FOOTNOTES:
[ [1] ] This is specially noticeable in the manner in which the story of the Great Oak Tree is scattered in disjointed fragments through three cantos; and in the unsuccessful result of the Kalevide's voyage, when he reaches his goal after his return by a land journey.
[ [2] ] Kirby in "Papers and Transactions of International Folk-lore Congress of 1891," p. 429.
[ [3] ] Further information on most of the subjects discussed in the Introduction will be found in the Notes and Index.
[ [4] ] The names of the others are not mentioned, but later in the poem we meet with three heroes, the sons of Alev, Olev, and Sulev respectively, associated with the son of Kalev, and spoken of as his cousins. Alev and Sulev may have been the brothers of Kalev.
[ [5] ] The Prince of Hades, literally Hornie.
[ [6] ] Hades or Hell.
[ [7] ] Linda's Bosom, the Kalevide's capital, named in honour of his mother; now Revel.
[ [8] ] Ukko, the principal god of the Finns and Esthonians, is frequently called Taara in the Kalevipoeg. This name is not used in Finnish; but Tora is the name of God among the Chuvash of Kasan.
[ [9] ] In the Finnish Kalevala, Väinämöinen is represented as a culture-hero, and as the father of his people; in Esthonia Vanemuine is usually a demi-god. He is always the inventor and patron of music and the harp. He plays no part in the Kalevipoeg, where his name is only mentioned once or twice.
[ [10] ] If this is a Scriptural allusion, it is almost the only one in the book. The Kalevipoeg is essentially a pre-Christian poem, and nowhere exhibits the curious mixture of pre-Christian and Christian ideas that we meet with in many parts of the Kalevala, and notably in Runo 50.
[ [11] ] In the Kalevala (= the country of Kaleva), the hero himself does not appear in person, though we constantly read of his sons and daughters. Some critics, however, identify him with the dead giant, Antero Vipunen, in Runo 17 of the Kalevala.
[ [12] ] The eagle of the North plays a conspicuous part in Finnish and Esthonian literature. It is this bird for whose resting-place Väinämöinen spares the birch-tree, and which afterwards rescues him from the waves and carries him to Pohjola. In several cosmogonic ballads, too, it is the eggs of this bird and not of the blue duck which contribute to the formation of the world: for the Mundane Egg plays a part here as well as in other cosmogonies. The passage in the Kalevipoeg, to which this note refers, corresponds almost exactly to one in the Kalevala (xxx. 1-10), which ushers in the adventures of Kullervo.
[ [13] ] A province in Western Esthonia, called Wiek by the Germans.
[ [14] ] Esthonia proper; specially applied to the north-eastern province.
[ [15] ] God: this word is applied to the Christian God in Esthonia, Finland, and Lapland, as well as to the local divinities.
[ [16] ] There are many tales and ballads about the miraculous birth and wooing of Salme and Linda. (Compare Neus, Ehstnische Volkslieder, p. 9; Latham's Nationalities of Europe, i. p. 142.) In the story of the "Milky Way," which commences Part II. of this volume, Linda is represented as the daughter of Uko, and the queen of the birds. We also read of a blue bird, Siuru, the daughter of Taara, in the ballads. The name Linda or Lindu is evidently derived from the word Lind, a bird.
[ [17] ] The Sun and Moon are both male deities in Finnish and Esthonian. In the Kalevala (Runo 11) the sun, moon, and a star seek the hand of Kyllikki, the fair maid of Saari, for their sons, but she rejects them all as unceremoniously as Salme. In the Kanteletar (iii. 6), a maiden called Suometar (= Finland's daughter) plays a similar part. Suometar is born from a duck's egg, found by a young girl named Katrina.
[ [18] ] Muru eit, the meadow-queen (literally grass-mother), is regarded as one of the tutelary divinities of the house. Esthonian houses generally stand in a grass field, entered by a gate. Within the enclosure are the storehouses, cattle-pens, and other outbuildings.
