div class="lgouter"> +<h4>The Lost Dowry.</h4> +<div class="lg"> +<h4>1.</h4> +<p class="line">My father has given me my dowry,</p> +<p class="line xd20e8644">Mine, mine, mine;</p> +<p class="line">A sow with pigs ten,</p> +<p class="line">Her chicks with the hen,</p> +<p class="line">And of onions a rope to stow by.</p> +<div class="lg"> +<h4>2.</h4> +<p class="line">But the wolf has devoured my sow,</p> +<p class="line xd20e8644">Mine, mine, mine;</p> +<p class="line">My chickens are killed by the cats,</p> +<p class="line">My onions are gnawn by the rats;</p> +<p class="line">Good-bye to my dowry now.</p> +</div> +</div> +</div> +</div> +</div> +</td> +</tr> +</table> +</div> +<p><i>More literally</i>:—</p> +<div class="lgouter"> +<div class="lg"> +<h4>1.</h4> +<p class="line">My father has given me the dowry,</p> +<p class="line xd20e8644">Mine, mine, mine;</p> +<p class="line">A sow with her little pigs,</p> +<p class="line">A brood hen with her chickens,</p> +<p class="line">A cord of onions with them.</p> +</div> +<div class="lg"> +<h4>2.</h4> +<p class="line">The wolf has eaten my sow,</p> +<p class="line xd20e8644">Mine, mine, mine;</p> +<p class="line">The fox my brood hen,</p> +<p class="line">The rats my cord of onions,</p> +<p class="line">Good-bye, my dowry.</p> +</div> +</div> +<p><span class="pagenum">[<a id="pb267" href="#pb267" name= +"pb267">267</a>]</span></p> +<p>The lack of good poetry in Basque is certainly not due to want of +encouragement. Moreover, the wish to produce it is there, but the power +seems lacking. For over twenty years prizes have been annually given, +first at Urrugne, and then at Sare, by M. Antoine d’Abbadie, of +Abbadia. But among the multitude of competing poems few have been of +any real value, and both in merit and in the number presented they seem +to diminish annually. The best of them have been written by men of the +professional class, whose taste has been formed on French, or Spanish, +or classical, rather than on native models. The following is considered +by native critics to be among the best, though several others are very +little, if at all, inferior<a class="noteref" id="xd20e9082src" href= +"#xd20e9082" name="xd20e9082src">26</a>:—</p> +<div class="table xd20e7393"> +<table> +<tr valign="top"> +<td valign="top"> +<div class="q"> +<div class="body"> +<div lang="eu" class="lgouter"> +<h4>Artzain Dohatsua.</h4> +<div class="lg"> +<h4>1.</h4> +<p class="line">Etchola bat da ene jauregia</p> +<p class="line">Aldean, salhatzal, hariztegia;</p> +<p class="line xd20e9101">Arthalde bat</p> +<p class="line">Halakorik ez baita hambat,</p> +<p class="line">Bazait niri behar besembat.</p> +<p class="line xd20e8644">Ai! etzait itsusi!</p> +<p class="line">Ni naiz etchola huntako nausi</p> +</div> +<div class="lg"> +<h4>2.</h4> +<p class="line">Goiz-arratsak bethi deskantsu ditut,</p> +<p class="line">Deuseren beldurrik nihondik ez dut;</p> +<p class="line xd20e9101">Hemen nago,</p> +<p class="line">Erregue baino fierrago.</p> +<p class="line">Nik zer behar dut gehiago?</p> +<p class="line xd20e8644">Ha! ez da itsusi!</p> +<p class="line">Etchola huntan Piarrez nausi.</p> +</div> +<span class="pagenum">[<a id="pb268" href="#pb268" name= +"pb268">268</a>]</span> +<div class="lg"> +<h4>3.</h4> +<p class="line">Goizetan jaikirik argialdera,</p> +<p class="line">Igortzen ditut ardiak larrera;</p> +<p class="line xd20e9101">Eta gero</p> +<p class="line">Itzalpean jarririk nago,</p> +<p class="line">Nor da ni baino urusago?</p> +<p class="line xd20e8644">Ez! etzait itsusi!</p> +<p class="line">Ni naiz arthalde huntako nausi.</p> +</div> +<div class="lg"> +<h4>4.</h4> +<p class="line">Aitoren semeak gasteluetan,</p> +<p class="line">Bihotzak ilhunik daude goguetan.</p> +<p class="line xd20e9101">Alegera</p> +<p class="line">(Bethi naiz; tristatucera)<a class="noteref" id= +"xd20e9157src" href="#xd20e9157" name="xd20e9157src">27</a></p> +<p class="line">Nik ez dut dembora sobera.</p> +<p class="line xd20e8644">Ai! etzait itsusi!</p> +<p class="line">Etcholan nor da ni baizen nausi.</p> +</div> +<div class="lg"> +<h4>5.</h4> +<p class="line">Jan onegiak barnea betherik,</p> +<p class="line">Aberatsak nihoiz ez du goserik;</p> +<p class="line xd20e9101">Eta bethi</p> +<p class="line">Ene trempuaz da bekhaizti;</p> +<p class="line">Diruz ez baitaite erosi.</p> +<p class="line xd20e8644">Ha! ez da itsusi!</p> +<p class="line">Etchola gasteluaren nausi.</p> +</div> +<div class="lg"> +<h4>6.</h4> +<p class="line">Noizbait Jaunari nik dainu egunik,</p> +<p class="line">Igortzen banindu aberasturik;</p> +<p class="line xd20e9101">Zorigaitzez</p> +<p class="line">Hesturik nindauke bihotzez, <span class= +"pagenum">[<a id="pb269" href="#pb269" name="pb269">269</a>]</span></p> +<p class="line">Ene etchola hemen minez.</p> +<p class="line xd20e8644">Jauna! ba ha niri!</p> +<p class="line">Utz nezazu etcholako nausi.</p> +</div> +</div> +</div> +</div> +</td> +<td valign="top"> +<div class="q"> +<div class="body"> +<div class="lgouter"> +<h4>The Happy Shepherd.</h4> +<div class="lg"> +<h4>1.</h4> +<p class="line">A cottage my castle is,</p> +<p class="line">By the side of willows, wood, and oak copse;</p> +<p class="line xd20e9101">A flock</p> +<p class="line">Such as mine is of no great worth,</p> +<p class="line">Yet it is all I need.</p> +<p class="line xd20e8644">Ah! my lot is not so bad!</p> +<p class="line">I am master of this little house.</p> +</div> +<div class="lg"> +<h4>2.</h4> +<p class="line">Tranquil I live by night and day,</p> +<p class="line">Of aught from no quarter afraid am I;</p> +<p class="line xd20e9101">Here dwell</p> +<p class="line">No king more proud.</p> +<p class="line">What need I more?</p> +<p class="line xd20e8644">Ha! it is not so bad!</p> +<p class="line">Peter is master in this little house.</p> +</div> +<div class="lg"> +<h4>3.