the particular qualities of the Housemen (Hausmänner), for whose history we must refer to Prætorious, cap. viii. These sprites were of a very domestic turn, attaching themselves to particular households, very pleasant inmates when favourably disposed, very troublesome when of a mischievous temperament, and generally expecting some share of the good things of the family as a reward for services which they were not accustomed to give gratuitously. "The drudging goblin" works, but does so
To earn his cream-bowl duly set,
when in one night, e'er glimpse of morn,
His shadowy flail had thresh'd the corn,
That ten day labourers could not end.
Milton, L'Allegro.
The Turnip, p. 92.—"Dio Rübe." The first part of this story is well known. The latter part is the subject of an old Latin poem of the 14th century, entitled "Raparius" (who was probably the versifier), existing in MS. at Strasburg, and also at Vienna. MM. Grimm think they see, through the comic dress of this story, various allusions to ancient Northern traditions, and they particularly refer to the wise man (Runa capituli) who imbibes knowledge in his airy suspension.
Veit ek, at ek hiek vindga meidi a
Nätur allar niu
Tha nam ek frevaz ok frodr vera.
"I know that I hung on the wind-agitated tree nine full nights; there began I to become—wise."
Old Sultan, p. 96.—"Der alte Sultan;" from Hesse and Paderborn: in four versions, each varying in some slight particulars.
The Lady and the Lion, p. 99. — "Das singende, springende Löweneckerchen;" from Hesse. Another version with variations comes from the Schwalmgegend, and from this latter we have taken the opening incident of the summer and winter garden, in preference to the parallel adventure in the story which MM. Grimm have adopted in their text. We have made two or three other alterations in the way of curtailment of portions of the story. The common tale of "Beauty and the Beast" has always some affinity to the legend of Cupid and Psyche. In the present version of the same fable the resemblance is striking throughout. The poor heroine pays the price of her imprudence in being compelled to wander over the world in search of her husband; she goes to heavenly powers for assistance in her misfortunes, and at last, when within reach of the object of her hopes, is near being defeated by the allurements of pleasure. Mrs. Tighe's beautiful poem would seem purposely to describe some of the immediate incidents of our tale, particularly that of the dove.
The incidents in which the misfortune originates are to be found in Pentamerone, ii. 9 (Lo Catenaccio), and still further in v. 4 (Lo Turzo d'Oro). The scene in the bridegroom's chamber is in Pentam. v. 3 (Pintosmauto). Prætorius, ii., p. 266, gives a Beauty and the Beast story from Sweden.
The Jew in the Bush, p. 105.—"Der Jude im Dorn." The dance-inspiring instrument will be recognised, in its most romantic and dignified form, as Oberon's Horn in Huon de Bordeaux. The dance in the bush forms the subject of two Old German dramatic pieces of the 16th century. A disorderly monk occupies the place of the Jew; the waggish musician is called Dulla, whom MM. Grimm connect with Tyll or Dyll Eulenspiegel (Owl-glass), and the Swedish and Scandinavian word, Thulr (facetus, nugator), the clown and minstrel of the populace. In Herrauds ok Bosa Saga, the table, chairs, &c., join the dance. Merlin in the old romance is entrapped into a bush by a charm given him by his mistress Viviane.
In England we have A mery Geste of the Frere and the Boye, first "emprynted at London in Flete-streete, at the sygne of the Sonne, by Wynkyn de Worde," and edited by Ritson in his Pieces of ancient popular Poetry. The boy receives
a bowe
Byrdes for to shete.
and a pipe of marvellous power:
All that may the pype here
Shall not themselfe stere,
But laugh and lepe aboute.
The third gift is a most special one for the annoyance of his stepdame. The dancing trick is first played on a "Frere," who loses
His cope and his scapelary
And all his other wede.
And the urchin's ultimate triumph is over the "offycyall" before whom he is brought.
The King of the Golden Mountain, p. 109—"Der König vom Goldenen Berg;" from Zwehrn and other quarters. There are many remarkable features in this story, more especially its striking resemblance to the story of Sigurd or Siegfried, as it is to be collected from the Edda, the Volsunga Saga, Wilkina Saga, the Niebelungen Lied, and the popular tale of The Horny Siegfried. It is neatly abridged in Herbert's Misc. Poetry, vol. ii., part ii., p. 14. The placing upon the waters; the arrival at the castle of the dragon or snake; the treasures there; the disenchantment of Brynhilda (see our tale of Rosebud); the wishing ring; the gift of the ring or girdle; the separation from which jealousy and mischief are to flow; the disguise of the old cloak, which we can easily believe to have been a genuine tarn-cap; the encountering of the discordant guardians of the treasures, as in the Niebelungen Lied; the wonderful sword Bulmung or Mimung;
(Thro' hauberk as thro' harpelon
The smith's son swerd shall hew;[1])
the boots "once worn by Loke when he escaped from Valhalla;" and the ultimate revenge; are all points more or less coincident with adventures well known to those who have made the old fables of the North the objects of their researches. It should be recollected, however, that both the cap of invisibility and the boots of swiftness are to be found in the Relations of Ssidi Kur. The Hungarian tales published by Georg von Gaal (Vienna, 1822), contain one very similar to this in many particulars. Three dwarfs are there the inheritors of the wonderful treasures, which consist of a cloak, mile-shoes, and a purse which is always full.
The Golden Goose, p. 115.—"Die Goldene Gans;" from Hesse and Paderborn. "The manner in which Loke, in the Edda, hangs to the eagle is," MM. Grimm observe, "better understood after the perusal of the story of the Golden Goose, to which the lads and lasses who touch it adhere."—Quart.
- ↑ "Ettin Langshanks," translated from the Kämpe Visir in the Illustrations of Northern Antiquities.