[ [19] ] This is somewhat inconsistent with the rather undignified appearance of the Sun and Moon in person a little while before.
[ [20] ] The cross-dance is still danced in out-of-the-way parts of the country; it is a kind of quadrille. Four couples station themselves in such a manner as to form a cross. The opposite pairs advance and retire several times, and then they dance round, when the second pairs dance in the same manner, and another dance round follows, till they have danced enough. The dance is accompanied with a song, in which the dancers, and sometimes the bystanders, join.
[ [21] ] Arju or Harju (German, Harrien) one of the provinces of Esthonia.
[ [22] ] Kungla is described as a country of untold wealth and the land of adventures—a kind of fairyland. It appears, however, to have been a real country, separated from Esthonia by sea, of which fabulous tales were told. Some writers identify it with the Government of Perm; but this is improbable, as it is generally described as an island. Others think that the island of Gottland is meant.
[ [23] ] According to various traditions, Kalev and Linda are said to have had seven or twelve sons.
[ [24] ] This is what Jacobs calls "junior right;" the patriarchal custom of the elder children going forth into the world to seek their fortunes, and the youngest remaining at home to look after his parents and inherit their possessions. Hence the rivalry between Esau and Jacob.
[ [25] ] Has this anything to do with boys spinning cockchafers on a thread? The beetle alluded to in the text is said to be the ladybird, but the ladybird has no particular connection with the alder. When a brooch is thus spun on a thread, a question is asked, and if the motion stops, the answer is unfavourable, but favourable if it continues. The flight of the beetle is fortunate towards the south, but unfortunate towards the north.
[ [26] ] It is curious that the Esthonians always regarded the Finns, and the Finns the Lapps, as great sorcerers; each nation attributing special skill in magic to those living north of themselves.—But there is a Finnish ballad ( Kanteletar, iii. 2) in which we read of the sun and moon being stolen by German and Esthonian sorcerers.
[ [27] ] This reminds us of Ariel's well-known song—
"Full fathom five thy father lies,
Of his bones are coral made," &c.
[ [28] ] The origin of stone blocks is usually ascribed to non-human beings in many countries, but most frequently to the devil, especially in Northern Europe. Compare also the [church-stories], &c., in a later part of this work.
[ [29] ] The usual place employed on such occasions in Finland and Esthonia.
[ [30] ] Ukko or Taara commonly appears as the principal god of the Finns and Esthonians; Rõugutaja usually as an accoucheur, but occasionally also as a malicious demon. Rõugutaja is also called the God of the Wind. Other authorities consider him a water-god. (Kreutzwald und Neus, Mythische und Magische Lieder, p. 108.)
[ [31] ] Kullervo in the Kalevala (Runo 30) bursts his swaddling-clothes and smashes his cradle in the same way.
[ [32] ] The Esthonian Thunder-God goes by a variety of names, but is usually called Pikker or Pikne, evidently the Perkunas of the Lithuanians. He resembles Thor in driving about in a chariot, waging war with the evil demons; but one of his attributes, not appertaining to Thor, is his flute (or bagpipe, as some critics regard it). It will be seen in many places that the Esthonians, like all other peoples among whom the belief in fairies, demons, &c., survives, do not share the absurd modern notion that such beings must necessarily be immortal.
[ [33] ] Peter, in the story of the Lucky Rouble, is also attended by three black dogs. The dogs of the sons of Kalev were named Irmi, Armi, and Mustukene; the last name means Blackie, not Throttler, as Reinthal translates it.
[ [34] ] In the Maha-Bharata Bhima is represented as carrying enormous loads, and in one passage Yudhishthira is searching for his brother in the Himalayas, when he comes to a place where slaughtered lions and tigers are lying about by thousands, which convinces him that he is on the right track.
[ [35] ] This passage would seem to indicate that the daughter of the king of Kungla was sometimes looked upon rather as a fairy than as a human princess.
[ [36] ] Visits to a father's grave for counsel are very common in the literature of Northern Europe.