</h4> +<p class="line">Almost at daybreak each morn I rise,</p> +<p class="line">My sheep I drive to the pastures;</p> +<p class="line xd20e9101">And then</p> +<p class="line">’Neath the shade reclined I pass the day.</p> +<p class="line">Where is there one more happy than I?</p> +<p class="line xd20e8644">No! my lot is not so bad!</p> +<p class="line">I of my flock the master am.</p> +</div> +<div class="lg"> +<h4>4.</h4> +<p class="line">The sons of the nobles in the castles,</p> +<p class="line">Their hearts are black, their thoughts dull.</p> +<p class="line xd20e9101">Joyful</p> +<p class="line">(Always am I; to be sad)</p> +<p class="line">I have not time enough for that.</p> +<p class="line xd20e8644">Ah! my lot is not so bad!</p> +<p class="line">In the cottage of which I the master am.</p> +</div> +<div class="lg"> +<h4>5.</h4> +<p class="line">Eating too much, and ever full,</p> +<p class="line">The rich they never feel hunger;</p> +<p class="line xd20e9101">Yet always</p> +<p class="line">My rude good health they envy;</p> +<p class="line">With money they cannot purchase that.</p> +<p class="line xd20e8644">Ha! it is not so bad!</p> +<p class="line">The cottage the lord of the castle is.</p> +</div> +<div class="lg"> +<h4>6.</h4> +<p class="line">Once on a time I grieved the Lord,</p> +<p class="line">Sending me full of riches;</p> +<p class="line xd20e9101">Of sorrow</p> +<p class="line">Full then was I at heart,</p> +<p class="line">My little house here suffering.</p> +<p class="line xd20e8644">Lord! spare me!</p> +<p class="line">Leave me the master of my little house.</p> +</div> +</div> +</div> +</div> +</td> +</tr> +</table> +</div> +<p>A pretty cradle song, “<span lang="eu">Lo! Lo! ene +Maitea</span>” (“Sleep! Sleep! my Darling”), by M. +Larralde, a physician of St. Jean de Luz, won the prize at Urrugne in +1859. It is written to a tune composed by the Vicomte de Belzunce; the +words have been printed in the “<span lang="fr">Lettres +Labourdines</span>,” par H. L. Fabre (Bayonne, 1869).</p> +<div class="table xd20e7393"> +<table> +<tr valign="top"> +<td valign="top"> +<div class="q"> +<div class="body"> +<div lang="eu" class="lgouter"> +<div class="lg"> +<h4>1.</h4> +<p class="line">Lo! Lo! nere maitea!</p> +<p class="line">Lo! ni naiz zurekin!</p> +<p class="line">Lo! Lo! paregabea!</p> +<p class="line">Nigarrik ez-eghin;</p> +<p class="line">Goizegui da! Munduko</p> +<p class="line">Gelditzen bazira,</p> +<p class="line">Nigarretan urtzeco</p> +<p class="line">Baduzu dembora.</p> +</div> +<div class="lg"> +<h4>2.</h4> +<p class="line">Lo! nik zaitut higitzen,</p> +<p class="line">Lo! Lo! nombait goza.</p> +<p class="line">Es duzuya ezagutzen</p> +<p class="line">Amattoren boza?</p> +<p class="line">Exai guzietaric</p> +<p class="line">Zure begiratzen</p> +<p class="line">Bertze lanak utzirik.</p> +<p class="line">Egonen naiz hemen.</p> +</div> +<div class="lg"> +<h4>3.</h4> +<p class="line">Lo! Lo! nere aingerua!</p> +<p class="line">Bainan amexetan,</p> +<p class="line">Dabilkasu burua;</p> +<p class="line">Hirria ezpainetan;</p> +<p class="line">Norekin othe zare?</p> +<p class="line">Non othe zabiltza?</p> +<p class="line">Ez urrun ama-gabe</p> +<p class="line">Gan ene bihotza.</p> +</div> +<span class="pagenum">[<a id="pb270" href="#pb270" name= +"pb270">270</a>]</span> +<div class="lg"> +<h4>4.</h4> +<p class="line">Lo! Lo! zeruetarat</p> +<p class="line">Airatu bazare,</p> +<p class="line">Ez bihar zu lurrerat</p> +<p class="line">Ardiexi-gabe</p> +<p class="line">Ungi zure altchatzeko</p> +<p class="line">Enetzat gracia;</p> +<p class="line">Guciz eni hortako</p> +<p class="line">Zait ezti bizia!</p> +</div> +<div class="lg"> +<h4>5.</h4> +<p class="line">Lo! Lo! gauak oraindik,</p> +<p class="line">Nombait du eguna;</p> +<p class="line">Ez da nihon argirik</p> +<p class="line">Baizik izarrena.</p> +<p class="line">Izarrez! mintzazean</p> +<p class="line">Zutaz naiz orhoitzen;</p> +<p class="line">Zein guti, zure aldean</p> +<p class="line">Duten distiratzen!</p> +</div> +<div class="lg"> +<h4>6.</h4> +<p class="line">Lo! Lo! dembora dela!</p> +<p class="line">Iduri zait albak</p> +<p class="line">Histen hari tuela</p> +<p class="line">Ekhi gabazkoak.</p> +<p class="line">Choriac arboletan</p> +<p class="line">Kantaz hasi dire;</p> +<p class="line">Laster nere besoetan</p> +<p class="line">Gochatuko zare.</p> +</div> +<div class="lg"> +<h4>7.</h4> +<p class="line">Bainan atzarri zare</p> +<p class="line">Uso bat iduri.</p> +<p class="line">Una nik zembat lore(ac)</p> +<p class="line">Zuretzat ekharri!</p> +<p class="line">Ametsetan ait-amez</p> +<p class="line">Othe zare orhoitu?</p> +<p class="line">Ai! hirri maite batez</p> +<p class="line">Baietz erradazu!</p> +</div> +</div> +</div> +</div> +</td> +<td valign="top"> +<div class="q"> +<div class="body"> +<div class="lgouter"> +<div class="lg"> +<h4>1.</h4> +<p class="line">Sleep! Sleep! my darling!</p> +<p class="line">Sleep! I am with thee!</p> +<p class="line">Sleep! Sleep! without peer!</p> +<p class="line">Shed no tears;</p> +<p class="line">It is too soon! Of the world,</p> +<p class="line">If thou seest long days,</p> +<p class="line">For tears thou wilt have</p> +<p class="line">Enough time.</p> +</div> +<div class="lg"> +<h4>2.</h4> +<p class="line">Sleep! I am rocking thee,</p> +<p class="line">Sleep! Sleep! and be still.</p> +<p class="line">Dost thou not recognise</p> +<p class="line">Of thy mother the voice?</p> +<p class="line">From every foe</p> +<p class="line">To guard thee</p> +<p class="line">I quit all else.</p> +<p class="line">I am watching here.</p> +</div> +<div class="lg"> +<h4>3.</h4> +<p class="line">Sleep! Sleep! my angel!</p> +<p class="line">But borne on the wings of a dream</p> +<p class="line">Thy spirit far away flies;</p> +<p class="line">A smile plays on thy lips;</p> +<p class="line">Who are with thee?