Evidently the monster-dwarf is a favourite subject of Esthonian tradition, and it often occurs in the Hindoo and in the German traditions, as well as in the Franco-Latin tradition of Charlemagne.

The eleventh story introduces us to three dwarf-brothers who contend for the inheritance left by their father, consisting of a miraculous hat, which enables its wearer to see everything, whilst he can himself be visible or invisible at pleasure (this hat is made of pieces of men's nails cut up);[346] of a pair of slippers which transport the owner in an instant wherever he wishes (we must not forget that Cinderella, when she loses the slipper, is overtaken by the prince bridegroom); and of a stick which strikes of itself, and destroys everything, even stronger than the thunderbolt (the thunderbolt itself). The three brothers maintain that these three articles, to be really useful, must be the property of one; but who is to enjoy this privilege? A man comes up to put an end to the dispute, and feigns disbelief in the virtue of these three things, unless he proves it himself. The three simpletons give them to him that he may prove them.

The man takes them off, and the three dwarfs are left to meditate upon the truth of the above-quoted proverb, "Between two disputers the third profits," or at least that variation of it which their own case suggests "Between three that dispute, the fourth profits."

In the thirteenth Esthonian story, the privileged character of the third brother is explained, as we are told that he is the son of a king, but was exchanged by a witch during his infancy for the child of a peasant. The latter died in the palace, whilst the king's son grew in the hut, showing in every action his royal pedigree. Here we have the story of the hero who is exposed on the mountains intimately connected with that of the third brother. To this third brother, who alone shows himself to be devoted to his father, and who alone makes a vow to watch by his grave, is also attributed the merit of having delivered, upon a high mountain of crystal, from a seven years' sleep, a princess, who then becomes his wife. We have seen the aurora-awakener in the Vedic hymns--the sun and the aurora arouse each other: the sun sends forth the aurora; the aurora draws out the sun.

The myth reproduces itself every day, and expresses in its entirety a daily phenomenon of light in the heavens. In Northern countries, where the contrast is great between winter and spring, and therefore the impression is striking which is caused by the cessation of vegetation in autumn, the earth also a.s.sumed the aspect of a dead young princess; but an omniscient magician having said, _Non est mortua puella, sed dormit_, the third brother, predestined to the enterprise, lays down his poor robes, and dresses himself, on the first occasion, in the colour of bronze; on the second, the colour of silver; on the third, the colour of gold, and ascends the mountain of crystal, or ice, whence he brings forth the beautiful spring. The sky, grey in autumn, snowy in winter, and golden in spring, corresponds to the grey sky of evening, the silver one of night, and the golden one of morning.

Spring is the dawn of the year; the primitive myth is but amplified; the last hour of the day awakens the aurora; the last month of the solar year awakens the spring. The application of the myth of the day to the year is one of the greatest simplicity.