[ [37] ] The story in the Kalevipoeg is very confused, but this maiden evidently corresponds to the lost sister of Kullervo ( Kalevala, Runo 35), whom he meets casually, and seduces. When they discover the truth, the girl throws herself into a torrent. In the Kalevipoeg, [Canto 7], the Kalevide and the maiden are actually spoken of as brother and sister. There are many versions of this story; in one of them (Neus, Ehstnische Volkslieder, pp. 5-8; Latham's Nationalities of Europe, i. p. 138), the maiden is represented as slaying her brother, who is called indifferently the son of Kalev or of Sulev, to the great satisfaction of her father and mother.
[ [38] ] In the Kalevala, Runo 15, Lemminkainen's mother collects together the fragments of his body from the River of Death with a long rake.
[ [39] ] This song and story (except for the incident of the man of copper) resembles that of the drowning of Aino in the Kalevala, Runo 4.
[ [40] ] It was a copper man who rose from the water to fell the great oak-tree ( Kalevala, Runo 2). Compare also the variant in [Canto 6] of the Kalevipoeg. We may also remember the copper men connected with the mountain of loadstone ( Thousand and One Nights, Third Calendar's Story).
[ [41] ] Literally a "house-hen;" one of those idiomatic terms of endearment which cannot be reproduced in another language.
[ [42] ] We find this great oak-tree over and over again in Finnish and Esthonian tales. Compare Kalevala, Runo 2, and Cantos [4], [5], [6], and [16] of the Kalevipoeg. Neus, Ehstnische Volkslieder, p. 47; Kreutzwald and Neus, Mythische und Magische Lieder, p. 8, &c. Could this oak have any connection, direct or indirect, with the ash Yggthrasil? or could the story have originated in some report or tradition of the banyan?
[ [43] ] The tremendous exploits of the Kalevide and his weariness afterwards give him much of the character of a Berserk.
[ [44] ] In the 26th Runo of the Kalevala Lemminkainen creates a flock of birds from a handful of feathers, to appease the fiery eagle who obstructed his way to Pohjola. We may also remember Jason and the dragon's teeth.
[ [45] ] In the Kalevala (Runo 34) an old woman directs Kullervo to the house of his parents.
[ [46] ] The smith is sometimes called the uncle of Kalev; but the term may only mean that he was an old friend.
[ [47] ] The cuckoo is a sacred bird, but more often alluded to in Finnish than in Esthonian literature.
[ [48] ] This lake (Saad järv) lies a little north of Dorpat.
[ [49] ] Nothing is said as to how the government was carried on during the Kalevide's minority.
[ [50] ] White horses constantly occur in Esthonian tales; and the devil's mother or grandmother usually appears as a white mare. One of the commentators remarks that as the white horse was sacred in pre-Christian times, the missionaries represented it as peculiarly diabolical. It will be remembered with what severity the early missionaries suppressed the horse feasts among the Teutonic tribes.
[ [51] ] This is a little like the formation of the world from the body of the giant Ymir, as described in the Edda. As W. Herbert paraphrases it,
"Of his bones the rocks high swelling,
Of his flesh the globe is made,
From his veins the tide is welling,
And his locks are verdant shade."
"Helga" is a somewhat poor production, containing but few striking passages except the description of the appearance of the Valkyrior before the fight between Hialmar and Angantyr. But the shorter poems at the end, "The Song of Vala" and "Brynhilda," ought to be alone sufficient to remove the name of this forgotten poet from oblivion.
[ [52] ] The Esthonian demons are often represented as contemptible creatures, very easily outwitted. Later in the present canto the personage in question is distinctly called a water-demon.
[ [53] ] A common proverb in Esthonian tales. We also find it in Italian, in almost the same words.
[ [54] ] The money is sometimes called roubles, and sometimes thalers.
[ [55] ] Visits to Hades or Hell (Põrgu) are common in the Kalevipoeg and in the popular tales, some of which we shall afterwards notice.
