[1] See on this head M. Vinson's Essay in Appendix.
[2] The second part of M. Cerquand's "Légendes et Récits Populaires du
Pays Basque" (Pau, 1876), appeared while the present work was passing
through the press. It is chiefly occupied with legends of Basa-Jaun
and Lamiñak.
[3] Not that we suppose all these tales to be atmospheric myths;
we adopt this only as the provisional hypothesis which appears at
present to cover the largest amount of facts. It seems certainly to
be a "vera causa" in some cases; but still it is only one of several
possible "veræ causæ," and is not to be applied to all.
[4] Cf. Campbell's "Introduction," p. xxviii.:--"I have never heard a
story whose point was obscenity publickly told in a Highland cottage;
and I believe such are rare. If there was an occasional coarse word
spoken, it was not coarsely meant."
[5] One class, of which we have given no example, is that of the
Star Legend given by M. Cerquand, "Légendes et Récits Populaires du
Pays Basque," p. 19, and reprinted, with variations, by M. Vinson,
"Revue de Linguistique," Tom. VIII., 241-5, January, 1876.
[6] Cf. "Etudes Historiques sur la Ville de Bayonne, par MM. Balasque
et Dulaurens," Vol. I., p. 49.
[7] We have purposely omitted references to Greek and Latin mythology,
as these are to be found "passim" in the pages of Max Müller and of
Cox. The preparation for the Press was made at a distance from our
own library, or more references to Spanish and patois sources would
have been given.
[8] See page 192.
[9] There seems to be a Basque root "Tar," which appears in the
words, "Tarro, Tarrotu, v., devenir un peu grand. Tarrapataka, adv.,
marchant avec précipitation et en faisant du bruit."--Salaberry's
"Vocabulaire Bas-Navarrais," sub voce. Cf. Campbell's "Tales of the
Western Highlands," Vol. II., 94:--"He heard a great Tartar noise,"
Tartar being printed as if it were a Gaelic word.
[10] Cf. also Müller's "Fragmenta Historicorum Græcorum" (Didot, Paris,
1841), Vol. I., p. 246. "Ephori Fragmenta," 51, with the references
there given.
[11] Cf. also the Gaelic, "The Story and the Lay of the Great Fool,"
Campbell, Vol. III., pp. 146-154.
[12] This talking giant's ring appears in Campbell's "Popular Tales
of the West Highlands," Vol. I., p. 111, in the tale called "Conall
cra Bhuidhe." He also refers (p. 153) to Grimm's tale of the "Robber
and his Sons," where the same ring appears:--"He puts on the gold
ring which the giant gave him, which forces him to cry out, 'Here I
am!' He bites off his own finger, and so escapes."
[13] Cf. Campbell's "Mac-a-Rusgaich," Vol. II., 305:--"I am putting it
into the covenant that if either one of us takes the rue, that a thong
shall be taken out of his skin, from the back of his head to his heel."
[14] Salamanca was the reputed home of witchcraft and devilry in
De Lancre's time (1610). He is constantly punning on the word. It
is because "Sel y manque," etc. See also the story of Gerbert, Pope
Sylvester II., in the 10th century.
[15] This incident is found in Cenac-Moncaut's Gascon tale, "Le
Coffret de la Princesse." "Litterature Populaire de la Gascogne,"
p. 193 (Dentu, Paris, 1868).
[16] For this incident compare the death of the giant in one of the
versions of "Jack the Giant-Killer;" and especially "the Erse version
of Jack the Giant-Killer." Campbell, Vol. II., p. 327.
[17] This agreement is found also in the Norse and in Brittany. See
"Contes Populaires de la Grande Bretagne," by Loys Brueyre, pp. 25,
26. This is an excellent work. The incident of Shylock, in the
"Merchant of Venice," will occur to every one.
[18] Literally, "Marsh of the Basa-Andre." The "Puits des Fées"
are common in France, especially in the Landes and in the Gironde.
[19] Only in this, and one other tale, is the word "prince" used
instead of "king's son." Compare the Gaelic of Campbell in this
respect. This tale is probably from the French, and the Tartaro is
only a giant.
[20] One of the oddest instances of mistaken metaphors that we know of
occurs in "La Vie de St. Savin, par J. Abbadie, Curé de la Paroisse"
(Tarbes, 1861). We translate from the Latin, which is given in a
note:--"Intoxicated with divine love, he was keeping vigil according
to his custom, and when he could not find a light elsewhere, he gave
light to his eyes from the light that was in his breast. The small
piece of wax-taper thus lit passed the whole night till morning
without being extinguished."--Off. S. Savin.
[21] This Fleur-de-lis was supposed by our narrator to be some mark
tattooed or impressed upon the breast of all kings' sons.
[22] This, of course, is "Little George," and makes one suspect that
the whole tale is borrowed from the French; though it is just possible
that only the names, and some of the incidents, may be.
