Thus, the animal märchen is an important product of totemic culture, directly embodying the views that dominate the life of this age. In addition to such tales, however, and, in part, in combination with them, there are several other forms of the märchen-myth, consisting chiefly of ideas concerning nature and, to some extent, of magical ideas sustained by the human emotions of fear and of hope. Two sorts of märchen, especially, should here be mentioned, celestial tales and tales of fortune, both of which owe their development to totemic culture. The celestial märchen, however, disappears comparatively early, mainly, no doubt, because it is displaced or assimilated by the celestial mythology of the post-totemic age. The märchen of fortune, on the other hand, remains as a permanent form of märchen-fiction, and all later narrative composition has been influenced by it.
The celestial märchen affords a direct record of the impression made by celestial phenomena on the consciousness of an age whose ideas were as yet circumscribed by the environment. By the environment, however, must as yet be understood the entire visible world—sun, moon, and stars, as well as hills and valleys, animals and men. The distant, moreover, was always likened to that which was near at hand and immediately accessible. Animals and men were supposed to inhabit the clouds and the heavenly bodies, precisely as they do the earth, and the relations which they were there held to sustain to one another are identical with those described in the animal tale. When the new moon appears, a wolf is devouring the moon; in an eclipse of the sun, the sun is swallowed up by a black monster; and when, in the evening, the sun disappears behind a dark cloud, it likewise is overpowered by a monster, and the red glow of the sunset is the blood which it sheds. Three themes in particular are dominant in the most primitive celestial tales: the ascension of man into the heavens, his descent from heaven, and the devourment of the great heavenly bodies, in particular of the sun, at sunset. One of the earliest of these conceptions is the journey to heaven. This is indicated by the very fact that the means for this journey are always derived directly from nature, or consist of the weapons and implements of primitive culture. There is a conception current in Australia and Oceania that beings have climbed to heaven by means of high trees, or have allowed themselves to be raised up by the branch of a tree that had been bent down to the earth. Where the bow and arrow exist, as in Melanesia and America, the arrow-ladder is frequently employed for the celestial journey. A hunter shoots an arrow into the heavens, where it remains fixed; he then sends a second arrow which catches into the notch of the first, then a third, a fourth, etc., until the ladder reaches to the earth. The downward journey is not so difficult. This is generally accomplished by means of a basket or a rope sustained by cords; it is thus that the celestial inhabitant is enabled to descend to the earth. Many märchen relate that the sun and the moon were originally human beings who journeyed to the heavens. Here they are thought to remain, or occasionally, perhaps, to return to the earth while other human beings take their place.
Besides the märchen telling of the interrelations of human and celestial beings, there are also a number of other sorts. Of them we may here single out, as a particularly characteristic type, those which deal with devourment. Obviously, as has already been noticed, it is the setting of the sun that very frequently constitutes the central theme of these tales. These märchen of devourment, however, differ from those that deal with celestial journeys in that they clearly exemplify narratives in which only one of the elements consists of a celestial phenomenon; in addition to it, there are regularly also other elements borrowed from the terrestrial environment. Indeed, the latter may of itself originate märchen, independently of the influence of celestial phenomena. We must distinguish at the outset, therefore, between those märchen of devourment that contain celestial elements and others in which these elements are apparently lacking. A familiar example of märchen of devourment is the Biblical legend of Jonah. In its traditional rendering, this is clearly of a relatively late origin, though it is probably based on much older tales. Many of the tales of devourment, which are common to all parts of the earth, centre about a hero, who is generally a courageous youth seeking adventure. The hero is devoured by a monster; he kindles a fire in the belly of the monster, and, by burning up its entrails, rescues himself. The fact that fire figures so prominently in these tales makes it highly probable that they took shape under the influence of observations of the setting sun. Other tales make no mention of fire, but relate that the belly of the monster is extremely hot, and that the heat singes the hair of the one who has been swallowed. In an old illustrated Bible which was recently discovered, Jonah is pictured as having a luxuriant growth of hair at the moment when he is being swallowed; in a second picture, when he comes forth from the belly of the whale, he is entirely bald. But even though this reference to fire and to heat indicates an influence on the part of the sunset, this type of celestial märchen is none the less entirely different from that which deals with journeys to heaven and the return to earth. In the latter, the heaven is itself the scene of action upon