empty air; for at the mention of her sisters she vanished. And neither her husband's self-reproaches, nor his tears, nor any search could ever find her again.[1]
A point far more interesting than the actual mode of capture is the taboo. The condition on which the heroine remains with her captor-spouse is, in stories of the Hasan of Bassorah type, his preservation of the feather-garb; in those of the Melusina type (with which we are now dealing), his observance of the taboo. In the tales just cited from Walter Map we have two important forms of the taboo, and in the legend of Melusina herself we have a third. The latter is an example of the ordinary objection on the part of supernatural beings to be seen otherwise than just how and when they please, which we have dealt with in a previous chapter; and little need be added to what I have already said on the subject. The other two are, however, worth some consideration.
In the account of Wastin of Wastiniog we are told that he was forbidden to strike his wife with the bridle. Let us compare this prohibition with that of the fairy of "the bottomless pool of Corwrion," in Upper Arllechwedd, Carnarvonshire, who wedded the heir of the owner of Corwrion. The marriage took place on two conditions—first, that the husband was not to know his wife's name, though he might give her any name he chose; and, second, that if she misbehaved towards him, he might now and then beat her with a rod, but that he should not strike her with iron, on pain of her leaving him at once. "This covenant," says Professor Rhys in repeating the tale, "was kept for some years, so that they lived happily together, and had four children, of whom the two youngest were a boy and a girl. But one day, as they went to one of the fields of Bryn Twrw, in the direction of Penardd Gron, to catch a pony, the fairy wife, being so much nimbler than her husband, ran before him and
- ↑ Map, Dist. ii. c. 12.