[23] Cf. "Ezkabi Fidel," 112, below.
[24] In Campbell's "Tale of the Sea-Maiden," instead of looking in
his ear, the king's daughter put one of her earrings in his ear,
the last two days, in order to wake him; and it is by these earrings
and her ring that she recognises him afterwards, instead of by the
pieces of dress and the serpent's tongues.
[25] Campbell, Vol. I., lxxxvii., 8, has some most valuable remarks
on the Keltic Legends, showing the Kelts to be a horse-loving, and not
a seafaring race--a race of hunters and herdsmen, not of sailors. The
contrary is the case with these Basque tales. The reader will observe
that the ships do nothing extraordinary, while the horses behave as
no horse ever did. It is vice versâ in the Gaelic Tales, even when
the legends are identical in many particulars.
[26] The three days' fight, and the dog, appear in Campbell's "Tale
of the Sea-Maiden," Vol. I., pp. 77-79.
[27] The Basque word usually means "Eau de Cologne."
[28] This is a much better game than the ordinary one of tilting at a
ring with a lance, and is a much more severe test of horsemanship. The
ring, an ordinary lady's ring, is suspended by a thread from
a cross-bar, at such a height that a man can just reach it by
standing in his stirrups. Whoever, starting from a given point,
can put a porcupine's quill, or a small reed, through the ring, and
thus carry it off at a hand-gallop, becomes possessor of the ring. We
have seen this game played at Monte Video, in South America; and even
the Gauchos considered it a test of good horsemanship. Formerly, it
seems, the ring was suspended from the tongue of a bell, which would
be set ringing when the ring was carried away. The sword, of course,
was the finest rapier.
[29] One of those present here interrupted the reciter--"What did
she hit the serpent on the tail for?" "Why, to kill him, of course,"
was the reply; "ask Mr. Webster if serpents are not killed by hitting
them on the tail?"
[30] I have a dim recollection of having read something very similar
to this either in a Slavonic or a Dalmatian tale.
[31] This incident is in the translation of a tale by Chambers,
called "Rouge Etin," in Brueyre's "Contes de la Grande Bretagne,"
p. 64. See notes ad loc.
[32] In the Pyrénées the ewes are usually milked, and either
"caillé"--a kind of clotted cream--or cheese is made of the milk. The
sheep for milking are often put in a stable, or fold, for the night.
[33] For the "fairies' holes," see Introduction to the "Tales of the
Lamiñak," p. 48.
[34] Cf. "Mahistruba," p. 100; and "Beauty and the Beast," p. 167.
[35] Silk kerchiefs are generally used, especially by women, as
head-dresses, and not as pocket-handkerchiefs, all through the south
of France.
[36] "Légendes et Récits Populaires du Pays Basque," par
M. Cerquand. Part I., Pau, 1875, and Part II., p.28, Pau, 1876.
[37] Cf. Campbell's tale, "The Keg of Butter," Vol. III., 98, where
the fox cheats the wolf by giving him the bottoms of the oats and
the tops of the potatoes. See also the references there given.
[38] Cf. Cerquand, Part I., p. 27, "Ancho et les Vaches," and
notes. Also Part II., 34, et seq.
[39] Cf. Cerquand, Part I., pp. 33, 34, "La Dame au Peigne d'Or."
[40] Cerquand, Part I., p. 30, "Basa-Jauna et le Salve Regina."
[41] Cerquand, "L'Eglise d'Espés." "Le Pont de Licq," Part I., pp. 31,
32, and Part II., pp. 50-52.
[42] But compare the well or marsh of the Basa-Andre in the Tartaro
tale, p. 15.
[43] Cerquand, Part I., pp. 32, 33.
[44] The owner of the farm and the "métayère," or tenant's wife. Under
the "métayer" system the landlord and tenant divide the produce of the
farm. This is the case almost universally in South-Western France,
as elsewhere in the South. The "métayer's" residence often adjoins
the landlord's house.
[45] Cf. "The Sister and her Seven Brothers."
[46] This is the only representation that we know of Basa-Jaun as
a vampire.
[47] As the Basques commonly go barefooted, or use only hempen sandals,
the feet require to be washed every evening. This is generally done
before the kitchen fire, and in strict order of age and rank. Cf. also
"The Sister and her Seven Brothers."
[48] The running water, we suspect, gives the girl power over the
witch.
[49] "Hazel sticks." In the sixteenth century the dog-wood, "cornus
sanguinea," seems to have been the witches' wood. In the "Pastorales,"
all the enchantments, etc., are done by the ribboned wands of the
Satans. This tale ends rather abruptly. The reciter grew very tired
at the last.
[50] Basque Lamiñak always say exactly the contrary to what they mean.
[51] Cf. Bladé's "Contes Agenais," "Les Deux Filles," and Köhler's
"Notes Comparatives" on the tale, p. 149.
