'There cam' a wind out o' the north,
A sharp wind and a snell;
A deep sleep cam' over me
And from my horse I fell';
as happened to 'Held Harald' and his men in the German legend. But he also tells her how, by waiting at the cross road at midnight on Halloweve, 'when fairy folk do ride,' she may win back the father of her child to mortal shape. That waiting on the dreary heath while 'a north wind tore the bent,' and what followed, become the ordeal of Janet's love:
'Aboot the dead hour o' the night
She heard the bridles ring;
And Janet was as glad o' that
As any earthly thing.
And first gaed by the black, black steed,
And then gaed by the brown,
But fast she gripped the milk-white steed
And pu'ed the rider down';
and holding her lover fast, through all his gruesome changes of form, she 'borrowed' him from the 'seely court,' and saved him from becoming the tribute paid every seven years to the powers that held fairydom in vassalage.
Another series of transmutations, familiar in ballad and folklore, is that in which the powers of White and Black Magic strive for the mastery, generally to the discomfiture of the latter, after the manner of the Hunting of Paupukewis in Hiawatha. The baffled magician or witch—often the mother-in-law or stepmother, the stock villain of the piece in these old tales—alters her shape rapidly to living creature or inanimate thing; but fast as she changes the avenger also changes, pursues, and at length destroys. In the ballad of The Twa Magicians, given in Buchan's collection, it is virtue that flees, and wrong, in the shape of a Smith, of Weyland's mystic kin, that follows and overcomes.
But, as a rule, the transformations that are made the subject of the Scottish ballads are of a more lasting kind; the prince or princess, tempted by a kiss, or at the touch of enchanted wand or ring, is doomed for a time to crawl in the loathly shape of snake or dragon about a tree, or swim the waters as mermaid or other monstrous brood of the seas of romance, until the appointed time when the deliverer comes, and by like magic art, or by the pure force of courage and love, looses the spell. Kempion is a type of a class of story that runs, in many variations, through the romances of chivalry, and from these may have been passed down to the ballad-singer, although ruder forms of it are common to nearly all folk-mythology. The hero is one of those kings' sons, who, along with kings' daughters, people the literature of ballad and märchen; and he has heard of the 'heavy weird' that has been laid upon a lady to haunt the flood around the Estmere Crags as a 'fiery beast.' He is dared to lean over the cliff and kiss this hideous creature; and at the third kiss she turns into
'The loveliest ladye e'er could be.'
The rescuer asks—
'O, was it wehrwolf in the wood,
Or was it mermaid in the sea?
Or was it man, or vile womán,
My ain true love, that misshapéd thee?'