In the fourteenth story, the king of the golden country loses himself in the forest full of ferocious animals, and cannot find his way out. A stranger (no doubt the devil) conducts him out, on condition that he will give him whatever first comes to meet him. The king promises. The first thing he sees on his return is his royal child, who, carried by his nurse, stretches out his arms to his father. The king exchanges him for a peasant's girl, whom he gives up to the stranger, allowing his own son to be brought up among the peasant's herds. The king's son, having grown to manhood, determines to go and deliver the poor girl. He disguises himself as a poor man, puts a sack of peas on his shoulders, and goes into the forest where his father was lost eighteen years before. He also loses himself, and meets the stranger, who promises to direct him if he will give him the peas which are in the sack, as they will serve, he alleges, to recompense the a.s.sistants at the funeral of his aunt, who died in poverty during the night.--This pulse in funeral ceremonies refers to a very ancient custom. The Vedic ceremonials already mention them in connection with funerals; and in the Greek belief, the dead carried vegetables with them to h.e.l.l, either for the right of pa.s.sage or as provisions for travelling. In Piedmont, it is still the custom on the second of November (All Soul's Day) to make a great distribution of kidney-beans to the poor, who pray for the souls of the dead. Vegetables, peas, vetches, and kidney-beans are symbols of abundance, and to this belief may be traced the numerous Indo-European stories in which mention is made of beans which multiply themselves in the pipkin, or of peas which grow up to the sky, and up the stalk of which the hero climbs to heaven. The vegetables necessary for being introduced into the kingdom of the dead, and the pea by means of which the hero enters heaven, are variations of the same mythical subject. In Hindoo tradition, besides the pea or kidney-bean, we have the pumpkin as a symbol of abundance, which is multiplied infinitely, or which mounts up to heaven. The wife of the hero Sagaras gives birth to a pumpkin, from which afterwards come forth sixty thousand sons. The kidney-bean, the pea, the vetch, the common bean, and the pumpkin are also symbols of generation, not only on account of the facility with which they multiply, but also on account of their form. We have seen in the Vedic ceremonials what organs are represented by the two kidney-beans; we shall also see, in the chapter on the a.s.s, how the names given to the organs of generation are also used to designate fools. Now, it is worthy of notice that the Sanskrit word _mashas_ (or kidney-bean) also signified the foolish, the stolid one, in the same way as in Piedmont a _bonus vir_ is called a kidney-bean. Thus, too, the pumpkin, which expresses fecundity, also means, in Italian, idiocy or stupidity. As to beans, I have already remarked, in my work upon "Nuptial Usages," upon their symbolical meaning, and cited the Russian and Piedmontese custom of putting a black and a white bean into the cake eaten at Epiphany, one of which represents the male and the other the female, one the king and the other the queen. The two who find the beans kiss each other with joyful auguries. As all these vegetables personify the moon, which we know to be considered as a giver of abundance, and which, by its form of a turning ball, can well be represented by the turning pea, in this personification we must search for the solution of the princ.i.p.al myths relating to vegetables.--The young prince of the Esthonian story, having obtained the stranger's favour in the gloomy forest by means of the peas, engages himself in his service, with intent to deliver the girl who had freed him by taking his place with the stranger during eighteen years. He therefore follows him; but on the way he lets a pea fall to the ground from time to time, in order to know the way back. He is conducted by a strange and wild subterranean pa.s.sage, where silence as of the tomb reigns--it is, in fact, the kingdom of the dead--where birds have the appearance of wishing to sing, dogs to bark, and oxen to low, but cannot, and where the water flows without a murmur. The young prince feels in his heart a kind of anguish; the universal stillness in the midst of animated beings oppresses him. Having pa.s.sed the region of silence, they come to that of deafening noise. The young prince thinks he hears the excruciating din of twenty-four saws at work; but the old stranger tells him that it is only his grandmother who has fallen asleep, and is snoring. At last they come to the stranger's dwelling, where the prince finds the beautiful maiden, but the old stranger will not let him speak. He sees in the stable a white horse and a black cow, with a white or luminous-headed calf. This cow the young prince is ordered to milk until there is not a drop of milk in its breast; instead of milking it with his fingers, he, by the advice of the girl, uses for that purpose red-hot pincers. Another time the youth is told to lead away the enchanted calf with the white or luminous head. In order that it may not escape, the girl gives him a magic thread, of which one end is to be tied to the left leg of the calf, and the other to the little toe of the prince's left foot.--The little finger, although the smallest, is the most privileged of the five. It is the one that knows everything; and in Piedmont, when the mothers wish to make their children believe that they are in communication with a mysterious spy, who sees everything that they do, they are accustomed to awe them by the words, "My little finger tells me everything."--At last the two young people resolve to flee. Before starting, the prince splits open the forehead of the white-headed calf; from its skull comes forth an enchanted little red ball, which shines like a small sun. He wraps it up, leaving part of it uncovered to light the way, and flees away with the girl. Being followed by malignant spirits, who are sent by the old man to follow them, the two fugitives, by means of the enchanted little ball (or pearl), turned round three times, become, first the one a pond and the other a fish, then the one a rose-bush and the other a rose, then again the one a breeze and the other a gnat, until the stone which covers the entrance to the subterranean world having been lifted up, they arrive again safe and happy upon the earth; and by means of the little red ball, they show themselves to mankind in splendid and princely robes. I scarcely think it necessary to explain to the reader the sense of this lucid mythical story. The black cow which produces the calf with the white or luminous head is a Vedic ant.i.thesis which we have already seen;[347] the cow (night) produces the calf (the moon). The prince takes the little red ball out of the calf; by means of this ball, the girl is delivered from the regions of gloom. The little ball moves the stone; the sun and the aurora come out together from the mountain, after having travelled together in the kingdom of shadows; the sun delivers the aurora. This story unites together and puts in order several myths of an a.n.a.logous character, but born separately.