[52] That is, the wife span evenly with a clear steady sound of the
wheel, but the man did it unevenly.
[53] Cf. Campbell's "The Brollachan," Vol. II., p. 189, with the
notes and variations. "Me myself," as here, seems the equivalent of
the Homeric "o>'utic."
[54] M. Cerquand has the same tale, Part I., p. 41.
[55] This is a very widely spread legend. Cf. Patrañas, "What Ana saw
in the Sunbeam;" "Duffy and the Devil," in Hunt's "Popular Romances of
the West of England," p. 239; also Kennedy's "Idle Girl and her Aunts,"
which is very close to the Spanish story; and compare the references
subjoined to the translation of the Irish legend in Brueyre's "Contes
Populaires de la Grande Bretagne," p. 159.
[56] Cf. "The Brewery of Egg-shells," in Croker's "Fairy Legends of
the South of Ireland," pp. 32-36.
[57] This tale, or at least this version of it, with the names Rose
and Bellarose, must come from the French.
[58] "A little dog" is mentioned in Campbell's "The Daughter of the
Skies," Vol. I., 202, and notes.
[59] "Kopetaen erdian diamanteko bista batez"--"a view of diamonds
in the middle of the forehead."
[60] Nothing has been said about this dress before. Something must
have dropped out of the story.
[61] At a Pyrenean wedding the bride and bridegroom, with the wedding
party, spend nearly the whole day in promenading through the town or
village. The feast often lasts several days, and the poor bride is
an object of pity, she sometimes looks so deadly tired.
[62] Cerquand, Part I., p. 29, notes to Conte 8; Fr. Michel, "Le Pays
Basque," p. 152 (Didot, Paris, 1857).
[63] "Akhelarre," literally "goat pasture." This was the name in the
16th century.
[64] This belief in a toad sitting at the church door to swallow the
Host is found in De Lancre.
[65] That is, one with bran, or herbs, wood-ashes, &c., or plain water.
[66] M. Cerquand gives this tale at length, Part II., pp. 10, 11. The
incidents are very slightly changed.
[67] Compare this with the scene in Apuleius, "De Asino Aureo;" and,
for a somewhat similar "fairy ointment," see Hunt's "Popular Romances
of the West of England," pp. 110-113.
[68] The blunder is confounding "dessus," over, and "dessous,"
under. This shows that the tale is originally French, or, at least,
the witch's part of it; for this punning mistake could not be made in
Basque. The two words are not in the least similar in sound. "Gaiñetik"
and "azpetik" are the words here used.
[69] Witches still appear in the shape of cats, but generally black
ones. About two years ago we were told of a man who, at midnight,
chopped off the ear of a black cat, who was thus bewitching his cattle,
and lo! in the morning it was a woman's ear, with an earring still
in it. He deposited it in the Mairie, and we might see it there;
but we did not go to look, as it was some distance off.
[70] Literally, "red misery." In Basque the most intense wretchedness
of any kind is always called "red."
[71] There are several superstitions connected with cross-roads
in the Pays Basque. When a person dies, the bedding or mattress is
sometimes burnt at the nearest cross-roads, and every passer-by says a
"Paternoster" for the benefit of the deceased. This custom is becoming
extinct, but is still observed in old families.
[72] This is, of course, only a mispronunciation of "Dominus
tecum"--"The Lord be with you." Compare the opposite effect of "God
save us," in Croker's tale of "Master and Man," pp. 96, 97.
[73] See notes to "Juan Dekos," p. 146.
[74] I think this word occurs in some "Chanson de Gestes," and in the
Basque "Pastorales," as a Mahommedan devil. If not, it is probably our
own "Duke of Marlborough" thus transformed. Cf. the song, "Malbrouk
s'en va en guerre."
[75] This is again, "red, angry."
[76] Cf. Campbell, "The Tale of Connal," Vol. I., p. 142.
[77] This looks uncommonly like "Ho, you!" but it is given by Salaberry
as a Basque cry, "Appel par un cri fort, par la voix élevée." "Play,"
as an exclamation to begin at games of ball, has no meaning in Basque,
and is believed to come from the English. We have borrowed "Jingo,"
"by Jingo," from "Jinkoa," "the deity."
[78] In Campbell's first tale, "The Young King of Easaidh Ruadh,
the hero is assisted by a dog, a falcon, and an otter. Cf. the notes
in the translation of this tale in Brueyre's "Contes de la Grande
Bretagne;" cf. also, "The Sea-Maiden," pp. 73 and 94, for a still
closer resemblance.
[79] Cf. "Tabakiera," p. 94, and "Old Deccan Days," pp. 83-91. It is
curious to hear of the Red Sea from narrators so far apart, on opposite
sides, as the Lingaets of the Deccan and the Basques, neither of whom,
probably, had the most distant idea of its geographical position;
certainly our Basque narrators had not.
[80] In Campbell's "Sea-Maiden," the hero has only to think of the
animals, and they are at his side; but he is not transformed into them.
