[FN#53] Here again are the "Swan-maidens" (See vol. v. 346) "one of the primitive myths, the common heritage of the whole Aryan (Iranian) race." In Persia Bahram-i-Gúr when carried off by the Dív Sapíd seizes the Peri's dove-coat: in Santháli folk-lore Torica, the Goatherd, steals the garment doffed by one of the daughters of the sun; and hence the twelve birds of Russian Story. To the same cycle belong the Seal-tales of the Faroe Islands (Thorpe's Northern Mythology) and the wise women or mermaids of Shetland (Hibbert). Wayland the smith captures a wife by seizing a mermaid's raiment and so did Sir Hagán by annexing the wardrobe of a Danubian water-nymph. Lettsom, the translator, mixes up this swan-raiment with that of the Valkyries or Choosers of the Slain. In real life stealing women's clothes is an old trick and has often induced them, after having been seen naked, to offer their persons spontaneously. Of this I knew two cases in India, where the theft is justified by divine example. The blue god Krishna, a barbarous and grotesque Hindu Apollo, robbed the raiment of the pretty Gopálís (cowherdesses) who were bathing in the Arjun River and carried them to the top of a Kunduna tree; nor would he restore them till he had reviewed the naked girls and taken one of them to wife. See also Imr al-Kays (of the Mu'allakah) with "Onaiza" at the port of Daratjuljul (Clouston's Arabian Poetry, p.4). A critic has complained of my tracing the origin of the Swan-maiden legend to the physical resemblance between the bird and a high-bred girl (vol. v. 346). I should have explained my theory which is shortly, that we must seek a material basis for all so-called supernaturalisms, and that anthropomorphism satisfactorily explains the Swan-maiden, as it does the angel and the devil. There is much to say on the subject; but this is not the place for long discussion.
[FN#54] Arab. "Nafs Ammárah," corresponding with our canting term "The Flesh." Nafs al-Nátíkah is the intellectual soul or function; Nafs al-Ghazabíyah = the animal function and Nafs al Shahwáníyah = the vegetative property.
[FN#55] The lines occur in vol. ii. 331: I have quoted Mr.
Payne. Here they are singularly out of place.
[FN#56] Not the "green gown" of Anglo-India i.e. a white ball-dress with blades of grass sticking to it in consequence of a "fall backwards."
[FN#57] These lines occur in vol. i. 219: I have borrowed from
Torrens (p. 219).
[FN#58] The appearance of which ends the fast and begins the
Lesser Festival. See vol. i. 84.
[FN#59] See note, vol. i. 84, for notices of the large navel; much appreciated by Easterns.
[FN#60] Arab. "Shá'ir Al-Walahán" = the love-distraught poet; Lane has "a distracted poet." My learned friend Professor Aloys Sprenger has consulted, upon the subject of Al-Walahán the well-known Professor of Arabic at Halle, Dr. Thorbeck, who remarks that the word (here as further on) must be an adjective, mad, love-distraught, not a "lakab" or poetical cognomen. He generally finds it written Al-Shá'ir al-Walahán (the love-demented poet) not Al-Walahán al-Shá'ir = Walahán the Poet. Note this burst of song after the sweet youth falls in love: it explains the cause of verse-quotation in The Nights, poetry being the natural language of love and battle.
[FN#61] "Them" as usual for "her."
[FN#62] Here Lane proposes a transposition, for "Wa-huwá (and he) fi'l-hubbi," to read "Fi 'l-hubbi wa huwa (wa-hwa);" but the latter is given in the Mac. Edit.