The three next stories describe other voyages made by the solar hero to heaven, or in h.e.l.l, and end by meaning the same thing. In the eighteenth story we again find the enchanted ring, called Solomon's ring, which the young hero goes to search for; when he finds it, by taking it from the daughter of h.e.l.l, and puts it on his finger, he is of a sudden endowed with such strength that he can split a rock with one blow of his fist.

The little red ball of the story just described, which lifts up the rock, and this ring which splits the stone, represent the same mythical object, _i.e._, the sun, the sun's ball or disc.

The twenty-first story shows us the fearless hero who frees a castle from the presence of the demons, and who thus gains a treasure; riches are the reward of valour.

The twentieth Esthonian story is a variation of the exceedingly popular tale of Blue Beard, the killer of his wives. The Esthonian monster-husband has already killed eleven, and is about to murder the twelfth, by way of punishing her for having, against his express prohibition, visited the secret room opened by the golden key (perhaps the moon), when a youth who takes care of the goslings, the friend of her childhood, comes to deliver her. From the subject itself, and the expressions used in this story, we can discover the origin of the terrible charivari in the nuptials of widowers or widows. This savage custom is intended not only to deride the l.u.s.t of the old man or woman who marries again, but to warn the girl who marries the one, or the youth who marries the other, of the possibility of a fate similar to the first wife or husband. When, therefore, the wife _apatighni_ (who does not kill her husband) is praised to the Vedic husband, we must understand that the _patighni_ (or killer of her husband) is a widow, whom no one must marry, as being suspected of murder. Hence, to free herself from this suspicion, an honest Hindoo wife (like Gudrun in the Edda) was to throw herself into the fire after the death of her husband; the evening aurora, after the death of the sun, dies too.

In the twenty-second story we have once more the myth of the young pastoral hero; he is the son of a king. By the order of his step-mother, a witch, who carries off shepherds, steals him from the palace during his infancy, and abandons him in a solitary place, where he is brought up by cowherds, and becomes himself an excellent cowherd. An old man finds him and says, looking at him and at the cattle, "Thou dost not seem to me born to remain a cowherd." The boy answers that he knows he was born to command, and adds, "Here I learn the duties of a commander by antic.i.p.ation. If things go well with the quadrupeds, I shall also prosper with bipeds." The shepherd is therefore a little king; a good shepherd will become a good king. The boy goes through several adventures, in which he displays his valour.

A wicked German lady wishes to take from him the strawberries which he has plucked. He defends himself bravely; his mistress persecutes him; and he takes twelve wolves, shuts them up in a cavern, and each day gives them a lamb to eat, in order to avenge himself upon his wicked mistress, to whom he simply says that the wolves have devoured them.

At last he causes her to be devoured herself by the wolves, who eat her all up, leaving only the heart (the sun) and the tongue, which are too full of venom for the wolves of the night, because they burn their mouths. At the age of eighteen, the youth has several other adventures. He becomes enamoured of a gardener's daughter, and is found again by the king his father, who, before allowing him to marry the beautiful gardener's daughter, wishes to prove that they are predestined to each other. He cuts a ring in two with his sword, and gives one part to the young prince and the other to the maiden; the two halves must be preserved by both, and one day they will meet of themselves and form again the whole ring, in such a manner that it will be impossible to find the place where it was broken.--In a Tuscan story, the beautiful maiden gives half her necklace to the third brother. The young couple lose each other; their meeting again and mutual recognition take place when the two parts of the necklace join each other. The use of the wedding-ring has a mythical origin. The solar (and sometimes the lunar disc) is the ring which unites the heavenly husband and wife.--When, after other adventures, the two young people of the Esthonian story join together the two halves of their ring, their misfortunes come to an end; they marry and live together happily, whilst the cruel step-mother, who meanwhile has become a widow, is expelled from the kingdom.