[81] Campbell refers to "The Giant who had no Heart in his Body,"
"Norse Tales," 1859. See his references, and those in the "Contes
Populaires de la Grande Bretagne," cited above. M. d'Abbadie has
also communicated to us the outlines of a wild Tartaro story, told
in Basque, in which the hero "fights with a body without a soul."
[82] Cf. Campbell's "Tales," before quoted, and "Old Deccan Days"
("Punchkin"), pp. 14, 15, for the whole of this incident.
[83] Malbrouk seems now to assume the character of "Hermes, the clever
thief." If we mistake not, this cow appears also in Indian mythology.
[84] For the whole of this tale compare Campbell's "Sea-Maiden,"
Vol. I., p. 71. The sea-maiden takes the place of the fish. Besides the
three sons, the three foals, and the three puppies, three trees grow
behind the house, and serve as a sign like the well boiling. Bladé's
"Les Deux Jumeaux," in his "Contes Agenais," is identical with this;
cf. also Köhler's notes, p. 148.
[85] Much more is made of the sword in the Gaelic tales. In them it
is always a magic or a mystic weapon.
[86] This episode of the fight with the seven-headed beast is
introduced in the same way in the Gaelic--"The Sea-Maiden," pp. 76,
77. Cf. also "Rouge Etin," in Brueyre.
[87] In the Gaelic the charcoal-burner is a general.
[88] This takes place not on the wedding night, but some time after in
the "Sea-Maiden," p. 82. The wife at prayers and the husband standing
by indifferent is but too true a picture, we fear.
[89] The "Sea-Maiden," p. 82--"Go not, go not," said she, "there
never went man to this castle that returned." See below.
[90] Basque, "as must needs be."
[91] We were also told, in Basque, "The Powerful Lantern," which
was the story of Aladdin's lamp, with only one incident omitted. The
present is much more like the Gaelic, but there (Campbell, Vol. II.,
297-9) it is a lady who gives the snuff-box, which says, "Eege gu
djeege," on being opened. Campbell's note is:--"The explanation of
these sounds was, that it was 'as if they were asking.' The sounds
mean nothing, that I know of, in any language." "Que quieres?" is
pure Spanish--"What dost thou want?"
[92] Cf. MacCraw's variation in Campbell, note, Vol. II., p. 301,
for the rest of the story.
[93] "Power" in these tales, in the Basque, seems always to mean
"magic power," some wonder-working gift or charm.
[94] In Campbell's versions it is "the realm of the king under the
waves," or "the realm of the rats;" but a voyage has to be made to
that, and a rat takes the place of the servant in stealing the box
again for the hero. "The Deccan Tales" mention the Red Sea.
[95] The south wind is the most dreaded local wind in the Pays
Basque. It is always hot, and sometimes very violent. After two or
three days it usually brings on a violent thunderstorm and rain.
[96] The lad here calls his snuff-box affectionately "Que quieres,"
as if that were its name.
[97] The likeness and the variation of this tale from Campbell's Gaelic
one, "The Widow's Son," etc., Vol. II., pp. 293-303, prove that both
must be independent versions of some original like Aladdin's lamp,
but not mere copies of it.
[98] This doubling of a price is to get a thing more quickly done--in
half the usual time. At least, that was the narrator's explanation.
[99] These three clever men are found in Gascon (Bladé's "Armagnac
Tales," p. 10), in Spanish, in Campbell's "The King of Lochlin's
Three Daughters," Vol. I., p. 238, and in many others. Cf. Brueyre,
pp. 113-120, and notes.
[100] Cf. The tale from the Servian, in Naaké's "Slavonic Fairy Tales,"
p. 7.
[101] i.e., the piece of "braise," or glowing ember from the wood fire,
which is always nearly on a level with the floor in a Basque house.
[102] Through the whole of the South of Europe, in Greece, Italy,
Spain, Portugal, etc., the firing of guns, pistols, crackers,
is universal at all kinds of "fêtes," especially religious ones;
the half-deafened foreigner often longs for some such law as that
infringed by "Mahistruba;" but cf. "Juan de Kalais," p. 151.
[103] Cf. supra, p. 38, "The Serpent in the Wood."
[104] This tale is somewhat like Campbell's "Three Soldiers," with
the variations, Vol. I., p. 176. It is said to be very widely spread.
[105] This is an interpolation by the narrator.
[106] At Bayonne one part of the town is called "Les Cinq Cantons."
[107] For like involuntary sleep, where the lady cannot awaken her
lover, cf. Campbell, "The Widow's Son," Vol. II., p. 296.
[108] For the incident of the eagle, cf. Campbell, "The King of
Lochlin's Three Daughters," Vol. I., pp. 238-9:--"When they were at
the mouth of the hole, the stots were expended, and she was going to
turn back; but he took a steak out of his own thigh, and he gave this
to the eagle, and with one spring she was on the surface of the earth."