[ [56] ] The term "Lett," which the Kalevide himself afterwards applies to the demon, seems to be used in contempt; otherwise the passage in the text might have been taken as equivalent to our old-fashioned expression, "It's all Greek to me."
[ [57] ] Usually the devil's mother (or grandmother) is represented as a white mare. Compare [Canto 14] of the Kalevipoeg, and also the story of the [Grateful Prince].
[ [58] ] This Air-Maiden, who seems to be only a mischievous sprite, must not be confounded with Ilmatar, the creatrix of the world in the first Runo of the Kalevala.
[ [59] ] Finn, the Irish hero, was once entrapped by a sorceress on a similar pretext into plunging into an enchanted lake, which changed him into an old man. (See Joyce's Old Celtic Romances, "The Chase of Slieve Cullin.") The story is also related in one of Kenealy's ballads.
[ [60] ] This is a well-known Mongol characteristic; and it is rather oddly attributed by Arabic writers to the Jinn. "Two of them appeared in the form and aspect of the Jarm, each with one eye slit endlong, and jutting horns and projecting tusks."—Story of Tohfat-el-Kulub ( Thousand and One Nights, Breslau edition).
[ [61] ] This reminds us of the help given to Hiawatha by the woodpecker during his fight with Megissogwun; but the one incident can hardly be copied from the other. Hiawatha was published some years before the Kalevipoeg.
[ [62] ] This is the only passage in the Kalevipoeg in which one of the heroes of the Kalevala is personally introduced.
[ [63] ] Emptiness; probably the Contemptible One; a name often used for one of the principal demons.
[ [64] ] The rock is still shown, bearing the imprints of the hero's fingers, each cleft large enough to hold a man.
[ [65] ] This was the fate of Kullervo himself in the Kalevala. Orphans, for whom much sympathy is expressed, constantly appear in Esthonian tales. Compare [p. 236] of the present volume.
[ [66] ] We have a similar series of transformations (mouse, cat, dog, ass, buffalo) in the story of Noor Ed-Deen and Shes Ed-Deen in the Thousand and One Nights.
[ [67] ] We meet with this big ox elsewhere in the Kalevipoeg ( [Canto 19] ), as well as in the Kalevala, Runo 20.
[ [68] ] Old Hornie, the name of the ruler of Põrgu (Hell).
[ [69] ] The word used for lion is " lõwi, " undoubtedly derived from the German. The Finns generally call the lion " jalopeura, " which also denotes the lynx.
[ [70] ] Compare the story of the [Gold Spinners].
[ [71] ] We meet with a similar hat in other stories. Many Esthonians and Lithuanians still hide their nail-parings as carefully as possible, or else make a cross over them lest the devil should find them and use them to make a wishing-hat. Can this hat have any connection with the white straw hat of the devil in a Deptford rhyme?—Gomme's Traditional Games, I. p. 4. In the Edda, we are told that Naglfar, the largest ship in the world, which is to bring the giants to the fight at Ragnarök, is similarly constructed, and as both gods and men wish that it should be completed as late as possible, every one should be very careful not to die with unpared nails, lest he should supply materials for its construction.
[ [72] ] Golden is often used in Finnish and Esthonian, as in many other languages, as a term of endearment.
[ [73] ] The maidens were afterwards married to the relatives of the Kalevide, giants like himself, and are described as walking arm-in-arm with them, nothing being then said of any difference in their stature.
[ [74] ] This reminds us of a well-known feudal custom, more honoured in the breach than in the observance, which also prevailed among the old kings of Scotland for several reigns. The second sister was ultimately married, not to the cup-bearer, but to the son of Olev.
[ [75] ] A mythical blue bird, the daughter of Taara. Two songs respecting her will be found in another part of the book. Reinthal improperly translates the word "griffin." "Phœnix" or "Seemurgh" would have been a more appropriate rendering.
[ [76] ] These bath-whisks, which are dried birch-twigs with the leaves left on, are often alluded to in the Kalevala.
