Page:Grimm Goblins (1876).djvu/367



Preface.—We have another popular song to the Lady-bird under a different name,

Hans in Luck, p. 1.—The "Hans im Glück" of MM. Grimm; a story of popular currency communicated by Aug. Wernicke to the Wünschelruthe, a periodical publication, 1818, No. 33.

The Travelling Musicians; or, The Waits of Bremen, p. 6.—The "Bremer Stadtmusikanten" of Grimm; current in Paderborn. Rollenhagen, who in the 16th century wrote his poem called Froschmäuseler (a collection of popular satirical dramatic scenes, in which animals are the acting characters), has admirably versified the leading incidents of this story. The occupant parties who are ejected by the travellers are, with him, wild beasts, not robbers. The Germans are eminently successful in their beast stories. The origin of them it is not easy to trace: as early as the age of the Minnesingers (in the beginning of the 13th century) a collection of fables, told with great spirit and humour by Bonner, was current; but they are more Æsopian, and have not the dramatic and instructive character of the tales before us, which bear the features of the oldest Oriental fables. In later times Reineke de Voss seems to be the matured result of this taste, and whethor originating in Germany or elsewhere, it had there its chief popularity. To that cycle belong many of the tales collected by MM. Grimm; and accordingly the Fox is constantly present, and displays everywhere the same characteristics. The moral tendency of these delightful fables is almost invariably exemplary; they always give their rewards to virtue and humanity, and afford protection to the weaker but more amiable animals, against their wily or violent aggressors. Man is sometimes introduced, but generally, as in "The Dog and the Sparrow," to his disadvantage, and for the purpose or reproof and correction.

The Golden Bird, p. 10.—" Der Goldene Vogel;" a Hessian story; told also with slight variations in Paderborn. The substance of this tale, in which the Golden Bird is generally called the Phœnix, is of great antiquity. Perinskiold in the catalogue to Hickes mentions the Sagar of Artus Fagra, and describes the contents thus: "Hist. de tribus fratribus, Carolo, Vilhialmo, atque Arturo, cogn. Fagra, regis Angliæ filiis, qui ad inquirendum Phœnicem, ut eâ curaretur morbus immedicabilis patris illorum, in ultimas usque Indiæ oras missi sunt." It appears that the same subject forms a Danish popular tale. The youngest and successful son is a character of perpetual recurrence in the German tales. He is generally despised for diminutive stature, or supposed inferiority of intellect, and passes by the contemptuous appellation of the "Dummling," of whom we shall have occasion to say more hereafter.

The Fisherman and his Wife, p. 17.— "De Fischer un siine Fru," a story in the Pomeranian Low German dialect, admirably adapted to this species of narrative, and particularly pleasing to an English ear, as bearing a remarkable affinity to his own language, or rather that of the Lowland Scotch. Take the second sentence as a specimen: "Daar satt he eens an de see, bi de angel, un sach in dat blanke water, un he sach immer (ever) na de angel," &c. During the fervour of popular feeling on the downfall of the power of the late Emperor of France, this tale became a great favourite. In the original the last object of the wife's desires is to be as "de lewe Gott" (der lieb Gott, le bon Dien). We have softenod the boldness of the lady's ambition.

The Tomtit and the Bear, p. 23.—"Der Zaunkönig und der Bär;" from Zwehrn. We have Reynard here in his proper character, and the smaller animals triumphing by superior wit over the larger, in the same manner as in many of the Northern traditions the dwarfs obtain a constant superiority over their opponents the giants. In Tuhti Nameh's 8th fable (Calcutta and London, 1801), an elephant is punished for an attack upon the sparrow's nest, by an alliance which she forms with another bird, a frog, and a bee.

The Twelve Dancing Princesses, p. 26.—"Die Zertanzten Schuhe;" a Munster tale; known also with variations in other parts, and even in Poland, according to the report made by Dobrowsky to MM. Grimm. The story is throughout of a very Oriental cast, except that the soldier has the benefit of the truly northern Nebel, or Taru-Kappe, which makes the wearer invisible. It should be observed, however, that in the Calmuck, Relations of Ssidi Kur, we have the cap, the wearer of which is "seen neither by the gods nor men, nor Tchadkurrs," and also the swiftly moving boots or shoes.

Rose-bud, p. 31. —"Dornröschen;" a Hessian story. We have perhaps in our alteration of the heroine's name lost one of the links of connection which MM. Grimm observe between this fable and that of the ancient tradition of the restoration of Brynhilda, by Sigurd, who pierces the enchanted fortifications, and rouses the heroine. "Who is it," said she, "of might sufficient to rend my armour and to break my sleep?" She afterwards tells the cause of her trance. "Two kings contended; one hight Hialmgunnar, and he was old but of mickle might, and Odin had promised him the victory. I felled him in fight; but Odin struck my head with the sleepy thorn (the Thorn-Rose or Dog-Rose, see Altdeutche Wälder, l. 135) and said I should never again be victorious, and should be hereafter wedded." (Herbert's Miscell. Poetry, vol. ii., p. 23.) Though the allusion to the sleep-rose is preserved in our heroine's name, she suffers from the wound of a spindle, as in the Pentamerone of G.B. Basile, v. 5. The further progress of Sigurd's or Siegfried's adventures will be seen in "The King of the Golden Mountain."