[109] Cf. the horse in Naaké's "Slavonic Fairy Tales," "Ivan Kruchina"
(from the Russian), p. 117, and "the dun shaggy filly," in Campbell's
"The Young King of Easaidh Ruadh," Vol. I., p. 5, and elsewhere;
also the horse in the "Uso-Andre," and "The Unknown Animal,"
below. Campbell, Vol. I., p. 63, remarks that the horses in Gaelic
stories are always feminine; but they are red as well as grey.
[110] In this, and the following tale, Ezkabi's golden hair is
evidently like "Diarmaid's" beauty spot. "He used to keep his cap
always down on the beauty-spot; for any woman that might chance to
see it, she would be in love with him."--Campbell's "Diarmaid and
Grainne," Vol. III., p. 39, notes and variations.
[111] Compare the following legend, and "Old Deccan Days" ("Truth's
Triumph"), pp. 62, 63.
[112] Cf. above, "The Grateful Tartaro and the Heren-Suge," p. 22.
[113] Cf. note, supra, p. 113, and Grainne seeing Diarmaid as he lifts
his cap or helmet. These beauty-spots seem to be the counterpart of
Aphrodite's cestus.
[114] Cf. the two golden pears in the Spanish "Juanillo el Loco,"
Patrañas, p. 38, given in exchange for the same water.
[115] Cf. below, "The Singing Tree," etc., p. 176.
[116] Cf. "Old Deccan Days," p. 139; and Cox, "Aryan Mythology,"
Vol. I., p. 160, seq.
[117] Cf. below, p. 156.
[118] The word "Ezkabi" is "the scab;" he either really had it,
as in the next version, or was supposed to have it from keeping his
head covered, as in this. In both cases the hair is most beautiful,
precious, golden, and love-compelling.
[119] Cf. with the whole of this tale, Campbell's second tale,
"The Battle of the Birds," and the variations, especially the one of
"Auburn Mary," Vol. I. pp. 52-58.
[120] Cf. Baring Gould's chapter, "Swan-Maidens"--"Curious Myths of
the Middle Ages," p. 561, seq.
[121] In the Gaelic the labours are more like those of Herakles--to
clean out a byre, to shoot birds, and to rob a magpie's nest. The
Basque incidents seem to fit better into a climatological myth.
[122] In "Old Deccan Days" ("Truth's Triumph") it is the hair and
not the comb that does the wonders. In M. Cerquand's "Récits" the
comb is an attribute of the Basa-Andre.
[123] In Campbell's "Battle of the Birds" the hero always sleeps
while the giant's daughter does his task for him.
[124] Here the narrator interposed, "You see it is just as it happens;
the women are always the worst." But in Campbell it is the giant
himself who says, "My own daughter's tricks are trying me."
[125] In Campbell the finger is lost in climbing the tree to get the
magpie's nest; but, as here, the bride is recognised by the loss of it.
[126] In "Auburn Mary" the hero has to catch a young filly, "with an
old, black, rusty bridle."--Campbell, Vol. I., p. 55.
[127] See below for a second marriage. In Campbell, p. 37, there is
a double marriage.
[128] In Campbell, p. 55, "Auburn Mary," there is the same "talking
spittle."
[129] Cf. "Truth's Triumph," in "Old Deccan Days;" and Campbell,
pp. 33, 34; and supra, "Ezkabi-Fidel," pp. 113, 114.
[130] Campbell, pp. 34 and 56.
[131] In Campbell, it is an old greyhound that kisses him, but with
the same result, pp. 34 and 56.
[132] In one of Campbell's "Variations," pp. 51, 52, the ending is
something like this. In more than one, the hero marries another bride
in his period of oblivion.
[133] Cf. Campbell's "The Chest," Vol. II., p. 1. The tales seem
almost identical.
[134] The usual term for "the Pope;" the French, "Le Saint-Père."
[135] This is a curious testimony to an ancient practice. In the
same way the Basques call "La Fête Dieu," "Corpus Christi Day;"
"Phestaberria," "The New Feast," though it was instituted in the
thirteenth century.
[136] This is a very old and wide-spread story. The Gaelic versions
are given in Campbell, Vol. II., p. 239, seq. Cf. also Cox, "Aryan
Mythology," Vol. I., p. 111, seq.
[137] In the Gaelic it is the bishop's horse.
[138] This is in the Norse and Teutonic versions.
[139] This, again, is more like the Gaelic.
[140] This name was written thus phonetically from the Basque, and
it was not till I saw the Gaelic tale that it struck me that it is
simply "Jean d'Ecosse"--"John of Scotland," or "Scotch John." In the
analogous tale in Campbell, "The Barra Widow's Son," Vol. II., p. 111,
we read--"It was Iain Albanach" (literally, Jean d'Ecosse) "the boy was
called at first; he gave him the name of Iain Mac a Maighstir" (John,
master's son) "because he himself was master of the vessel." This
seems decisive that in some way the Basques have borrowed this tale
from the Kelts since their occupation of the Hebrides. The Spanish
versions, too, are termed "The Irish Princess" (Patrañas, p. 234).
