The Fairy Mythology. Thomas Keightley

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СКАЧАТЬ the Zôba'ah, a whirlwind that raises the sand in the form of a pillar of tremendous height, is seen sweeping over the desert, the Arabs, who believe it to be caused by the flight of an evil Jinnee, cry, Iron! Iron! (Hadeed! Hadeed!) or Iron! thou unlucky one! (Hadeed! yâ meshoom!) of which metal the Jinn are believed to have a great dread. Or else they cry, God is most great! (Allâhu akbar!) They do the same when they see a water-spout at sea; for they assign the same cause to its origin.[47]

      The chief abode of the Jinn of both kinds is the Mountains of Kâf, already described. But they also are dispersed through the earth, and they occasionally take up their residence in baths, wells, latrinæ, ovens, and ruined houses.[48] They also frequent the sea and rivers, cross-roads, and market-places. They ascend at times to the confines of the lowest heaven, and by listening there to the conversation of the angels, they obtain some knowledge of futurity, which they impart to those men who, by means of talismans or magic arts, have been able to reduce them to obedience.[49]

      The following are anecdotes of the Jinn, given by historians of eminence.[50]

      It is related, says El-Kasweenee, by a certain narrator of traditions, that he descended into a valley with his sheep, and a wolf carried off a ewe from among them; and he arose and raised his voice, and cried, "O inhabitant of the valley!" whereupon he heard a voice saying, "O wolf, restore him his sheep!" and the wolf came with the ewe and left her, and departed.

      Ben Shohnah relates, that in the year 456 of the Hejra, in the reign of Kaiem, the twenty-sixth khaleefeh of the house of Abbas, a report was raised in Bagdad, which immediately spread throughout the whole province of Irak, that some Turks being out hunting saw in the desert a black tent, beneath which there was a number of people of both sexes, who were beating their cheeks, and uttering loud cries, as is the custom in the East when any one is dead. Amidst their cries they heard these words—The great king of the Jinn is dead, woe to this country! and then there came out a great troop of women, followed by a number of other rabble, who proceeded to a neighbouring cemetery, still beating themselves in token of grief and mourning.

      The celebrated historian Ebn Athir relates, that when he was at Mosul on the Tigris, in the year 600 of the Hejra, there was in that country an epidemic disease of the throat; and it was said that a woman, of the race of the Jinn, having lost her son, all those who did not condole with her on account of his death were attacked with that disease; so that to be cured of it men and women assembled, and with all their strength cried out, O mother of Ankood, excuse us! Ankood is dead, and we did not mind it!

MIDDLE-AGE ROMANCE.

       Table of Contents

      Ecco quei che le carte empion di sogni,

       Lancilotto, Tristano e gli altri erranti,

       Onde conven che il volgo errante agogni.

       Petrarca.

      Few will now endeavour to trace romantic and marvellous fiction to any individual source. An extensive survey of the regions of fancy and their productions will incline us rather to consider the mental powers of man as having an uniform operation under every sky, and under every form of political existence, and to acknowledge that identity of invention is not more to be wondered at than identity of action. It is strange how limited the powers of the imagination are. Without due consideration of the subject, it might be imagined that her stores of materials and powers of combination are boundless; yet reflection, however slight, will convince us that here also 'there is nothing new,' and charges of plagiarism will in the majority of cases be justly suspected to be devoid of foundation. The finest poetical expressions and similes of occidental literature meet us when we turn our attention to the East, and a striking analogy pervades the tales and fictions of every region. The reason is, the materials presented to the inventive faculties are scanty. The power of combination is therefore limited to a narrow compass, and similar combinations must hence frequently occur.

      Yet still there is a high degree of probability in the supposition of the luxuriant fictions of the East having through Spain and Syria operated on European fancy. The poetry and romance of the middle ages are notoriously richer in detail, and more gorgeous in invention, than the more correct and chaste strains of Greece and Latium; the island of Calypso, for example, is in beauty and variety left far behind by the retreats of the fairies of romance. Whence arises this difference? No doubt

      When ancient chivalry display'd

       The pomp of her heroic games,

       And crested knights and tissued dames

       Assembled at the clarion's call,

       In some proud castle's high-arch'd hall,

      that a degree of pomp and splendour met the eye of the minstrel and romancer on which the bards of the simple republics of ancient times had never gazed, and this might account for the difference between the poetry of ancient and of middle-age Europe. Yet, notwithstanding, we discover such an Orientalism in the latter as would induce us to acquiesce in the hypothesis of the fictions and the manner of the East having been early transmitted to the West; and it is highly probable that along with more splendid habits of life entered a more lavish use of the gorgeous stores laid open to the plastic powers of fiction. The tales of Arabia were undoubtedly known in Europe from a very early period. The romance of Cleomades and Claremonde, which was written in the thirteenth century,[51] not merely resembles, but actually is the story of the Enchanted Horse in the Thousand and One Nights. Another tale in the same collection, The two Sisters who envied their younger Sister, may be found in Straparola, and is also a popular story in Germany; and in the Pentamerone and other collections of tales published long before the appearance of M. Galland's translation of the Eastern ones, numerous traces of an oriental origin may be discerned. The principal routes they came by may also be easily shown. The necessities of commerce and the pilgrimage to Mecca occasioned a constant intercourse between the Moors of Spain and their fellow-sectaries of the East; and the Venetians, who were the owners of Candia, carried on an extensive trade with Syria and Egypt. It is worthy of notice, that the Notti Piacevoli of Straparola were first published in Venice, and that Basile, the author of the Pentamerone, spent his youth in Candia, and was afterwards a long time at Venice. Lastly, pilgrims were notorious narrators of marvels, and each, as he visited the Holy Land, was anxious to store his memory with those riches, the diffusal of which procured him attention and hospitality at home.

      We think, therefore, that European romance may be indebted, though not for the name, yet for some of the attributes and exploits of its fairies to Asia. This is more especially the case with the romances composed or turned into prose in the fourteenth, fifteenth, and sixteenth centuries; for in the earlier ones the Fairy Mythology is much more sparingly introduced.

      But beside the classic and oriental prototypes of its fairies, romance may have had an additional one in the original mythology of the Celtic tribes, of which a being very nearly allied to the fay of romance appears to have formed a part. Such were the damoiselles who bestowed their favours upon Lanval and Graelent. This subject shall, however, be more fully considered under the head of Brittany.

      Romances of chivalry, it is well known, may be divided into three principal classes; those of Arthur and his Round Table, of Charlemagne and his Paladins, and those of Amadis and Palmerin, and their descendants and kindred. In the first, with the exception of Isaie le Triste, which appears to be a work of the fifteenth century, the fairies appear but seldom; the second exhibits them in all their brilliancy and power; in the third, which all belong to the literature of Spain, the name at least does not occur, but the enchantress Urganda la Desconecida seems equal in power to La Dame du Lac, in the romance of Lancelot du Lac.[52]

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