[ [77] ] Or Tühja. See ante, [p. 84].
[ [78] ] Compare [Canto 10] of the Kalevipoeg, and the story of the [Grateful Prince], as well as ante, [p. 58 note]. Sarvik seems to have belonged to the same family as the water-demon who was tricked by the Alevide in [Canto 10].
[ [79] ] Compare the similar scene in the story of ["Slyboots,"] later in this volume.
[ [80] ] This incident resembles an adventure attributed to Thor. In the legends of all countries, sorcerers or fugitives are represented as raising magic floods, either to sweep away their enemies or to baffle pursuit. There are three instances in this very canto.
[ [81] ] This is the usual Esthonian euphemism for setting a house on fire. I understand that there is also some connection between red cocks and fire in Scottish folk-lore; and in Scandinavian mythology two of the three cocks which are to crow before Ragnarök are red. May they not have some connection with the fire of Surtur?
[ [82] ] Here we have the great oak-tree mentioned in Cantos [5] and [6] reappearing in another connection.
[ [83] ] The Flyer.
[ [84] ] In the present canto the Kalevide is never spoken of as of gigantic size, unless we may consider feats like this as implying it.
[ [85] ] Baring Gould considers this country to be the North Cape, but the geography of the voyage is confused.
[ [86] ] The Maelström?
[ [87] ] The commentators identify this island with Iceland, but the voyagers were apparently on the wrong side of Scandinavia to reach either the Maelström or Iceland. Still we have both geysers and volcanoes in the text.
[ [88] ] Here the Kalevide's sun begins to decline, for the first of his faithful companions leaves his side, as Hylas left Heracles.
[ [89] ] This is Chamisso's Alsatian legend, "Das Riesenspielzeug," "The Giant's Toy," usually called in English translations "The Giant's Daughter and the Peasant." The girl in the poem seems to have far exceeded even the Kalevide in stature; and we may remember Gulliver's remark respecting the Brobdingnagians—"Who knows but that even this prodigious race of mortals might be equally overmatched in some distant part of the world whereof we have yet no discovery?"
[ [90] ] Throughout this passage the giant is usually called simply the magician, and the other "the wise man."
[ [91] ] Asking riddles of this kind was a common amusement in Northern Europe. Compare Prior's Danish Ballads, i. 185, 334.
[ [92] ] Baring-Gould ingeniously suggests that this country is Greenland, and that the Dog-men are Esquimaux, clad in furs, and riding in dog-sledges. The end of this canto is inconsequential, for the hero should have reached his goal during this voyage, not by a land-journey afterwards.
[ [93] ] Linda's bosom, now Revel.
[ [94] ] The bells of the dwarfs are often of great importance in Northern fairy mythology.
[ [95] ] This incident is common in Esthonian tales.
[ [96] ] This song will be included in a later section of the book.
[ [97] ] Some of the commentators regard this book as a palladium on which the independence of Esthonia depended; and the thoughtlessness of the Kalevide in parting with the book which contained the wisdom of his father as a sacrilegious action which precipitated his ruin.
[ [98] ] These are identified by the commentators with the Teutonic Knights of the Sword, who conquered Esthonia in the eleventh century.
[ [99] ] Here we have a reminiscence of the Giallar horn of Heimdall, and of the horn of Roland (or Orlando).
[ [100] ] Compare the much longer story in the 9th Runo of the Kalevala.
[ [101] ] A similar adventure happened to the naturalist Macgillivray in the Solomon Islands during the voyage of the Herald. He turned round and shot the savage dead.
[ [102] ] There is a curious variant relating how the Kalevide waded across Lake Peipus with a bridle in his hand to look for a horse, and the water threatened to rise above his boots, when he said, "Don't think to drown this man." Then the devil brought him first his daughter and then his son in the shape of horses; but they both broke down under him. Then the devil brought him his mother, in her usual shape of a white mare, and she galloped away with the hero, and he could not rein her in. Then a voice from heaven cried, "Godson, godson, strike your hand into the oak!" The hero seized a great oak-tree as they were passing, when it came away in his hand, roots and all. Then the mare rushed to Põrgu, and the voice again bade the hero strike his hand into the doorpost. He did so, and his hand was caught fast, and the mare galloped away to hell from between his legs, and left him hanging there.