[141] See note on preceding page, and Campbell, Vol. II., p. 3.
[142] Whether this refers to any real custom about dead men's debts,
we cannot say. It occurs in the Gaelic, in "Ezkabi," and in other
tales and versions, notably in the Spanish; see as above, and "The
White Blackbird," below, p. 182.
[143] In other versions it is the soul of the man whose debts he
had paid, either in the shape of a hermit or a fox. In the Gaelic
it is left vague and undetermined. He is called "one," or "the
asker." (Campbell, Vol. II., pp. 119 and 121.) The same contract is
made in each case, and with the same result.
[144] This is, of course, "Jean de Calais"--"John of Calais"--and
would seem to show that it was through some French, and not Spanish,
versions that the Basques learnt it.
[145] This seems inserted from "Mahistruba," p. 105.
[146] In the Gaelic it is a general, as here, and not a lame second
officer, as in "Juan Dekos," who wants to marry the lady, and who
sets the hero on a desert island.--Campbell, Vol. II., p. 118.
[147] See note on page 149.
[148] We had put this tale aside, with some others, as worthless,
until we found from Campbell how widely it is spread. The earliest
version seems to be the Italian of Straparola, 1567. The first
incident there, persuading that a pig is an ass, we have in another
Basque tale; the last two incidents are identical. They are found,
too, in the Gaelic, though in separate versions. For killing the
wife, see Campbell, Vol. II., p. 232; for the last, pp. 222 and
234. Cf. also "The Three Widows," with all the variations and notes,
Vol. II., pp. 218-238. Is this a case of transmission from one people
to another of the Italian of Straparola? or do all the versions
point back to some lost original? and is there, or can there be,
any allegorical meaning to such a tale? The answer to these questions
seems of great importance, and the present tale to be a good instance
to work upon. Petarillo seems an Italian name.
[149] "Peau d'Ane."
[150] "Fidèle."
[151] The narrator was here asked "if the place of the dance was at the
king's palace." "No," she gravely replied, "it was at the mairie." In
other tales it is on the "place," i.e., the open square or market-place
which there is in most French towns and villages in the south. It is
generally in front either of the church or of the mairie.
[152] This was explained as meaning "Beaten with the Slipper." This
version came from the Cascarrot, or half-gipsy quarter of St. Jean
de Luz, and may not be purely Basque. Except in one or two words the
language is correct enough--for St. Jean de Luz.
[153] At an exclamation of surprise from one of the auditors, the
narrator piously said, "It is the Holy Virgin who permitted all that."
[154] Cf. "The Serpent in the Wood," p. 38.
[155] Literally, "be full."
[156] Cf. the well behind the house in the "Fisherman and his Three
Sons," p. 87.
[157] Cf. "Dragon," p. 108.]
[158] Here the narrator evidently forgot to tell about the child's
being exposed, and the gardener finding it, as appears by the sequel.
[159] Cf. the well that boils in "The Fisherman and his Three Sons,"
and the ring in "Beauty and the Beast."
[160] Can Bunyan have taken his description of the "Valley of the
Shadow of Death," in the "Pilgrim's Progress," partly from such tales
as this?
[161] Cf. above in "Ezkabi" and "Juan Dekos." There is some similarity
between this tale and Campbell's "Mac Ian Direach," Vol. II.,
p. 328. Compare also "The Greek Princess and the Young Gardener,"
in Kennedy's "Fireside Stories of Ireland." We know only the French
translation of this last in Brueyre, p. 145. "Le Merle Blanc" is one
of the best known of French stories.
[162] Cf. "Juan Dekos" for paying the debts, and the fox. In the
Gaelic the fox is called "An Gille Mairtean," "the fox." (Campbell,
Vol. II., p. 329, seq.)
[163] Cf. the stealing of the bay filly in Campbell's "Mac Iain
Direach," Vol. II., p. 334.
[164] Huge cisterns, partly underground, for holding rain water,
are common in the Pays Basque. They are, of course, near the houses
off which the water drains.
[165] Cf. "Basa-Jauna," p. 49.
[166] A piece of the braise, or burnt stick. This is constantly done
all through the South of France, where wood is burnt. If your fire
is out you run to get a stick from your neighbour's fire.
[167] Cf. note to "Basa-Jauna," p. 49.
[168] Cf. "Old Deccan Days" ("Truth's Triumph"), pp. 57-58. The little
girl is the rose tree there among the mango trees, her brothers. Cows
are very gentle in the Pays Basque, and are often petted, especially
the tiny black and white Breton ones. We have known a strong man weep
at the death of a favourite cow, and this one of ten others.
