conscious of divine mysteries. In Persia, too, the classical reader will remember how the neighing of a horse decided the choice for the crown. Here, in England, at any rate, we have only to think of Hengist and Horsa, the twin-heroes of the Anglo-Saxon migration, as the legend ran,—heroes whose name meant "horse,"—and of the vale of the White Horse in Berks, where the sacred form still gleams along the down, to be reminded of the sacredness of the horse to our forefathers. The Eddas are filled with the names of famous horses, and the Sagas contain many stories of good steeds, in whom their owners trusted and believed as sacred to this or that particular god. Such a horse is Dapplegrim in these Tales (p. 272), who saves his master out of all his perils, and brings him to all fortune, and is another example of that mysterious connection with the higher powers which animals in all ages have been supposed to possess.
Such a friend, too, to the helpless lassie is the Dun Bull in "Katie Woodencloak," p. 357, out of whose ear comes the "Wishing Cloth," which serves up the choicest dishes. The story is probably imperfect, as we should expect to see him again in human shape after his head was cut off, and his skin flayed; but, after being the chief character up to that point, he remains from that time forth in the background, and we only see him darkly in the man who comes out of the face of the rock, and supplies the lassie's wants when she knocks on it. Dun, or blue, or mouse-colour, is the favourite colour for fairy kine. Thus the cow which Guy of Warwick killed was dun. The Huldror in Norway have large flocks of blue kine. In Scotland runs the story of the Mouse-coloured Elfin Bull. In