</p> +<p class="line">Where dost thou wander?</p> +<p class="line">Not far without your mother</p> +<p class="line">Go my (dear) heart.</p> +</div> +<div class="lg"> +<h4>4.</h4> +<p class="line">Sleep! Sleep! toward the heavens</p> +<p class="line">If thy spirit has flown,</p> +<p class="line">Do not to earth return</p> +<p class="line">Without having obtained</p> +<p class="line">To bring thee up well</p> +<p class="line">For me the favour;</p> +<p class="line">This duty is all</p> +<p class="line">That is life to me!</p> +</div> +<div class="lg"> +<h4>5.</h4> +<p class="line">Sleep! Sleep! now it is night,</p> +<p class="line">The day is still distant;</p> +<p class="line">There is no other light</p> +<p class="line">Than that of the stars.</p> +<p class="line">The stars! At the word</p> +<p class="line">I am thinking of thee;</p> +<p class="line">And (I say) than thee</p> +<p class="line">A star is less bright.</p> +</div> +<div class="lg"> +<h4>6.</h4> +<p class="line">Sleep! Sleep! while there is time!</p> +<p class="line">I see that the dawn</p> +<p class="line">Is making pale</p> +<p class="line">The stars of the night.</p> +<p class="line">The birds in the trees</p> +<p class="line">Their songs have begun;</p> +<p class="line">Soon on my bosom</p> +<p class="line">Thou wilt begin to play.</p> +</div> +<div class="lg"> +<h4>7.</h4> +<p class="line">But thou art waking</p> +<p class="line">Like a sweet dove.</p> +<p class="line">See what flowers</p> +<p class="line">I have gathered for thee</p> +<p class="line">Tell me, in thy dream</p> +<p class="line">Didst thou think of me?</p> +<p class="line">Ah! what a dear smile</p> +<p class="line">Doth answer me, Yes!</p> +</div> +</div> +</div> +</div> +</td> +</tr> +</table> +</div> +<p><span class="pagenum">[<a id="pb271" href="#pb271" name= +"pb271">271</a>]</span></p> +<p>The following belongs to a more quaint and popular class of lullaby, +or cradle songs; as it is so simple we do not give the +Basque:—</p> +<div class="lgouter"> +<h4>Little Peter.<a class="noteref" id="xd20e9609src" href="#xd20e9609" +name="xd20e9609src">28</a></h4> +<div class="lg"> +<h4>1.</h4> +<p class="line">Ah, my little Peter,</p> +<p class="line">I am sleepy, and—</p> +<p class="line">Shall I go to bed?</p> +<p class="line">Go on spinning, and—</p> +<p class="line">Then, then, then,</p> +<p class="line">Go on spinning, and—</p> +<p class="line">Then, then, yes.</p> +</div> +<div class="lg"> +<h4>2.</h4> +<p class="line">Dear little Peter,</p> +<p class="line">I have spun, and—</p> +<p class="line">Shall I go to bed?</p> +<p class="line">Put the thread up in skeins, and—</p> +<p class="line">Then, then, then,</p> +<p class="line">Put the thread up in skeins, and—</p> +<p class="line">Then, then, yes.</p> +</div> +<div class="lg"> +<h4>3.</h4> +<p class="line">Dear little Peter,</p> +<p class="line">I have put it in skeins, and—</p> +<p class="line">Shall I go to bed?</p> +<p class="line">Wind off the thread, and—</p> +<p class="line">Then, then, then,</p> +<p class="line">Wind off the thread, and—</p> +<p class="line">Then, then, yes.</p> +</div> +<div class="lg"> +<h4>4.</h4> +<p class="line">Dear little Peter,</p> +<p class="line">I have wound it off, and—</p> +<p class="line">Shall I go to bed?</p> +<p class="line">Bleach it, and—</p> +<p class="line">Then, then, then,</p> +<p class="line">Bleach it, and—</p> +<p class="line">Then, then, yes.</p> +</div> +<div class="lg"> +<h4>5.</h4> +<p class="line">Dear little Peter,</p> +<p class="line">I have bleached it, and—</p> +<p class="line">Shall I go to bed?</p> +<p class="line">Weave it, and—</p> +<p class="line">Then, then, then,</p> +<p class="line">Weave it, and—</p> +<p class="line">Then, then, yes.</p> +</div> +<div class="lg"> +<h4>6.</h4> +<p class="line">Dear little Peter,</p> +<p class="line">I have woven it, and—</p> +<p class="line">Shall I go to bed?</p> +<p class="line">Cut it, and—</p> +<p class="line">Then, then, then,</p> +<p class="line">Cut it, and—</p> +<p class="line">Then, then, yes.</p> +</div> +<div class="lg"> +<h4>7.</h4> +<p class="line">Dear little Peter,</p> +<p class="line">I have cut it, and—</p> +<p class="line">Shall I go to bed?</p> +<p class="line">Sew it, and—</p> +<p class="line">Then, then, then,</p> +<p class="line">Sew it, and—</p> +<p class="line">Then, then, yes.</p> +</div> +<div class="lg"> +<h4>8.</h4> +<p class="line">Oh! my little Peter,</p> +<p class="line">I have sewn it, and—</p> +<p class="line">Shall I go to bed?</p> +<p class="line">It is daylight! and—</p> +<p class="line">Then, then, then,</p> +<p class="line">It is daylight! and—</p> +<p class="line">Then, then, yes!</p> +</div> +</div> +<p><span class="pagenum">[<a id="pb272" href="#pb272" name= +"pb272">272</a>]</span></p> +<p>The best living Basque poets are—on the French side, Captain +Elisamboure, of Hendaye; and Iparraguirre, of San Sebastian, among the +Spanish Basques. Iparraguirre is now very old. He is the author of the +song “<span lang="es">Guernicaco Arbola</span>” (“The +Tree of Guernica,” in Biscay), an oak under which the Lords of +Biscay swore fidelity to the Fueros. This has become almost the +national song of the Basques.<a class="noteref" id="xd20e9759src" href= +"#xd20e9759" name="xd20e9759src">29</a> A few words on two other +classes of songs, the drinking and the <i>macaronic</i>, must conclude +our remarks. The most spirited drinking song is the following.<a class= +"noteref" id="xd20e9767src" href="#xd20e9767" name= +"xd20e9767src">30</a> It must be remembered, in excuse, that the +shepherds live a very hard life on the mountains the greater part of +the year, and taste little wine there.</p> +<div class="table xd20e7393"> +<table> +<tr valign="top"> +<td valign="top"> +<div class="q"> +<div class="body"> +<div lang="eu" class="lgouter"> +<div class="lg"> +<h4>Artzain Zaharrac.