It is right that I should add that the servant's evening salute has nothing to do with the story but is a tradition in my own family, where my grandfather's servant used to utter this rhyme in a sort of chant when bidding the family good-night.
XII. THE SWAN MAIDENS
The Swan Maidens occur very widely spread and have been studied with great diligence by Mr. E. S. Hartland in two chapters (x., xi.) of his Science of Fairy Tales (pp. 255-347). In consonance with his general principle of interpretation, Mr. Hartland is mainly concerned with the traces of primitive thought and custom to be seen in the Swan Maidens. Originally these were, according to him, probably regarded as actual swans, the feathery robe being a later symbolic euphemism, though I would incidentally remark that the whole of the story as a story depends upon the seizure of a separate dress involving the capture of the swan bride. Mr. Hartland is inclined to believe partly with F. Liebrecht in Zur Volkskunde, pp. 54-65, that these mysterious visitors from another world are really the souls of deceased persons (probably regarded as totemistic ancestresses). In some forms of the story, enumerated by Mr. Hartland, the captured wife returns to her original home, not when she recovers her robe of feathers but when the husband breaks some tabu (strikes her, chides her, refers to her sisters, sees her nude, etc.).
From the standpoint of "storyology" from which we are mainly considering the stories here purely as stories, the Swan Maidens formula is especially interesting as showing the ease with which a simple theme can be elaborated and contaminated by analogous ones. The essence of the story is the capture of a bride by a young man who seizes her garment and thus gets her in manu, as the Roman lawyers say. She bears him children, but, on recovering her garment, flies away and is no more heard of. Sometimes she superfluously imposes a tabu upon her husband, which he breaks and she disappears (Melusine variant; compare Lohengrin). This is the effective and affecting incident of which Matthew Arnold makes such good use in his Merman. It could obviously be used, as Mr. Hartland points out, in a quasi-mythological manner to account for supernatural ancestry, as in the cases of the physicians of Myddvai in Wales, or of the Counts of Lusignan. But on this simple basis folk tellers have developed elaborations derived from other formulæ. In several cases, notably in the Arabian Nights (Jamshah and Hasan of Bassora), the capture of the swan maiden is preceded by the Forbidden Chamber formula. Then when the bride flies away there is the Bride-Quest, which is often helped by Thankful Animals and aided by the Magical Weapons. When the hero reaches the home of the bride he has often to undergo a Recognition-Test, or even is made to undertake Acquisition Tasks derived from the Jason formula; and even when he obtains his wishes in many versions of the story there is the Pursuit with Obstacles also familiar from the same formula.
Cosquin, ii., 16, has, with his usual analytical grasp, seen the separable character of these various series of incidents. He, however, attempts to show that all of them, including the germ of the Swan Maidens, are to be found in the East, and is successful in affiliating the Greek of Hahn, No. 15, with the two stories of the Arabian Nights mentioned above, as well as the Siberian version given by Radloff, iv., 321, the hero of which has even derived his name from the Jamshah of the Thousand and One Nights.
In my own version I have utilized a few of these incidents but reserve most of them for their proper story environment. I have introduced, from the Campbell version, the phrase "seven Bens, and seven Glens, and seven Mountain Moors," which so attracted Stevenson's Catriona, in order to point out as a remarkable coincidence that Hasan of Bassora, in the Arabian Nights, flies over "seven Waddys, seven Seas, and seven Mountains." It is difficult to understand that such a remarkable phrase should recur accidentally in Bagdad and in the West Highlands. Without some actual intermediation, oral or literary, the hypothesis of universal human tendency can scarcely explain such a coincidence.
XIII. ANDROCLES AND THE LION
This well-known story occurs first in the fables of Phædrus, though not in the extant form, only being preserved in the mediæval prose version known as Romulus. It is also referred to in Appian, Aulus Gellius, and Seneca (see the references in my History of Æsop, p. 243, Ro. III., i.). It is told in Caxton's Esope, p. 62, from whom I have borrowed a few touches. He calls his hero Androclus, whereas Painter, in his Palace of Pleasure, ed. Jacobs, i., 89-90, calls the slave Androdus. We moderns, including Mr. Bernard Shaw, get our "Androcles" from Day's Sanford and Merton. It also occurs in Gesta Romanorum, 104, edit., Oesterley, who gives a long list of parallels in almost all the countries of Europe.
Benfey, in the introduction to his edition of Pantschatantra, i., 112, contends that the story is of Oriental origin, showing Buddhistic traits in the kindly relations between the slave and the lion; but the parallels he gives are by no means convincing, though the general evidence for Oriental provenance of many of Phædrus' fables gives a certain plausibility to this derivation. From our present standpoint this is of less importance since Androcles, though it has spread through Europe and is current among the folk, is clearly of literary origin and is one of the few examples where we can trace such literary spread.