[ [103] ] The God of Death.
[ [104] ] The guardian hero of every nation is looked for to return in a similar manner; even William Tell.
[ [105] ] Löwe suggests that Kungla is meant, which appears not improbable.
[ [106] ] This has been a common motif in folk-tales from the time of Jephthah downwards; but the manner in which the different stories are worked out is very various.
[ [107] ] The usual Esthonian euphemism for the Devil.
[ [108] ] The moral tone of some of these Esthonian tales is much higher than usual in folk-tales. In the story of the "Northern Frog," we shall see that it is considered a wrong action, involving Karmic punishment, even to steal a talisman from a demon who is trying to entrap your soul. In most folk-tales, the basest cruelty and treachery is looked upon as quite laudable when your own interests require it, even against your best friend or most generous benefactor, and much more so against a Jew or a demon. But there are other Esthonian tales ( ["Slyboots,"] for instance), in which the morality is not much superior to that of average folk-tales.
[ [109] ] Here we find the Devil compared to a Tartar, just as in the [10th canto] of the Kalevipoeg a water-demon is compared to a Lett.
[ [110] ] Boiled peas and salt are provided on such occasions, as mentioned in other stories.
[ [111] ] The Kalevide was directed to stamp with his right foot to open the gates of Põrgu.
[ [112] ] In Esthonian legends, the wolf is the great enemy of the devil. See vol. ii. [Beast-stories].
[ [113] ] We meet with similar miraculously swift animals in other Esthonian tales.
[ [114] ] The outhouses in Sarvik's palace ( Kalevipoeg, [Canto 14] ) contained mere ordinary stores.
[ [115] ] A not very unusual incident in folk-tales, though it often takes the form of offering an iron bar instead of your own hand to a giant who wishes to shake hands with you.
[ [116] ] A visit to any description of non-human intelligent beings in Esthonian tales almost always extends to years, though it may have apparently lasted for only a day or two.
[ [117] ] In most stories of this class, the hero forgets his companion on reaching home, either by a charm or by breaking a taboo.
[ [118] ] Another instance of a child being asked for by an ambiguous request is to be found in the story of the Clever Countrywoman (Jannsen), which must not be confounded with one in Kreutzwald's collection with a nearly similar title, and of which we append an abstract. The story ends, rather unusually, in a subterfuge. A herd-boy returned one evening, and reported to his mistress that a cow was missing. The woman went herself, but everything round her was changed by magic, and she could not find her way home. However, as the mist rose from the moor, a little white man appeared, whom she recognised as one of the moor-dwellers. He took her home, and returned her cow, on her promising him what she would carry night and day under her heart. From thenceforth she took care always to wear her apron. A year afterwards, she became the mother of a fine boy, and when he was nine weeks old, the window was opened one night, and the intruder cried out, "Give me what you have carried night and day under your heart, as you promised." The woman flung him her apron, crying out, "In the name of the Father and the Son and the Holy Ghost, receive what I promised you;" and he instantly vanished with the apron.
[ [119] ] These great public periodical feasts are Eastern rather than Western. Compare the story of Ali Shar and Zumurrud ( Thousand and One Nights ).
[ [120] ] A similar feat is performed by Sarvik in the Kalevipoeg, [Canto 17].
[ [122] ] As in the Kalevipoeg, [Canto 13] ; and the story of the [Gold-Spinners], &c.
[ [123] ] Compare [p. 121] (anteà). The bell is not mentioned elsewhere in this story.
[ [124] ] A beer-barrel with a tap, for general use, often stands in the houses of the Esthonian peasantry.
