Knowledge is, of course, to superstition as light is to darkness; still,
some nations endowed with a lively imagination, although they are much
advanced in mental development, cling to the superstitions of their
forefathers, since the superstitions accord with their poetical
conceptions, or are endeared to them by associations which pleasantly
engage the imaginative faculties.
Besides, in countries where the inhabitants frequently witness grand and
awful natural phenomena, their poetical conceptions are likely to be
more or less nourished by these impressive occurrences, however well
acquainted they may be with their natural causes.
It is therefore not surprising that many superstitious notions, such as
have been recorded in the preceding stories, should be found in
civilized nations.
Moreover, in some countries, a more careful research into the old
traditions harbouring among the uneducated classes of the people has
been made, than in other countries. It would, therefore, be hasty, from
the sources at present accessible, to judge of the degree of mental
development attained by individual nations. The Germans are not less
rational than the English; nevertheless, a far greater number of Fairy
Tales have been collected in Germany than in England.
An enquiry into the musical traditions of the different European races
is likely to increase in interest the more we turn to the mythological
conceptions originally derived from Central Asia, and dispersed
throughout Europe at a period on which history is silent, but upon which
some light has been thrown by recent philological and ethnological
researches.
A word remains to be said on the musical myths of modern date. We read
in the biographies of our celebrated musicians facts which would almost
certainly be regarded as fictions, were they not well authenticated. On
the other hand, it would not be difficult to point out modern myths
referring to the art of music. Tempting as it might be to cite the most
remarkable examples of this kind, and anecdotes relating to musicians in
which fiction is strangely mingled with fact, it is unnecessary to
notice them here; for, are they not written in our works on the history
of the art and science of music?
[Illustration]
[67] 'Griechische und Albanische Maerchen, gesammelt von J. G. v. Hahn.'
Leipzig, 1864; Vol. I., p. 273.
[68] See above, Vol. I., p. 84.
[69]'Old Deccan Days; or Hindu Fairy Legends, current in Southern
India.' Collected from oral tradition by M. Frere. London, 1868; p. 25.
[70] 'Popular Tales from the Norse, translated by G. W. Dasent.'
Edinburgh, 1859; p. 27.
[71] 'Sagen, Maerchen und Lieder der Herzogthuemer Schleswig, Holstein und
Lauenburg,' von Karl Muellenhoff; Kiel, 1845; p. 336.
[72] 'Aberglaube und Sagen aus dem Herzogthum Oldenburg, herausgegeben
von Strackerjan;' Oldenburg, 1867; Vol. I., p. 190.
[73] 'Aberglaube and Sagen aus dem Herzogthum Oldenburg, herausgegeben
von Strackerjan;' Oldenburg, 1867; Vol. I., p. 375.
[74] 'Griechische und Albanische Maerchen, gesammelt von J. G. v. Hahn;'
Leipzig, 1864; Vol. I., p. 222, and Vol. II., p. 240.
[75] 'Wallachische Maerchen, herausgegeben von A. Schott;' Stuttgart,
1845, p. 228.
[76] Aix-la-Chapelle.
[77] 'Deutsche Maerchen and Sagen, gesammelt von J. W. Wolf.' Leipzig,
1845; p. 472.
[78] 'Niederlaendische Sagen, herausgegeben von J. W. Wolf;' Leipzig,
1843; p. 466.
[79] 'Niederlaendische Sagen, herausgegeben von J. W. Wolf;' Leipzig,
1843; p. 648.
[80] _Taters_ is evidently synonymous with _Tartars_.
[81] 'Old Deccan Days; or Hindu Fairy Legends, current in Southern
India.' Collected from oral tradition, by M. Frere. London, 1868; pp.
139, 273.
[82] 'Niederlaendische Sagen, herausgegeben von J. W. Wolf;' Leipzig,
1843. p 230.
[83] 'Deutsche Volksfeste, von F. A. Reimann;' Weimar, 1839; p. 218.
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