</h4> +<div class="lg"> +<h4>1.</h4> +<p class="line">Tam, tam, tam, tam,</p> +<p class="line xd20e7788">Rapetanplan.</p> +<p class="line">Artzain zaharrac tafarnan.</p> +<p class="line xd20e7788">Hordi gira?</p> +<p class="line xd20e7788">Ez, ezgira.</p> +<p class="line">Basoak detzagun bira!</p> +<p class="line xd20e8644">Iohoho! Iohoho! Iohoho!</p> +<p class="line">Basoak detzagun bira!</p> +</div> +<div class="lg"> +<h4>2.</h4> +<p class="line">Tam, tam, tam, tam,</p> +<p class="line xd20e7788">Rapetanplan.</p> +<p class="line">Nork joiten derauku borthan?</p> +<p class="line xd20e7788">Behabada</p> +<p class="line xd20e7788">Otsoa da!</p> +<p class="line">Nihor ez gaiten athera!</p> +<p class="line xd20e8644">Iohoho! Iohoho! Iohoho!</p> +<p class="line">Basoak detzagun bira!</p> +</div> +<span class="pagenum">[<a id="pb273" href="#pb273" name= +"pb273">273</a>]</span> +<div class="lg"> +<h4>3.</h4> +<p class="line">Tam, tam, tam, tam,</p> +<p class="line xd20e7788">Rapetanplan.</p> +<p class="line">Uria hari karrikan.</p> +<p class="line xd20e7788">Gauden hemen,</p> +<p class="line xd20e7788">Arno hunen</p> +<p class="line">Gostu onean edaten.</p> +<p class="line xd20e8644">Iohoho! Iohoho! Iohoho!</p> +<p class="line">Gauden gostuan edaten!</p> +</div> +<div class="lg"> +<h4>4.</h4> +<p class="line">Tam, tam, tam, tam,</p> +<p class="line xd20e7788">Rapetanplan.</p> +<p class="line">Babazuza tarrapatan!</p> +<p class="line xd20e7788">Dugun edan</p> +<p class="line xd20e7788">Hamarretan.</p> +<p class="line">Aberats gira gau huntan.</p> +<p class="line xd20e8644">Iohoho! Iohoho! Iohoho!</p> +<p class="line">Aberats gira gau hutan.</p> +</div> +<div class="lg"> +<h4>5.</h4> +<p class="line">Tam, tam, tam, tam,</p> +<p class="line xd20e7788">Rapetanplan.</p> +<p class="line">Ez dut minik sabeletan!</p> +<p class="line xd20e7788">Nahi nuke</p> +<p class="line xd20e7788">Ehun urthe,</p> +<p class="line">Hola egon banindaite!</p> +<p class="line xd20e8644">Iohoho! Iohoho! Iohoho!</p> +<p class="line">Hola egon banindaite!</p> +</div> +<div class="lg"> +<h4>6.</h4> +<p class="line">Tam, tam, tam, tam,</p> +<p class="line xd20e7788">Rapetanplan.</p> +<p class="line">Arnorik ez da boteilan!</p> +<p class="line xd20e7788">Ostalera,</p> +<p class="line xd20e7788">Ez ikhara,</p> +<p class="line">Arnoko bethi sos bada!</p> +<p class="line xd20e8644">Iohoho! Iohoho! Iohoho!</p> +<p class="line">Arnoko bethi sos bada!</p> +</div> +<span class="pagenum">[<a id="pb274" href="#pb274" name= +"pb274">274</a>]</span> +<div class="lg"> +<h4>7.</h4> +<p class="line">Tam, tam, tam, tam,</p> +<p class="line xd20e7788">Rapetanplan.</p> +<p class="line">Zer othe dut beguietan?</p> +<p class="line xd20e7788">Non da bortha?</p> +<p class="line xd20e7788">Airatu da.</p> +<p class="line">Mahaya dantzan dabila!</p> +<p class="line xd20e8644">Iohoho! Iohoho! Iohoho!</p> +<p class="line">Mahaya dantzan dabila!</p> +</div> +<div class="lg"> +<h4>8.</h4> +<p class="line">Tam, tam, tam, tam,</p> +<p class="line xd20e7788">Rapetanplan.</p> +<p class="line">Zangoak amor bidean!</p> +<p class="line xd20e7788">Hanketan min!</p> +<p class="line xd20e7788">Gaizo, Martin,</p> +<p class="line">Urkatsik ez dirok egin!</p> +<p class="line xd20e8644">Iohoho! Iohoho! Iohoho!</p> +<p class="line">Urkatsik ez dirok egin!</p> +</div> +<div class="lg"> +<h4>9.</h4> +<p class="line">Tam, tam, tam, tam,</p> +<p class="line xd20e7788">Rapetanplan.</p> +<p class="line">Eri-tchar naiz hilzekotan.</p> +<p class="line xd20e7788">Sendo nintzan</p> +<p class="line xd20e7788">Aski edan;</p> +<p class="line">Izan banu gau hunetan,</p> +<p class="line xd20e8644">Iohoho! Iohoho! Iohoho!</p> +<p class="line">Aski edan gau hunetan!</p> +</div> +</div> +</div> +</div> +</div> +</td> +<td valign="top"> +<div class="q"> +<div class="body"> +<div class="lgouter"> +<div class="lg"> +<h4>The Old Shepherds.</h4> +<div class="lg"> +<h4>1.</h4> +<p class="line">Tam, tam, tam, tam,</p> +<p class="line xd20e7788">Rapetanplan.</p> +<p class="line">The old shepherds (are) at the inn.</p> +<p class="line xd20e7788">Are we drunk?</p> +<p class="line xd20e7788">No, we are not.</p> +<p class="line">Long live the glass!</p> +<p class="line xd20e8644">Hohoho! Hohoho! Hohoho!</p> +<p class="line">Long live the glass!</p> +</div> +<div class="lg"> +<h4>2.</h4> +<p class="line">Tam, tam, tam, tam,</p> +<p class="line xd20e7788">Rapetanplan.</p> +<p class="line">Who knocks at the door?</p> +<p class="line xd20e7788">Perhaps</p> +<p class="line xd20e7788">It’s the wolf!</p> +<p class="line">We won’t go to the door, not one (of us)!</p> +<p class="line xd20e8644">Hohoho! Hohoho! Hohoho!</p> +<p class="line">Long live the glass!</p> +</div> +<div class="lg"> +<h4>3.</h4> +<p class="line">Tam, tam, tam, tam,</p> +<p class="line xd20e7788">Rapetanplan.</p> +<p class="line">The rain begins in the street.</p> +<p class="line xd20e7788">Let us stop the night here,</p> +<p class="line xd20e7788">This good wine</p> +<p class="line">To drink with pleasure.</p> +<p class="line xd20e8644">Hohoho! Hohoho! Hohoho!</p> +<p class="line">In the night to drink with pleasure!</p> +</div> +<div class="lg"> +<h4>4.</h4> +<p class="line">Tam, tam, tam, tam,</p> +<p class="line xd20e7788">Rapetanplan.</p> +<p class="line">The hail comes rattling down!</p> +<p class="line xd20e7788">Let us drink</p> +<p class="line xd20e7788">For the tenth time.</p> +<p class="line">We are rich to-night.</p> +<p class="line xd20e8644">Hohoho! Hohoho! Hohoho!</p> +<p class="line">We are rich this night.</p> +</div> +<div class="lg"> +<h4>5.</h4> +<p class="line">Tam, tam, tam, tam,</p> +<p class="line xd20e7788">Rapetanplan.</p> +<p class="line">I am so jolly inside!</p> +<p class="line xd20e7788">I wish (I could live)</p> +<p class="line xd20e7788">A hundred years,</p> +<p class="line">If I might remain like this!