[ [125] ] "And as to the sword, if it be drawn against an army, and its bearer shake it, he will rout the army; and if he say to it at the time of his shaking it, 'Slay this army,' there will proceed from that sword a lightning which will slay the whole army."— Story of Joodar ( Thousand and One Nights ).
[ [126] ] Compare the scene between the Kalevide and Tühi, in [Canto 15] of the poem.
[ [127] ] This old man may have been the consort of the Meadow-Queen. Cf. pp. [188], [259].
[ [128] ] We shall find mussel-shells used as boats in other tales.
[ [129] ] "These forests are very useful in delivering princes from their courtiers, like a sieve that keeps back the bran. Then the princes get away to follow their fortunes."— George MacDonald, " The Light Princess. "
[ [130] ] Compare the scene with the four Grey Women in the second part of Faust.
[ [131] ] Nine is a mystical number as well as seven.
[ [132] ] Ahti, the God of the Waters.
[ [133] ] A sacred tree in Eastern Europe, as it is in the British Isles.
[ [135] ] Tont is a common name for a house-spirit.
[ [136] ] Talking trees are common in Esthonian tales; I do not remember another instance of bleeding trees.
[ [137] ] Else.
[ [138] ] Pussy.
[ [139] ] It must be remembered that the dominant race in Esthonia is German, and that the gentry, even if not fairies, would be expected to speak a language unintelligible to the people. It is significant that the very word for lady in Esthonian is proua, a corruption of Frau. Everything particularly fine is called "Saxon."
[ [140] ] In some countries the beard is regarded as a symbol of power, as well as of age and wisdom. Compare the account of Schaibar in the story of Prince Ahmed ( Thousand and One Nights ).
[ [141] ] The Germans are generally represented in Esthonian tales as rich, and sometimes as very haughty people.
[ [142] ] Compare Goody Two-Shoes ; but this is a modern tale, believed to have been written by Goldsmith.
[ [143] ] There is a story (French, I think) of a king who overheard a poor man and his wife abusing Adam and Eve for their poverty. The king took them home, and entertained them. They had a grand feast of many covers every day, but there was always one, the largest of all, which they were forbidden to open. The wife soon persuaded her husband to do so, when a mouse ran out, and the king turned them out of doors.
[ [144] ] This expression shows the late date of the present story, for no people uninfluenced by the modern Christian notion that all reasoning beings except men must be necessarily angels or devils, and therefore immortal, represent superhuman beings as immortal, with the exception of the gods, and not always even these.
[ [146] ] The original title of this story is, "How an orphan made his fortune unexpectedly." Some commentators identify the keeper of the hounds with Othin. In the Scandinavian mythology the breaking loose of the monsters, the most terrible of whom is Garm, the watch-dog of Helheim, precedes the cataclysms of Ragnarök.
[ [147] ] This is the usual condition attached to such gifts, as in the Swiss story of a chamois-hunter who received an inexhaustible cheese from a mountain-spirit. But in the case of the magic saddlebags of the Moor in the story of Joodar ( Thousand and One Nights ), it was a condition that all the dishes should be put back empty. The Jews, too, were forbidden to leave anything over from the Passover Feast.
[ [148] ] Or frog: the word is the same.
[ [149] ] Either the extinct urus or the nearly extinct aurochs must be here intended.
[ [150] ] Yolk-Carrie.
[ [151] ] Compare pages [246] and [248].
[ [152] ] The word translated "lout" means literally "filthy-nose."
[ [153] ] In the Kalevala, Runo 33, Kullervo revenges himself in the same manner upon the wife of Ilmarinen, whom he has been serving as herd-boy, and who has treated him with great cruelty and harshness.
[ [154] ] Titus.
[ [155] ] Here, as well as in the stories relative to the Thunder-God's musical instrument, Löwe calls it a bagpipe; but I do not find this meaning for the word in the dictionaries. Still, in the present story, it appears to have been a rather expensive instrument.
[ [156] ] Bartholomew.