[169] The Ranee makes the same conditions in "Truth's Triumph"--"You
will let me take these crows" (her brothers) "with me, will you
not? for I love them dearly, and I cannot go away unless they may
come too."--"Old Deccan Days," p. 59.
[170] This was recited to M. Vinson, and has been published by him
in the "Revue de Linguistique," p. 241 (Janvier, 1876). We have since
heard of a longer form preserved at Renteria, in Guipuzcoa.
[171] To these should perhaps be added the Latin of the Dolopathos and
"Gesta Romanorum" of the 12th or 13th century.
[172] The first portion of this tale is told of the Tartaro as
"Twenty-Four." We suspect that it is an old Tartaro tale joined on to
a Christopheros legend, unless indeed this be the very peculiarity and
meaning of the Christopheros legend--the enlisting of the old gods
into the service of Christ, and including the most human of them in
His salvation. The last part of the tale is very widely spread. It is
given by F. Caballero in the Spanish, and by Cenac-Moncaut, "Le Sac
de la Ramée," p. 57--"Littérature Populaire de la Gascogne." There is
something like it in Campbell's "Tale of the Soldier," Vol. II., p.276.
[173] This seems to be one of the many variations of the "Golden
Legend," the "Aurea Legenda" which Longfellow has so well versified.
[174] The idea of this incident is not confined to Christianity; a
similar story is told of a Mahommedan saint, and a caliph or king. The
scene of the story is Cairo.
[175] As is plain by the sequel, where the angel hangs him for a
moment, the original story must have had "hanged." This is a good
example of the way in which the dress of a story gets gradually
altered, as old customs are forgotten among a people.
[176] This whole picture is, unhappily, more true to life than one
would think at first sight. The whole history of the Cagots, and
a good deal of that of witchcraft, shows how virulent this kind of
irrational dislikes is, and how difficult to deal with and to overcome
when once they have been introduced into a rural population.
[177] I am not unaware that certain portions of the theory above stated
have been recently disputed, especially by Mr. Sayce ("Principles
of Comparative Philology," Trübner, London, 1874). But I am unable,
for the present at least, to accept all these criticisms, and I have
here no opportunity of discussing them fully, or to good purpose.
[178] "Poésies Basques de Bernard Dechepare." A most careful reprint,
word for word, was published by Cazals, Bayonne, in 1874.
[179] An exact reprint of the Gospel of St. Mark in this version,
with notes, &c., by M. J. Vinson, was also published at Bayonne
(Cazals), 1874.
[180] For more minute and complete topographical details, see the
excellent linguistic maps of Prince L. L. Bonaparte, which are models
of the application of geography to the aid of philological study. The
peculiar dialect spoken in every village, and, in some instances,
in almost every house, may be there traced.
[181] M. Van Eys has consecrated an excellent article to these
etymologies in the "Revue de Linguistique," Juillet, 1874, pp. 3-15.
[182] It must, however, be acknowledged that M. Luchaire, in various
pamphlets relating to the ancient toponymy of Spain, has made certain
of these explanations more acceptable.
[183] A form of skull, postero-dolichocephalous, with good facial
angle, ortho- or opistho-gnathous, but of comparatively small cerebral
content, is claimed by some as peculiar to the Basques.--W. W.
[184] The names of some of the most famous improvisatori,
or Coblacaris, as they are called in Basque, have been preserved:
Fernando Amezquetarra, in the Spanish Provinces; and Pierre Topet
dit Etchehun, and Bernard Mardo of Barcus, in the French Pays Basque.
[185] An exception is occasionally made in the case of the "Satans,"
as the part is almost too fatiguing for girls.
[186] This little wand plays an important part of its own. In many
of its uses it resembles the Caduceus of Mercury; a touch from it
renders invisible, puts to death, or restores to life at the will of
the Satanic possessor. It appears also as given to the hero in many
of the "Legends;" cf. pp. 34, 35, above.
[187] An account of the acting of Richard Sans Peur, at Larrau,
in June 1864, is given in Macmillan's Magazine, January, 1865.
[188] Cf. Legends above, p. 151.
[189] This MS. was kindly lent by M. J. Vinson, to whom we have been
so often indebted.
[190] Ercilla, the author of the "Araucana," was however of Basque
blood, and Basque names occur frequently among the poets and dramatists
of Spain, especially in recent years.
[191] The claim put forth in the "Revista Euskara," p. 61, April,
1878, may be fully conceded:--"Si; éste es el carácter distintivo
de la poesía euskara; su exquisita moralidad. Jamás se encuentra
en ella nada que se parezca, ni á una apología del vicio, ni á una
excusa del crimen."
[192] "Cancionero Vasco, acompañado de traducciones
castellanas, juicios criticos," etc., por José Manterola. San
Sebastian. 1877-8. Serie I., 2, p. 39.
[193] The reader will remark that there is really no authority for
treating these words as proper names. This, however, is the universal
interpretation among Basques.