</p> +<p class="line xd20e8644">Hohoho! Hohoho! Hohoho!</p> +<p class="line">If I might remain like this!</p> +</div> +<div class="lg"> +<h4>6.</h4> +<p class="line">Tam, tam, tam, tam,</p> +<p class="line xd20e7788">Rapetanplan.</p> +<p class="line">There’s no more wine in the bottle!</p> +<p class="line xd20e7788">Landlord,</p> +<p class="line xd20e7788">Don’t be afraid,</p> +<p class="line">There’s always money for wine!</p> +<p class="line xd20e8644">Hohoho! Hohoho! Hohoho!</p> +<p class="line">There’s always money for wine!</p> +</div> +<div class="lg"> +<h4>7.</h4> +<p class="line">Tam, tam, tam, tam,</p> +<p class="line xd20e7788">Rapetanplan.</p> +<p class="line">What’s gone wrong with my eyes?</p> +<p class="line xd20e7788">Where’s the door?</p> +<p class="line xd20e7788">It has flown away.</p> +<p class="line">The table’s beginning to dance!</p> +<p class="line xd20e8644">Hohoho! Hohoho! Hohoho!</p> +<p class="line">The table’s beginning to dance!</p> +</div> +<div class="lg"> +<h4>8.</h4> +<p class="line">Tam, tam, tam, tam,</p> +<p class="line xd20e7788">Rapetanplan.</p> +<p class="line">My feet won’t go straight on the road!</p> +<p class="line xd20e7788">I’m bad in my legs!</p> +<p class="line xd20e7788">To-morrow, Martin,</p> +<p class="line">You will not be able to walk at all!</p> +<p class="line xd20e8644">Hohoho! Hohoho! Hohoho!</p> +<p class="line">You will not be able to walk at all!</p> +</div> +<div class="lg"> +<h4>9.</h4> +<p class="line">Tam, tam, tam, tam,</p> +<p class="line xd20e7788">Rapetanplan.</p> +<p class="line">I am very ill, I am like to die.</p> +<p class="line xd20e7788">I should have been cured</p> +<p class="line xd20e7788">Had I drunk enough;</p> +<p class="line">If I had but this night,</p> +<p class="line xd20e8644">Hohoho! Hohoho! Hohoho!</p> +<p class="line">Drunk enough this night!</p> +</div> +</div> +</div> +</div> +</div> +</td> +</tr> +</table> +</div> +<p>It is not at all uncommon in a country where, within the space of +some twenty miles, the traveller may hear at least four +languages—French, Gascoun, Basque, and Spanish—to find two +or more of these mixed in the same poem, and sometimes with a little +Latin as well. This occurs frequently in the noëls, where the +angel speaks in French or Latin, and the shepherds reply in Gascoun or +Basque; also sometimes in the love songs, where the French or Spanish +lover will try to soften the heart of a Basque maiden by compliments in +French or Spanish, while she <span class="pagenum">[<a id="pb275" href= +"#pb275" name="pb275">275</a>]</span>greatest <i lang="fr">tour de +force</i> of this kind we know, both as to language and rhyme, is the +song given in Fr. Michel’s “Le Pays Basque,” p. 429. +We quote the first verse only; but the song continues with twenty-eight +successive Basque rhymes in “in,” and the last seven in +“en.”</p> +<div class="table"> +<table> +<tr valign="top"> +<td valign="top"><i>Latin.</i></td> +<td valign="top" lang="la">Sed libera nos a malo. Sit nomen +Domini.</td> +<td valign="top">Deliver us from evil. God’s holy Name be +praised;</td> +</tr> +<tr valign="top"> +<td valign="top"><i>Spanish.</i></td> +<td valign="top" lang="es">Vamos á cantar un canto para +diverti.</td> +<td valign="top">Let’s sing a song, my friends, and a joyous +clamour raise;</td> +</tr> +<tr valign="top"> +<td valign="top"><i>Basque.</i></td> +<td valign="top" lang="eu">Jan dugunaz gueroz chahalki houneti</td> +<td valign="top">For we of rare good meat have eaten to our fill,</td> +</tr> +<tr valign="top"> +<td valign="top"><i>Basque.</i></td> +<td valign="top" lang="eu">Eta edan ardoa Juranzouneti.</td> +<td valign="top">And the good wine of Jurançon</td> +</tr> +<tr valign="top"> +<td valign="top"><i>French.</i></td> +<td valign="top" lang="fr">Chantons, chantons, mes chers amis, je suis +content pardi!</td> +<td valign="top">have drunken at our will. Then sing, friends, sing, +i’faith, I’m right well pleased!</td> +</tr> +<tr valign="top"> +<td valign="top"><i>Gascoun.</i></td> +<td valign="top" lang="fr">Trinquam d’aquest boun bi,</td> +<td valign="top">Let’s hear the glasses ring,</td> +</tr> +<tr valign="top"> +<td valign="top"><i>Basque.</i></td> +<td valign="top" lang="eu">Eta dezagun canta cantore berri.</td> +<td valign="top">And our new song, my friends, let’s all together +sing.</td> +</tr> +</table> +</div> +<p>Almost every one of these Basque songs, like all true lyrics, has +been adapted to some tune, either older than the words, or composed +specially by the author. The music is often superior to the words. In +the <i>Nineteenth Century</i> for August, 1878, Grant-Duff speaks of +some of the Basque airs sung by the Béarnais tenor, Pascal +Lamazou, as “extraordinarily beautiful.”<a class="noteref" +id="xd20e10213src" href="#xd20e10213" name="xd20e10213src">31</a> +Lamazou died at Pau in May, 1878. His <i lang= +"fr">répertoire</i> consisted of fifty Pyrenean songs, of which +thirty-four are Béarnais, fourteen Basque, and two <span class= +"pagenum">[<a id="pb276" href="#pb276" name="pb276">276</a>]</span>are +from the “<span lang="fr">Pyrénées +Orientales</span>.”