which men and animals play their rôles. In the märchen of devourment, the celestial phenomenon imparts certain characteristics to the terrestrial action that is being described, but the latter continues to preserve its terrestrial nature. The narrator of the märchen or legend, therefore, may be wholly unconscious of any reference to the heavens. The psychological process of assimilation causes elements of a celestial phenomenon to be fused into an action of the terrestrial environment and to communicate to the latter certain characteristics without, however, thereby changing the setting of the action. The shark and the alligator are animals capable of devouring men, though this occurs less frequently in reality than in story. Yet because thoughts of this sort arouse strong emotions, they may of themselves very well come to form themes of märchen of devourment. This has frequently been the case. It seems to have happened, for example, in the Jonah legend. The above-mentioned picture in which the prophet is represented as hairless after having been in the belly of the fish, may very well have its source in some other märchen of devourment. In thus combining numerous elements of different origins, the märchen is truly representative of myth development. It shows clearly that the main theme of the myth is usually taken from man's terrestrial environment. True, celestial elements may enter into its composition and may sometimes give to the mythological conception its characteristic features. Even in such cases, however, a consideration of the tale as a whole will show that the celestial elements are completely absorbed by the terrestrial theme; their very existence may be completely unknown to the narrators of the tale. In a similar manner, celestial elements have probably been involved in the formation of other widely current märchen. Thus, the märchen theme underlying the legends of the Babylonian Sargon, the Israelitic Moses, and the Egyptian Osiris, as well as other tales in which a child, secreted in a chest, is borne away by the waves and lands on a distant shore, is generally regarded as having been suggested by the temporary disappearance and reappearance of the sun in a cloudy sky. In this case, however, the supposition is doubtless much more uncertain than in the case of the märchen of devourment. The theme relating to fire in the belly of the monster may be regarded as fairly unambiguous evidence of the influence of celestial phenomena, precisely because it is related only externally and apparently accidentally to the action. It should further be said that the märchen of the floating chest, at least in its connection with the personalities of the saga and of history, does not appear until the post-totemic age. It is probably an old märchen-theme which was assimilated by these legends of origin because the origin of a hero or a god was unknown and demanded explanation. Once appropriated, it underwent a number of changes in form.
Thus, the celestial märchen transcends the ideas characteristic of the totemic age. No less do the tales of fortune or adventure generally mark the transition from the supremacy of the animal to the dominance of man. These tales, however, exhibit but a gradual and continuous development. In the earliest märchen-myths, of which several examples have already been mentioned, the narrative describes an event with entire objectivity, without any apparent colouring derived from the emotional attitude of the narrator. Later, however, even the totemic animal märchen more and more betrays a love of the adventurous and of shifting fortunes. This change varies with the degree in which man steps into the centre of action, and animals, though not entirely disappearing, receive a place, similarly to monsters and other fantastic beings, only in so far as they affect the destinies of the hero of the tale. The main theme of the narrative then consists of the adventures of the hero, who is represented as experiencing many changes of fortune, always, however, with a happy ending. But even at this stage of development the hero is a boy; at a somewhat later period, a young girl sometimes assumes the rôle, or a youth wins a maiden after numerous adventures. At this point, the tale of fortune ceases to be a true märchen-myth. Just as the dance changes from a cult ceremony into a direct expression of lively emotions of pleasure, themselves heightened by the joy in the rhythm of the bodily movements, so also does the märchen develop into a narrative that ministers to the mere delight in fluctuations of life-events and in their happy outcome.
Thus, the beginnings of the tale of fortune go back to early totemic culture, though its more perfect development is to be found only among the semi-cultural peoples of the totemic era. The hero of the märchen then gradually passes over into the hero of the saga and of the epic. Instead of the boy who sets forth upon magical adventures, we find the youth who has matured into manhood and whose mighty deeds fill the world with his fame. The preliminary steps to this transition are taken when the märchen hero, particularly in the tale of fortune, acquires a more and more personal character. Thus, even at a very early age, we find that two types of hero appear side by side—the strong and the clever. These types, portrayed by the märchen, survive also in the heroes of the epic. Moreover, in addition to the strong and the clever, the Achilles and the Ulysses, the märchen introduces also the malevolent, quarrelsome, and despicable hero, the Thersites.