[194] Ibargüen's words after quoting the song are: "Por este órden
referidas yba este cantar contando toda esta historia que habemos
dicho atrás en este capítulo de las guerras ceviles que en cinco
años Octaviano Cesar Augusto hizo en esta Provincia Cantábrica, y
aunque esta hereciat (historical song) tenga otros muy muchos versos
rodados tan solamente dellos he tomado los diez e seis primeros,
porque los demas estaban carcomidos, y los pongo aquí para el que
fuere bascongado, contentándome con solo ellos ebitando largueza
importuna de los demás, que el pergamino está muy roñoso e viejo,"
cited in the "Cancionero Vasco," 2, iii., pp. 4, 5.
[195] Cf. Alexandre Dihinx in the Impartial de Bayonne, in 1873. These
articles have been reprinted by M. J. Vinson in L'Avenir de Bayonne,
May, 1878.
[196] "The master of the house," the usual respectful address to
a Basque proprietor of any rank. His wife is "Etcheco Anderea,"
"The mistress of the house."
[197] Altabiscar is the mountain on the East, Ibañeta that on the
West of the supposed scene of conflict.
[198] Of course it ought to be "vultures." The Basque is distinctly
"eagles;" an error which no Basque shepherd could have made.
[199] The use of rocks "is confirmed by the Basque ballad of
Altabiscar, in which, however, there is no allusion to the powerful
inducement of booty."
[200] There are other examples of similar mystification in later Basque
literature. "Les Échos du Pas de Roland," par J. B. Dasconaguerre,
Bayonne, 1868, professes on the title to be "traduit du Basque";
but the "Atheko-gaitzeko Oiharzunak" (the echoes of the bad door or
pass), Bayonan, 1870, is really a translation from the French. To the
Basques the name of Roland is unknown in connection with this beautiful
ravine. M. Fr. Michel's "Le Romancero du Pays Basque," Didot, Paris,
1859, is scarcely less an embroidery on themes of which the ground
only is Basque.
[201] Cf. lorea, from the Latin flos flore.
[202] An exact reprint of Echepare's "Poems," edited by M. Vinson,
was published by Cazals, Bayonne, 1874.
[203] The most curious fact to notice in these hymns is, how very soon
after their death the Jesuit Fathers, Ignatius de Loyola and François
de Xavier, were celebrated and addressed as saints in Basque verse.
[204] This song is prettily translated in Miss Costello's "Béarn
and the Pyrénées," London, 1844, where are also translations of some
other Basque songs, the originals of which I have failed to trace.
1.
Borne on thy wings amidst the air,
Sweet bird, where wilt thou go?
For if thou wouldst to Spain repair,
The ports are filled with snow.
Wait, and we will fly together,
When the Spring brings sunny weather.
2.
St. Joseph's Hermitage is lone,
Amidst the desert bare,
And when we on our way are gone,
Awhile we'll rest us there;
As we pursue our mountain track,
Shall we not sigh as we look back?
3.
Go to my love, oh! gentle sigh,
And near her chamber hover nigh;
Glide to her heart, make that thy shrine,
As she is fondly kept in mine.
Then thou may'st tell her it is I
Who sent thee to her, gentle sigh!
[205] For the most recent theory on the Cagots, see "Les Parias de
France et de l'Espagne," par M. de Rochas (Hachette, Paris, 1876).
[206] More often the Cagots' ears were said to be either completely
round or with very long lobes, or with the lobes adhering. We have
found examples of all of these in the Basque country, but not confined
or peculiar to the Cagots. A case like that described in the verse
above we have never seen.
[207] Michel, "Le Pays Basque," p. 352.
[208] Michel, "Le Pays Basque," p. 414.
[209] I owe the MS. of this song to the kindness of M. Achille
Fouquier, author, sportsman, and artist.
[210] A line has dropped out of the MS. here. We supply the probable
meaning. The composer is one P. Mendibel, 1859.
[211] Taken down by M. J. Vinson, February 21, 1874. Cf. "Proverbes du
Pays de Béarn," par V. Lespy (Montpellier, 1876), p. 84, for another
song on "Little Peter" in Gascoun.
[212] Cf. Fr. Michel, "Le Pays Basque," p. 260. "Cancionero Vasco,"
Series 2, iii., 82, etc.
[213] From the MS. of M. A. Fouquier. This song took the prize at
Urrugne, 1858.
[214] The latest traveller in the Basque countries corroborates
this. Major Campion writes, "I had no idea how fine were the old
Basque songs, or, more correctly speaking, chants; some of them
being perfectly charming."--"On Foot in Spain," by J. S. Campion,
p. 73. (Chapman and Hall, 1879.)
[215] These are to be obtained chez Ribaut, Pau, and the other
booksellers at Biarritz and Pau.
Fleet Street Printing Works, 52, Fleet Street, London, E.C.