The last Esthonian story tells of the extraordinary births, in the same day, of a handsome prince and a beautiful princess. The princess is born in a bird's egg, laid like a pearl in the bosom of the queen; she has at first the form of a living puppet, and afterwards, when warmed in wool, she becomes a real girl. Whilst she undergoes this transformation, the queen also gives birth to a beautiful boy. The two children are considered as twins, and baptized together. To the baptism of the girl there comes as G.o.dmother, in a splendid chariot drawn by six horses, a young woman dressed in rose-coloured and golden robes, who shines like the sun, and who, as she lets her veil drop, like the beautiful Argive Helen, fills the bystanders with admiration. [The aurora, who, before appearing in the form of a beautiful girl, is enclosed in the wood of the forest, is a wooden puppet, and becomes a wooden puppet once more when, fleeing from the sun, she hides herself in a creeping-plant, like the Hindoo Urvaci (the first of the dawns), or in a laurel-plant, like the h.e.l.lenic Daphne (the Vedic Dahana-aurora). The aurora is born together with the sun; the beautiful doll-maiden is born with the little prince. The mother and the beneficent G.o.dmother seem to be the moon, or a more ancient aurora.] The mother, dying, leaves her daughter, putting it upon her breast, a gem which is to bring her happiness; that is, the little basket which contained the bird's egg, with the eggsh.e.l.l itself.

By means of the magical little basket, and by p.r.o.nouncing some magic words, the maiden can find all that she searches or wishes for. The young man and woman end by marrying each other, having discovered that, although both born of a king, they are children of different fathers; they marry, and the little basket of happiness mysteriously disappears.

FOOTNOTES:

[267] _Anquetil du Perron, Zendavesta_, ii. p. 545.

[268] Misit itaque Deus justissimus citissime Angelum Behman quasi esset fumus (jubendo): Ito et bovem rubrum accipiens mactato in nomine Dei qui prudentiam dat; eumque coquito in aceto veteri, et cave accurate facias, allio ac ruta, superadditis; et in nomine Dei ex olla effundito: deinde coram eo adpone ut comedat. c.u.mque portiunculam panis in illud fria.s.set, Diabolus ille maledictus inde aufugit, abiit, evanuit et disparuit, nec deinde, illum aliquis postea vidit; _Sadder_, p. 94.--The Russian peasants still believe that a household devil, the damavoi, enters into the stable, who, during the night, mounts on horses and oxen and makes them sweat and grow lean.--Cfr.

also, on the _Damavoi_, Ralston's _Songs of the Russian people_, London, 1872, pp. 119-139.

[269] Cfr. Spiegel's _Avesta_, vol. ii.; _Einleitung_, vii.

[270] Cfr. Spiegel's _Avesta_, vol. ii. 21.

[271] x. 11.

[272] xxix.

[273] Cfr. Spiegel's _Avesta_, vol. ii. p. 8.

[274] xix. 99-101. Professor Spiegel translates "Mit dem Hunde, mit Entscheidung, mit Vieh, mit Starke, mit Tugend, diese bringt die Seelen der Reinen uber den Harabezaiti hinweg: uber die Brucke Chinvat bringt sie das Heer der himmlischen Yazatas."

[275] Cows and calves, as a funeral gift, are spoken of in the _Khorda Avesta_, li. 15, Spiegel's version.

[276] Cfr. also the Tistrya with a whole eye of the _Khorda Avesta_ of Spiegel, p. 9, and all the _Tistar Yast_ in the _Khorda Avesta_, xxiv.

If Tistar is the moon, Tistrya would appear to perform the same duties as the good fairy--that is, of showing, by means of her good eyes, her good eyesight, and her splendour, the way to the lost heroes. The Hindoo cow of Vasish?has, which yields every good thing, and which then fights in the clouds against Vicvamitras, would sometimes appear to be the moon veiled by the rainy cloud; thus we can explain the rain-giving character of the star Tistrya, which, according to the _Bundehesh_, by raining ten days and ten nights, destroyed the monsters of dryness created by the demon Ag~ro-mai?yus.

[277] x.x.xix. 1.

[278] xvii. 25.

[279] Spiegel's version, p. 149.--Cfr. the three litanies for the body and soul of the cow, in the fragments of the same vol. p. 254.

[280] _Khorda Avesta_, Spiegel's version, _Einl._ x.

[281] Spiegel's version, p. 4.