<a class="noteref" id="xd20e10225src" href= +"#xd20e10225" name="xd20e10225src">32</a> One of the Basque airs +“Artzaina,” has somehow got attached to the popular +American hymn, “I want to be an angel.” Another, and larger +collection, including more correct renderings of some of +Lamazou’s fourteen, is that of Sallaberry, “<span lang= +"fr">Chants Populaires du Pays Basque</span>” (Bayonne, 1870). +But, long before this, a collection of Basque Songs, Zorzicos, and +dance music was published in San Sebastian, by J. D. Iztueta, in 1824 +and 1826. Excellent reviews of these two works, with translations of +some of the words, appeared in the <i>Foreign Review and Continental +Miscellany</i>, vol. ii., pp. 338, 1828; and in vol. iv., p. 198. Some +specimens of music are to be found at the end of Michel’s +“<span lang="fr">Le Pays Basque</span>,” in the +“Cancionero Vasco”—now in course of publication, and +so often referred to—and in other local publications, besides +those in private hands. Basquophiles love to narrate that Rossini +passed a summer in the Basque village of Cambo, and believe that they +can recognise the influence of Basque airs in some of his subsequent +operas. However this may be, let no one judge of Basque music by the +noëls usually howled in the streets at Christmas and the New Year, +or by the doleful productions of the last Carlist War. It would be +equally fair to judge of English music by the serenades of the waits at +Christmas. We refer those who wish to investigate further the subject +of this chapter to the excellent work, “<span lang="fr">Le Pays +Basque</span>,” par M. Fr. Michel (Paris and London, 1857), for +the French, to the “Cancionero Vasco,” by Don José +Manterola, now in course of publication at San Sebastian, for the +Spanish, Basque; and to M. Sallaberry’s “<span lang= +"fr">Chants Populaires du Pays Basque</span>” for the music.</p> +</div> +<div class="footnotes"> +<hr class="fnsep"> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e6748" href="#xd20e6748src" name="xd20e6748">1</a></span> The +names of some of the most famous <i>improvisatori</i>, or +<i>Coblacaris</i>, as they are called in Basque, have been preserved: +Fernando Amezquetarra, in the Spanish Provinces; and Pierre Topet +<i lang="fr">dit</i> Etchehun, and Bernard Mardo of Barcus, in the +French Pays Basque.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e6775" href="#xd20e6775src" name="xd20e6775">2</a></span> An +exception is occasionally made in the case of the “Satans,” +as the part is almost too fatiguing for girls.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e6803" href="#xd20e6803src" name="xd20e6803">3</a></span> This +little wand plays an important part of its own. In many of its uses it +resembles the Caduceus of Mercury; a touch from it renders invisible, +puts to death, or restores to life at the will of the Satanic +possessor. It appears also as given to the hero in many of the +“Legends;” <i>cf.</i> pp. 34, 35, above.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e6909" href="#xd20e6909src" name="xd20e6909">4</a></span> An +account of the acting of Richard Sans Peur, at Larrau, in June 1864, is +given in <i>Macmillan’s Magazine</i>, January, 1865.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e6925" href="#xd20e6925src" name="xd20e6925">5</a></span> +<i>Cf.</i> Legends above, p. 151.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e6955" href="#xd20e6955src" name="xd20e6955">6</a></span> This MS. +was kindly lent by M. J. Vinson, to whom we have been so often +indebted.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e7366" href="#xd20e7366src" name="xd20e7366">7</a></span> Ercilla, +the author of the “Araucana,” was however of Basque blood, +and Basque names occur frequently among the poets and dramatists of +Spain, especially in recent years.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e7374" href="#xd20e7374src" name="xd20e7374">8</a></span> The +claim put forth in the “Revista Euskara,” p. 61, April, +1878, may be fully conceded:—”<span lang="es">Si; +éste es el carácter distintivo de la poesía +euskara; su exquisita moralidad. Jamás se encuentra en ella nada +que se parezca, ni á una apología del vicio, ni á +una excusa del crimen.</span>”</p> +<p class="footnote" lang="es"><span class="label"><a class="noteref" +id="xd20e7383" href="#xd20e7383src" name="xd20e7383">9</a></span> +“Cancionero Vasco, acompañado de traducciones castellanas, +juicios criticos,” etc., por José Manterola. San +Sebastian. 1877–8. Serie I., 2, p. 39.</p> +<p class="footnote"><span class="label"><a class="noteref" id="n250.1" +href="#n250.1src" name="n250.1">10</a></span> The reader will remark +that there is really no authority for treating these words as proper +names. This, however, is the universal interpretation among +Basques.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e7774" href="#xd20e7774src" name="xd20e7774">11</a></span> +Ibargüen’s words after quoting the song are: +“<span lang="es">Por este órden referidas yba este cantar +contando toda esta historia que habemos dicho atrás en este +capítulo de las guerras ceviles que en cinco años +Octaviano Cesar Augusto hizo en esta Provincia Cantábrica, y +aunque esta hereciat (historical song) tenga otros muy muchos versos +rodados tan solamente dellos he tomado los diez e seis primeros, porque +los demas estaban carcomidos, y los pongo aquí para el que fuere +bascongado, contentándome con solo ellos ebitando largueza +importuna de los demás, que el pergamino está muy +roñoso e viejo</span>,” cited in the “<span lang= +"es">Cancionero Vasco</span>,” 2, iii., pp. 4, 5.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e7796" href="#xd20e7796src" name="xd20e7796">12</a></span> +<i>Cf.</i> Alexandre Dihinx in the <i>Impartial</i> de Bayonne, in +1873. These articles have been reprinted by M. J. Vinson in <i lang= +"fr">L’Avenir</i> de Bayonne, May, 1878.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e7952" href="#xd20e7952src" name="xd20e7952">13</a></span> +“The master of the house,” the usual respectful address to +a Basque proprietor of any rank. His wife is “Etcheco +Anderea,” “The mistress of the house.”</p> +<p class="footnote"><span class="label"><a class="noteref" id="n256.1" +href="#n256.1src" name="n256.1">14</a></span> Altabiscar is the +mountain on the East, Ibañeta that on the West of the supposed +scene of conflict.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e8074" href="#xd20e8074src" name="xd20e8074">15</a></span> Of +course it ought to be “vultures.” The Basque is distinctly +“eagles;” an error which no Basque shepherd could have +made.