done, because they may be left to speak for themselves, and must stand or fall by their own words and actions. The tales of all races have a character and manner of their own. Among the Hindoos the straight stem of the story is overhung with a network of imagery which reminds one of the parasitic growth of a tropical forest. Among the Arabs the tale is more elegant, pointed with a moral, and adorned with tropes and episodes. Among the Italians it is bright, light, dazzling, and swift. Among the French we have passed from the woods, and fields, and hills, to my lady's boudoir,—rose-pink is the prevailing colour, and the air is loaded with patchouli and mille fleurs. We miss the song of birds, the modest odour of wild-flowers, and the balmy fragrance of the pine forest. The Swedes are more stiff, and their style is more like that of a chronicle than a tale. The Germans are simple, hearty, and rather comic than humorous; and M. Moe[1] has well said, that as we read them it is as if we sat and listened to some elderly woman of the middle class, who recites them with a clear, full, deep voice. In Scotland the few that have been collected by Mr. Robert Chambers[2] are as good in tone and keeping as anything of the kind in the whole range of such popular collections.[3] The wonderful
- ↑ M. Moe, Introd. Norsk. Event., Christiania, 1851, 2d ed., to which the writer is largely indebted.
- ↑ Popular Rhymes of Scotland, ed. 1847.
- ↑ The following list, which only selects the more prominent collections, will suffice to shew that Popular Tales have a literature of their own:—Sanscrit: The Pantcha-Tantra, "The Five Books," a collection of fables of which only extracts have as yet been published, but of which Professor