[282] These are the exact terms used by Spiegel:--"Dieser opferte der fruhere Vifra-navaza, als ihn aufrief der siegreiche, starke Thraetaona, in der Gestalt eines Vogels, eines Kahrkaca. Dieser flog dort wahrend dreier Tage und dreier Nachte hin zu seiner eigenen Wohnung, nicht abwarts, nicht abwarts gelangte er genahrt. Er ging hervor gegen die Morgenrothe der dritten Nacht, der starken, beim Zerfliessen der Morgenrothe und betete zur Ardvi cura, der fleckenlosen; Ardvi cura, fleckenlose! eile mir schnell zu Hulfe, bringe nun mir Beistand, ich will dir tausend Opfer mit Haoma und Fleisch versehene, gereinigte, wohl ausgesuchte, bringen hin zu dem Wa.s.ser Ragha, wenn ich lebend hinkomme zu der von Ahura geschaffenen Erde, hin zu meiner Wohnung. Es lief herbei Ardvi cura, die fleckenlose, in Gestalt eines schonen Madchens, eines sehr kraftigen, wohlgewachsenen, aufgeschurzten, reinen, mit glanzendem Gesichte, edlen, unten am Fusse mit Schuhen bekleidet, mit goldnem Diadem auf dem Scheitel. Diese ergriff ihm am Arme, bald war das, nicht lange dauerte es, da.s.s er hinstrebte kraftig zu von Ahura geschaffenen Erde, gesund, so unverletzt als wie vorher, zu seiner eignen Wohnung;" _Khorda Avesta_, pp. 51, 52.

[283] Welche zuerst den Wagen fahrt; _Khorda Avesta_, Spiegel's version, p. 45.

[284] Professor Spiegel says, however, "Vom Aufgang der Sonne bis Tagesanbruch," which in a note he explains, "Vom Sonnenaufgang bis Mitternacht," which it appears to us cannot stand scrutiny, any more than the conclusion inferred from this, that the sacrifice was to be made "den ganzen Tag hindurch." Zarathustra would not have been obliged to ask the precise time at which to sacrifice to the G.o.ddess, if she was to answer him in such a general way. What occasion is there to pray in midday, in full daylight, that the darkness may be dispersed?--If there be any equivoque, it can only be, in my opinion, in the rather frequent exchange of the maiden Aurora and the fairy Moon.

[285] Cfr. _Khorda Avesta_, Spiegel's version, pp. 7, 27.

[286] xix. 52.

[287] Cfr. the chapter which treats of the c.o.c.k.

[288] Cfr. _Khorda Avesta_, Spiegel's version, _Einl._ xxv., and all the important _Mirh Yast_, or collection of hymns in honour of Mithra, in the _Khorda Avesta_, xxvi.

[289] Cfr. _Khorda Avesta_, Spiegel's version, _Einl._ x.x.xiii., and the _Bahram Yast_ in the _Khorda Avesta_, x.x.x. 7, Spiegel's version. It is then that he says of himself, "As to strength, I am the strongest."

Further on it is said that strength belongs to the bull (or the cow).

[290] In a hymn, Indras even calls himself Ucana, with the added denomination of kavis; Aha? kavirucana: _?igv._ iv. 26, 1.

[291] _Vendidad_, xxii. 11.

[292] Chap. ix.

[293] Cfr. _Farvardin Yast_ in the _Khorda Avesta_, xxix. 30, Spiegel's version.

[294] Cfr. _Khorda Avesta_, Spiegel's version, _Einleit._ x.x.xiv., and the _Ram Yast_ in the _Khorda Avesta_, x.x.xi. 40.--The 57th strophe appears to be a real Vedic hymn to the Marutas; the wind is celebrated as the strongest of the strong, the swiftest of the swift, having arms and ornaments of gold, a golden wheel and a golden chariot; his golden shoes and his girdle of gold besides show his sympathy and relation with the Ardvi cura Anahita, who, in the form of aurora, is referred to in the 55th strophe.

[295] Cfr. _Khorda Avesta_, p. lxix.

[296] Cfr. ibid. p. lxi.

[297] Denn Verethraghna, der von Ahura geschaffene, halt die Hande zuruck der furchtbaren Kampfesreihen, der verbundeten Lander und der mithratrugenden Menschen, er umhullt ihr Gesicht, verhullt ihre Ohren, nicht la.s.st er ihre Fusse ausschreiten, nicht sind sie machtig; _Khorda Avesta._ x.x.x. 63, Spiegel's version.

[298] Cfr. the _Mihr Yast_ in the _Khorda Avesta_, xxvi. 128, 129.

[299] Cfr. ibid.

[300] Urvaksha is also called the acc.u.mulator; _Khorda Avesta_, xl. 3, Spiegel's version.

[301] _Khorda Avesta_, p. 155.

[302] _Khorda Avesta_, x.x.xiii., Spiegel's version.