The Scottish Celtic review
The Scottish Celtic review The Scottish Celtic review
138 Notes on the Tuairisgeul Mor.Knight of the Red Shield, where the king, seated upon a hillock,sees the " shadow of shower coming from the western airt, andthe rider of a black filly coming cheerily after it." The gamblingbetween the magician and the hero takes the same course as inCampbell, No. 1, The Younr) King of Esaidh Ruadh. There, ashere, the prince wins twice and loses the third time, takes thewoman as his first stake, and, by her advice, the horse as hissecond. In Campbell, however, the hero is helped by a" seanagal," and the woman does not instruct him beforehand howhe may guard against the magician's winning the third time.the Y. King of E. R. the magician lays it as crosses and as spellsupon him that he get the Glaive of light. Our story is here morelike Camphell, No. 4C, Maclain Direach (the best and fullesttask miirchen in Campbell's collection) ; the terms of the spell,"I am setting it as crosses and as spells, and as the decay of theyear on thee ; that thou be not without a pool in thy shoe," etc.are almost the same, and in both stories the hero foils his adversaryby forcing him to remain on the same spot until the task beaccomplished. The referring of the hero to three brothers is])erhaps the commonest incident in the " task " series : it appears,though in difierent form, in the oldest task story known, that ofPerseus, where the hero must seek aid and counsel from theGraiai and the Hesperides. In the Norse tale of East o' the Sumand West o' the Moon, the three brothers are the winds. InFrench folk-tale the brothers, or brother, are almost invariablyhermits, as, for instance, in Luzel, Veille'es Bretonnes, No. 1, LaPrincesse Blondine. The hero then starts off upon the steed hehad won from the magician. In many task stories it is noticeablethat the hero acts entirely under the advice and aid of his horse,as, for instance, in the Norse Dapplegrim, in Luzel, Veille'esBretonnes, No. 4, Petit Louis. This is not the case in our story,where the horse plays a comparatively small part. The adventureat the houses of the three squires is, I believe, not found in anyvariant. The curious method by which the hero is to strengthenhis steed before passing the loch is found likewise in Camphell,51, The Fair Gruagach, in which the hero, transformed into abrown ambler, carries Fionn to the house of the Tree Lion, andrequires three wheaten loaves, three stoups of wine, and to becombed against and with the hair before scaling the fortress ofthe Tree Lion. Common likewise in folk-tales is the advicegiven to the hero not to take gold or silver, but some seeminglyIn
Notes on the Tioainsgeul Mhr. 139worthless person or object in exchange for the steed. Thus, inCampbell, No. 1, the young king is to take no fair woman, butthe "cropped, rough-skinned maid." The bargain, too, is no fairone, as the hero keeps the bridle, which, being shaken, bringsback the steed. This may be compared to Cumphell, No. 4G,where the "Gille Martean" takes the shape of the persons orobjects promised by the hei'o to those who had spared his life, butspeedily returns to his master.In Grimm's No. 68, Der Gaudeif,the hero turns himself into a hound, is sold for a large sum ofmoney by his father, to whom he comes back upon the firstoccasion. Compare, likewise, Der Hasenliirt, Wolf, Deutsche Hausmdrchen,p. 13-i, whore the hero sells the hare, but immediatelyrecalls him with his magic whistle. Of frequent occurrence, too,is the injunction laid on the hero to do the contrary of what he istold. Thus, in Pwyll, Prince of Dyfed, Arawn directs Pwyll notto strike Havgan a second time, however much the latter mayentreat him to do so. Cf also Ralston, Russian Folk-Tales, pp. 238,239. The calumniated wife story told by the old man presents theclosest analogies with the third incident in the Mabinogi of Pwyll—a fact of great interest, considering the other points of contactalready dwelt upon between the two tales. The opening incidentmay be compared to Joyce, No. 1, The Fate of the Children of Lir,in which the wicked step-mother changes her step-children intoswans. Wolves are animals of equal importance with the latterin folk-literature, and the traditions of their transformation intomen, or vice versa, which in the Middle Ages assumed a peculiarlyghastly shape, are very widespread. Cf. Baring Goidd, CuriousMyths, and Liehrecht Fur VolksJcunde, p. 17. The subject is anobscure and complicated one, upon which little light is thrown byour story. The Persian, Roman, and Teutonic forms of theAryan Expulsion and Return-Formula may be examined withadvantage in this connection, and in particular that portion of theTeutonic Heldensage which deals with the transformation intowolves of Siegmund and Siniiotli.Another point, which may beof gi-eat importance, should be noticed : the transformed sons,unable to take any other i-evenge, come and kill the hens of theirstep-mother. Now it is a common incident in folk-tales that abespelled animal comes by night and ravages the field or theorchard of the hero's or heroine's family (cf , among the countlessvariants, Campbell, No. 41, Grimm, No. CO, and Asbjornsen and.Moe, No. 31), being eventually released from the spells by the
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Notes on the Tioainsgeul Mhr. 139worthless person or object in exchange for the steed. Thus, inCampbell, No. 1, the young king is to take no fair woman, butthe "cropped, rough-skinned maid." <strong>The</strong> bargain, too, is no fairone, as the hero keeps the bridle, which, being shaken, bringsback the steed. This may be compared to Cumphell, No. 4G,where the "Gille Martean" takes the shape of the persons orobjects promised by the hei'o to those who had spared his life, butspeedily returns to his master.In Grimm's No. 68, Der Gaudeif,the hero turns himself into a hound, is sold for a large sum ofmoney by his father, to whom he comes back upon the firstoccasion. Compare, likewise, Der Hasenliirt, Wolf, Deutsche Hausmdrchen,p. 13-i, whore the hero sells the hare, but immediatelyrecalls him with his magic whistle. Of frequent occurrence, too,is the injunction laid on the hero to do the contrary of what he istold. Thus, in Pwyll, Prince of Dyfed, Arawn directs Pwyll notto strike Havgan a second time, however much the latter mayentreat him to do so. Cf also Ralston, Russian Folk-Tales, pp. 238,239. <strong>The</strong> calumniated wife story told by the old man presents theclosest analogies with the third incident in the Mabinogi of Pwyll—a fact of great interest, considering the other points of contactalready dwelt upon between the two tales. <strong>The</strong> opening incidentmay be compared to Joyce, No. 1, <strong>The</strong> Fate of the Children of Lir,in which the wicked step-mother changes her step-children intoswans. Wolves are animals of equal importance with the latterin folk-literature, and the traditions of their transformation intomen, or vice versa, which in the Middle Ages assumed a peculiarlyghastly shape, are very widespread. Cf. Baring Goidd, CuriousMyths, and Liehrecht Fur VolksJcunde, p. 17. <strong>The</strong> subject is anobscure and complicated one, upon which little light is thrown byour story. <strong>The</strong> Persian, Roman, and Teutonic forms of theAryan Expulsion and Return-Formula may be examined withadvantage in this connection, and in particular that portion of theTeutonic Heldensage which deals with the transformation intowolves of Siegmund and Siniiotli.Another point, which may beof gi-eat importance, should be noticed : the transformed sons,unable to take any other i-evenge, come and kill the hens of theirstep-mother. Now it is a common incident in folk-tales that abespelled animal comes by night and ravages the field or theorchard of the hero's or heroine's family (cf , among the countlessvariants, Campbell, No. 41, Grimm, No. CO, and Asbjornsen and.Moe, No. 31), being eventually released from the spells by the