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e8105" href="#xd20e8105src" name="xd20e8105">16</a></span> The use +of rocks “is confirmed by the Basque ballad of Altabiscar, in +which, however, there is no allusion to the powerful inducement of +booty.”</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e8142" href="#xd20e8142src" name="xd20e8142">17</a></span> There +are other examples of similar mystification in later Basque literature. +“<span lang="fr">Les Échos du Pas de Roland</span>,” +par J. B. Dasconaguerre, Bayonne, 1868, professes on the title to be +“<span lang="fr">traduit du Basque</span>”; but the +“<span lang="eu">Atheko-gaitzeko Oiharzunak</span>” (the +echoes of the bad door or pass), Bayonan, 1870, is really a translation +from the <i>French</i>. To the Basques the name of Roland is unknown in +connection with this beautiful ravine. M. Fr. Michel’s +“<span lang="fr">Le Romancero du Pays Basque</span>,” +Didot, Paris, 1859, is scarcely less an embroidery on themes of which +the ground only is Basque.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e8391" href="#xd20e8391src" name="xd20e8391">18</a></span> +<i>Cf.</i> <i>lorea</i>, from the Latin <i>flos flore</i>.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e8518" href="#xd20e8518src" name="xd20e8518">19</a></span> An +exact reprint of Echepare’s “Poems,” edited by M. +Vinson, was published by Cazals, Bayonne, 1874.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e8526" href="#xd20e8526src" name="xd20e8526">20</a></span> The +most curious fact to notice in these hymns is, how very soon after +their death the Jesuit Fathers, Ignatius de Loyola and François +de Xavier, were celebrated and addressed as saints in Basque verse.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e8635" href="#xd20e8635src" name="xd20e8635">21</a></span> This +song is prettily translated in Miss Costello’s +“Béarn and the Pyrénées,” London, +1844, where are also translations of some other Basque songs, the +originals of which I have failed to trace.</p> +<div class="lg footnote"> +<h4>1.</h4> +<p class="line">Borne on thy wings amidst the air,</p> +<p class="line xd20e8644">Sweet bird, where wilt thou go?</p> +<p class="line">For if thou wouldst to Spain repair,</p> +<p class="line xd20e8644">The ports are filled with snow.</p> +<p class="line">Wait, and we will fly together,</p> +<p class="line">When the Spring brings sunny weather.</p> +</div> +<div class="lg footnote"> +<h4>2.</h4> +<p class="line">St. Joseph’s Hermitage is lone,</p> +<p class="line xd20e8644">Amidst the desert bare,</p> +<p class="line">And when we on our way are gone,</p> +<p class="line xd20e8644">Awhile we’ll rest us there;</p> +<p class="line">As we pursue our mountain track,</p> +<p class="line">Shall we not sigh as we look back?</p> +</div> +<div class="lg footnote"> +<h4>3.</h4> +<p class="line">Go to my love, oh! gentle sigh,</p> +<p class="line xd20e8644">And near her chamber hover nigh;</p> +<p class="line">Glide to her heart, make that thy shrine,</p> +<p class="line xd20e8644">As she is fondly kept in mine.</p> +<p class="line">Then thou may’st tell her it is I</p> +<p class="line">Who sent thee to her, gentle sigh!</p> +</div> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e8730" href="#xd20e8730src" name="xd20e8730">22</a></span> For the +most recent theory on the Cagots, see “<span lang="fr">Les Parias +de France et de l’Espagne</span>,” par M. de Rochas +(Hachette, Paris, 1876).</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e8928" href="#xd20e8928src" name="xd20e8928">23</a></span> More +often the Cagots’ ears were said to be either completely round or +with very long lobes, or with the lobes adhering. We have found +examples of all of these in the Basque country, but not confined or +peculiar to the Cagots. A case like that described in the verse above +we have never seen.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e8965" href="#xd20e8965src" name="xd20e8965">24</a></span> Michel, +“<span lang="fr">Le Pays Basque</span>,” p. 352.</p> +<p class="footnote" lang="fr"><span class="label"><a class="noteref" +id="xd20e8980" href="#xd20e8980src" name="xd20e8980">25</a></span> +Michel, “<span lang="fr">Le Pays Basque</span>,” p. +414.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e9082" href="#xd20e9082src" name="xd20e9082">26</a></span> I owe +the MS. of this song to the kindness of M. Achille Fouquier, author, +sportsman, and artist.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e9157" href="#xd20e9157src" name="xd20e9157">27</a></span> A line +has dropped out of the MS. here. We supply the probable meaning. The +composer is one P. Mendibel, 1859.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e9609" href="#xd20e9609src" name="xd20e9609">28</a></span> Taken +down by M. J. Vinson, February 21, 1874. <i>Cf.</i> “<span lang= +"fr">Proverbes du Pays de Béarn</span>,” par V. Lespy +(Montpellier, 1876), p. 84, for another song on “Little +Peter” in Gascoun.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e9759" href="#xd20e9759src" name="xd20e9759">29</a></span> +<i>Cf.</i> Fr. Michel, “Le Pays Basque,” p. 260. +“Cancionero Vasco,” Series 2, iii., 82, etc.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e9767" href="#xd20e9767src" name="xd20e9767">30</a></span> From +the MS. of M. A. Fouquier. This song took the prize at Urrugne, +1858.</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e10213" href="#xd20e10213src" name="xd20e10213">31</a></span> The +latest traveller in the Basque countries corroborates this. Major +Campion writes, “I had no idea how fine were the old Basque +songs, or, more correctly speaking, chants; some of them being +perfectly charming.”—“On Foot in Spain,” by J. +S. Campion, p. 73. (Chapman and Hall, 1879.)