So came most of the monsters we have been describing—Animals, Volcanoes, Icebergs, Deserts, though they might be—by growing culture and mastery of nature to be called ‘the little people;’ and perhaps it is rather through pity than euphemism when they were so often called, as in Ireland (Duine Matha), ‘the good little people.’[7] At every step in time or space back of the era of mechanic arts the little fairy gains in physical proportions. The house-spirits (Domovoi) of Russia are full-sized, shaggy human-shaped beings. In Lithuania the corresponding phantoms (Kaukas) average only a foot in height. The Krosnyata, believed in by the Slavs on the Baltic coast, are similarly small; and by way of the kobolds, elves, fays, travelling westward, we find the size of such shapes diminishing, until warnings are given that the teeth must never be picked with a straw, that slender tube being a favourite residence of the elf! In Bavaria a little red chafer with seven spots (Coccinella septempunctata) is able to hold Thor with his lightnings, and in other regions is a form of the goddess of Love![8] Our English name for the tiny beetle ‘Lady-bug’ is derived from the latter notion; and Mr. Karl Blind has expressed the opinion that our children’s rune—
Lady-bug, lady-bug, fly away home,
Thy house is on fire, thy children will roam—
is last echo of the Eddaic prophecies of the destruction of the universe by the fire-fiend Loki![9] Such reductions of the ancient gods, demons, and terrors to tiny dimensions would, of course, be only an indirect result of the general cause stated. They were driven from the great world, and sought the small world: they survived in the hut and were adapted to the nerves of the nursery. So alone can Tithonos live on: beyond the age for which he is born he shrinks to a grasshopper; and it is now by only careful listening that in the chirpings of the multitudinous immortals, of which Tithonos is type, may be distinguished the thunders and roarings of deities and demons that once made the earth to tremble.
[1] The history of this tree which I use for a parable is told in the Rev. Samuel Mateer’s ‘Land of Charity.’ London: John Snow & Co. 1871.
[2] ‘Studies in the History of the Renaissance.’ Macmillan & Co. 1873.
[3] Concerning which Mr. Wright says: ‘It is taken from an oxybaphon which was brought from the Continent to England, where it passed into the collection of Mr. William Hope.... The Hyperborean Apollo himself appears as a quack-doctor, on his temporary stage, covered by a sort of roof, and approached by wooden steps. On the stage lies Apollo’s luggage, consisting of a bag, a bow, and his Scythian cap. Chiron (ΧΙΡΩΝ) is represented as labouring under the effects of age and blindness, and supporting himself by the aid of a crooked staff, as he repairs to the Delphian quack-doctor for relief. The figure of the centaur is made to ascend by the aid of a companion, both being furnished with the masks and other attributes of the comic performers. Above are the mountains, and on them the nymphs of Parnassus (ΝΥΜΦΑΙ), who, like all the other actors in the scene, are disguised with masks, and those of a very gross character.... Even a pun is employed to heighten the drollery of the scene, for instead of ΠΥΘΙΑΣ, the Pythian, placed over the head of the burlesque Apollo, it seems evident that the artist had written ΠΕΙΘΙΑΣ, the consoler.’—‘History of Caricature,’ p. 18. But who is the leaf-crowned figure, without mask, on the right hand? Was it some early Offenbach, who found such representation of the gods welcome at Athens where the attempt to produce our modern Offenbach’s Belle Helène recently caused a theatrical riot?
[4] Wuttke. ‘Volksaberglaube,’ 18.
[5] Schleicher, ‘Litauische Märchen,’ 141–145. Mr. Ralston’s translation abridged.