</p> +<p class="footnote"><span class="label"><a class="noteref" id= +"xd20e10225" href="#xd20e10225src" name="xd20e10225">32</a></span> +These are to be obtained chez Ribaut, Pau, and the other booksellers at +Biarritz and Pau.</p> +</div> +</div> +<div class="div1"><span class="pagenum">[<a href= +"#toc">Contents</a>]</span> +<p class="firstpar xd20e199">Fleet Street Printing Works, 52, Fleet +Street, London, E.C.</p> +</div> +<div class="transcribernote"> +<h2 class="main">Colophon</h2> +<h3 class="main">Availability</h3> +<p class="firstpar">This eBook is for the use of anyone anywhere at no +cost and with almost no restrictions whatsoever. You may copy it, give +it away or re-use it under the terms of the Project Gutenberg License +included with this eBook or online at <a class="exlink" title= +"External link" href= +"https://www.gutenberg.org/">www.gutenberg.org</a>.</p> +<p>This eBook is produced by the Online Distributed Proofreading Team +at <a class="exlink" title="External link" href= +"https://www.pgdp.net/">www.pgdp.net</a>.</p> +<p>This book was prepared of scans of the second edition, available on +the Internet Archive: <a class="exlink" title="External link" href= +"http://www.archive.org/details/basquelegends00websrich">1</a>, +<a class="exlink" title="External link" href= +"http://www.archive.org/details/basquelegends00websgoog">2,</a> +<a class="exlink" title="External link" href= +"http://www.archive.org/details/basquelegendsco00legegoog">3</a>.</p> +<p>Scans of the first edition: <a class="exlink" title="External link" +href="http://www.archive.org/details/basquelegendsco00vinsgoog">1</a>, +<a class="exlink" title="External link" href= +"http://www.archive.org/details/basquelegendsco01legegoog">2</a>, +<a class="exlink" title="External link" href= +"http://www.archive.org/details/basquelegendsco01vinsgoog">3</a>, +<a class="exlink" title="External link" href= +"http://www.archive.org/details/basquelegendsco02vinsgoog">4</a>, +<a class="exlink" title="External link" href= +"http://www.archive.org/details/basquelegendscol00websrich">5</a>.</p> +<p>An independently created ebook edition is available at <a class= +"exlink" title="External link" href= +"http://www.sacred-texts.com/neu/basque/bl/index.htm">Sacred +Texts</a>.</p> +<h3 class="main">Encoding</h3> +<p class="firstpar"></p> +<h3 class="main">Revision History</h3> +<ul> +<li>2010-12-30 Started.</li> +</ul> +<h3 class="main">External References</h3> +<p>This Project Gutenberg eBook contains external references. These +links may not work for you.</p> +<h3 class="main">Corrections</h3> +<p>The following corrections have been applied to the text:</p> +<table width="75%" summary= +"Overview of corrections applied to the text."> +<tr> +<th>Page</th> +<th>Source</th> +<th>Correction</th> +</tr> +<tr> +<td class="width20" valign="top"><a class="pageref" href= +"#xd20e832">xii</a></td> +<td class="width40" valign="bottom">[<i>Not in source</i>]</td> +<td class="width40" valign="bottom">”</td> +</tr> +<tr> +<td class="width20" valign="top"><a class="pageref" href= +"#xd20e898">xv</a></td> +<td class="width40" valign="bottom">Muller</td> +<td class="width40" valign="bottom">Müller</td> +</tr> +<tr> +<td class="width20" valign="top"><a class="pageref" href= +"#xd20e1524">24</a></td> +<td class="width40" valign="bottom">Fleur-de-lys</td> +<td class="width40" valign="bottom">Fleur-de-lis</td> +</tr> +<tr> +<td class="width20" valign="top"><a class="pageref" href= +"#xd20e1677">30</a></td> +<td class="width40" valign="bottom">Guachos</td> +<td class="width40" valign="bottom">Gauchos</td> +</tr> +<tr> +<td class="width20" valign="top"><a class="pageref" href= +"#xd20e1721">32</a>, <a class="pageref" href="#xd20e7371">248</a></td> +<td class="width40" valign="bottom">recal</td> +<td class="width40" valign="bottom">recall</td> +</tr> +<tr> +<td class="width20" valign="top"><a class="pageref" href= +"#xd20e3853">105</a></td> +<td class="width40" valign="bottom">has</td> +<td class="width40" valign="bottom">had</td> +</tr> +<tr> +<td class="width20" valign="top"><a class="pageref" href= +"#xd20e4778">142</a></td> +<td class="width40" valign="bottom">summonses</td> +<td class="width40" valign="bottom">summons</td> +</tr> +<tr> +<td class="width20" valign="top"><a class="pageref" href= +"#xd20e6772">237</a></td> +<td class="width40" valign="bottom">recals</td> +<td class="width40" valign="bottom">recalls</td> +</tr> +<tr> +<td class="width20" valign="top"><a class="pageref" href= +"#xd20e7407">250</a></td> +<td class="width40" valign="bottom">[<i>Not in source</i>]</td> +<td class="width40" valign="bottom">;</td> +</tr> +<tr> +<td class="width20" valign="top"><a class="pageref" href= +"#xd20e7693">252</a></td> +<td class="width40" valign="bottom">)</td> +<td class="width40" valign="bottom">(</td> +</tr> +<tr> +<td class="width20" valign="top"><a class="pageref" href= +"#xd20e7746">252</a></td> +<td class="width40" valign="bottom">?</td> +<td class="width40" valign="bottom">(?)</td> +</tr> +<tr> +<td class="width20" valign="top"><a class="pageref" href= +"#xd20e8959">266</a></td> +<td class="width40" valign="bottom">aboded efinitively</td> +<td class="width40" valign="bottom">abode definitively</td> +</tr> +</table> +</div> +</div> + + +<div style='display:block; margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK BASQUE LEGENDS ***</div> +<div style='text-align:left'> + +<div style='display:block; margin:1em 0'> +Updated editions will replace the previous one—the old editions will +be renamed. +</div> + +<div style='display:block; margin:1em 0'> +Creating the works from print editions not protected by U.S. copyright +law means that no one owns a United States copyright in these works, +so the Foundation (and you!) can copy and distribute it in the United +States without permission and without paying copyright +royalties. 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